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"content": "\u003cp>A wee confession: In a typical week, one series or event stands out as the top choice for the Now Playing! slot. Not infrequently, however, your proprietor must choose between two (or more) equally alluring programs. I face just such a dilemma this week, with a pair of uniquely different festivals commanding our attention.\u003c/p>\n\u003cp>\u003ca href=\"https://prod3.agileticketing.net/websales/pages/list.aspx?epguid=7ecd8d33-d7d0-46b0-a62a-af16bcbe6fc6&mdy=5%2F30%2F2018&\" rel=\"noopener\" target=\"_blank\">San Francisco Silent Film Festival\u003c/a> (May 30–June 3 at the Castro) offers one classy yet accessible homage after another to an often-devalued and still-underrated epoch in global moviemaking. Brought back to life via flawless restorations and inspired live accompaniment, every single program and film is special in a different way. From the familiar (\u003cem>The Man Who Laughs\u003c/em> on opening night, the effervescent Wilder-Siodmak-Zinneman-Ulmer collaboration \u003cem>People on Sunday\u003c/em>, Buster Keaton’s \u003cem>Battling Butler\u003c/em> on closing night) to the revelatory (the Carl Theodor Dreyer comedy (!) \u003cem>Master of the House\u003c/em>, Yasujiro Ozu’s masterly and touching \u003cem>An Inn in Tokyo\u003c/em>, the U.S. premiere of the restored German assimilation fable \u003cem>The Ancient Law\u003c/em>), you can’t miss at the SFSFF.\u003c/p>\n\u003cfigure id=\"attachment_13833648\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/1_1200.jpg\" alt=\"Still from 'Adios Amor.'\" width=\"1200\" height=\"811\" class=\"size-full wp-image-13833648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/1_1200-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/1_1200-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/1_1200-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/1_1200-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/1_1200-1180x797.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/1_1200-960x649.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/1_1200-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/1_1200-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/1_1200-520x351.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Adios Amor.’ \u003ccite>(Courtesy of SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://prod3.agileticketing.net/websales/pages/list.aspx?epguid=72d561b4-fe99-490e-9831-5b457078f6de&#\" rel=\"noopener\" target=\"_blank\">The San Francisco Documentary Festival\u003c/a> (May 31–June 14 at the Roxie, Brava and New People Cinemas) likewise delivers the thrill of discovery. Explorations of contemporary subcultures and tunnel-vision outsiders can feel, as with some films from the 1920s and ’30s, like visits to other planets. Local filmmakers Quinn Costello, Chris Metzler and Jeff Springer’s seductive immersion in Louisiana’s ecology, culture and people, \u003cem>Rodents of Unusual Size\u003c/em>, receives its San Francisco premiere just as the nutria has unexpectedly emerged as a California threat. Another Bay Area filmmaker, Laurie Coyle, poignantly probes our state’s legacy of migrant workers and political activism with \u003cem>Adios Amor—The Search for Maria Moreno\u003c/em>. \u003c/p>\n\u003cp>DocFest wouldn’t be DocFest without a portrait or two of an artist on her or his own wavelength. Trisha Ziff’s \u003cem>Witkin & Witkin\u003c/em> dives into the thickets with photographer Joel-Peter and painter Jerome, identical twins who haven’t spoken to each other in years. Another filmmaker whose subjects create and inhabit their own realities, Penny Lane, receives the festival’s Non-Fiction Vanguard Award before a screening of her empathetic new film, \u003cem>The Pain of Others\u003c/em>, about the self-diagnosed skin condition Morgellons. Lane’s specialty is weaving found footage—White House home movies, industrial and educational films, images created for the internet—into fresh tapestries. Grab a thread, any thread, at DocFest or the S.F. Silent Film Festival.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A wee confession: In a typical week, one series or event stands out as the top choice for the Now Playing! slot. Not infrequently, however, your proprietor must choose between two (or more) equally alluring programs. I face just such a dilemma this week, with a pair of uniquely different festivals commanding our attention.\u003c/p>\n\u003cp>\u003ca href=\"https://prod3.agileticketing.net/websales/pages/list.aspx?epguid=7ecd8d33-d7d0-46b0-a62a-af16bcbe6fc6&mdy=5%2F30%2F2018&\" rel=\"noopener\" target=\"_blank\">San Francisco Silent Film Festival\u003c/a> (May 30–June 3 at the Castro) offers one classy yet accessible homage after another to an often-devalued and still-underrated epoch in global moviemaking. Brought back to life via flawless restorations and inspired live accompaniment, every single program and film is special in a different way. From the familiar (\u003cem>The Man Who Laughs\u003c/em> on opening night, the effervescent Wilder-Siodmak-Zinneman-Ulmer collaboration \u003cem>People on Sunday\u003c/em>, Buster Keaton’s \u003cem>Battling Butler\u003c/em> on closing night) to the revelatory (the Carl Theodor Dreyer comedy (!) \u003cem>Master of the House\u003c/em>, Yasujiro Ozu’s masterly and touching \u003cem>An Inn in Tokyo\u003c/em>, the U.S. premiere of the restored German assimilation fable \u003cem>The Ancient Law\u003c/em>), you can’t miss at the SFSFF.\u003c/p>\n\u003cfigure id=\"attachment_13833648\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/1_1200.jpg\" alt=\"Still from 'Adios Amor.'\" width=\"1200\" height=\"811\" class=\"size-full wp-image-13833648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/1_1200-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/1_1200-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/1_1200-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/1_1200-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/1_1200-1180x797.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/1_1200-960x649.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/1_1200-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/1_1200-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/1_1200-520x351.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Adios Amor.’ \u003ccite>(Courtesy of SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://prod3.agileticketing.net/websales/pages/list.aspx?epguid=72d561b4-fe99-490e-9831-5b457078f6de&#\" rel=\"noopener\" target=\"_blank\">The San Francisco Documentary Festival\u003c/a> (May 31–June 14 at the Roxie, Brava and New People Cinemas) likewise delivers the thrill of discovery. Explorations of contemporary subcultures and tunnel-vision outsiders can feel, as with some films from the 1920s and ’30s, like visits to other planets. Local filmmakers Quinn Costello, Chris Metzler and Jeff Springer’s seductive immersion in Louisiana’s ecology, culture and people, \u003cem>Rodents of Unusual Size\u003c/em>, receives its San Francisco premiere just as the nutria has unexpectedly emerged as a California threat. Another Bay Area filmmaker, Laurie Coyle, poignantly probes our state’s legacy of migrant workers and political activism with \u003cem>Adios Amor—The Search for Maria Moreno\u003c/em>. \u003c/p>\n\u003cp>DocFest wouldn’t be DocFest without a portrait or two of an artist on her or his own wavelength. Trisha Ziff’s \u003cem>Witkin & Witkin\u003c/em> dives into the thickets with photographer Joel-Peter and painter Jerome, identical twins who haven’t spoken to each other in years. Another filmmaker whose subjects create and inhabit their own realities, Penny Lane, receives the festival’s Non-Fiction Vanguard Award before a screening of her empathetic new film, \u003cem>The Pain of Others\u003c/em>, about the self-diagnosed skin condition Morgellons. Lane’s specialty is weaving found footage—White House home movies, industrial and educational films, images created for the internet—into fresh tapestries. Grab a thread, any thread, at DocFest or the S.F. Silent Film Festival.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s been said, many times in many ways, that we are currently enjoying a golden age of television. Between the cable networks and streaming services, you can find any flavor of accomplished long-form drama. Films, which most people consume on their flat-screens or devices, have become integrated and assimilated into the endless tunnel o’ content that most of us consume and forget. \u003c/p>\n\u003cp>But it’s summer, people: Break out of the box, subvert the paradigm, take the off-ramp, go to a theater and see a movie on the big screen, without interruption, the way God and Cecil B. DeMille intended.\u003c/p>\n\u003ch2>‘Adrift’ (June 1)\u003c/h2>\n\u003cp>Summer, for large numbers of Americans, means getting out on the water. There will always be a home in summer movies, therefore, for sharks, pirates, perfect storms, subterranean monsters, wardrobe malfunctions and other sea hazards. Director Baltasar Kormákur, whose resume includes \u003cem>The Deep\u003c/em>, an ocean survival story set off the coast of his native Iceland, baits us with another real-life saga set in the sunnier climes of Tahiti. New romantics Shailene Woodley and Sam Claflin set out a-yachting to San Diego when a hurricane intrudes. Can love, and a diet of peanut butter and canned rations, conquer all? High drama is a form of high art, after all. \u003c/p>\n\u003cp>https://youtu.be/JdnHvIToL9g\u003c/p>\n\u003ch2>‘American Animals’ (June 8)\u003c/h2>\n\u003cp>British filmmaker Bart Layton’s background in advertising—as well as his acute intelligence—was instantly apparent in his slickly manipulative and compulsively watchable 2012 doc-fiction hybrid \u003cem>The Imposter\u003c/em>. His multilayered new film depicts an 2004 art theft engineered by a quartet of Kentucky college students desperate to escape the bonds of everyday life. Both the amateur crooks and Layton take their cues from crime movies, with the director savvily exposing the gulf between escapism and reality.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/yToJXBkOdI0\u003c/p>\n\u003ch2>‘Incredibles 2’ (June 15)\u003c/h2>\n\u003cp>It’s incumbent on me to spotlight worthy local artists, and Emeryville’s pixelated animators deserve inclusion by virtue of a glorious track record of craft, entertainment and box office. For the sequel to its delightful 2004 tale of an ordinary family of superheroes, Pixar wisely (though not surprisingly) reconvened writer-director Brad Bird and the original (voice) cast, which is pretty much all you need to know. \u003c/p>\n\u003cp>https://youtu.be/i5qOzqD9Rms\u003c/p>\n\u003ch2>‘Boundaries’ (June 22)\u003c/h2>\n\u003cp>While the post-millennial generation is fed a steady diet of superficial superhero movies, Baby Boomers gorge on a smorgasbord of films about adults coming to terms with their elderly parents. Writer-director Shana Feste’s father-daughter road movie is infinitely superior to the treacly norm, with the brilliant Vera Farmiga hauling her monstrously selfish, drug-dealing dad (Christopher Plummer), her son and all their baggage from Portland to Los Angeles.\u003c/p>\n\u003cp>https://youtu.be/xf6qk93WHf0\u003c/p>\n\u003ch2>‘Sorry to Bother You’ (July 6)\u003c/h2>\n\u003cp>Oakland musician, activist and filmmaker Boots Riley’s feature debut, a sensation at Sundance and a sellout hit on both sides of the Bay at the recent SFFILM festival, is an outrageous satire of great, big targets: corporate culture, immersive marketing, white power and black ambition. A wildly creative heir to \u003cem>Putney Swope\u003c/em>, Robert Downey, Sr.’s savagely funny cult classic from half a century ago, \u003cem>Sorry to Bother You\u003c/em> heralds the arrival of an important East Bay filmmaker.\u003c/p>\n\u003cp>https://youtu.be/enH3xA4mYcY\u003c/p>\n\u003ch2>‘Gauguin’ (July 20)\u003c/h2>\n\u003cp>Paul Gauguin lives in the shadow of a certain frustrated genius, cinematically speaking, despite Anthony Quinn and Wladimir Yordanoff’s flamboyant supporting performances in the Vincent Van Gogh biopics \u003cem>Lust for Life\u003c/em> and \u003cem>Vincent and Theo\u003c/em>. French filmmaker Edouard Deluc places Gauguin in the center of his canvas, er, frame, where Vincent Cassel slides into the character. The revelatory film focuses on the painter’s initial sojourn to Tahiti, and explores his relationship with the adolescent Tehura (Tuhei Adams). Moral qualms aside, Deluc conveys how much effort is required to be an artist whose work endures across the centuries.\u003c/p>\n\u003cp>https://youtu.be/T8H6cA_FmGg\u003c/p>\n\u003ch2>‘Christopher Robin’ (Aug. 3)\u003c/h2>\n\u003cp>Adult responsibilities tend to kill the buzz of childhood innocence, and to slam the door on the promise of endless possibilities. That’s what afflicts our decent pal Chris (Ewan McGregor), until a bear named Pooh reenters his life. The natural reference point to Marc Forster’s blend of live-action and animation would appear to be \u003ci>Finding Neverland\u003c/i>, his sentimental tale of how J.M. Barrie came to create Peter Pan. But the screenwriter is Alex Ross Perry, the hit-and-miss indie auteur who made the complex, brilliant and painful \u003ci>Listen Up Philip\u003c/i> about a successful (and insufferable) young author. If Disney didn’t instruct the script doctors to excise Perry’s quirks, this film could be more subversive than sappy. \u003c/p>\n\u003cp>https://youtu.be/FxR-4ScRR4Q\u003c/p>\n\u003ch2>‘BlacKkKlansman’ (Aug. 10)\u003c/h2>\n\u003cp>It pains me to tout the work of a known egomaniac, but 1) Spike Lee is far from the only director who’s a legend in his own mind; and 2) his new film fired up the crowd at Cannes. Based on the true story of a black detective (played by John David Washington) who managed to get hired by the Colorado Springs Police Dept. in the early ’70s and paired up with a white cop (Adam Driver) to infiltrate the KKK headed by David Duke (Topher Grace), \u003cem>BlacKkKlansman\u003c/em> hammers the racism in a swath of institutions—including Hollywood studios.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/pFc6I0rgmgY\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been said, many times in many ways, that we are currently enjoying a golden age of television. Between the cable networks and streaming services, you can find any flavor of accomplished long-form drama. Films, which most people consume on their flat-screens or devices, have become integrated and assimilated into the endless tunnel o’ content that most of us consume and forget. \u003c/p>\n\u003cp>But it’s summer, people: Break out of the box, subvert the paradigm, take the off-ramp, go to a theater and see a movie on the big screen, without interruption, the way God and Cecil B. DeMille intended.\u003c/p>\n\u003ch2>‘Adrift’ (June 1)\u003c/h2>\n\u003cp>Summer, for large numbers of Americans, means getting out on the water. There will always be a home in summer movies, therefore, for sharks, pirates, perfect storms, subterranean monsters, wardrobe malfunctions and other sea hazards. Director Baltasar Kormákur, whose resume includes \u003cem>The Deep\u003c/em>, an ocean survival story set off the coast of his native Iceland, baits us with another real-life saga set in the sunnier climes of Tahiti. New romantics Shailene Woodley and Sam Claflin set out a-yachting to San Diego when a hurricane intrudes. Can love, and a diet of peanut butter and canned rations, conquer all? High drama is a form of high art, after all. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/JdnHvIToL9g'\n title='//www.youtube.com/embed/JdnHvIToL9g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘American Animals’ (June 8)\u003c/h2>\n\u003cp>British filmmaker Bart Layton’s background in advertising—as well as his acute intelligence—was instantly apparent in his slickly manipulative and compulsively watchable 2012 doc-fiction hybrid \u003cem>The Imposter\u003c/em>. His multilayered new film depicts an 2004 art theft engineered by a quartet of Kentucky college students desperate to escape the bonds of everyday life. Both the amateur crooks and Layton take their cues from crime movies, with the director savvily exposing the gulf between escapism and reality.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/yToJXBkOdI0'\n title='//www.youtube.com/embed/yToJXBkOdI0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Incredibles 2’ (June 15)\u003c/h2>\n\u003cp>It’s incumbent on me to spotlight worthy local artists, and Emeryville’s pixelated animators deserve inclusion by virtue of a glorious track record of craft, entertainment and box office. For the sequel to its delightful 2004 tale of an ordinary family of superheroes, Pixar wisely (though not surprisingly) reconvened writer-director Brad Bird and the original (voice) cast, which is pretty much all you need to know. \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/i5qOzqD9Rms'\n title='//www.youtube.com/embed/i5qOzqD9Rms'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Boundaries’ (June 22)\u003c/h2>\n\u003cp>While the post-millennial generation is fed a steady diet of superficial superhero movies, Baby Boomers gorge on a smorgasbord of films about adults coming to terms with their elderly parents. Writer-director Shana Feste’s father-daughter road movie is infinitely superior to the treacly norm, with the brilliant Vera Farmiga hauling her monstrously selfish, drug-dealing dad (Christopher Plummer), her son and all their baggage from Portland to Los Angeles.\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/xf6qk93WHf0'\n title='//www.youtube.com/embed/xf6qk93WHf0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Sorry to Bother You’ (July 6)\u003c/h2>\n\u003cp>Oakland musician, activist and filmmaker Boots Riley’s feature debut, a sensation at Sundance and a sellout hit on both sides of the Bay at the recent SFFILM festival, is an outrageous satire of great, big targets: corporate culture, immersive marketing, white power and black ambition. A wildly creative heir to \u003cem>Putney Swope\u003c/em>, Robert Downey, Sr.’s savagely funny cult classic from half a century ago, \u003cem>Sorry to Bother You\u003c/em> heralds the arrival of an important East Bay filmmaker.\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/enH3xA4mYcY'\n title='//www.youtube.com/embed/enH3xA4mYcY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Gauguin’ (July 20)\u003c/h2>\n\u003cp>Paul Gauguin lives in the shadow of a certain frustrated genius, cinematically speaking, despite Anthony Quinn and Wladimir Yordanoff’s flamboyant supporting performances in the Vincent Van Gogh biopics \u003cem>Lust for Life\u003c/em> and \u003cem>Vincent and Theo\u003c/em>. French filmmaker Edouard Deluc places Gauguin in the center of his canvas, er, frame, where Vincent Cassel slides into the character. The revelatory film focuses on the painter’s initial sojourn to Tahiti, and explores his relationship with the adolescent Tehura (Tuhei Adams). Moral qualms aside, Deluc conveys how much effort is required to be an artist whose work endures across the centuries.\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/T8H6cA_FmGg'\n title='//www.youtube.com/embed/T8H6cA_FmGg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Christopher Robin’ (Aug. 3)\u003c/h2>\n\u003cp>Adult responsibilities tend to kill the buzz of childhood innocence, and to slam the door on the promise of endless possibilities. That’s what afflicts our decent pal Chris (Ewan McGregor), until a bear named Pooh reenters his life. 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Based on the true story of a black detective (played by John David Washington) who managed to get hired by the Colorado Springs Police Dept. in the early ’70s and paired up with a white cop (Adam Driver) to infiltrate the KKK headed by David Duke (Topher Grace), \u003cem>BlacKkKlansman\u003c/em> hammers the racism in a swath of institutions—including Hollywood studios.\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pFc6I0rgmgY'\n title='//www.youtube.com/embed/pFc6I0rgmgY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What becomes a legend most? Olivia de Havilland, you may have heard, is devoting much of her 11th decade on Earth to suing the producers of the F/X series \u003cem>Feud\u003c/em>. Another centenarian, Kirk Douglas, keeps a much lower profile, as do the nonagenarians Sidney Poitier and Harry Belafonte (though look for the latter in \u003cem>BlackkKlansman\u003c/em>) and the octogenarians Gene Hackman, Sophia Loren, Sean Connery and Shirley MacLaine. But you know which Hollywood Golden Ager still enjoys the limelight? \u003ca href=\"https://www.ticketfly.com/event/1645627\" rel=\"noopener\" target=\"_blank\">Kim Novak\u003c/a>.\u003c/p>\n\u003cp>Alfred Hitchcock’s iciest blonde object of obsession made a splash with an exhibition of her paintings at the San Francisco Museum and Historical Society’s 2012 fundraiser at the Old Mint. She returns to her favorite city this Sunday, May 20, to celebrate the 60th anniversary of her double-edged, two-faced tour de force, \u003cem>Vertigo\u003c/em>. S.F.’s premiere star wrangler and silver-screen showman, Marc Huestis, has lined up singer Paula West and dancer Rory Davis to entertain the Castro crowd and salute Ms. Novak before she takes the stage for a spill-the-Tinseltown-beans interview with Noir City boss Eddie Muller.\u003c/p>\n\u003cfigure id=\"attachment_13832108\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200.jpg\" alt=\"Kim Novak in 'Vertigo.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13832108\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kim Novak in ‘Vertigo.’\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a movie on the bill, as well, set in a city on a hill, that stars Jimmy Stewart as a pathetic detective played for a sap by a beautiful dame (and her string-pulling husband). Stewart is balls-out brilliant – and downright terrifying, in a pivotal scene – in one of the most humiliating roles ever played by a star of the studio era. For her part, Ms. Novak, as first the enigmatic agent of his destruction and then the romantic opening for his return to civilization (for no place was more civilized than San Francisco in the ‘50s), is simply unforgettable.\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>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What becomes a legend most? Olivia de Havilland, you may have heard, is devoting much of her 11th decade on Earth to suing the producers of the F/X series \u003cem>Feud\u003c/em>. Another centenarian, Kirk Douglas, keeps a much lower profile, as do the nonagenarians Sidney Poitier and Harry Belafonte (though look for the latter in \u003cem>BlackkKlansman\u003c/em>) and the octogenarians Gene Hackman, Sophia Loren, Sean Connery and Shirley MacLaine. But you know which Hollywood Golden Ager still enjoys the limelight? \u003ca href=\"https://www.ticketfly.com/event/1645627\" rel=\"noopener\" target=\"_blank\">Kim Novak\u003c/a>.\u003c/p>\n\u003cp>Alfred Hitchcock’s iciest blonde object of obsession made a splash with an exhibition of her paintings at the San Francisco Museum and Historical Society’s 2012 fundraiser at the Old Mint. She returns to her favorite city this Sunday, May 20, to celebrate the 60th anniversary of her double-edged, two-faced tour de force, \u003cem>Vertigo\u003c/em>. S.F.’s premiere star wrangler and silver-screen showman, Marc Huestis, has lined up singer Paula West and dancer Rory Davis to entertain the Castro crowd and salute Ms. Novak before she takes the stage for a spill-the-Tinseltown-beans interview with Noir City boss Eddie Muller.\u003c/p>\n\u003cfigure id=\"attachment_13832108\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200.jpg\" alt=\"Kim Novak in 'Vertigo.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13832108\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kim Novak in ‘Vertigo.’\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a movie on the bill, as well, set in a city on a hill, that stars Jimmy Stewart as a pathetic detective played for a sap by a beautiful dame (and her string-pulling husband). Stewart is balls-out brilliant – and downright terrifying, in a pivotal scene – in one of the most humiliating roles ever played by a star of the studio era. For her part, Ms. Novak, as first the enigmatic agent of his destruction and then the romantic opening for his return to civilization (for no place was more civilized than San Francisco in the ‘50s), is simply unforgettable.\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>\u003c/p>\u003c/div>",
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"content": "\u003cp>We are in a cultural moment where men’s predatory behavior — in the workplace, at parties, in living rooms and in the White House — has wrung dry any grace that dictums like “boys will be boys” previously provided. Critics sportingly hunt down that dictum wherever it appears, and one only wishes it a rapid extinction.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13831208\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/a-lucky-man.jpg\" alt=\"\" width=\"396\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/a-lucky-man.jpg 396w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/a-lucky-man-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/a-lucky-man-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/a-lucky-man-375x563.jpg 375w\" sizes=\"(max-width: 396px) 100vw, 396px\">\u003c/p>\n\u003cp>Personally, I hunger for more complicated views of masculinity. I couldn’t stop talking about \u003cem>Moonlight \u003c/em>after I saw it. I remember curling up with my blanket and emotions on an airplane, landing and renting it again as soon as I returned to my apartment. I paused only to appreciate the beauty of its tonal blues and tenderness; its achingly beautiful and wholly unpredictable grace.\u003c/p>\n\u003cp>\u003cem>A Lucky Man, \u003c/em>out this May, is the stunning debut short story collection by Jamel Brinkley, one that reminds me of \u003cem>Moonlight\u003c/em>. It is not a book about gay men, though. Rather, Brinkley explores black men under both the pressurized violence and bottled up tenderness that undoes them at every turn. This is a book that acknowledges male stereotypes while subverting them and exploring the psychic damage they leave in their wake.\u003c/p>\n\u003cp>Brinkley builds his stories over the lowly clatter of life: recent college graduates on the prowl for girls; teenage boys on the prowl for a glance up a skirt; small boys on the prowl for haircuts that will make them look like men; and grown men on the prowl for something, \u003cem>anything\u003c/em>, that will make them feel more whole.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Brinkley describes women as men on the hunt might see them, except perhaps more admiringly. In “No More Than a Bubble,” two young men arrive at a Harvard party convinced the girls there “wore better, tinier underwear than the girls [they] knew” and were “mad geniuses of their bodies.” Women seen by the men in Brinkley’s stories are creatures full of wiles and mysterious ways. A classic male gaze. But even while writing from the points of view of his characters, Brinkley writes with precision about women, letting the men who hunger after them witness a complicated dimensionality. Each story also carries, even while traversing the superficiality of a college party, the profound tenor of old wounds (about race, family, and yearning).\u003c/p>\n\u003cp>All nine of the stories in this collection share an identical architecture, but Brinkley’s endings are so ethereal and luminous that one is hardly bothered. Brinkley’s stories find their footing on the violent edge of gender performativity and end in a reach for language to describe the incomprehensible.\u003c/p>\n\u003cp>One ending is so beautiful, I must share it. But will not give you any context so as not to ruin your reading:\u003c/p>\n\u003cblockquote>\u003cp>Claudius was sitting in the bed, staring at me. All at once an acute ugliness shuddered into being, a face revealed within a face, and he must have seen it within mine too. It has been that way with people in my life, with people I have loved: a fine dispersal, a rupture as quiet as two lips parting, a change so sudden one morning, so slight, you wonder if they had ever been beautiful at all.\u003c/p>\u003c/blockquote>\n\u003cp>Jamel Brinkley’s \u003cem>A Lucky Man\u003c/em> is as compulsive to read as an addictive novel. It is a gripping tapestry of boys at that juncture of life where the men they are to become “[begins] to erupt out of [them], like a flourish of horns.” It’s also a tapestry of those moments where the distances, hesitations and intimacies become the crack of these men’s breaking.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Catch Jamel Brinkley at the Booksmith (1644 Haight St) in San Francisco on May 7 at 7:30pm.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Spine is a biweekly column. Catch us back here in two weeks.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We are in a cultural moment where men’s predatory behavior — in the workplace, at parties, in living rooms and in the White House — has wrung dry any grace that dictums like “boys will be boys” previously provided. Critics sportingly hunt down that dictum wherever it appears, and one only wishes it a rapid extinction.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13831208\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/a-lucky-man.jpg\" alt=\"\" width=\"396\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/a-lucky-man.jpg 396w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/a-lucky-man-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/a-lucky-man-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/a-lucky-man-375x563.jpg 375w\" sizes=\"(max-width: 396px) 100vw, 396px\">\u003c/p>\n\u003cp>Personally, I hunger for more complicated views of masculinity. I couldn’t stop talking about \u003cem>Moonlight \u003c/em>after I saw it. I remember curling up with my blanket and emotions on an airplane, landing and renting it again as soon as I returned to my apartment. I paused only to appreciate the beauty of its tonal blues and tenderness; its achingly beautiful and wholly unpredictable grace.\u003c/p>\n\u003cp>\u003cem>A Lucky Man, \u003c/em>out this May, is the stunning debut short story collection by Jamel Brinkley, one that reminds me of \u003cem>Moonlight\u003c/em>. It is not a book about gay men, though. Rather, Brinkley explores black men under both the pressurized violence and bottled up tenderness that undoes them at every turn. This is a book that acknowledges male stereotypes while subverting them and exploring the psychic damage they leave in their wake.\u003c/p>\n\u003cp>Brinkley builds his stories over the lowly clatter of life: recent college graduates on the prowl for girls; teenage boys on the prowl for a glance up a skirt; small boys on the prowl for haircuts that will make them look like men; and grown men on the prowl for something, \u003cem>anything\u003c/em>, that will make them feel more whole.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Brinkley describes women as men on the hunt might see them, except perhaps more admiringly. In “No More Than a Bubble,” two young men arrive at a Harvard party convinced the girls there “wore better, tinier underwear than the girls [they] knew” and were “mad geniuses of their bodies.” Women seen by the men in Brinkley’s stories are creatures full of wiles and mysterious ways. A classic male gaze. But even while writing from the points of view of his characters, Brinkley writes with precision about women, letting the men who hunger after them witness a complicated dimensionality. Each story also carries, even while traversing the superficiality of a college party, the profound tenor of old wounds (about race, family, and yearning).\u003c/p>\n\u003cp>All nine of the stories in this collection share an identical architecture, but Brinkley’s endings are so ethereal and luminous that one is hardly bothered. Brinkley’s stories find their footing on the violent edge of gender performativity and end in a reach for language to describe the incomprehensible.\u003c/p>\n\u003cp>One ending is so beautiful, I must share it. But will not give you any context so as not to ruin your reading:\u003c/p>\n\u003cblockquote>\u003cp>Claudius was sitting in the bed, staring at me. All at once an acute ugliness shuddered into being, a face revealed within a face, and he must have seen it within mine too. It has been that way with people in my life, with people I have loved: a fine dispersal, a rupture as quiet as two lips parting, a change so sudden one morning, so slight, you wonder if they had ever been beautiful at all.\u003c/p>\u003c/blockquote>\n\u003cp>Jamel Brinkley’s \u003cem>A Lucky Man\u003c/em> is as compulsive to read as an addictive novel. It is a gripping tapestry of boys at that juncture of life where the men they are to become “[begins] to erupt out of [them], like a flourish of horns.” It’s also a tapestry of those moments where the distances, hesitations and intimacies become the crack of these men’s breaking.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Catch Jamel Brinkley at the Booksmith (1644 Haight St) in San Francisco on May 7 at 7:30pm.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Spine is a biweekly column. Catch us back here in two weeks.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The first sound we hear in \u003cem>Disobedience\u003c/em> is the sharp, prolonged blaring of the shofar. In the Jewish religion it’s a call for people to pay attention, to wake up from a slumber of complacency and think about our relationship with God. Immediately the film places us in the middle of an Orthodox congregation, gazing up at the final sermon of a dying rabbi; we can see the rows of women in wigs and long, black skirts far above him, watching from the gender-segregated balcony. The oddness of the image — the faith leader in the foreground, his life draining as he speaks, his perspective dwarfed by the often out-of-focus women watching him from above — has the peculiar effect of inverting the ways we typically understand Orthodox power dynamics. In this moment, who is closer to God?\u003c/p>\n\u003cp>Based on a novel by Naomi Alderman, the film chronicles a forbidden romance between two women with ties to this London Orthodox community. Ronit (Rachel Weisz), the rabbi’s free-spirited daughter, left the religion years ago to make her way as a secular photographer in New York. Her return for the \u003cem>shiva\u003c/em> following her father’s death is unwelcome, as the congregation, in retaliation for her exit, had deliberately neglected to inform her that he was ill. None have any business with Ronit except Esti (Rachel McAdams), her former lover, who stayed behind to adopt the \u003cem>frum\u003c/em> lifestyle of the ultra-Orthodox, teach at the Jewish girls’ school and marry their mutual friend Dovid (Alessandro Nivola), the rabbi’s top disciple, for one night a week of joyless procreation attempts. In this way, Esti has resigned herself to “living a long life” — the blessing traditionally given to Jewish mourners, and here also a kiss-off to Ronit from all the family members who plan on never speaking to her again.\u003c/p>\n\u003cp>https://youtu.be/HEVonh8bjC0\u003c/p>\n\u003cp>\u003cem>Disobedience\u003c/em> rests on the strengths of its two Rachels, and Weisz and McAdams deliver on what they’re given. One of them isn’t given enough. Ronit is a lazy writer’s idea of a “strong female character,” meaning she gets one “yasss queen” outburst where she tells her family what she really thinks about their traditions … even though we know she’s already spurned them, so the scene is redundant. Otherwise she floats through the film dazed by grief, so all the heavy work falls to Weisz (who also produces) to let us read different forms of regret and confusion into her tender performance. One killer detail about the character, that her photography subjects are all covered in tattoos, hints at some unresolved reckoning with Judaism that never materializes.\u003c/p>\n\u003cp>The film truly belongs to McAdams, turning in career-high work as someone who has only just decided to wage open revolt against her faith. Even as Esti openly solicits Ronit’s love once more, she still prays of her own volition, still seeks some level of higher understanding and forgiveness. There are things wrestling inside of her, and we can see them in real time. Hence why, when the two women do sneak off to a hotel room together, they make the act of removing a wig more erotic than any kind of \u003ca href=\"http://www.vulture.com/2017/09/rachel-weisz-and-rachel-mcadamss-hot-disobedience-sex-scene.html\">spittle\u003c/a> that might be flung from one mouth to another.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Writer-director Sebastián Lelio is a decorated Chilean filmmaker making his English-language debut after the widely acclaimed \u003cem>Gloria\u003c/em> and \u003cem>A Fantastic Woman\u003c/em>. It’s a sad state of affairs that Lelio is one of the only male directors working today who seems truly devoted to finding new and different kinds of women-centric stories to tell on film. Still, it’s encouraging that he can approach a widening variety of subject areas (trans issues, Orthodox Judaism) as an open-hearted novice and make it seem like he’s always been here, telling these stories from the inside out.\u003c/p>\n\u003cp>But it almost doesn’t seem like Lelio made this one. Compared to the bursts of color and energy in his last two films, \u003cem>Disobedience\u003c/em> feels positively sapped of style: After that arresting opening scene, the down-the-middle dramatics can’t contain the outpourings of emotion Weisz and McAdams bring to the table. To be fair, that might have been the point. But a little panache never hurt anyone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Like a Hillel sandwich made from your Seder leftovers, \u003cem>Disobedience\u003c/em> never quite finds that balance between sweet, bitter and brittle. But one unexpected perk of the film is the way it avoids the easy traps of depicting isolated religious fundamentalism onscreen. There is a claustrophobia and oppressiveness to the setting, of course, but it’s not simply a matter of things the film deems evil or backwards: It’s more a question of what people in a system feel they are in their right or power to do. Dovid becomes a key to the story in a fascinating way, and Nivola’s finely measured performance shows us the conflicted man under the mask of Torah study. The best films about religion are the ones that provoke honest dialogues about faith, and humanity’s role within it. We never get all the way there with \u003cem>Disobedience\u003c/em>, but at least it’s blown the shofar. \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=In+An+Isolated+Community%2C+Questions+Of+Faith+And+%27Disobedience%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first sound we hear in \u003cem>Disobedience\u003c/em> is the sharp, prolonged blaring of the shofar. In the Jewish religion it’s a call for people to pay attention, to wake up from a slumber of complacency and think about our relationship with God. Immediately the film places us in the middle of an Orthodox congregation, gazing up at the final sermon of a dying rabbi; we can see the rows of women in wigs and long, black skirts far above him, watching from the gender-segregated balcony. The oddness of the image — the faith leader in the foreground, his life draining as he speaks, his perspective dwarfed by the often out-of-focus women watching him from above — has the peculiar effect of inverting the ways we typically understand Orthodox power dynamics. In this moment, who is closer to God?\u003c/p>\n\u003cp>Based on a novel by Naomi Alderman, the film chronicles a forbidden romance between two women with ties to this London Orthodox community. Ronit (Rachel Weisz), the rabbi’s free-spirited daughter, left the religion years ago to make her way as a secular photographer in New York. Her return for the \u003cem>shiva\u003c/em> following her father’s death is unwelcome, as the congregation, in retaliation for her exit, had deliberately neglected to inform her that he was ill. None have any business with Ronit except Esti (Rachel McAdams), her former lover, who stayed behind to adopt the \u003cem>frum\u003c/em> lifestyle of the ultra-Orthodox, teach at the Jewish girls’ school and marry their mutual friend Dovid (Alessandro Nivola), the rabbi’s top disciple, for one night a week of joyless procreation attempts. In this way, Esti has resigned herself to “living a long life” — the blessing traditionally given to Jewish mourners, and here also a kiss-off to Ronit from all the family members who plan on never speaking to her again.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/HEVonh8bjC0'\n title='//www.youtube.com/embed/HEVonh8bjC0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Disobedience\u003c/em> rests on the strengths of its two Rachels, and Weisz and McAdams deliver on what they’re given. One of them isn’t given enough. Ronit is a lazy writer’s idea of a “strong female character,” meaning she gets one “yasss queen” outburst where she tells her family what she really thinks about their traditions … even though we know she’s already spurned them, so the scene is redundant. Otherwise she floats through the film dazed by grief, so all the heavy work falls to Weisz (who also produces) to let us read different forms of regret and confusion into her tender performance. One killer detail about the character, that her photography subjects are all covered in tattoos, hints at some unresolved reckoning with Judaism that never materializes.\u003c/p>\n\u003cp>The film truly belongs to McAdams, turning in career-high work as someone who has only just decided to wage open revolt against her faith. Even as Esti openly solicits Ronit’s love once more, she still prays of her own volition, still seeks some level of higher understanding and forgiveness. There are things wrestling inside of her, and we can see them in real time. Hence why, when the two women do sneak off to a hotel room together, they make the act of removing a wig more erotic than any kind of \u003ca href=\"http://www.vulture.com/2017/09/rachel-weisz-and-rachel-mcadamss-hot-disobedience-sex-scene.html\">spittle\u003c/a> that might be flung from one mouth to another.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Writer-director Sebastián Lelio is a decorated Chilean filmmaker making his English-language debut after the widely acclaimed \u003cem>Gloria\u003c/em> and \u003cem>A Fantastic Woman\u003c/em>. It’s a sad state of affairs that Lelio is one of the only male directors working today who seems truly devoted to finding new and different kinds of women-centric stories to tell on film. Still, it’s encouraging that he can approach a widening variety of subject areas (trans issues, Orthodox Judaism) as an open-hearted novice and make it seem like he’s always been here, telling these stories from the inside out.\u003c/p>\n\u003cp>But it almost doesn’t seem like Lelio made this one. Compared to the bursts of color and energy in his last two films, \u003cem>Disobedience\u003c/em> feels positively sapped of style: After that arresting opening scene, the down-the-middle dramatics can’t contain the outpourings of emotion Weisz and McAdams bring to the table. To be fair, that might have been the point. But a little panache never hurt anyone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Like a Hillel sandwich made from your Seder leftovers, \u003cem>Disobedience\u003c/em> never quite finds that balance between sweet, bitter and brittle. But one unexpected perk of the film is the way it avoids the easy traps of depicting isolated religious fundamentalism onscreen. There is a claustrophobia and oppressiveness to the setting, of course, but it’s not simply a matter of things the film deems evil or backwards: It’s more a question of what people in a system feel they are in their right or power to do. Dovid becomes a key to the story in a fascinating way, and Nivola’s finely measured performance shows us the conflicted man under the mask of Torah study. The best films about religion are the ones that provoke honest dialogues about faith, and humanity’s role within it. We never get all the way there with \u003cem>Disobedience\u003c/em>, but at least it’s blown the shofar. \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=In+An+Isolated+Community%2C+Questions+Of+Faith+And+%27Disobedience%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We had terrible news this week. San Francisco Chronicle Assistant Managing Editor David Wiegand, my founding co-anchor on The Do List, was found dead in his home on Tuesday. He was omnivorous in his approach to the arts, and together we crafted The Do List out of that ideal, embracing everything from classical to rap, from Shakespeare to the weirdest performance piece, from veteran to young talent. David would have wanted the show to go on, and this week’s episode is dedicated to him, and his memory.\u003c/p>\n\u003cp>\u003cstrong>May 16-20:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13830999/a-new-concerto-from-philip-glass-for-the-new-century-chamber-orchestra\" target=\"_blank\" rel=\"noopener\">The New Century Chamber Orchestra offers the West Coast debut of Philip Glass’ new piano concerto\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 10-24:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13831011/caam-fest-mixes-film-music-and-theater-for-its-36th-edition\" target=\"_blank\" rel=\"noopener\">The Center for Asian American Media’s film festival includes a documentary on former San Jose Mayor Norm Mineta.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 9-20:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13830976/a-festival-of-transformative-art-at-ybca\" target=\"_blank\" rel=\"noopener\">The Yerba Buena Center for the Arts Transform Festival asks “where is our public imagination?”\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 5-7:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13830967/khalid-not-so-dumb-not-so-broke\" target=\"_blank\" rel=\"noopener\">Khalid plays the Bay Area, taking a satiric jab at our attitudes toward millennials\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>May 4: \u003c/strong>\u003ca href=\"https://www.oakarts.org/about/227-a-front-page-cat/1163-vocal-music-s-spring-concert-fox-theatre-5-4\" target=\"_blank\" rel=\"noopener\">The kids are really, really talented at The Oakland School for the Arts in a concert at the Fox in Oakland\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 4-July 20:\u003c/strong> \u003ca href=\"https://bettiono.com/2018/04/22/betti-ono-presents-signify-a-solo-exhibition-by-kierra-johnson-may-4-july-20-2018/\" target=\"_blank\" rel=\"noopener\">The Betti Ono Gallery in Oakland offers a photography show with intimate, detailed portraits of working-class African Americans.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13830891/david-wiegand-longtime-co-host-of-kqeds-the-do-list-dies-at-70\" target=\"_blank\" rel=\"noopener\">\u003cem>A fond goodbye to former Do List co-anchor David Wiegand\u003c/em> \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13830917\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830917\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-800x460.jpeg\" alt=\"The late David Wiegand and Cy Musiker at The Do List Live event at The Chapel in 2015\" width=\"800\" height=\"460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-800x460.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-160x92.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-768x442.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-960x552.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-240x138.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-375x216.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-520x299.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642.jpeg 1000w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The late David Wiegand and Cy Musiker at The Do List Live event at The Chapel in 2015 \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>May 4: \u003c/strong>\u003ca href=\"https://www.oakarts.org/about/227-a-front-page-cat/1163-vocal-music-s-spring-concert-fox-theatre-5-4\" target=\"_blank\" rel=\"noopener\">The kids are really, really talented at The Oakland School for the Arts in a concert at the Fox in Oakland\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 4-July 20:\u003c/strong> \u003ca href=\"https://bettiono.com/2018/04/22/betti-ono-presents-signify-a-solo-exhibition-by-kierra-johnson-may-4-july-20-2018/\" target=\"_blank\" rel=\"noopener\">The Betti Ono Gallery in Oakland offers a photography show with intimate, detailed portraits of working-class African Americans.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13830891/david-wiegand-longtime-co-host-of-kqeds-the-do-list-dies-at-70\" target=\"_blank\" rel=\"noopener\">\u003cem>A fond goodbye to former Do List co-anchor David Wiegand\u003c/em> \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13830917\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830917\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-800x460.jpeg\" alt=\"The late David Wiegand and Cy Musiker at The Do List Live event at The Chapel in 2015\" width=\"800\" height=\"460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-800x460.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-160x92.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-768x442.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-960x552.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-240x138.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-375x216.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-520x299.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642.jpeg 1000w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The late David Wiegand and Cy Musiker at The Do List Live event at The Chapel in 2015 \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>May signals the arrival of the summer blockbuster movie season, and if you listen closely you’ll make out the faint echo of brain cells dying in multiplexes across the land. Several antidotes come to mind, including the \u003ca href=\"http://www.doclands.com\" rel=\"noopener\" target=\"_blank\">DocLands Documentary Film Festival\u003c/a>, running May 3-6 at venues in San Rafael (at the Smith Rafael Film Center) and Mill Valley (CineArts Sequoia). Programmed and presented by the California Film Institute, the parent organization of the Mill Valley Film Festival, DocLands encompasses a broad swath of social-issues films, environmental expeditions and quirky portraits of extraordinarily unique individuals.\u003c/p>\n\u003cp>Connie Field, the East Bay force of nature who nearly a decade ago produced and directed a seven-part history of the international crusade to end apartheid in South Africa, premieres \u003cem>Have You Heard from Johannesburg: Oliver Tambo\u003c/em> (May 6) to commemorate the past year’s centennial of the ANC leader’s birth. Inspiring, infuriating and revelatory, Field’s film is the epitome of essential viewing.\u003c/p>\n\u003cfigure id=\"attachment_13830737\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-800x530.jpg\" alt=\"Jack Casady and Jerry Garcia playing music at Olompali, the Marin commune that's the subject of a new documentary, 'Olompali: A Hippie Odyssey.' \" width=\"800\" height=\"530\" class=\"size-medium wp-image-13830737\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-1200x796.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-960x637.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jack Casady and Jerry Garcia playing music at Olompali, the Marin commune that’s the subject of a new documentary, ‘Olompali: A Hippie Odyssey.’ \u003ccite>(Peter Risley/Courtesy DocLands)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The chunk of history that Gregg Gibbs unearths in \u003cem>Olompali: A Hippie Odyssey\u003c/em> (May 6) begins with the magnetic force of the Summer of Love, which attracted young people from around the country to San Francisco. The doc focuses on a particularly idealistic group who turned on, dropped out, and established a commune 30 miles north of the city. \u003cem>Olompali\u003c/em> is narrated by Peter Coyote (who else?), who lived in a North Bay commune himself for a pivotal part of the ’60s and has an appreciation for the euphoria and frustrations of group living.\u003c/p>\n\u003cp>A touching entry in the subgenre of lost-movie documentaries, \u003cem>Saving Brinton\u003c/em> (May 6) spotlights a rural Iowa collector who found a long-untouched bin of reels and memorabilia in a farmhouse. This fellow, Michael Zahs, recognized the historical and artistic value of the films, but he became obsessed instead with the legacy of the itinerant 19th century businessman who introduced these movies to Midwestern farmers and townies. William Brinton was that man, and he has a movie named for him now.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>May signals the arrival of the summer blockbuster movie season, and if you listen closely you’ll make out the faint echo of brain cells dying in multiplexes across the land. Several antidotes come to mind, including the \u003ca href=\"http://www.doclands.com\" rel=\"noopener\" target=\"_blank\">DocLands Documentary Film Festival\u003c/a>, running May 3-6 at venues in San Rafael (at the Smith Rafael Film Center) and Mill Valley (CineArts Sequoia). Programmed and presented by the California Film Institute, the parent organization of the Mill Valley Film Festival, DocLands encompasses a broad swath of social-issues films, environmental expeditions and quirky portraits of extraordinarily unique individuals.\u003c/p>\n\u003cp>Connie Field, the East Bay force of nature who nearly a decade ago produced and directed a seven-part history of the international crusade to end apartheid in South Africa, premieres \u003cem>Have You Heard from Johannesburg: Oliver Tambo\u003c/em> (May 6) to commemorate the past year’s centennial of the ANC leader’s birth. Inspiring, infuriating and revelatory, Field’s film is the epitome of essential viewing.\u003c/p>\n\u003cfigure id=\"attachment_13830737\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-800x530.jpg\" alt=\"Jack Casady and Jerry Garcia playing music at Olompali, the Marin commune that's the subject of a new documentary, 'Olompali: A Hippie Odyssey.' \" width=\"800\" height=\"530\" class=\"size-medium wp-image-13830737\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-1200x796.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-960x637.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jack Casady and Jerry Garcia playing music at Olompali, the Marin commune that’s the subject of a new documentary, ‘Olompali: A Hippie Odyssey.’ \u003ccite>(Peter Risley/Courtesy DocLands)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The chunk of history that Gregg Gibbs unearths in \u003cem>Olompali: A Hippie Odyssey\u003c/em> (May 6) begins with the magnetic force of the Summer of Love, which attracted young people from around the country to San Francisco. The doc focuses on a particularly idealistic group who turned on, dropped out, and established a commune 30 miles north of the city. \u003cem>Olompali\u003c/em> is narrated by Peter Coyote (who else?), who lived in a North Bay commune himself for a pivotal part of the ’60s and has an appreciation for the euphoria and frustrations of group living.\u003c/p>\n\u003cp>A touching entry in the subgenre of lost-movie documentaries, \u003cem>Saving Brinton\u003c/em> (May 6) spotlights a rural Iowa collector who found a long-untouched bin of reels and memorabilia in a farmhouse. This fellow, Michael Zahs, recognized the historical and artistic value of the films, but he became obsessed instead with the legacy of the itinerant 19th century businessman who introduced these movies to Midwestern farmers and townies. William Brinton was that man, and he has a movie named for him now.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Limitations are a horror filmmaker’s best friend, whether it’s confining characters to a haunted house, constructing a forest menace out of shaky “found footage,” waiting until the third act to show the shark, or starving the senses in order to heighten them. \u003cem>A Quiet Place\u003c/em> is about a wave of blind, deadly arachnid creatures that are sensitive to sound — imagine if the aliens in the Vin Diesel film \u003cem>Pitch Black \u003c/em>were deposited on earth, more or less — but it’s really about isolating an effect and custom-fitting a story around it. 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That the film comes from Platinum Dunes, the production company of \u003cem>Transformers\u003c/em> director Michael Bay, feels like an act of penance from Hollywood’s chief supplier of ear-splitting rackets. \u003c/p>\n\u003cp>The unlikely frightmaster responsible for \u003cem>A Quiet Place\u003c/em> is John Krasinski, best known as Jim from \u003cem>The Office \u003c/em>and less well-known for \u003cem>Brief Interviews with Hideous Men\u003c/em> and \u003cem>The Hollars\u003c/em>, his mediocre forays into independent filmmaking. Krasinski starred in Bay’s thriller \u003cem>13 Hours: The Secret Soldiers of Benghazi\u003c/em>, and Bay has returned the favor by allowing him to merge the quiet, character-driven qualities of his indie films with the sledgehammer impact of a mainstream shocker. Krasinski lands on a loud-quiet-loud formula akin to ’90s alternative rock: When the chorus kicks in, the jump-scares really pop. \u003c/p>\n\u003cp>https://youtu.be/WR7cc5t7tv8\u003c/p>\n\u003cp>By Day 89 of the invasion, an entire planet of loudmouths has seemingly been winnowed down to one family wandering through a Cormac McCarthy apocalypse. The Abbotts—Lee (Krasinski), Evelyn (Emily Blunt), and their three children — are first shown tiptoeing around a general store in bare feet, culling medications and other essentials they need for their journey. (Sorting through pills bottles, in this context, is like dangling your toes in piranha-infested waters.) After a deadly encounter, the film cuts to roughly a year later, when the family is holed up in a farmhouse and expecting a new addition. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bringing a newborn into a world where noise can kill brings another dimension to the phrase “planned parenthood,” and there will no doubt be arguments over the wisdom of Lee and Evelyn’s decision, just as there are over victims running \u003cem>up\u003c/em> the stairs in a slasher film. Rest assured, the Abbotts have thought it through completely, but even the best-laid plans can’t account for, say, an errant nail on the basement stairs or an ill-timed plumbing issue. 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"content": "\u003cp>We don’t spend a lot of time these days thinking about San Francisco as an icon of noir, but with the fog and the hills and the crazy quilt-like streets, it was very much that when the great Alfred Hitchcock made the classic 1958 film \u003cem>Vertigo\u003c/em>.\u003c/p>\n\u003cp>So imagine a modern day homage to \u003ci>Vertigo\u003c/i> stitched together from 200-plus snippets of found footage like a crazy quilt. Instead of panels, the quilt it made up of scene from TV and movies that are classic in their own right, like \u003cem>The Lady From Shanghai\u003c/em>, \u003cem>The Conversation\u003c/em>, and \u003cem>Basic Instinct.\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.sffilm.org\" target=\"_blank\" rel=\"noopener\">San Francisco Film Society\u003c/a> and \u003ca href=\"https://live.stanford.edu\" target=\"_blank\" rel=\"noopener\">Stanford Live\u003c/a> co-commissioned \u003cem>Green Fog\u003c/em> from filmmaker \u003ca href=\"https://vimeo.com/user4895266\" target=\"_blank\" rel=\"noopener\">Guy Maddin\u003c/a>, as well as a new score from composer \u003ca href=\"http://jacobgarchik.com/?page_id=8\" target=\"_blank\" rel=\"noopener\">Jacob Garchik\u003c/a> for the \u003ca href=\"http://kronosquartet.org\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a> to play live with the film. The first performance was at the 2017 San Francisco International Film Festival.\u003c/p>\n\u003cp>Chris Lorway, Executive Director says this has been making the film festival rounds for good reason. He says when he and Noah Cowen of SFFilm cooked up this idea a little over a year ago, “we had no requirements but that it had to be a love letter to the city.”\u003c/p>\n\u003cp>As Maddin’s interns combed through archival footage and found lots of chasing across rooftops and steep hills, “they realized they could put together the plot of \u003cem>Vertigo\u003c/em>,” Lorway notes, making \u003cem>Green Fog\u003c/em> a love letter to San Francisco, but also Hitchcock.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J4LTz4OC3pA\u003c/p>\n\u003cp>Lorway also says the new score delivers a tip of the hat to Bernard Hermann, who wrote the soundtrack to \u003cem>Vertigo\u003c/em>. Ummm, maybe? Some critics say you might hurt your brain trying too hard to make the connections between the originals and the homages, but what is unarguable is that you will be entertained.\u003c/p>\n\u003cp>“It’s pretty fun,” Lorway adds. “It’s got a tongue-in-cheek element to it that was a bit surprising to me.”\u003c/p>\n\u003cp>The Kronos Quartet and throat singer Tanya Tagaq perform live with the movie \u003cem>Green Fog\u003c/em> on April 6 at the Bing Concert Hall. \u003ca href=\"https://live.stanford.edu/calendar/april-2018/kronos-quartet\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\n\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Don't go to 'Green Fog' expecting Alfred Hitchcock and Bernard Herman. Go with curiosity to see inspired artists responding to the classic film 'Vertigo.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We don’t spend a lot of time these days thinking about San Francisco as an icon of noir, but with the fog and the hills and the crazy quilt-like streets, it was very much that when the great Alfred Hitchcock made the classic 1958 film \u003cem>Vertigo\u003c/em>.\u003c/p>\n\u003cp>So imagine a modern day homage to \u003ci>Vertigo\u003c/i> stitched together from 200-plus snippets of found footage like a crazy quilt. Instead of panels, the quilt it made up of scene from TV and movies that are classic in their own right, like \u003cem>The Lady From Shanghai\u003c/em>, \u003cem>The Conversation\u003c/em>, and \u003cem>Basic Instinct.\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.sffilm.org\" target=\"_blank\" rel=\"noopener\">San Francisco Film Society\u003c/a> and \u003ca href=\"https://live.stanford.edu\" target=\"_blank\" rel=\"noopener\">Stanford Live\u003c/a> co-commissioned \u003cem>Green Fog\u003c/em> from filmmaker \u003ca href=\"https://vimeo.com/user4895266\" target=\"_blank\" rel=\"noopener\">Guy Maddin\u003c/a>, as well as a new score from composer \u003ca href=\"http://jacobgarchik.com/?page_id=8\" target=\"_blank\" rel=\"noopener\">Jacob Garchik\u003c/a> for the \u003ca href=\"http://kronosquartet.org\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a> to play live with the film. The first performance was at the 2017 San Francisco International Film Festival.\u003c/p>\n\u003cp>Chris Lorway, Executive Director says this has been making the film festival rounds for good reason. He says when he and Noah Cowen of SFFilm cooked up this idea a little over a year ago, “we had no requirements but that it had to be a love letter to the city.”\u003c/p>\n\u003cp>As Maddin’s interns combed through archival footage and found lots of chasing across rooftops and steep hills, “they realized they could put together the plot of \u003cem>Vertigo\u003c/em>,” Lorway notes, making \u003cem>Green Fog\u003c/em> a love letter to San Francisco, but also Hitchcock.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/J4LTz4OC3pA'\n title='//www.youtube.com/embed/J4LTz4OC3pA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Lorway also says the new score delivers a tip of the hat to Bernard Hermann, who wrote the soundtrack to \u003cem>Vertigo\u003c/em>. Ummm, maybe? Some critics say you might hurt your brain trying too hard to make the connections between the originals and the homages, but what is unarguable is that you will be entertained.\u003c/p>\n\u003cp>“It’s pretty fun,” Lorway adds. “It’s got a tongue-in-cheek element to it that was a bit surprising to me.”\u003c/p>\n\u003cp>The Kronos Quartet and throat singer Tanya Tagaq perform live with the movie \u003cem>Green Fog\u003c/em> on April 6 at the Bing Concert Hall. \u003ca href=\"https://live.stanford.edu/calendar/april-2018/kronos-quartet\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\n\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Blip on the Screen in 1969, When Artists Made TV for KQED",
"headTitle": "A Blip on the Screen in 1969, When Artists Made TV for KQED | KQED",
"content": "\u003cp>It’s my third visit in as many days to McEvoy Foundation for the Arts’ screening room in San Francisco, and I’m fully captivated by what it’s showing — a presentation of early experimental video, complete with primitive chroma keying, digital colorization, and strange performance documentation.\u003c/p>\n\u003cp>During my stay, several people linger in the room and shuffle out a few moments later: arty-looking students, confused teenagers, older visitors with anecdotal commentary. I am clearly the only one watching the seven-and-a-half-hour program in its entirety. But here’s why I shouldn’t be.\u003c/p>\n\u003cp>Organized by Steve Seid, former film and video curator at Berkeley’s Pacific Film Archive, \u003ci>\u003ca href=\"https://www.mcevoyarts.org/gallery/\" target=\"_blank\" rel=\"noopener\">WHEN THE MEDIUM WASN’T: San Francisco’s Dilexi Series\u003c/a>\u003c/i>, is a collection of rarely seen moving picture works by some of the late 1960s art world heavy hitters. The series showcases 12 pieces initially produced for television broadcast in 1969 that have only been seen a handful of times since. Helpfully, the program screens daily on a timed schedule. So if you want to catch a particular work, you know exactly when it will be shown.\u003c/p>\n\u003cp>The Dilexi Series was originally conceived by gallerist Jim Newman, owner of San Francisco’s famed Dilexi Gallery, which showed works by Jay DeFeo, Roy De Forest, Manuel Neri, and other local luminaries. In the late 1960s, towards the end of the gallery’s existence, Newman became less interested in the operations of a brick-and-mortar space, and began to focus on television as a means to produce and exhibit artwork to a wider audience.\u003c/p>\n\u003caside class=\"pullquote alignright\">“Some was boring, some was stimulating, and some was something else.”\u003ccite>Jim Newman\u003c/cite>\u003c/aside>\n\u003cp>Teaming up with producer John Coney of KQED’s Experimental TV Project (later known as the National Center for Experiments in Television), Newman set out to show experimental artworks on KQED Channel-9, effectively offering arts programming to every home television in the Bay Area.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For the series, Newman assembled an impressive roster of artists working across disciplines: Julian Beck, Walter De Maria, Kenneth Dewey, Robert Frank, Anna Halprin, Phil Makanna, Yvonne Rainer, Terry Riley and Arlo Acton, Edwin Schlossberg, Andy Warhol, William T. Wiley and Robert Nelson, and Frank Zappa.\u003c/p>\n\u003cp>With the exception of Warhol’s \u003cem>\u003ca href=\"https://youtu.be/4ezO15DwDqc\" target=\"_blank\" rel=\"noopener\">Paul Swan\u003c/a>\u003c/em>, a candid portrait of an aging eccentric actor, and Zappa’s \u003cem>Burnt Weeny Sandwich\u003c/em>, a trippy, chaotic, early attempt at a music video, all works in the Dilexi Series were new commissions by artists with little to no experience with video and film production.\u003c/p>\n\u003cp>Airing weekly on public television in an evening spot, a viewer looking to watch \u003cem>The Beverly Hillbillies\u003c/em> or \u003cem>Bewitched\u003c/em> as they unwound from a long day might accidentally stumble upon an artwork specifically designed to deliver an anti-television experience. As Newman described the work to me in a recent interview, “Some was boring, some was stimulating, and some was something else.”\u003c/p>\n\u003cfigure id=\"attachment_13828587\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13828587\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/In-Vermont_1200.jpg\" alt=\"Robert Frank, Still from 'Conversations in Vermont,' c. 1968-1969.\" width=\"1200\" height=\"898\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/In-Vermont_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/In-Vermont_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/In-Vermont_1200-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/In-Vermont_1200-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/In-Vermont_1200-1020x763.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/In-Vermont_1200-1180x883.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/In-Vermont_1200-960x718.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/In-Vermont_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/In-Vermont_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/In-Vermont_1200-520x389.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Robert Frank, Still from ‘Conversations in Vermont,’ c. 1968-1969. \u003ccite>(Courtesy of the UC Berkeley Art Museum and Pacific Film Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A new kind of television\u003c/h3>\n\u003cp>The Dilexi Series was situated within a larger cultural movement to democratize television, create access to a wide range of ideas and perspectives, and increase the ways in which citizens could engage with the medium. With the advent of any new medium, intellectuals, philosophers, activists, and artists naturally dream about it in utopic terms. Seid’s title for the McEvoy program is a direct nod to media theorist Marshall McLuhan’s phrase “the medium is the message.” For McLuhan and others, the vehicle through which information is disseminated is equally as impactful as the information itself.\u003c/p>\n\u003cp>[contextly_sidebar id=”qvs5QTn7a2BNjqHicFLB2XVcvDuQX7Rj”]\u003c/p>\n\u003cp>While film and video art had previously worked hard to differentiate themselves from the presumably lower form of television, there were a number of confluent events in the late 1960s that actively encouraged the merging of these platforms. 1967 marked the introduction of the Sony Portapak to the market, a self-contained analog video system with instant playback capability. While originally intended for home use, it became popular with artist groups like \u003ca href=\"https://en.wikipedia.org/wiki/TVTV_(video_collective)\" target=\"_blank\" rel=\"noopener\">Top Value Television\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/10488576/kill-your-tv-how-bay-area-video-art-exploded-in-the-1970s\" target=\"_blank\" rel=\"noopener\">Ant Farm\u003c/a>, and the \u003ca href=\"https://en.wikipedia.org/wiki/Videofreex\" target=\"_blank\" rel=\"noopener\">Videofreex\u003c/a> – who went out into the world to record and broadcast alternative news coverage, countercultural movements, and leftist viewpoints.\u003c/p>\n\u003cp>Also in 1967, the Public Broadcasting Act created the Corporation for Public Broadcasting (CPB) whose purpose was to support the development of non-commercial public television and radio programming through the use of federal funds. Most notably, the CPB created the Public Broadcasting Service (PBS), a non-profit public television network that would acquire and produce programs for distribution among local television channels across the country. Federal funding meant it was challenging for PBS to create provocative and alternative programming. Often what aired was fairly neutral or family friendly content, like \u003cem>Sesame Street\u003c/em> or \u003cem>The French Chef\u003c/em> with Julia Child.\u003c/p>\n\u003cp>Even though they were located within the environment of a public television station, The Experimental TV Project, and the Dilexi Series by association, ran on private funding from the Rockefeller family and money raised by Newman. Without the constraints and complications that come with government dollars, a unique situation arose where artists could create whatever content they wanted for what was essentially a public space. Allowing the artists to have total creative control, Newman and Coney did not impose any restrictions in terms of length, form, or content in the creation of the work.\u003c/p>\n\u003cfigure id=\"attachment_13828586\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13828586\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Empire-of-Things_1200.jpg\" alt=\"Phil Makanna, Still from 'The Empire of Things,' c. 1968-1969.\" width=\"1200\" height=\"913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Empire-of-Things_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Empire-of-Things_1200-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Empire-of-Things_1200-800x609.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Empire-of-Things_1200-768x584.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Empire-of-Things_1200-1020x776.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Empire-of-Things_1200-1180x898.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Empire-of-Things_1200-960x730.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Empire-of-Things_1200-240x183.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Empire-of-Things_1200-375x285.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Empire-of-Things_1200-520x396.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Phil Makanna, Still from ‘The Empire of Things,’ c. 1968-1969. \u003ccite>(Courtesy of the UC Berkeley Art Museum and Pacific Film Archive )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Unusual documents\u003c/h3>\n\u003cp>While their activist counterparts like the Videofreex focused on broadcasting as means to democratize television production, the artists of the Dilexi Series were more interested in how newly accessible film and video equipment could be used in service of their own art practices. Working across disciplines as diverse as visual art, music, theater, land art, and dance, the artists were encouraged to see what they could do with access to studio space and equipment. Seid described many of the works as having a “spontaneous quality with an improvisational relationship to the hardware, manipulated by artists in a manner similar to jazz.”\u003c/p>\n\u003cp>This is certainly true in \u003cem>\u003ca href=\"https://vimeo.com/119367733\" target=\"_blank\" rel=\"noopener\">Music with Balls\u003c/a>\u003c/em>, a spacey collaboration between sculptor Arlo Acton and musician Terry Riley. In the work, a montage of swinging reflective spheres combines with footage of Riley playing hypnotic nonlinear tape loops and soprano saxophone from his seminal album \u003cem>A Rainbow in Curved Air\u003c/em>. It’s as if a Newton’s Cradle swung into celestial orbit.\u003c/p>\n\u003cp>Equally as psychedelic and experimental is Phil Makana’s \u003cem>The Empire of Things\u003c/em>, whose narrator describes an inventory of riches ripe for the taking in what the imagery suggests is a postwar scenario. Using a combination of found and original 16mm film reels, Makana manipulated the imagery during the process of transferring it to video, creating interesting color effects and image overlays.\u003c/p>\n\u003caside class=\"pullquote alignright\">Rainer filmed the staging of a large-scale work incorporating everyday gestures along with a rare solo performance and a monologue rant about snot.\u003c/aside>\n\u003cp>Other works in the Dilexi Series offer glimpses into the process of artistic production through a more documentary approach. \u003cem>\u003ca href=\"https://archive.org/details/right-on-ceremony-of-us_11873_pm0047625\" target=\"_blank\" rel=\"noopener\">Right On (Ceremony of Us)\u003c/a>\u003c/em>, records the rehearsal for a subsequent performance by Anna Halprin’s San Francisco Dancers’ Workshop and the Studio Watts Workshop from Los Angeles (all-white and all-black dance companies, respectively). In the piece, created in response to the Watts riots, Halprin guides the dancers through a series of movements and extensive partner work. The performance sought to explore racial politics while providing opportunities for catharsis and healing.\u003c/p>\n\u003cp>In \u003cem>\u003ca href=\"https://archive.org/details/cbpf_000051_p1\" target=\"_blank\" rel=\"noopener\">Rites of Guerrilla Theater\u003c/a>\u003c/em> by Julian Beck with Judith Malina, we see documentation of The Living Theater company instructing its audience to participate in an anarchic “orientation” at Mills College by screaming out five phrases that demonstrate the prohibitory, restrictive nature of society. The actors and students take turns yelling “I am not allowed to smoke marijuana” and “I don’t know how to stop the war.”\u003c/p>\n\u003cp>Also created at Mills is Yvonne Rainer’s \u003cem>Dance Fractions for the West Coast\u003c/em>. Enlisting the participation of 30 students, Rainer filmed the staging of a large-scale work incorporating everyday gestures along with a rare solo performance and a monologue rant about snot. Some rudimentary post-production work integrates colorization, frame splitting and dual exposures into the piece, bringing the straightforward documentation into a more experimental realm.\u003c/p>\n\u003cp>It’s rumored Rainer disavows this work from her lexicon due to having ambitions for the video she was unable to realize. But her work and other pieces in the Dilexi Series serve as unusual documents, offering valuable insight into these artists’ more established products, and an overall sense of the aesthetic concerns of the time.\u003c/p>\n\u003cfigure id=\"attachment_13828585\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13828585\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Dance-Fractions_1200.jpg\" alt=\"Yvonne Rainer, Still from 'Dance Fractions for the West Coast,' c. 1968-1969\" width=\"1200\" height=\"937\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Dance-Fractions_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Dance-Fractions_1200-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Dance-Fractions_1200-800x625.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Dance-Fractions_1200-768x600.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Dance-Fractions_1200-1020x796.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Dance-Fractions_1200-1180x921.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Dance-Fractions_1200-960x750.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Dance-Fractions_1200-240x187.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Dance-Fractions_1200-375x293.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Dance-Fractions_1200-520x406.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Yvonne Rainer, Still from ‘Dance Fractions for the West Coast,’ c. 1968-1969. \u003ccite>(Courtesy of the UC Berkeley Art Museum and Pacific Film Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Art in everyday life\u003c/h3>\n\u003cp>The novelty and rarity of the series contribute to the excitement of having access to it now. According to Seid, the original tapes were kept by Newman in his home for decades, lending them only once for transfer in the early 1980s to the San Francisco International Video Festival. In the 1990s, Newman gifted the tapes permanently to the Pacific Film Archive, where Seid had them preserved. Seid continued to champion this work, showing it sporadically during his time at BAMPFA, both in its entirety and a few videos at a time.\u003c/p>\n\u003cp>There is little evidence to show what the general public thought of the Dilexi Series at the time it aired, so we can only speculate on the program’s impact. One could argue that any art placed in the public realm offers access to ideas, experiences and viewpoints to all people equally and for free, an offering that’s essential to the health of our society. And as each new medium arises, the effort to ensure public access to it continues. This presentation of the Dilexi Series reminds us of the importance of accessing art in everyday life, and how asserting that importance can be a necessary and radical act.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘WHEN THE MEDIUM WASN’T: San Francisco’s Dilexi Series’ in on view at the McEvoy Foundation for the Arts through May 5. A panel discussion with curator Steve Seid, Dilexi artists Anna Halprin and Philip Makanna, and former Dilexi Gallery owner Jim Newman takes place April 12, 6:30–8:30pm. For the daily schedule and more information, \u003ca href=\"https://www.mcevoyarts.org/gallery/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Correction: The article originally stated that KQED threw out the Dilexi Series tapes.\u003c/i>\u003c/p>\n\n",
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"excerpt": "The Dilexi Series, a collection of rarely seen moving picture works by art world heavy hitters, delivers an \"anti-television experience\" at McEvoy Foundation for the Arts. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s my third visit in as many days to McEvoy Foundation for the Arts’ screening room in San Francisco, and I’m fully captivated by what it’s showing — a presentation of early experimental video, complete with primitive chroma keying, digital colorization, and strange performance documentation.\u003c/p>\n\u003cp>During my stay, several people linger in the room and shuffle out a few moments later: arty-looking students, confused teenagers, older visitors with anecdotal commentary. I am clearly the only one watching the seven-and-a-half-hour program in its entirety. But here’s why I shouldn’t be.\u003c/p>\n\u003cp>Organized by Steve Seid, former film and video curator at Berkeley’s Pacific Film Archive, \u003ci>\u003ca href=\"https://www.mcevoyarts.org/gallery/\" target=\"_blank\" rel=\"noopener\">WHEN THE MEDIUM WASN’T: San Francisco’s Dilexi Series\u003c/a>\u003c/i>, is a collection of rarely seen moving picture works by some of the late 1960s art world heavy hitters. The series showcases 12 pieces initially produced for television broadcast in 1969 that have only been seen a handful of times since. Helpfully, the program screens daily on a timed schedule. So if you want to catch a particular work, you know exactly when it will be shown.\u003c/p>\n\u003cp>The Dilexi Series was originally conceived by gallerist Jim Newman, owner of San Francisco’s famed Dilexi Gallery, which showed works by Jay DeFeo, Roy De Forest, Manuel Neri, and other local luminaries. In the late 1960s, towards the end of the gallery’s existence, Newman became less interested in the operations of a brick-and-mortar space, and began to focus on television as a means to produce and exhibit artwork to a wider audience.\u003c/p>\n\u003caside class=\"pullquote alignright\">“Some was boring, some was stimulating, and some was something else.”\u003ccite>Jim Newman\u003c/cite>\u003c/aside>\n\u003cp>Teaming up with producer John Coney of KQED’s Experimental TV Project (later known as the National Center for Experiments in Television), Newman set out to show experimental artworks on KQED Channel-9, effectively offering arts programming to every home television in the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For the series, Newman assembled an impressive roster of artists working across disciplines: Julian Beck, Walter De Maria, Kenneth Dewey, Robert Frank, Anna Halprin, Phil Makanna, Yvonne Rainer, Terry Riley and Arlo Acton, Edwin Schlossberg, Andy Warhol, William T. Wiley and Robert Nelson, and Frank Zappa.\u003c/p>\n\u003cp>With the exception of Warhol’s \u003cem>\u003ca href=\"https://youtu.be/4ezO15DwDqc\" target=\"_blank\" rel=\"noopener\">Paul Swan\u003c/a>\u003c/em>, a candid portrait of an aging eccentric actor, and Zappa’s \u003cem>Burnt Weeny Sandwich\u003c/em>, a trippy, chaotic, early attempt at a music video, all works in the Dilexi Series were new commissions by artists with little to no experience with video and film production.\u003c/p>\n\u003cp>Airing weekly on public television in an evening spot, a viewer looking to watch \u003cem>The Beverly Hillbillies\u003c/em> or \u003cem>Bewitched\u003c/em> as they unwound from a long day might accidentally stumble upon an artwork specifically designed to deliver an anti-television experience. As Newman described the work to me in a recent interview, “Some was boring, some was stimulating, and some was something else.”\u003c/p>\n\u003cfigure id=\"attachment_13828587\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13828587\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/In-Vermont_1200.jpg\" alt=\"Robert Frank, Still from 'Conversations in Vermont,' c. 1968-1969.\" width=\"1200\" height=\"898\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/In-Vermont_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/In-Vermont_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/In-Vermont_1200-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/In-Vermont_1200-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/In-Vermont_1200-1020x763.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/In-Vermont_1200-1180x883.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/In-Vermont_1200-960x718.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/In-Vermont_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/In-Vermont_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/In-Vermont_1200-520x389.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Robert Frank, Still from ‘Conversations in Vermont,’ c. 1968-1969. \u003ccite>(Courtesy of the UC Berkeley Art Museum and Pacific Film Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A new kind of television\u003c/h3>\n\u003cp>The Dilexi Series was situated within a larger cultural movement to democratize television, create access to a wide range of ideas and perspectives, and increase the ways in which citizens could engage with the medium. With the advent of any new medium, intellectuals, philosophers, activists, and artists naturally dream about it in utopic terms. Seid’s title for the McEvoy program is a direct nod to media theorist Marshall McLuhan’s phrase “the medium is the message.” For McLuhan and others, the vehicle through which information is disseminated is equally as impactful as the information itself.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>While film and video art had previously worked hard to differentiate themselves from the presumably lower form of television, there were a number of confluent events in the late 1960s that actively encouraged the merging of these platforms. 1967 marked the introduction of the Sony Portapak to the market, a self-contained analog video system with instant playback capability. While originally intended for home use, it became popular with artist groups like \u003ca href=\"https://en.wikipedia.org/wiki/TVTV_(video_collective)\" target=\"_blank\" rel=\"noopener\">Top Value Television\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/10488576/kill-your-tv-how-bay-area-video-art-exploded-in-the-1970s\" target=\"_blank\" rel=\"noopener\">Ant Farm\u003c/a>, and the \u003ca href=\"https://en.wikipedia.org/wiki/Videofreex\" target=\"_blank\" rel=\"noopener\">Videofreex\u003c/a> – who went out into the world to record and broadcast alternative news coverage, countercultural movements, and leftist viewpoints.\u003c/p>\n\u003cp>Also in 1967, the Public Broadcasting Act created the Corporation for Public Broadcasting (CPB) whose purpose was to support the development of non-commercial public television and radio programming through the use of federal funds. Most notably, the CPB created the Public Broadcasting Service (PBS), a non-profit public television network that would acquire and produce programs for distribution among local television channels across the country. Federal funding meant it was challenging for PBS to create provocative and alternative programming. Often what aired was fairly neutral or family friendly content, like \u003cem>Sesame Street\u003c/em> or \u003cem>The French Chef\u003c/em> with Julia Child.\u003c/p>\n\u003cp>Even though they were located within the environment of a public television station, The Experimental TV Project, and the Dilexi Series by association, ran on private funding from the Rockefeller family and money raised by Newman. Without the constraints and complications that come with government dollars, a unique situation arose where artists could create whatever content they wanted for what was essentially a public space. Allowing the artists to have total creative control, Newman and Coney did not impose any restrictions in terms of length, form, or content in the creation of the work.\u003c/p>\n\u003cfigure id=\"attachment_13828586\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13828586\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Empire-of-Things_1200.jpg\" alt=\"Phil Makanna, Still from 'The Empire of Things,' c. 1968-1969.\" width=\"1200\" height=\"913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Empire-of-Things_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Empire-of-Things_1200-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Empire-of-Things_1200-800x609.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Empire-of-Things_1200-768x584.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Empire-of-Things_1200-1020x776.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Empire-of-Things_1200-1180x898.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Empire-of-Things_1200-960x730.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Empire-of-Things_1200-240x183.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Empire-of-Things_1200-375x285.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Empire-of-Things_1200-520x396.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Phil Makanna, Still from ‘The Empire of Things,’ c. 1968-1969. \u003ccite>(Courtesy of the UC Berkeley Art Museum and Pacific Film Archive )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Unusual documents\u003c/h3>\n\u003cp>While their activist counterparts like the Videofreex focused on broadcasting as means to democratize television production, the artists of the Dilexi Series were more interested in how newly accessible film and video equipment could be used in service of their own art practices. Working across disciplines as diverse as visual art, music, theater, land art, and dance, the artists were encouraged to see what they could do with access to studio space and equipment. Seid described many of the works as having a “spontaneous quality with an improvisational relationship to the hardware, manipulated by artists in a manner similar to jazz.”\u003c/p>\n\u003cp>This is certainly true in \u003cem>\u003ca href=\"https://vimeo.com/119367733\" target=\"_blank\" rel=\"noopener\">Music with Balls\u003c/a>\u003c/em>, a spacey collaboration between sculptor Arlo Acton and musician Terry Riley. In the work, a montage of swinging reflective spheres combines with footage of Riley playing hypnotic nonlinear tape loops and soprano saxophone from his seminal album \u003cem>A Rainbow in Curved Air\u003c/em>. It’s as if a Newton’s Cradle swung into celestial orbit.\u003c/p>\n\u003cp>Equally as psychedelic and experimental is Phil Makana’s \u003cem>The Empire of Things\u003c/em>, whose narrator describes an inventory of riches ripe for the taking in what the imagery suggests is a postwar scenario. Using a combination of found and original 16mm film reels, Makana manipulated the imagery during the process of transferring it to video, creating interesting color effects and image overlays.\u003c/p>\n\u003caside class=\"pullquote alignright\">Rainer filmed the staging of a large-scale work incorporating everyday gestures along with a rare solo performance and a monologue rant about snot.\u003c/aside>\n\u003cp>Other works in the Dilexi Series offer glimpses into the process of artistic production through a more documentary approach. \u003cem>\u003ca href=\"https://archive.org/details/right-on-ceremony-of-us_11873_pm0047625\" target=\"_blank\" rel=\"noopener\">Right On (Ceremony of Us)\u003c/a>\u003c/em>, records the rehearsal for a subsequent performance by Anna Halprin’s San Francisco Dancers’ Workshop and the Studio Watts Workshop from Los Angeles (all-white and all-black dance companies, respectively). In the piece, created in response to the Watts riots, Halprin guides the dancers through a series of movements and extensive partner work. The performance sought to explore racial politics while providing opportunities for catharsis and healing.\u003c/p>\n\u003cp>In \u003cem>\u003ca href=\"https://archive.org/details/cbpf_000051_p1\" target=\"_blank\" rel=\"noopener\">Rites of Guerrilla Theater\u003c/a>\u003c/em> by Julian Beck with Judith Malina, we see documentation of The Living Theater company instructing its audience to participate in an anarchic “orientation” at Mills College by screaming out five phrases that demonstrate the prohibitory, restrictive nature of society. The actors and students take turns yelling “I am not allowed to smoke marijuana” and “I don’t know how to stop the war.”\u003c/p>\n\u003cp>Also created at Mills is Yvonne Rainer’s \u003cem>Dance Fractions for the West Coast\u003c/em>. Enlisting the participation of 30 students, Rainer filmed the staging of a large-scale work incorporating everyday gestures along with a rare solo performance and a monologue rant about snot. Some rudimentary post-production work integrates colorization, frame splitting and dual exposures into the piece, bringing the straightforward documentation into a more experimental realm.\u003c/p>\n\u003cp>It’s rumored Rainer disavows this work from her lexicon due to having ambitions for the video she was unable to realize. But her work and other pieces in the Dilexi Series serve as unusual documents, offering valuable insight into these artists’ more established products, and an overall sense of the aesthetic concerns of the time.\u003c/p>\n\u003cfigure id=\"attachment_13828585\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13828585\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Dance-Fractions_1200.jpg\" alt=\"Yvonne Rainer, Still from 'Dance Fractions for the West Coast,' c. 1968-1969\" width=\"1200\" height=\"937\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Dance-Fractions_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Dance-Fractions_1200-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Dance-Fractions_1200-800x625.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Dance-Fractions_1200-768x600.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Dance-Fractions_1200-1020x796.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Dance-Fractions_1200-1180x921.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Dance-Fractions_1200-960x750.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Dance-Fractions_1200-240x187.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Dance-Fractions_1200-375x293.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Dance-Fractions_1200-520x406.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Yvonne Rainer, Still from ‘Dance Fractions for the West Coast,’ c. 1968-1969. \u003ccite>(Courtesy of the UC Berkeley Art Museum and Pacific Film Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Art in everyday life\u003c/h3>\n\u003cp>The novelty and rarity of the series contribute to the excitement of having access to it now. According to Seid, the original tapes were kept by Newman in his home for decades, lending them only once for transfer in the early 1980s to the San Francisco International Video Festival. In the 1990s, Newman gifted the tapes permanently to the Pacific Film Archive, where Seid had them preserved. Seid continued to champion this work, showing it sporadically during his time at BAMPFA, both in its entirety and a few videos at a time.\u003c/p>\n\u003cp>There is little evidence to show what the general public thought of the Dilexi Series at the time it aired, so we can only speculate on the program’s impact. One could argue that any art placed in the public realm offers access to ideas, experiences and viewpoints to all people equally and for free, an offering that’s essential to the health of our society. And as each new medium arises, the effort to ensure public access to it continues. This presentation of the Dilexi Series reminds us of the importance of accessing art in everyday life, and how asserting that importance can be a necessary and radical act.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘WHEN THE MEDIUM WASN’T: San Francisco’s Dilexi Series’ in on view at the McEvoy Foundation for the Arts through May 5. A panel discussion with curator Steve Seid, Dilexi artists Anna Halprin and Philip Makanna, and former Dilexi Gallery owner Jim Newman takes place April 12, 6:30–8:30pm. For the daily schedule and more information, \u003ca href=\"https://www.mcevoyarts.org/gallery/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Correction: The article originally stated that KQED threw out the Dilexi Series tapes.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Pssst... We've Got the Best Hidden Gems at SFFILM This Year",
"headTitle": "Pssst… We’ve Got the Best Hidden Gems at SFFILM This Year | KQED",
"content": "\u003cp>With the \u003ca href=\"https://www.sffilm.org/\" rel=\"noopener\" target=\"_blank\">San Francisco International Film Festival\u003c/a>’s usual crush of marquee events and big-ticket premieres — many of them highlighted in KQED’s \u003ca href=\"https://ww2.kqed.org/arts/2018/03/15/tix-not-to-miss-at-the-san-francisco-international-film-festival/\" rel=\"noopener\" target=\"_blank\">hot ticket roundup\u003c/a> — some of the festival’s best films can get lost in the limelight. \u003c/p>\n\u003cp>To be sure, this year features a scruffier slate of special events than usual: \u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/state-of-cinema-guy-maddin\" rel=\"noopener\" target=\"_blank\">Guy Maddin\u003c/a> promises an eccentric take on the typically staid “State of Cinema” address; a suitably chaotic tribute is set for Oddball Films legend \u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/a-celebration-of-oddball-films\" rel=\"noopener\" target=\"_blank\">Stephen Parr\u003c/a>; and San Francisco’s 16mm poet laureate, \u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/pov-award-nathaniel-dorsky\" rel=\"noopener\" target=\"_blank\">Nathaniel Dorsky\u003c/a>, wins a well-deserved Persistence of Vision Award. \u003c/p>\n\u003cp>As always, though, many of the festival’s discoveries require digging deeper into the program guide. Here are a handful of under-the-radar highlights:\u003c/p>\n\u003cfigure id=\"attachment_13828049\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Decoy_1200.jpg\" alt=\"A scene from Alee People's 'Decoy.'\" width=\"1200\" height=\"890\" class=\"size-full wp-image-13828049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-768x570.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-1020x757.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-1180x875.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-960x712.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-520x386.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Alee People’s ‘Decoy.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/the-shape-of-a-surface-experimental-shorts\" rel=\"noopener\" target=\"_blank\">‘Decoy’\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 8, 6pm at BAMPFA / April 11, 6:30pm at Roxie Theater\u003c/strong>\u003cbr>\n \u003c/p>\n\u003cp>A Rubik’s Cube of a film, and a shot in the arm, Alee Peoples’ \u003cem>Decoy\u003c/em> anchors a fine program of recent experimental films selected by curators Kathy Geritz and Vanessa O’Neill. Stimulated by Angela Davis’s remark that “Walls turned sideways are bridges,” Peoples makes like a structural anthropologist and free-associates different figures of these opposed concepts, wall and bridge. In so doing, the film grapples with meaning rather than grasping for it, subjecting the insanities and inanities of the political imagination to a fierce form of play. While not as immediately comic as her earlier pieces, \u003cem>Decoy\u003c/em> is every bit as nimble in its generative juxtapositions and tactile effects. The program also features two lyrical shorts by Paul Clipson, a beloved Bay Area filmmaker who \u003ca href=\"https://www.kqed.org/arts/13823720\" rel=\"noopener\" target=\"_blank\">died last month\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13828052\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Winogrand_1200.jpg\" alt=\"A scene from Sasha Waters Freyer's 'Garry Winogrand: All Things Are Photographable.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13828052\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Sasha Waters Freyer’s ‘Garry Winogrand: All Things Are Photographable.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/garry-winogrand-all-things-are-photographable\" rel=\"noopener\" target=\"_blank\">‘Garry Winogrand: All Things are Photographable’\u003c/a>\u003c/h3>\n\u003cp>\u003cb>April 14, 8pm at SFMOMA / April 15, 1pm at BAMPFA\u003c/b>\u003cbr>\n \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This documentary profile of the seminal street photographer was directed by noted experimental filmmaker Sasha Waters Freyer, and her rhythmic editing is marvelously responsive to the elusive snap of a Winogrand. The \u003cem>American Experience\u003c/em> format has its limitations, to be sure, but Freyer’s doc resists hagiography and comes spiked with surprises like a series of animations by Kelly Gallagher (an intervention that, along with the large number of female curators and photographers addressing Winogrand’s legacy, offers welcome balance in sorting out the photographer’s sexual politics). The SFMOMA screening will be followed by a conversation between Freyer and one of the film’s liveliest speakers, Geoff Dyer. Shutterbugs will be duly inspired to get to work.\u003c/p>\n\u003cfigure id=\"attachment_13828050\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Purge_1200.jpg\" alt=\"A scene from Lee Anne Schmitt's 'Purge This Land.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13828050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Lee Anne Schmitt’s ‘Purge This Land.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/purge-this-land\" rel=\"noopener\" target=\"_blank\">‘Purge This Land’\u003c/a>\u003c/h3>\n\u003cp>\u003cb>April 10, 6pm at YBCA / April 11, 6:30pm at BAMPFA / April 14, 5:30pm at YBCA\u003c/b>\u003cbr>\n \u003c/p>\n\u003cp>Lee Anne Schmitt’s contemplative study of America’s history of racial violence sits uneasily, and pointedly, at the intersection of personal essay and historical documentation. Dedicated to her young son, and scored by her partner Jeff Parker, the intimacy of \u003cem>Purge This Land\u003c/em>’s reckoning flows from Schmitt’s position as a white woman with a biracial child. The film covers a lot of literal ground, cataloging the historical sites of race riots, slave auctions, and police actions in the unadorned documentary style of forbearers like James Benning, John Gianvito, and her own excellent \u003cem>California Company Town\u003c/em> (2008). Freely drawing upon geographic and temporal coincidence, the overall effect is to suggest a land that offers no refuge from racial violence. \u003c/p>\n\u003cp>A few days after seeing \u003cem>Purge This Land\u003c/em>, I’m left wondering why it relies so heavily on well-known incidences of racial violence rather than exhuming unwritten histories; what its streamlined account of John Brown loses in excluding his religiosity; and what exactly it suggests we make of the knowledge of what happened at a particular site. These are productive questions, to be sure, indicative of a film doing its work. \u003c/p>\n\u003cfigure id=\"attachment_13828047\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200.jpg\" alt=\"A scene from Hope Tucker's 'Atomkraftwerk Zwentendorf.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13828047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Hope Tucker’s ‘Atomkraftwerk Zwentendorf.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/shorts-4-new-visions\" rel=\"noopener\" target=\"_blank\">‘Atomkraftwerk Zwentendorf’\u003c/a>\u003c/h3>\n\u003cp>\u003cb>April 7, 7:30pm at Roxie Theater / April 16, 4:30pm at Roxie Theater\u003c/b>\u003cbr>\n \u003c/p>\n\u003cp>The fourth of six shorts programs (“New Visions”) features pieces by Kevin Jerome Everson, Jem Cohen, and this strikingly lucid work of documentary by Hope Tucker. Part of her ongoing Obituary Project, Tucker’s film finds an ambiguous monument in the decommissioned Zwentendorf Nuclear Power Plant. It was never operational, having been voted closed in a 1978 referendum following years of construction and protest. Incorporating archival footage and her own field recordings, Tucker uses the Austrian site as a meditation on various forms of power. While innocuous as a stage set, the site is shadowed by disasters at Three Mile Island, Chernobyl, and Fukushima. The sci-fi flavor of Tucker’s film finally owes as much to her delineation of these alternate realities as to Zwentendorf’s inscrutable gadgetry. \u003c/p>\n\u003cfigure id=\"attachment_13828048\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Claire_1200.jpg\" alt=\"A scene from Hong Sang-soo's 'Claire's Camera.'\" width=\"1200\" height=\"633\" class=\"size-full wp-image-13828048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-1180x622.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-960x506.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-520x274.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Hong Sang-soo’s ‘Claire’s Camera.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/claire%E2%80%99s-camera\" rel=\"noopener\" target=\"_blank\">‘Claire’s Camera’\u003c/a>\u003c/h3>\n\u003cp>\u003cb>April 7, 3:30pm at YBCA / April 9, 4pm at SFMOMA / April 12, 8:30pm at YBCA\u003c/b>\u003cbr>\n \u003c/p>\n\u003cp>The fact that \u003cem>Claire’s Camera\u003c/em> — one of two films Hong Sang-soo films unveiled at Cannes, where it’s also set — is so plainly off-the-cuff only drives home the acuity of the South Korean auteur’s style: He approaches film narrative as a kind of music, all theme and variation, melody and motif. The roundelay here turns on a characteristic love triangle here enlivened by Isabelle Huppert’s titular sprite. The scenes between her and the Korean trio play in halted English, and it’s one measure of Hong’s genius that he sees dramatic possibility in such comically mundane circumstances. Huppert’s photographer says she takes pictures because people are different afterwards, and that little koan ripples throughout this disarmingly transparent movie.\u003cbr>\n \u003c/p>\n\u003cp>Other highlights? What about a trio of docs fresh off Sundance raves (\u003ci>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/shirkers\" rel=\"noopener\" target=\"_blank\">Shirkers\u003c/a>\u003c/i>, \u003ci>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/minding-the-gap\" rel=\"noopener\" target=\"_blank\">Minding the Gap\u003c/a>\u003c/i>, and \u003ci>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/hale-county-this-morning-this-evening\" rel=\"noopener\" target=\"_blank\">Hale County This Morning, This Evening\u003c/a>\u003c/i>), recovering transcendentalist Paul Schrader’s \u003ci>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/first-reformed\" rel=\"noopener\" target=\"_blank\">First Reformed\u003c/a>\u003c/i>, or art-rockers Blonde Redhead thrashing it out to Yasujiro Ozu’s delicate coming-of-age comedy, \u003ci>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/blonde-redhead-with-i-was-born-but\" rel=\"noopener\" target=\"_blank\">I Was Born, But…\u003c/a>\u003c/i> (1932)? That last could well prove a miscalculation, but my curiosity is piqued. Such is festival season.\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>[ad floatright]\u003c/p>\n\u003cp>\u003ci>The 61st San Francisco International Film Festival takes place April 4-17 in various Bay Area theaters. For tickets and more information, \u003ca href=\"https://www.sffilm.org/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With the \u003ca href=\"https://www.sffilm.org/\" rel=\"noopener\" target=\"_blank\">San Francisco International Film Festival\u003c/a>’s usual crush of marquee events and big-ticket premieres — many of them highlighted in KQED’s \u003ca href=\"https://ww2.kqed.org/arts/2018/03/15/tix-not-to-miss-at-the-san-francisco-international-film-festival/\" rel=\"noopener\" target=\"_blank\">hot ticket roundup\u003c/a> — some of the festival’s best films can get lost in the limelight. \u003c/p>\n\u003cp>To be sure, this year features a scruffier slate of special events than usual: \u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/state-of-cinema-guy-maddin\" rel=\"noopener\" target=\"_blank\">Guy Maddin\u003c/a> promises an eccentric take on the typically staid “State of Cinema” address; a suitably chaotic tribute is set for Oddball Films legend \u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/a-celebration-of-oddball-films\" rel=\"noopener\" target=\"_blank\">Stephen Parr\u003c/a>; and San Francisco’s 16mm poet laureate, \u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/pov-award-nathaniel-dorsky\" rel=\"noopener\" target=\"_blank\">Nathaniel Dorsky\u003c/a>, wins a well-deserved Persistence of Vision Award. \u003c/p>\n\u003cp>As always, though, many of the festival’s discoveries require digging deeper into the program guide. Here are a handful of under-the-radar highlights:\u003c/p>\n\u003cfigure id=\"attachment_13828049\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Decoy_1200.jpg\" alt=\"A scene from Alee People's 'Decoy.'\" width=\"1200\" height=\"890\" class=\"size-full wp-image-13828049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-768x570.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-1020x757.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-1180x875.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-960x712.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-520x386.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Alee People’s ‘Decoy.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/the-shape-of-a-surface-experimental-shorts\" rel=\"noopener\" target=\"_blank\">‘Decoy’\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 8, 6pm at BAMPFA / April 11, 6:30pm at Roxie Theater\u003c/strong>\u003cbr>\n \u003c/p>\n\u003cp>A Rubik’s Cube of a film, and a shot in the arm, Alee Peoples’ \u003cem>Decoy\u003c/em> anchors a fine program of recent experimental films selected by curators Kathy Geritz and Vanessa O’Neill. Stimulated by Angela Davis’s remark that “Walls turned sideways are bridges,” Peoples makes like a structural anthropologist and free-associates different figures of these opposed concepts, wall and bridge. In so doing, the film grapples with meaning rather than grasping for it, subjecting the insanities and inanities of the political imagination to a fierce form of play. While not as immediately comic as her earlier pieces, \u003cem>Decoy\u003c/em> is every bit as nimble in its generative juxtapositions and tactile effects. The program also features two lyrical shorts by Paul Clipson, a beloved Bay Area filmmaker who \u003ca href=\"https://www.kqed.org/arts/13823720\" rel=\"noopener\" target=\"_blank\">died last month\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13828052\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Winogrand_1200.jpg\" alt=\"A scene from Sasha Waters Freyer's 'Garry Winogrand: All Things Are Photographable.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13828052\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Sasha Waters Freyer’s ‘Garry Winogrand: All Things Are Photographable.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/garry-winogrand-all-things-are-photographable\" rel=\"noopener\" target=\"_blank\">‘Garry Winogrand: All Things are Photographable’\u003c/a>\u003c/h3>\n\u003cp>\u003cb>April 14, 8pm at SFMOMA / April 15, 1pm at BAMPFA\u003c/b>\u003cbr>\n \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This documentary profile of the seminal street photographer was directed by noted experimental filmmaker Sasha Waters Freyer, and her rhythmic editing is marvelously responsive to the elusive snap of a Winogrand. The \u003cem>American Experience\u003c/em> format has its limitations, to be sure, but Freyer’s doc resists hagiography and comes spiked with surprises like a series of animations by Kelly Gallagher (an intervention that, along with the large number of female curators and photographers addressing Winogrand’s legacy, offers welcome balance in sorting out the photographer’s sexual politics). The SFMOMA screening will be followed by a conversation between Freyer and one of the film’s liveliest speakers, Geoff Dyer. Shutterbugs will be duly inspired to get to work.\u003c/p>\n\u003cfigure id=\"attachment_13828050\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Purge_1200.jpg\" alt=\"A scene from Lee Anne Schmitt's 'Purge This Land.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13828050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Lee Anne Schmitt’s ‘Purge This Land.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/purge-this-land\" rel=\"noopener\" target=\"_blank\">‘Purge This Land’\u003c/a>\u003c/h3>\n\u003cp>\u003cb>April 10, 6pm at YBCA / April 11, 6:30pm at BAMPFA / April 14, 5:30pm at YBCA\u003c/b>\u003cbr>\n \u003c/p>\n\u003cp>Lee Anne Schmitt’s contemplative study of America’s history of racial violence sits uneasily, and pointedly, at the intersection of personal essay and historical documentation. Dedicated to her young son, and scored by her partner Jeff Parker, the intimacy of \u003cem>Purge This Land\u003c/em>’s reckoning flows from Schmitt’s position as a white woman with a biracial child. The film covers a lot of literal ground, cataloging the historical sites of race riots, slave auctions, and police actions in the unadorned documentary style of forbearers like James Benning, John Gianvito, and her own excellent \u003cem>California Company Town\u003c/em> (2008). Freely drawing upon geographic and temporal coincidence, the overall effect is to suggest a land that offers no refuge from racial violence. \u003c/p>\n\u003cp>A few days after seeing \u003cem>Purge This Land\u003c/em>, I’m left wondering why it relies so heavily on well-known incidences of racial violence rather than exhuming unwritten histories; what its streamlined account of John Brown loses in excluding his religiosity; and what exactly it suggests we make of the knowledge of what happened at a particular site. These are productive questions, to be sure, indicative of a film doing its work. \u003c/p>\n\u003cfigure id=\"attachment_13828047\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200.jpg\" alt=\"A scene from Hope Tucker's 'Atomkraftwerk Zwentendorf.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13828047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Hope Tucker’s ‘Atomkraftwerk Zwentendorf.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/shorts-4-new-visions\" rel=\"noopener\" target=\"_blank\">‘Atomkraftwerk Zwentendorf’\u003c/a>\u003c/h3>\n\u003cp>\u003cb>April 7, 7:30pm at Roxie Theater / April 16, 4:30pm at Roxie Theater\u003c/b>\u003cbr>\n \u003c/p>\n\u003cp>The fourth of six shorts programs (“New Visions”) features pieces by Kevin Jerome Everson, Jem Cohen, and this strikingly lucid work of documentary by Hope Tucker. Part of her ongoing Obituary Project, Tucker’s film finds an ambiguous monument in the decommissioned Zwentendorf Nuclear Power Plant. It was never operational, having been voted closed in a 1978 referendum following years of construction and protest. Incorporating archival footage and her own field recordings, Tucker uses the Austrian site as a meditation on various forms of power. While innocuous as a stage set, the site is shadowed by disasters at Three Mile Island, Chernobyl, and Fukushima. The sci-fi flavor of Tucker’s film finally owes as much to her delineation of these alternate realities as to Zwentendorf’s inscrutable gadgetry. \u003c/p>\n\u003cfigure id=\"attachment_13828048\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Claire_1200.jpg\" alt=\"A scene from Hong Sang-soo's 'Claire's Camera.'\" width=\"1200\" height=\"633\" class=\"size-full wp-image-13828048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-1180x622.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-960x506.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-520x274.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Hong Sang-soo’s ‘Claire’s Camera.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/claire%E2%80%99s-camera\" rel=\"noopener\" target=\"_blank\">‘Claire’s Camera’\u003c/a>\u003c/h3>\n\u003cp>\u003cb>April 7, 3:30pm at YBCA / April 9, 4pm at SFMOMA / April 12, 8:30pm at YBCA\u003c/b>\u003cbr>\n \u003c/p>\n\u003cp>The fact that \u003cem>Claire’s Camera\u003c/em> — one of two films Hong Sang-soo films unveiled at Cannes, where it’s also set — is so plainly off-the-cuff only drives home the acuity of the South Korean auteur’s style: He approaches film narrative as a kind of music, all theme and variation, melody and motif. The roundelay here turns on a characteristic love triangle here enlivened by Isabelle Huppert’s titular sprite. The scenes between her and the Korean trio play in halted English, and it’s one measure of Hong’s genius that he sees dramatic possibility in such comically mundane circumstances. Huppert’s photographer says she takes pictures because people are different afterwards, and that little koan ripples throughout this disarmingly transparent movie.\u003cbr>\n \u003c/p>\n\u003cp>Other highlights? What about a trio of docs fresh off Sundance raves (\u003ci>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/shirkers\" rel=\"noopener\" target=\"_blank\">Shirkers\u003c/a>\u003c/i>, \u003ci>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/minding-the-gap\" rel=\"noopener\" target=\"_blank\">Minding the Gap\u003c/a>\u003c/i>, and \u003ci>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/hale-county-this-morning-this-evening\" rel=\"noopener\" target=\"_blank\">Hale County This Morning, This Evening\u003c/a>\u003c/i>), recovering transcendentalist Paul Schrader’s \u003ci>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/first-reformed\" rel=\"noopener\" target=\"_blank\">First Reformed\u003c/a>\u003c/i>, or art-rockers Blonde Redhead thrashing it out to Yasujiro Ozu’s delicate coming-of-age comedy, \u003ci>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/blonde-redhead-with-i-was-born-but\" rel=\"noopener\" target=\"_blank\">I Was Born, But…\u003c/a>\u003c/i> (1932)? That last could well prove a miscalculation, but my curiosity is piqued. Such is festival season.\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>The 61st San Francisco International Film Festival takes place April 4-17 in various Bay Area theaters. For tickets and more information, \u003ca href=\"https://www.sffilm.org/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
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},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
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