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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Christopher Scott did 13 years of hard time before the actual perpetrator confessed to the crime. Now he heads a Dallas detective agency that investigates wrongful-conviction cases with the aim of freeing other innocent people. In \u003cem>\u003ca href=\"http://www.roxie.ai1ec_event/docfest-true-conviction/?instance_id=\" target=\"_blank\" rel=\"noopener noreferrer\">True Conviction\u003c/a>\u003c/em> (Saturday, June 3 at the Roxie), the new documentary by local filmmaker Jamie Meltzer, the dedicated, emotional Scott does double duty as an emblem of social justice and a compelling character in his own right. That description, as it happens, applies to quite a few of the protagonists in the \u003ca href=\"http://sfindie.com/festivals/sf-docfest/\" target=\"_blank\" rel=\"noopener noreferrer\">SF DocFest\u003c/a> program.\u003c/p>\n\u003cp>Since its inception, DocFest (May 31-June 15 at the Roxie and the Vogue, with opening night at Alamo Drafthouse) has compiled a colorful scrapbook of genuine characters in contrast to the current events survey, educational seminar or social-issue forum that defines many documentary series. \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=284896~50c99741-ceec-4bfa-94b4-b7d919a3c410&epguid=accf668f-e555-48ca-a4fc-f10c8aa7f53d&\" target=\"_blank\" rel=\"noopener noreferrer\">Gip\u003c/a>\u003c/em> (June 11) is a profile of an Alabama bluesman-gravedigger-juke joint owner, while \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=284903~50c99741-ceec-4bfa-94b4-b7d919a3c410&epguid=accf668f-e555-48ca-a4fc-f10c8aa7f53d&\" target=\"_blank\" rel=\"noopener noreferrer\">Nat Bates for Mayor\u003c/a>\u003c/em> (world premiere, June 10 and 15) traces the race for Richmond’s top office in 2014 through the titular controversial politician. Another local saga propels the world premiere of \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=284925~50c99741-ceec-4bfa-94b4-b7d919a3c410&epguid=accf668f-e555-48ca-a4fc-f10c8aa7f53d&\" target=\"_blank\" rel=\"noopener noreferrer\">Turn It Around: The Story of East Bay Punk\u003c/a>\u003c/em> (opening night, May 31), while one of local filmdom’s gen-u-ine iconoclasts, Stephen Parr of Oddball Films, screens a two-hour mashup of \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=284915~50c99741-ceec-4bfa-94b4-b7d919a3c410&epguid=accf668f-e555-48ca-a4fc-f10c8aa7f53d&\" target=\"_blank\" rel=\"noopener noreferrer\">Sonic Oddities\u003c/a>\u003c/em> (June 13) from his humongous personal collection.\u003c/p>\n\u003cp>The aforementioned Jamie Meltzer’s wonderful 2003 doc, \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=284904~50c99741-ceec-4bfa-94b4-b7d919a3c410&epguid=accf668f-e555-48ca-a4fc-f10c8aa7f53d&\" target=\"_blank\" rel=\"noopener noreferrer\">Off the Charts: The Song-Poem Story\u003c/a>\u003c/em> (June 4), amasses the greatest collection of unique characters under one roof in the entire festival, for my money. This is a bonus screening of sorts, to celebrate the presentation of DocFest’s Non-Fiction Vanguard Award to the gifted filmmaker and beloved Stanford prof at \u003cem>True Conviction\u003c/em> the night before. (Full disclosure: This writer will interview Meltzer onstage after both films.) There are one or two people in \u003cem>Off the Charts\u003c/em> you won’t soon forget, which could be said about nearly every film in DocFest. That’s one of the pleasures of scrapbooks.\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>\u003c/p>\u003c/div>",
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"title": "Okay World, You Win — Bring on the Escapist Summer Movie Onslaught",
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"headTitle": "Okay World, You Win — Bring on the Escapist Summer Movie Onslaught | KQED",
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"content": "\u003cp>The over-the-top poppycock that is Hollywood’s summer stock-in-trade has a certain appeal to me at the moment, I have to admit.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/hot-days-and-summer-nights-guide-2017/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-13376303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Between the domestic political horror du jour and tragedy and turmoil abroad, I’ve rarely found escapism so inviting. If I’m going to listen to delusional declarations with horrific consequences for millions, I’d prefer they be uttered by supervillains in kitschy costumes rather than the President. I’m even willing to accept the spectacle of several dozen digital explosions, and all that CGI-generated CO\u003csub>2\u003c/sub>, as part of the deal.\u003c/p>\n\u003cp>On that optimistic note, let’s check out our best options and most enticing alternatives.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Cars3.1100-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"alignleft size-medium wp-image-13298459\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cars3.1100-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cars3.1100-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cars3.1100-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cars3.1100-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cars3.1100-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cars3.1100-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cars3.1100-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cars3.1100-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cars3.1100.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>‘Cars 3’ (June 16) \u003c/h3>\n\u003cp>In support of the Bay Area economy, and the stock options of Pixar’s hard-working employees, I’m waiving my longstanding objection to sequels for this one. It’s a comeback story this time around, with graybeard Lightning McQueen overtaken by a field of next-generation racers and compelled to rely on a young female race tech to regain his mojo. The hour-and-49-minute running time seems more suited to grownups than kids, which I interpret as Pixar’s contribution to our tenuous national sanity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Beguiled.1000-800x420.jpg\" alt=\"\" width=\"800\" height=\"420\" class=\"alignleft size-medium wp-image-13298458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Beguiled.1000-800x420.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Beguiled.1000-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Beguiled.1000-768x404.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Beguiled.1000-1020x536.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Beguiled.1000-960x504.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Beguiled.1000-240x126.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Beguiled.1000-375x197.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Beguiled.1000-520x273.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Beguiled.1000.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>‘The Beguiled’ (June 23) \u003c/h3>\n\u003cp>Remakes generally don’t find favor with this curmudgeonly correspondent, but I’ll make an exception for Bay Area product Sofia Coppola. In her sixth feature behind the camera, Coppola revisits Thomas Cullinan’s novel about a wounded Union soldier recuperating in a Confederate girls’ boarding school. The director has been fascinated by the behavior of women in groups since her debut with \u003cem>The Virgin Suicides\u003c/em>, and she explores the built-in sexual tension and shifting power dynamics through low-light naturalism rather than hothouse melodrama. Don Siegel and Clint Eastwood took a rather different approach, shall we say, to this material in 1971.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/WarForPlanet.1000-800x377.jpg\" alt=\"\" width=\"800\" height=\"377\" class=\"alignleft size-medium wp-image-13298464\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/WarForPlanet.1000-800x377.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/WarForPlanet.1000-160x75.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/WarForPlanet.1000-768x362.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/WarForPlanet.1000-1020x481.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/WarForPlanet.1000-960x453.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/WarForPlanet.1000-240x113.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/WarForPlanet.1000-375x177.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/WarForPlanet.1000-520x245.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/WarForPlanet.1000.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>‘War for the Planet of the Apes’ (July 14)\u003c/h3>\n\u003cp>The previous installment, \u003cem>Dawn of the Planet of the Apes\u003c/em>, boasted a script that was as serious as it was smart, and a San Francisco setting. That’s ample reason to tout the next chapter in this apocalypse-courting science-fiction saga over the numerous other threats-to-our-species exercises in ersatz heroism clogging the multiplexes in the next few months. That, and Woody Harrelson as the villain.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Dunkirk1000-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"alignleft size-medium wp-image-13298461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Dunkirk1000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Dunkirk1000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Dunkirk1000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Dunkirk1000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Dunkirk1000-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Dunkirk1000-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Dunkirk1000-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Dunkirk1000-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Dunkirk1000.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>‘Dunkirk’ (July 21)\u003c/h3>\n\u003cp>At long last, Christopher Nolan (\u003cem>Inception\u003c/em>, \u003cem>Interstellar\u003c/em>) has abandoned the sham profundity of his bloated sci-fi morality tales for a chunk of actual history. Or, to be less charitable, he’s tired of being Ridley Scott and aspires to David Lean. Featuring a roster of familiar names and faces alongside battalions of extras, \u003cem>Dunkirk\u003c/em> reenacts the 1940 evacuation of some 300,000 Allied troops from France over 10 days. Pack a lunch — and earplugs. (Nolan has a notoriously heavy hand when it comes to sound, especially in the third act.)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/InconvenientSequel-2.1000-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"alignleft size-medium wp-image-13298463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/InconvenientSequel-2.1000-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/InconvenientSequel-2.1000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/InconvenientSequel-2.1000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/InconvenientSequel-2.1000-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/InconvenientSequel-2.1000-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/InconvenientSequel-2.1000-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/InconvenientSequel-2.1000-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/InconvenientSequel-2.1000-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/InconvenientSequel-2.1000.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>‘An Inconvenient Sequel: Truth to Power’ (July 28)\u003c/h3>\n\u003cp>Local documentary makers Bonni Cohen and Jon Shenk (\u003cem>Audrie & Daisy\u003c/em>, now on Netflix) pick up Al Gore’s ongoing global crusade to light a fire under the tushes of elected officials, CEOs and the greater population. Along with a treatise on the imminent dangers of climate change, the film necessarily delivers an upbeat assessment of the human potential — through now-existing technology and public will — to take major action before we reach the point where another \u003cem>Inconvenient\u003c/em> sequel will play as tragedy. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Detroit1000-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" class=\"alignleft size-medium wp-image-13298460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Detroit1000-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Detroit1000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Detroit1000-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Detroit1000-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Detroit1000-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Detroit1000-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Detroit1000-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Detroit1000-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Detroit1000.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>‘Detroit’ (Aug. 4)\u003c/h3>\n\u003cp>Aiming to duplicate the August box-office success of \u003cem>Straight Outta Compton\u003c/em> in 2015, director Kathryn Bigelow and writer Mark Boal’s third nerve-shattering collaboration (\u003cem>The Hurt Locker\u003c/em>, \u003cem>Zero Dark Thirty\u003c/em>) immerses us in a different summer in the (inner) city. \u003ci>Detroit\u003c/i> dramatizes the misguided and ruthless police raid of an interracial party at the Algiers Motel 50 years ago this July, and the ensuing public outcry. Escapist? Hardly. Timely? Plus ça change, and all that jazz.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/GlassCastle.1000-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"alignleft size-medium wp-image-13298462\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GlassCastle.1000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GlassCastle.1000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GlassCastle.1000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GlassCastle.1000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GlassCastle.1000-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GlassCastle.1000-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GlassCastle.1000-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GlassCastle.1000-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GlassCastle.1000.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>‘The Glass Castle’ (Aug. 11)\u003c/h3>\n\u003cp>Newspaper reporter and columnist Jeannette Walls’ best-selling memoir, published in 2005, described a complicated childhood and adolescence spent with an alcoholic father and artistic mother in poverty and constant movement from town to town (including a stint in the Tenderloin). Brie Larson portrays the writer in Destin Daniel Cretton’s screen adaptation, a high-profile reunion following their breakthrough work on the 2013 indie drama \u003cem>Short Term 12\u003c/em>. If all that isn’t enough to pique your interest, Naomi Watts and the redoubtable Woody Harrelson play Rex and Rose Mary Wells. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/PattiC-akes.1000-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"alignleft size-medium wp-image-13298465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/PattiC-akes.1000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/PattiC-akes.1000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/PattiC-akes.1000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/PattiC-akes.1000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/PattiC-akes.1000-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/PattiC-akes.1000-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/PattiC-akes.1000-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/PattiC-akes.1000-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/PattiC-akes.1000.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\"> \u003c/p>\n\u003ch3>‘Patti Cake$’ (Aug. 25)\u003c/h3>\n\u003cp>Flash-bulb acclaim at Sundance is no guarantee that a film will receive a sunny reception on general release. Here’s hoping that writer-director Geremy Jasper’s acclaimed debut, and his indomitable heroine, find an audience. Danielle MacDonald plays a New Jersey ugly duckling who trades her prosaic given name of Patricia Dombrowski for the titular moniker while pursuing an identity (and a career, possibly) as a rapper. An urban underdog saga forged from the time-tested triumvirate of family troubles, societal indifference and artistic expression, \u003ci>Patti Cake$\u003c/i> may be the most hopeful movie of the summer.\u003c/p>\n\u003cp>\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_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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\n",
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"excerpt": "The over-the-top poppycock that is Hollywood’s summer stock-in-trade has a certain appeal at the moment.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The over-the-top poppycock that is Hollywood’s summer stock-in-trade has a certain appeal to me at the moment, I have to admit.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/hot-days-and-summer-nights-guide-2017/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-13376303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Between the domestic political horror du jour and tragedy and turmoil abroad, I’ve rarely found escapism so inviting. If I’m going to listen to delusional declarations with horrific consequences for millions, I’d prefer they be uttered by supervillains in kitschy costumes rather than the President. I’m even willing to accept the spectacle of several dozen digital explosions, and all that CGI-generated CO\u003csub>2\u003c/sub>, as part of the deal.\u003c/p>\n\u003cp>On that optimistic note, let’s check out our best options and most enticing alternatives.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Cars3.1100-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"alignleft size-medium wp-image-13298459\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cars3.1100-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cars3.1100-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cars3.1100-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cars3.1100-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cars3.1100-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cars3.1100-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cars3.1100-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cars3.1100-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cars3.1100.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>‘Cars 3’ (June 16) \u003c/h3>\n\u003cp>In support of the Bay Area economy, and the stock options of Pixar’s hard-working employees, I’m waiving my longstanding objection to sequels for this one. It’s a comeback story this time around, with graybeard Lightning McQueen overtaken by a field of next-generation racers and compelled to rely on a young female race tech to regain his mojo. The hour-and-49-minute running time seems more suited to grownups than kids, which I interpret as Pixar’s contribution to our tenuous national sanity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Beguiled.1000-800x420.jpg\" alt=\"\" width=\"800\" height=\"420\" class=\"alignleft size-medium wp-image-13298458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Beguiled.1000-800x420.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Beguiled.1000-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Beguiled.1000-768x404.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Beguiled.1000-1020x536.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Beguiled.1000-960x504.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Beguiled.1000-240x126.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Beguiled.1000-375x197.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Beguiled.1000-520x273.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Beguiled.1000.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>‘The Beguiled’ (June 23) \u003c/h3>\n\u003cp>Remakes generally don’t find favor with this curmudgeonly correspondent, but I’ll make an exception for Bay Area product Sofia Coppola. In her sixth feature behind the camera, Coppola revisits Thomas Cullinan’s novel about a wounded Union soldier recuperating in a Confederate girls’ boarding school. The director has been fascinated by the behavior of women in groups since her debut with \u003cem>The Virgin Suicides\u003c/em>, and she explores the built-in sexual tension and shifting power dynamics through low-light naturalism rather than hothouse melodrama. Don Siegel and Clint Eastwood took a rather different approach, shall we say, to this material in 1971.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/WarForPlanet.1000-800x377.jpg\" alt=\"\" width=\"800\" height=\"377\" class=\"alignleft size-medium wp-image-13298464\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/WarForPlanet.1000-800x377.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/WarForPlanet.1000-160x75.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/WarForPlanet.1000-768x362.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/WarForPlanet.1000-1020x481.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/WarForPlanet.1000-960x453.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/WarForPlanet.1000-240x113.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/WarForPlanet.1000-375x177.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/WarForPlanet.1000-520x245.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/WarForPlanet.1000.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>‘War for the Planet of the Apes’ (July 14)\u003c/h3>\n\u003cp>The previous installment, \u003cem>Dawn of the Planet of the Apes\u003c/em>, boasted a script that was as serious as it was smart, and a San Francisco setting. That’s ample reason to tout the next chapter in this apocalypse-courting science-fiction saga over the numerous other threats-to-our-species exercises in ersatz heroism clogging the multiplexes in the next few months. That, and Woody Harrelson as the villain.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Dunkirk1000-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"alignleft size-medium wp-image-13298461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Dunkirk1000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Dunkirk1000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Dunkirk1000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Dunkirk1000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Dunkirk1000-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Dunkirk1000-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Dunkirk1000-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Dunkirk1000-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Dunkirk1000.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>‘Dunkirk’ (July 21)\u003c/h3>\n\u003cp>At long last, Christopher Nolan (\u003cem>Inception\u003c/em>, \u003cem>Interstellar\u003c/em>) has abandoned the sham profundity of his bloated sci-fi morality tales for a chunk of actual history. Or, to be less charitable, he’s tired of being Ridley Scott and aspires to David Lean. Featuring a roster of familiar names and faces alongside battalions of extras, \u003cem>Dunkirk\u003c/em> reenacts the 1940 evacuation of some 300,000 Allied troops from France over 10 days. Pack a lunch — and earplugs. (Nolan has a notoriously heavy hand when it comes to sound, especially in the third act.)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/InconvenientSequel-2.1000-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"alignleft size-medium wp-image-13298463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/InconvenientSequel-2.1000-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/InconvenientSequel-2.1000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/InconvenientSequel-2.1000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/InconvenientSequel-2.1000-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/InconvenientSequel-2.1000-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/InconvenientSequel-2.1000-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/InconvenientSequel-2.1000-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/InconvenientSequel-2.1000-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/InconvenientSequel-2.1000.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>‘An Inconvenient Sequel: Truth to Power’ (July 28)\u003c/h3>\n\u003cp>Local documentary makers Bonni Cohen and Jon Shenk (\u003cem>Audrie & Daisy\u003c/em>, now on Netflix) pick up Al Gore’s ongoing global crusade to light a fire under the tushes of elected officials, CEOs and the greater population. Along with a treatise on the imminent dangers of climate change, the film necessarily delivers an upbeat assessment of the human potential — through now-existing technology and public will — to take major action before we reach the point where another \u003cem>Inconvenient\u003c/em> sequel will play as tragedy. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Detroit1000-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" class=\"alignleft size-medium wp-image-13298460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Detroit1000-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Detroit1000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Detroit1000-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Detroit1000-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Detroit1000-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Detroit1000-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Detroit1000-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Detroit1000-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Detroit1000.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>‘Detroit’ (Aug. 4)\u003c/h3>\n\u003cp>Aiming to duplicate the August box-office success of \u003cem>Straight Outta Compton\u003c/em> in 2015, director Kathryn Bigelow and writer Mark Boal’s third nerve-shattering collaboration (\u003cem>The Hurt Locker\u003c/em>, \u003cem>Zero Dark Thirty\u003c/em>) immerses us in a different summer in the (inner) city. \u003ci>Detroit\u003c/i> dramatizes the misguided and ruthless police raid of an interracial party at the Algiers Motel 50 years ago this July, and the ensuing public outcry. Escapist? Hardly. Timely? Plus ça change, and all that jazz.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/GlassCastle.1000-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"alignleft size-medium wp-image-13298462\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GlassCastle.1000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GlassCastle.1000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GlassCastle.1000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GlassCastle.1000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GlassCastle.1000-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GlassCastle.1000-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GlassCastle.1000-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GlassCastle.1000-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GlassCastle.1000.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>‘The Glass Castle’ (Aug. 11)\u003c/h3>\n\u003cp>Newspaper reporter and columnist Jeannette Walls’ best-selling memoir, published in 2005, described a complicated childhood and adolescence spent with an alcoholic father and artistic mother in poverty and constant movement from town to town (including a stint in the Tenderloin). Brie Larson portrays the writer in Destin Daniel Cretton’s screen adaptation, a high-profile reunion following their breakthrough work on the 2013 indie drama \u003cem>Short Term 12\u003c/em>. If all that isn’t enough to pique your interest, Naomi Watts and the redoubtable Woody Harrelson play Rex and Rose Mary Wells. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/PattiC-akes.1000-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"alignleft size-medium wp-image-13298465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/PattiC-akes.1000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/PattiC-akes.1000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/PattiC-akes.1000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/PattiC-akes.1000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/PattiC-akes.1000-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/PattiC-akes.1000-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/PattiC-akes.1000-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/PattiC-akes.1000-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/PattiC-akes.1000.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\"> \u003c/p>\n\u003ch3>‘Patti Cake$’ (Aug. 25)\u003c/h3>\n\u003cp>Flash-bulb acclaim at Sundance is no guarantee that a film will receive a sunny reception on general release. Here’s hoping that writer-director Geremy Jasper’s acclaimed debut, and his indomitable heroine, find an audience. Danielle MacDonald plays a New Jersey ugly duckling who trades her prosaic given name of Patricia Dombrowski for the titular moniker while pursuing an identity (and a career, possibly) as a rapper. An urban underdog saga forged from the time-tested triumvirate of family troubles, societal indifference and artistic expression, \u003ci>Patti Cake$\u003c/i> may be the most hopeful movie of the summer.\u003c/p>\n\u003cp>\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_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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\n\u003c/div>\u003c/p>",
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"title": "At the Roxie, Old-School Film Projectionists Keep the Craft Alive",
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"content": "\u003cp>In 2016, the vast majority of feature films have, in fact, very little to do with film. Movies are now overwhelmingly both shot and projected digitally, which means a screening starts with the simple push of a button. But in a dwindling number of beloved theaters around the world, reel-to-reel film projection is still an art form and a job — and one that carries a lot of pride for its practitioners.\u003c/p>\n\u003cp>KQED Arts visited the historic \u003ca href=\"http://www.roxie.com/\" target=\"_blank\" rel=\"noopener\">Roxie Theater\u003c/a> in San Francisco’s Mission District for a behind-the-scenes look at what, exactly, goes on in that little room upstairs. Meet Isaac Sherman, Jim Lung and Linda Scobie: two generations of film projectionists devoted to keeping this endangered craft alive. \u003cem>— Emma Silvers\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Jess dela Merced, from South San Francisco, on Breakout Film 'Hypebeasts'",
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"content": "\u003cp>Jess dela Merced, Bay Area native and one of \u003ci>Filmmaker Magazine\u003c/i>’s “\u003ca href=\"http://filmmakermagazine.com/people/jess-dela-merced/#.WDNVgrIrKUk\" target=\"_blank\" rel=\"noopener\">25 New Faces of Independent Film\u003c/a>,” is on the move. Speaking over the phone last week, it became apparent this wasn’t just a figure of speech. Dela Merced was literally \u003ci>on the move\u003c/i>, driving through the streets of Los Angeles as we talked.\u003c/p>\n\u003cp>There simply isn’t time to slow down — she’s in preproduction on her first feature-length film, \u003ci>Chickenshit\u003c/i>, for which she just just received a $25,000 “packaging” grant from the \u003ca href=\"http://www.sffs.org/filmmaker360/narrative-grants-and-programs/sffs-krf-filmmaking-grant\" target=\"_blank\" rel=\"noopener\">San Francisco Film Society and Kenneth Rainin Foundation\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12429366\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/HypebeastsCOVER-800x450.png\" alt=\"Still from Jess dela Merced's 'HYPEBEASTS,' 2014.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12429366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/HypebeastsCOVER-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/HypebeastsCOVER-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/HypebeastsCOVER-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/HypebeastsCOVER-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/HypebeastsCOVER-960x540.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/HypebeastsCOVER-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/HypebeastsCOVER-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/HypebeastsCOVER-520x293.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/HypebeastsCOVER.png 1152w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Jess dela Merced’s ‘Hypebeasts,’ 2014. \u003ccite>(Courtesy of Film School Shorts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re hoping to shoot next summer,” dela Merced says. “We’re just getting the script ready and trying to find the right collaborators and financing.”\u003c/p>\n\u003cp>Part of what’s drawing support to dela Merced’s newest project is her award-winning work in short films. Her graduate thesis film from NYU, \u003ci>Hypebeasts\u003c/i> — \u003ca href=\"https://vimeo.com/170070172/b34d2d4026\" target=\"_blank\" rel=\"noopener\">now available online\u003c/a> courtesy of \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/\" target=\"_blank\" rel=\"noopener\">Film School Shorts\u003c/a> — skillfully balances the youthful excitement with simmering racial tension as two Filipino-American siblings and their Korean-American friend join a line of die-hard sneaker fans. When that tension explodes into a riotous mob, dela Merced (who also stars in the short) spares no one from either physical violence or the shaky remorse that follows.\u003c/p>\n\u003cp>\u003ci>Hypebeasts\u003c/i> is inspired in part by \u003ca href=\"http://www.huffingtonpost.com/2011/12/13/chick-fil-a-ching-chong-r_n_1146266.html\" target=\"_blank\" rel=\"noopener\">a racist incident at a Chik-fil-A\u003c/a> near UC Irvine, where dela Merced went to college. When the fast food joint provided receipts to two Asian students, the customers were identified as “Ching” and “Chong,” despite never being asked for their names.\u003c/p>\n\u003cfigure id=\"attachment_12429368\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Jess-screen-pissed.jpg\" alt=\"Jess dela Merced as Justine in 'Hypebeasts,' reading a racist fast food receipt.\" width=\"1280\" height=\"720\" class=\"size-full wp-image-12429368\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Jess-screen-pissed.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Jess-screen-pissed-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Jess-screen-pissed-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Jess-screen-pissed-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Jess-screen-pissed-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Jess-screen-pissed-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Jess-screen-pissed-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Jess-screen-pissed-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Jess-screen-pissed-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Jess-screen-pissed-520x293.jpg 520w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Jess dela Merced as Justine in ‘Hypebeasts,’ reading a racist fast food receipt. \u003ccite>(Courtesy of Film School Shorts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had never been affected by any racist event ever,” dela Merced says. “It shocked me so much that that could happen in such a safe space.” She was long gone from Irvine by the time the Chick-fil-A story broke in 2011, but it stuck with her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I realized how naive I was, thinking that something like that couldn’t happen,” she says. “That’s when I realized I needed to explore how I see the world and try to share that with an audience.” \u003c/p>\n\u003cfigure id=\"attachment_12429369\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Hypebeasts_Still.jpg\" alt=\"Jess dela Merced, Jake Choi and Michael Rosete in 'Hypebeasts.'\" width=\"2048\" height=\"1365\" class=\"size-full wp-image-12429369\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hypebeasts_Still.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hypebeasts_Still-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hypebeasts_Still-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hypebeasts_Still-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hypebeasts_Still-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hypebeasts_Still-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hypebeasts_Still-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hypebeasts_Still-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hypebeasts_Still-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hypebeasts_Still-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hypebeasts_Still-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Jess dela Merced, Jake Choi and Michael Rosete in ‘Hypebeasts.’ \u003ccite>(Courtesy of Film School Shorts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Chickenshit\u003c/i> tells the story of Phoenix, a young Black girl in Detroit who joins forces with a ragtag group of boys to save their neighborhood from an arsonist. Dela Merced wrote the screenplay after working as the cinematographer on a classmate’s film in Detroit. “People said it was unsafe, but I had an immediate connection to the city. I wanted to know more about it,” she says. \u003c/p>\n\u003cp>Born in San Francisco and raised in South San Francisco, dela Merced was drawn to more than just Detroit’s cinematic ruins. “I see how lucky I was growing up in such a diverse city,” dela Merced says. “It motivates me to want to tell this story about these kids who aren’t growing up in such an ideal environment.” \u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/119272391?color=ffffff&portrait=0\" width=\"800\" height=\"450\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>While making her fourth short film \u003ci>Wait ‘Til the Wolves Make Nice\u003c/i>, which acted as a proof of concept for \u003ci>Chickenshit\u003c/i>, dela Merced worked closely with local non-actor children, filming everything — pyrotechnics and all — in five days. \u003c/p>\n\u003cp>“We didn’t follow the rules. We just did everything ourselves and we didn’t have that much help because we were trying to keep it as cheap as possible,” she says. In the process, she proved to herself — and others — that she was up to the task of making a feature-length film.\u003c/p>\n\u003cp>While there’s still a ways to go before \u003ci>Chickenshit\u003c/i> reaches audiences, dela Merced retains a sense of urgency about the film, especially in today’s political climate. “I am motivated even more because of what’s been happening,” she says. “I feel like Detroit is a cautionary tale, and it needs to be told as soon as possible.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" 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>In the meantime, watch \u003ci>Hypebeasts\u003c/i> in its entirety, courtesy of \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/\" target=\"_blank\" rel=\"noopener\">Film School Shorts\u003c/a>:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/170070172?color=f1592a\" width=\"800\" height=\"450\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jess dela Merced, Bay Area native and one of \u003ci>Filmmaker Magazine\u003c/i>’s “\u003ca href=\"http://filmmakermagazine.com/people/jess-dela-merced/#.WDNVgrIrKUk\" target=\"_blank\" rel=\"noopener\">25 New Faces of Independent Film\u003c/a>,” is on the move. Speaking over the phone last week, it became apparent this wasn’t just a figure of speech. Dela Merced was literally \u003ci>on the move\u003c/i>, driving through the streets of Los Angeles as we talked.\u003c/p>\n\u003cp>There simply isn’t time to slow down — she’s in preproduction on her first feature-length film, \u003ci>Chickenshit\u003c/i>, for which she just just received a $25,000 “packaging” grant from the \u003ca href=\"http://www.sffs.org/filmmaker360/narrative-grants-and-programs/sffs-krf-filmmaking-grant\" target=\"_blank\" rel=\"noopener\">San Francisco Film Society and Kenneth Rainin Foundation\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12429366\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/HypebeastsCOVER-800x450.png\" alt=\"Still from Jess dela Merced's 'HYPEBEASTS,' 2014.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12429366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/HypebeastsCOVER-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/HypebeastsCOVER-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/HypebeastsCOVER-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/HypebeastsCOVER-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/HypebeastsCOVER-960x540.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/HypebeastsCOVER-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/HypebeastsCOVER-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/HypebeastsCOVER-520x293.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/HypebeastsCOVER.png 1152w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Jess dela Merced’s ‘Hypebeasts,’ 2014. \u003ccite>(Courtesy of Film School Shorts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re hoping to shoot next summer,” dela Merced says. “We’re just getting the script ready and trying to find the right collaborators and financing.”\u003c/p>\n\u003cp>Part of what’s drawing support to dela Merced’s newest project is her award-winning work in short films. Her graduate thesis film from NYU, \u003ci>Hypebeasts\u003c/i> — \u003ca href=\"https://vimeo.com/170070172/b34d2d4026\" target=\"_blank\" rel=\"noopener\">now available online\u003c/a> courtesy of \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/\" target=\"_blank\" rel=\"noopener\">Film School Shorts\u003c/a> — skillfully balances the youthful excitement with simmering racial tension as two Filipino-American siblings and their Korean-American friend join a line of die-hard sneaker fans. When that tension explodes into a riotous mob, dela Merced (who also stars in the short) spares no one from either physical violence or the shaky remorse that follows.\u003c/p>\n\u003cp>\u003ci>Hypebeasts\u003c/i> is inspired in part by \u003ca href=\"http://www.huffingtonpost.com/2011/12/13/chick-fil-a-ching-chong-r_n_1146266.html\" target=\"_blank\" rel=\"noopener\">a racist incident at a Chik-fil-A\u003c/a> near UC Irvine, where dela Merced went to college. When the fast food joint provided receipts to two Asian students, the customers were identified as “Ching” and “Chong,” despite never being asked for their names.\u003c/p>\n\u003cfigure id=\"attachment_12429368\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Jess-screen-pissed.jpg\" alt=\"Jess dela Merced as Justine in 'Hypebeasts,' reading a racist fast food receipt.\" width=\"1280\" height=\"720\" class=\"size-full wp-image-12429368\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Jess-screen-pissed.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Jess-screen-pissed-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Jess-screen-pissed-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Jess-screen-pissed-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Jess-screen-pissed-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Jess-screen-pissed-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Jess-screen-pissed-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Jess-screen-pissed-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Jess-screen-pissed-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Jess-screen-pissed-520x293.jpg 520w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Jess dela Merced as Justine in ‘Hypebeasts,’ reading a racist fast food receipt. \u003ccite>(Courtesy of Film School Shorts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had never been affected by any racist event ever,” dela Merced says. “It shocked me so much that that could happen in such a safe space.” She was long gone from Irvine by the time the Chick-fil-A story broke in 2011, but it stuck with her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I realized how naive I was, thinking that something like that couldn’t happen,” she says. “That’s when I realized I needed to explore how I see the world and try to share that with an audience.” \u003c/p>\n\u003cfigure id=\"attachment_12429369\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Hypebeasts_Still.jpg\" alt=\"Jess dela Merced, Jake Choi and Michael Rosete in 'Hypebeasts.'\" width=\"2048\" height=\"1365\" class=\"size-full wp-image-12429369\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hypebeasts_Still.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hypebeasts_Still-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hypebeasts_Still-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hypebeasts_Still-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hypebeasts_Still-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hypebeasts_Still-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hypebeasts_Still-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hypebeasts_Still-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hypebeasts_Still-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hypebeasts_Still-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hypebeasts_Still-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Jess dela Merced, Jake Choi and Michael Rosete in ‘Hypebeasts.’ \u003ccite>(Courtesy of Film School Shorts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Chickenshit\u003c/i> tells the story of Phoenix, a young Black girl in Detroit who joins forces with a ragtag group of boys to save their neighborhood from an arsonist. Dela Merced wrote the screenplay after working as the cinematographer on a classmate’s film in Detroit. “People said it was unsafe, but I had an immediate connection to the city. I wanted to know more about it,” she says. \u003c/p>\n\u003cp>Born in San Francisco and raised in South San Francisco, dela Merced was drawn to more than just Detroit’s cinematic ruins. “I see how lucky I was growing up in such a diverse city,” dela Merced says. “It motivates me to want to tell this story about these kids who aren’t growing up in such an ideal environment.” \u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/119272391?color=ffffff&portrait=0\" width=\"800\" height=\"450\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>While making her fourth short film \u003ci>Wait ‘Til the Wolves Make Nice\u003c/i>, which acted as a proof of concept for \u003ci>Chickenshit\u003c/i>, dela Merced worked closely with local non-actor children, filming everything — pyrotechnics and all — in five days. \u003c/p>\n\u003cp>“We didn’t follow the rules. We just did everything ourselves and we didn’t have that much help because we were trying to keep it as cheap as possible,” she says. In the process, she proved to herself — and others — that she was up to the task of making a feature-length film.\u003c/p>\n\u003cp>While there’s still a ways to go before \u003ci>Chickenshit\u003c/i> reaches audiences, dela Merced retains a sense of urgency about the film, especially in today’s political climate. “I am motivated even more because of what’s been happening,” she says. “I feel like Detroit is a cautionary tale, and it needs to be told as soon as possible.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" 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>In the meantime, watch \u003ci>Hypebeasts\u003c/i> in its entirety, courtesy of \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/\" target=\"_blank\" rel=\"noopener\">Film School Shorts\u003c/a>:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/170070172?color=f1592a\" width=\"800\" height=\"450\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_10134584\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/sweetbackposter.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/sweetbackposter.jpg\" alt=\"Sweet Sweetback's Baadasssss Song\" width=\"500\" height=\"746\" class=\"size-full wp-image-10134584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/sweetbackposter.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/sweetbackposter-400x596.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/sweetbackposter-201x300.jpg 201w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sweet Sweetback’s Baadasssss Song\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>In this occasional series, Jon Brooks looks at films that illustrate different aspects of California culture.\u003c/i>\u003c/p>\n\u003cp>Melvin Van Peebles said he made \u003ci>Sweet Sweetback’s Baadasssss Song\u003c/i>, released in 1971, because he didn’t much care for the way movies portrayed African Americans. When asked later by an interviewer to name some of the films he took issue with, he said, “About every damn thing that had a black person in it.”\u003c/p>\n\u003cp>So while it’s a long way from \u003ca href=\"https://www.google.com/search?q=hattie%20+mcdaniel\">Hattie McDaniel\u003c/a> to \u003ca href=\"https://www.google.com/search?q=sidney+poitier\">Sidney Poitier\u003c/a>, it may be an even more distant journey from Poitier to Van Peebles.\u003c/p>\n\u003cp>The title of \u003ci>Sweet Sweetback’s Baadasssss Song\u003c/i> alone is enough to give pause. The repetition in front, the extra vowel and prolonged sibilance near the rear — suspicion arises that such an affront to the tradition of concise movie titling can only be a juvenile ploy for attention. Things don’t get any more routine once the film starts. A series of shots showing five black women facing the camera is presented with an asymmetrical, vexing syntax: closeup, cut to closeup, pan to closeup, cut to two-shot. The women stare at something but don’t appear to be looking at the same fixed point, another visual pebble in the shoe. In conjunction with the whirring on the soundtrack, it all feels spacey and disorienting.\u003c/p>\n\u003cp>Eventually we see what — or who– holds the women’s attention: a ragged, filthy black boy, his skull marked by bald patches where ringworm has set in. Voraciously, he shovels food into his mouth. Quick freeze frame and cut to a black man, emerging from an underpass, running toward the camera. An epigraph appears on-screen, for some reason in English and French: “Sire, these lines are not a homage to brutality that the artist has invented, but a hymn from the mouth of reality.” That’s a “traditional prologue of the dark ages,” we are told.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> We hear a train, then a siren. Fade. Another on-screen message: “This film is dedicated to all the brothers and sisters who had enough of the Man” (no period).\u003c/p>\n\u003cp>Back to the boy. No dialogue, but we hear the exaggerated clang of dishes. Now the boy is carrying towels; a woman beckons him to her room. She takes her clothes off, then undresses him. Some sort of industrial machinery on the soundtrack. She pulls the boy, maybe all of 12, on top of her. “Move!” she chides. A gospel song on the soundtrack. The boy dutifully humps the woman, who is brought to orgasm. “This little light of mine, I’m gonna let it shine!” we hear sung. “F—,” the woman moans. “You got a sweet, sweet back.”\u003c/p>\n\u003cp>Freeze frame. Big red letters in cartoonish font cover the screen: “Sweet Sweetback’s Baad Asssss Song.” Jazz-funk music over credits:\u003c/p>\n\u003cp style=\"margin-right: 20px;margin-left: 20px\">Starring\u003cbr>\nTHE BLACK COMMUNITY\u003cbr>\nand\u003cbr>\nBRER SOUL.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=0rD1OzJVoWY\u003c/p>\n\u003cp>We’re five minutes in and, uh, just what the hell is going on here? Imagine the disorientation, before \u003ca href=\"http://www.theroot.com/articles/culture/2011/04/blaxploitation_films_40_years_after_sweet_sweetbacks_baadasssss_song.html\">blaxploitation\u003c/a> took hold, from all those black faces on-screen, alone. (Tyler Perry, Spike Lee, Denzel Washington, Wesley Snipes, Samuel Jackson were all just gleams in Hollywood’s eye.) The rest of the film is a political bomb thrown at the movie establishment, and at the “technological colonization of the white aesthetic,” as Van Peebles put it.\u003c/p>\n\u003cp>The boy who lays down with the prostitute (played by Van Peebles’ son Mario) in one freakishly effective cut arises a man. He now earns his keep as a sexual performer in a hard-core burlesque show for mixed-race audiences. Sweetback, as played by Van Peebles, does not derive even an iota of sexual satisfaction from the erotic encounters we see. When the show’s emcee, a fey black man in fairy godmother costume, invites audience members to have sex with Sweetback, a white woman is eager. But the brothel owner shakes his head — not in front of the white cops who have wandered in. “The offer’s only open to … sisters,” the emcee adds.\u003c/p>\n\u003cp>At the time of the film’s release, at least one black group was critical: “Van Peebles pictures sexual freakishness as an essential and unmistakable part of black reality and history, a total distortion and gross affront to black people.” But some black Americans undoubtedly related to the total lack of agency experienced by the character. Objectified, fetishized, Sweetback is such a complete cipher that his employer hands him over to the cops to serve as a fake suspect in a murder. While taking Sweetback to the station, the policemen arrest a young black radical and work him over. For a time Sweetback impassively observes the brutality. But he eventually comes to the radical’s defense, attacking the cops. From then on he roams L.A. as a fugitive. We frequently see him literally on the run, and not necessarily from an immediate pursuer, so that his flight becomes the central metaphor of the film, an almost mythological task. Between these desperate flights, the rest of the film happens: Sweetback has various encounters as the police continue their search, and he winds up in the desert with LAPD canines hot on his trail.\u003c/p>\n\u003cp>Van Peebles recounted a story from the movie’s opening in Atlanta, sitting next to an elderly black woman who mumbled, “Oh Lord, let him die in the desert, don’t let them kill him.” He said about the incident: “It was beyond any thought that someone would defy a white authority and live.”\u003c/p>\n\u003cp>Which brings up the film’s most explosive component: the overt racism and brutality against blacks on display by the LAPD, an \u003ca href=\"http://en.wikipedia.org/wiki/Los_Angeles_Police_Department#Misconduct\">issue that has plagued the department and the community it polices\u003c/a> for decades. We see white police fire a gun next to a black man’s ear; the police commissioner spits out a “nigger” then apologizes to his black officers: “I didn’t mean any offense by that word.” In a case of mistaken identity, cops brutally beat a black man in bed with a white woman. “That’s not him,” one of them realizes. “So what?” says the other.\u003c/p>\n\u003cp>Not exactly crossover material. While \u003ci>Sweetback\u003c/i> is often credited with ushering in the \u003ca href=\"http://en.wikipedia.org/wiki/Blaxploitation\">blaxploitation genre\u003c/a>, it has a much rawer quality than those subsequent 1970s films. And as far as style goes, well, call it impressionistic, call it off-the-wall, or call it a travesty, even. I’ve seen it four times and I still have a hard time figuring out what’s going on. Some audiences weaned on traditional film grammar will find it utterly inaccessible, and you can’t always determine what is a piece of experimental brilliance and what is simply a mistake. If the film has any stylistic antecedents, they’re the films of the French New Wave.\u003c/p>\n\u003cp>Though he’d directed two other features, Van Peebles began his career with no training. He made \u003ci>Sweetback\u003c/i> with a non-union, multi-ethnic crew, half of whom had never seen a camera before, according to the director. They shot guerilla-style, working 20-hour days for almost three weeks. Things went helter skelter on the set. Crew members were arrested. A real gun wound up in the prop box. The film uses mostly amateur actors (including Van Peebles as Sweetback, his stoicism logical and effective, but just as likely due to lack of ability), and the dialogue often feels improvised or uneasily remembered. Dubbed lines, color filters, cross-cut sequences disjointed by an inconsistent soundtrack, repeated shots, freeze frames, double exposures, barely visible lighting — all on display.\u003c/p>\n\u003cp>Even the music at times disintegrates into a shambles. But it’s also the music that frequently compels us to keep watching, and the film actually might be intolerable without it. Written by Van Peebles and recorded by newcomers Earth, Wind and Fire, the jazz-funk score is an all-time great. While you can often lose the narrative thread of \u003ci>Sweetback\u003c/i>, the music married to frequently striking visuals provides some sublimely lyrical moments, a poetic soul-on-fire feeling evoking the metamorphosis of degradation into resilience. It’s probably as apt an anthem as any for the roiling rebellion of that era.\u003c/p>\n\u003cp>Contrary to the Atlanta woman’s fatalism regarding cinematic rebellion by black people, Sweetback manages to escape his pursuers, and the film ends with another on-screen message: “Watch out… a Bad Assss nigger is coming back to collect some dues.”\u003c/p>\n\u003cp>We never did get to see that payment — Van Peebles did not make the sequels he’d intended. So those who craved cinematic catharsis in the form of black retribution against the white power structure had to wait until a \u003ca href=\"http://www.nytimes.com/2012/12/25/movies/quentin-tarantinos-django-unchained-stars-jamie-foxx.html?_r=0\">white director offered it up \u003c/a> 40 years later.\u003c/p>\n\u003cp>Before \u003ci>Sweetback\u003c/i>, Van Peebles had once looked forward to completing a three-picture deal with Columbia, but he’d quarreled with the studio over the ending to \u003ca href=\"http://en.wikipedia.org/wiki/Watermelon_Man_%28film%29\">\u003ci>Watermelon Man\u003c/i>\u003c/a>, a film about a bigoted white man who one day wakes up black. Van Peebles said he sunk “every penny I had” into \u003ci>Sweetback\u003c/i>, completing it with no studio money and a production-saving $50,000 loan from — of all people — Bill Cosby. His studio career over, he turned to the theater, music, and other endeavors.\u003c/p>\n\u003cp>Not every critic took to \u003ci>Sweetback\u003c/i>, as you may imagine. Vincent Canby of the \u003ci>New York Times\u003c/i> \u003ca href=\"http://www.nytimes.com/movie/review?%20res=9801E2D71F3BE73ABC4153DFB366838A669EDE\">reviewed it\u003c/a> like this: \u003c/p>\n\u003cp style=\"margin-right: 20px;margin-left: 20px\">“The movie is the story of Sweet Sweetback’s Baadasssss Flight, accompanied by lots of soundtrack song, a journey made eventually intolerable not only by the hardships and the duplicity (of even white counter-culturalists like the Hells Angels), but by the simplistic sensationalism of the treatment and the eye-disorienting visual style that substitutes film school technical complexities (such as the superimposition of double, triple and quadruple images) for dramatic content. Instead of dramatizing injustice, Van Peebles merchandizes it. With the exception of perhaps a dozen scenes, the movie is composed almost entirely of the sort of fancy montages with which television (is) the goal. Still to be found are a director and a choreographer to guide a cast of about 25.\u003c/p>\n\u003cp>But I think of this in-your-face look at institutional racism along the lines of Henry Miller’s definition of his own \u003ci>Tropic of Cancer\u003c/i>: “This is not a book. This is libel, slander, defamation of character. This is not a book, in the ordinary sense of the word. No, this is a prolonged insult, a gob of spit in the face of Art, a kick in the pants to God, Man, Destiny, Time, Love, Beauty …” Indeed, some things in this movie only John Waters could love: a man on a toilet moving his bowels and wiping himself, a man biting into a raw lizard, a dead dog drowned under water. It all adds up to the sense of being privvy to a perversity usually kept under wraps, and one uniquely disconnected from the American Dream.\u003c/p>\n\u003cp>And, it must be noted, black audiences ate it up. As told by Van Peebles, he could only open the film in two theaters, one in Atlanta and one in Detroit. In Detroit, only three people came to the first show and none to the second. But for the third, the Black Panthers showed up in force and eventually the lines went around the block as word spread. The film did by some accounts $15 million at the box office on a budget of $500,000, partly because of heavy promotion by the Panthers.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“No him, no me,” Dizzy Gillespie once said of Louis Armstrong. In the continuum of African American cinema, \u003ci>Sweet Sweetback’s Baadasssss Song\u003c/i> is at the forefront.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_10134584\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/sweetbackposter.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/sweetbackposter.jpg\" alt=\"Sweet Sweetback's Baadasssss Song\" width=\"500\" height=\"746\" class=\"size-full wp-image-10134584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/sweetbackposter.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/sweetbackposter-400x596.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/sweetbackposter-201x300.jpg 201w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sweet Sweetback’s Baadasssss Song\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>In this occasional series, Jon Brooks looks at films that illustrate different aspects of California culture.\u003c/i>\u003c/p>\n\u003cp>Melvin Van Peebles said he made \u003ci>Sweet Sweetback’s Baadasssss Song\u003c/i>, released in 1971, because he didn’t much care for the way movies portrayed African Americans. When asked later by an interviewer to name some of the films he took issue with, he said, “About every damn thing that had a black person in it.”\u003c/p>\n\u003cp>So while it’s a long way from \u003ca href=\"https://www.google.com/search?q=hattie%20+mcdaniel\">Hattie McDaniel\u003c/a> to \u003ca href=\"https://www.google.com/search?q=sidney+poitier\">Sidney Poitier\u003c/a>, it may be an even more distant journey from Poitier to Van Peebles.\u003c/p>\n\u003cp>The title of \u003ci>Sweet Sweetback’s Baadasssss Song\u003c/i> alone is enough to give pause. The repetition in front, the extra vowel and prolonged sibilance near the rear — suspicion arises that such an affront to the tradition of concise movie titling can only be a juvenile ploy for attention. Things don’t get any more routine once the film starts. A series of shots showing five black women facing the camera is presented with an asymmetrical, vexing syntax: closeup, cut to closeup, pan to closeup, cut to two-shot. The women stare at something but don’t appear to be looking at the same fixed point, another visual pebble in the shoe. In conjunction with the whirring on the soundtrack, it all feels spacey and disorienting.\u003c/p>\n\u003cp>Eventually we see what — or who– holds the women’s attention: a ragged, filthy black boy, his skull marked by bald patches where ringworm has set in. Voraciously, he shovels food into his mouth. Quick freeze frame and cut to a black man, emerging from an underpass, running toward the camera. An epigraph appears on-screen, for some reason in English and French: “Sire, these lines are not a homage to brutality that the artist has invented, but a hymn from the mouth of reality.” That’s a “traditional prologue of the dark ages,” we are told.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> We hear a train, then a siren. Fade. Another on-screen message: “This film is dedicated to all the brothers and sisters who had enough of the Man” (no period).\u003c/p>\n\u003cp>Back to the boy. No dialogue, but we hear the exaggerated clang of dishes. Now the boy is carrying towels; a woman beckons him to her room. She takes her clothes off, then undresses him. Some sort of industrial machinery on the soundtrack. She pulls the boy, maybe all of 12, on top of her. “Move!” she chides. A gospel song on the soundtrack. The boy dutifully humps the woman, who is brought to orgasm. “This little light of mine, I’m gonna let it shine!” we hear sung. “F—,” the woman moans. “You got a sweet, sweet back.”\u003c/p>\n\u003cp>Freeze frame. Big red letters in cartoonish font cover the screen: “Sweet Sweetback’s Baad Asssss Song.” Jazz-funk music over credits:\u003c/p>\n\u003cp style=\"margin-right: 20px;margin-left: 20px\">Starring\u003cbr>\nTHE BLACK COMMUNITY\u003cbr>\nand\u003cbr>\nBRER SOUL.\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/0rD1OzJVoWY'\n title='//www.youtube.com/embed/0rD1OzJVoWY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We’re five minutes in and, uh, just what the hell is going on here? Imagine the disorientation, before \u003ca href=\"http://www.theroot.com/articles/culture/2011/04/blaxploitation_films_40_years_after_sweet_sweetbacks_baadasssss_song.html\">blaxploitation\u003c/a> took hold, from all those black faces on-screen, alone. (Tyler Perry, Spike Lee, Denzel Washington, Wesley Snipes, Samuel Jackson were all just gleams in Hollywood’s eye.) The rest of the film is a political bomb thrown at the movie establishment, and at the “technological colonization of the white aesthetic,” as Van Peebles put it.\u003c/p>\n\u003cp>The boy who lays down with the prostitute (played by Van Peebles’ son Mario) in one freakishly effective cut arises a man. He now earns his keep as a sexual performer in a hard-core burlesque show for mixed-race audiences. Sweetback, as played by Van Peebles, does not derive even an iota of sexual satisfaction from the erotic encounters we see. When the show’s emcee, a fey black man in fairy godmother costume, invites audience members to have sex with Sweetback, a white woman is eager. But the brothel owner shakes his head — not in front of the white cops who have wandered in. “The offer’s only open to … sisters,” the emcee adds.\u003c/p>\n\u003cp>At the time of the film’s release, at least one black group was critical: “Van Peebles pictures sexual freakishness as an essential and unmistakable part of black reality and history, a total distortion and gross affront to black people.” But some black Americans undoubtedly related to the total lack of agency experienced by the character. Objectified, fetishized, Sweetback is such a complete cipher that his employer hands him over to the cops to serve as a fake suspect in a murder. While taking Sweetback to the station, the policemen arrest a young black radical and work him over. For a time Sweetback impassively observes the brutality. But he eventually comes to the radical’s defense, attacking the cops. From then on he roams L.A. as a fugitive. We frequently see him literally on the run, and not necessarily from an immediate pursuer, so that his flight becomes the central metaphor of the film, an almost mythological task. Between these desperate flights, the rest of the film happens: Sweetback has various encounters as the police continue their search, and he winds up in the desert with LAPD canines hot on his trail.\u003c/p>\n\u003cp>Van Peebles recounted a story from the movie’s opening in Atlanta, sitting next to an elderly black woman who mumbled, “Oh Lord, let him die in the desert, don’t let them kill him.” He said about the incident: “It was beyond any thought that someone would defy a white authority and live.”\u003c/p>\n\u003cp>Which brings up the film’s most explosive component: the overt racism and brutality against blacks on display by the LAPD, an \u003ca href=\"http://en.wikipedia.org/wiki/Los_Angeles_Police_Department#Misconduct\">issue that has plagued the department and the community it polices\u003c/a> for decades. We see white police fire a gun next to a black man’s ear; the police commissioner spits out a “nigger” then apologizes to his black officers: “I didn’t mean any offense by that word.” In a case of mistaken identity, cops brutally beat a black man in bed with a white woman. “That’s not him,” one of them realizes. “So what?” says the other.\u003c/p>\n\u003cp>Not exactly crossover material. While \u003ci>Sweetback\u003c/i> is often credited with ushering in the \u003ca href=\"http://en.wikipedia.org/wiki/Blaxploitation\">blaxploitation genre\u003c/a>, it has a much rawer quality than those subsequent 1970s films. And as far as style goes, well, call it impressionistic, call it off-the-wall, or call it a travesty, even. I’ve seen it four times and I still have a hard time figuring out what’s going on. Some audiences weaned on traditional film grammar will find it utterly inaccessible, and you can’t always determine what is a piece of experimental brilliance and what is simply a mistake. If the film has any stylistic antecedents, they’re the films of the French New Wave.\u003c/p>\n\u003cp>Though he’d directed two other features, Van Peebles began his career with no training. He made \u003ci>Sweetback\u003c/i> with a non-union, multi-ethnic crew, half of whom had never seen a camera before, according to the director. They shot guerilla-style, working 20-hour days for almost three weeks. Things went helter skelter on the set. Crew members were arrested. A real gun wound up in the prop box. The film uses mostly amateur actors (including Van Peebles as Sweetback, his stoicism logical and effective, but just as likely due to lack of ability), and the dialogue often feels improvised or uneasily remembered. Dubbed lines, color filters, cross-cut sequences disjointed by an inconsistent soundtrack, repeated shots, freeze frames, double exposures, barely visible lighting — all on display.\u003c/p>\n\u003cp>Even the music at times disintegrates into a shambles. But it’s also the music that frequently compels us to keep watching, and the film actually might be intolerable without it. Written by Van Peebles and recorded by newcomers Earth, Wind and Fire, the jazz-funk score is an all-time great. While you can often lose the narrative thread of \u003ci>Sweetback\u003c/i>, the music married to frequently striking visuals provides some sublimely lyrical moments, a poetic soul-on-fire feeling evoking the metamorphosis of degradation into resilience. It’s probably as apt an anthem as any for the roiling rebellion of that era.\u003c/p>\n\u003cp>Contrary to the Atlanta woman’s fatalism regarding cinematic rebellion by black people, Sweetback manages to escape his pursuers, and the film ends with another on-screen message: “Watch out… a Bad Assss nigger is coming back to collect some dues.”\u003c/p>\n\u003cp>We never did get to see that payment — Van Peebles did not make the sequels he’d intended. So those who craved cinematic catharsis in the form of black retribution against the white power structure had to wait until a \u003ca href=\"http://www.nytimes.com/2012/12/25/movies/quentin-tarantinos-django-unchained-stars-jamie-foxx.html?_r=0\">white director offered it up \u003c/a> 40 years later.\u003c/p>\n\u003cp>Before \u003ci>Sweetback\u003c/i>, Van Peebles had once looked forward to completing a three-picture deal with Columbia, but he’d quarreled with the studio over the ending to \u003ca href=\"http://en.wikipedia.org/wiki/Watermelon_Man_%28film%29\">\u003ci>Watermelon Man\u003c/i>\u003c/a>, a film about a bigoted white man who one day wakes up black. Van Peebles said he sunk “every penny I had” into \u003ci>Sweetback\u003c/i>, completing it with no studio money and a production-saving $50,000 loan from — of all people — Bill Cosby. His studio career over, he turned to the theater, music, and other endeavors.\u003c/p>\n\u003cp>Not every critic took to \u003ci>Sweetback\u003c/i>, as you may imagine. Vincent Canby of the \u003ci>New York Times\u003c/i> \u003ca href=\"http://www.nytimes.com/movie/review?%20res=9801E2D71F3BE73ABC4153DFB366838A669EDE\">reviewed it\u003c/a> like this: \u003c/p>\n\u003cp style=\"margin-right: 20px;margin-left: 20px\">“The movie is the story of Sweet Sweetback’s Baadasssss Flight, accompanied by lots of soundtrack song, a journey made eventually intolerable not only by the hardships and the duplicity (of even white counter-culturalists like the Hells Angels), but by the simplistic sensationalism of the treatment and the eye-disorienting visual style that substitutes film school technical complexities (such as the superimposition of double, triple and quadruple images) for dramatic content. Instead of dramatizing injustice, Van Peebles merchandizes it. With the exception of perhaps a dozen scenes, the movie is composed almost entirely of the sort of fancy montages with which television (is) the goal. Still to be found are a director and a choreographer to guide a cast of about 25.\u003c/p>\n\u003cp>But I think of this in-your-face look at institutional racism along the lines of Henry Miller’s definition of his own \u003ci>Tropic of Cancer\u003c/i>: “This is not a book. This is libel, slander, defamation of character. This is not a book, in the ordinary sense of the word. No, this is a prolonged insult, a gob of spit in the face of Art, a kick in the pants to God, Man, Destiny, Time, Love, Beauty …” Indeed, some things in this movie only John Waters could love: a man on a toilet moving his bowels and wiping himself, a man biting into a raw lizard, a dead dog drowned under water. It all adds up to the sense of being privvy to a perversity usually kept under wraps, and one uniquely disconnected from the American Dream.\u003c/p>\n\u003cp>And, it must be noted, black audiences ate it up. As told by Van Peebles, he could only open the film in two theaters, one in Atlanta and one in Detroit. In Detroit, only three people came to the first show and none to the second. But for the third, the Black Panthers showed up in force and eventually the lines went around the block as word spread. The film did by some accounts $15 million at the box office on a budget of $500,000, partly because of heavy promotion by the Panthers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“No him, no me,” Dizzy Gillespie once said of Louis Armstrong. In the continuum of African American cinema, \u003ci>Sweet Sweetback’s Baadasssss Song\u003c/i> is at the forefront.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“Forget it Jake; it’s Chinatown.”\u003c/p>\n\u003cp>Has another American film ever wrapped itself up so neatly in one last line? While the coda never attained the mythological status of “Rosebud,” it’s at least as worthy of rumination. Who hasn’t, after all, been caught in circumstances where the game is rigged, you can’t win for losing, and only the good die young — at least metaphorically? Where personal depravity festers into institutional corruption? Though the \u003ca href=\"http://www.kcet.org/arts/artbound/counties/los-angeles/los-angeles-aqueduct-there-it-is-take-it.html\">historicity of the film is at best vague\u003c/a>, the message is anything but: that the needs of the many are always subordinate to the solipsism of the rich and powerful, and those who stand in their way are going to get plowed under. Or at least wind up with a sliced nostril.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=8SPakQ7hH6I&w=480&h=270]\u003c/p>\n\u003cp>So director Roman Polanski and screenwriter Robert Towne’s 1974 film offers us all the trappings of classic film noir — but in color. The plot: J.J. “Jake” Gittes (Jack Nicholson) is an ex-cop and current private eye in 1937 drought-stricken L.A. who gets lured into a case ostensibly concerning marital infidelity. The plot then thickens — or dampens, rather — revealing a conspiracy involving water and where it goes. As he navigates his way through an array of self-interested liars, Gittes, naturally, plunges into a rabbit hole of intrigue, greed and corruption. There is also a murder, a crooked ex-sheriff, thugs, benighted cops, and a beautiful woman (Faye Dunaway), along with a jazzy music score and gorgeous cinematography evoking a romantic past.\u003c/p>\n\u003cp>But this is no ordinary noir. In this \u003ca href=\"http://en.wikipedia.org/wiki/New_Hollywood\">New Hollywood\u003c/a>, era, comforting genres got turned on their heads, and revisionist films like \u003ci>Bonnie and Clyde\u003c/i>, \u003ci>McCabe and Mrs. Miller\u003c/i>, and The Long Goodbye subverted old tropes while exploding audience expectations. The precipitating event in Chinatown — a dissembling woman hiringa private dick — echoes Brigid O’Shaugnessy working Sam Spade at the start of \u003ci>The Maltese Falcon\u003c/i>, that archetypal noir. But where Bogart’s Spade kept turning the tables on the rogues gallery attempting to ensnare him, Gittes is a man who makes a habit of arriving a day late and a dollar short. The fact that he can handle himself belies the fact that his idealism makes him ill-suited for the business. And can you imagine Bogart or Mitchum indulging in the kind of ingenuous delight Nicholson displays in his eagerness to tell a dirty joke? Or that any of the image peddlers in the heyday of noir would have signed off on their leading man walking around for a good chunk of the film with his nose covered by a large bandage?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/chinatownnose.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>Meanwhile, Faye Dunaway’s Evelyn Mulwray lies and evades, following the classic femme fatale script. She’s too sexy to ignore but too dangerous to trust, right up to the denouement, when…. bam! We find out that the mystery woman Gittes has been chasing is in fact Evelyn’s own daughter by her father (John Huston). One can only imagine how audiences responded in 1974, when incest was not a topic of talk shows and self-help books. Here, the repressed emotions and transgressed taboos that classic Hollywood excelled at subversively communicating under the stricture of the \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=93301189\">Production Code\u003c/a> are brought out of the two-toned noir shadows and thrown into colorful stark relief, and the audience gets the same rough education as Gittes. “My father and I … understand?” Evelyn asks him, disgust suffusing her voice, after Gittes has slapped the truth out of her. “Or is it too tough for you?” That’s a question for us, as well. Do we, like Gittes, have the stomach for anything stronger than subtext in our on-screen fantasies? Where the femme fatale is not the root of original sin, but a broken victim?\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/chinatown2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/chinatown4.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/chinatown7.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>The ending, which Polanski had to fight for, is one of the bleakest in American cinema. When Huston’s Noah Cross drags his daughter/granddaughter away, the failure of our detective hero is complete, and we know that history will repeat in Cross’ perverse sexuality and in his successful financial scheming. If Gittes has solved any mystery, it’s only that in the face of powerful forces you don’t understand, it’s better to do “as little as possible,” as they used to say on his old Chinatown beat.\u003c/p>\n\u003cp>What else makes the movie great? The rich sepia-toned cinematography lends a parched but beautiful look to a story with a backdrop of drought. The atmosphere is grim; everyone’s suspicious, wary, or cranky. And the acting is out of this world. Nicholson’s Gittes is another in an extraordinary run of indelible performances over a six-year period (\u003ci>Five Easy Pieces\u003c/i>, \u003ci>Carnal Knowledge\u003c/i>, \u003ci>The King of Marvin Gardens\u003c/i>, \u003ci>The Last Detail\u003c/i>, and \u003ci>One Flew Over the Cuckoo’s Nest\u003c/i>). Dunaway may go him one better; in a star turn of supreme intelligence, her fragility comes into focus only after her horrifying secret is revealed. At one point she stumbles over the words “my father,” looking blankly into the distance, the familial term seeming to confound all reason. Later, while naked, she covers herself up at his mention.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/chinatown8.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>With good reason. “I don’t blame myself,” the robber baron and pedophile says about the sexual abuse of his daughter. “Most people never have to face the fact that at the right time and the right place, they’re capable of \u003ci>anything\u003c/i>.” John Huston as Noah Cross lends the type of megalomania that can only come from personal experience. Yet something comical stirs amid the monstrousness — he’s a ruffian who has terrorized his way into high society but can barely conceal his pirate’s heart. At the end, when he is shot point blank, he naturally suffers only a flesh wound. A mere bullet, it seems, cannot defeat such an embodiment of avarice.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Because this is \u003ci>Chinatown\u003c/i>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Forget it Jake; it’s Chinatown.”\u003c/p>\n\u003cp>Has another American film ever wrapped itself up so neatly in one last line? While the coda never attained the mythological status of “Rosebud,” it’s at least as worthy of rumination. Who hasn’t, after all, been caught in circumstances where the game is rigged, you can’t win for losing, and only the good die young — at least metaphorically? Where personal depravity festers into institutional corruption? Though the \u003ca href=\"http://www.kcet.org/arts/artbound/counties/los-angeles/los-angeles-aqueduct-there-it-is-take-it.html\">historicity of the film is at best vague\u003c/a>, the message is anything but: that the needs of the many are always subordinate to the solipsism of the rich and powerful, and those who stand in their way are going to get plowed under. Or at least wind up with a sliced nostril.\u003c/p>\n\u003cp>\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/8SPakQ7hH6I'\n title='//www.youtube.com/embed/8SPakQ7hH6I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>So director Roman Polanski and screenwriter Robert Towne’s 1974 film offers us all the trappings of classic film noir — but in color. The plot: J.J. “Jake” Gittes (Jack Nicholson) is an ex-cop and current private eye in 1937 drought-stricken L.A. who gets lured into a case ostensibly concerning marital infidelity. The plot then thickens — or dampens, rather — revealing a conspiracy involving water and where it goes. As he navigates his way through an array of self-interested liars, Gittes, naturally, plunges into a rabbit hole of intrigue, greed and corruption. There is also a murder, a crooked ex-sheriff, thugs, benighted cops, and a beautiful woman (Faye Dunaway), along with a jazzy music score and gorgeous cinematography evoking a romantic past.\u003c/p>\n\u003cp>But this is no ordinary noir. In this \u003ca href=\"http://en.wikipedia.org/wiki/New_Hollywood\">New Hollywood\u003c/a>, era, comforting genres got turned on their heads, and revisionist films like \u003ci>Bonnie and Clyde\u003c/i>, \u003ci>McCabe and Mrs. Miller\u003c/i>, and The Long Goodbye subverted old tropes while exploding audience expectations. The precipitating event in Chinatown — a dissembling woman hiringa private dick — echoes Brigid O’Shaugnessy working Sam Spade at the start of \u003ci>The Maltese Falcon\u003c/i>, that archetypal noir. But where Bogart’s Spade kept turning the tables on the rogues gallery attempting to ensnare him, Gittes is a man who makes a habit of arriving a day late and a dollar short. The fact that he can handle himself belies the fact that his idealism makes him ill-suited for the business. And can you imagine Bogart or Mitchum indulging in the kind of ingenuous delight Nicholson displays in his eagerness to tell a dirty joke? Or that any of the image peddlers in the heyday of noir would have signed off on their leading man walking around for a good chunk of the film with his nose covered by a large bandage?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/chinatownnose.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>Meanwhile, Faye Dunaway’s Evelyn Mulwray lies and evades, following the classic femme fatale script. She’s too sexy to ignore but too dangerous to trust, right up to the denouement, when…. bam! We find out that the mystery woman Gittes has been chasing is in fact Evelyn’s own daughter by her father (John Huston). One can only imagine how audiences responded in 1974, when incest was not a topic of talk shows and self-help books. Here, the repressed emotions and transgressed taboos that classic Hollywood excelled at subversively communicating under the stricture of the \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=93301189\">Production Code\u003c/a> are brought out of the two-toned noir shadows and thrown into colorful stark relief, and the audience gets the same rough education as Gittes. “My father and I … understand?” Evelyn asks him, disgust suffusing her voice, after Gittes has slapped the truth out of her. “Or is it too tough for you?” That’s a question for us, as well. Do we, like Gittes, have the stomach for anything stronger than subtext in our on-screen fantasies? Where the femme fatale is not the root of original sin, but a broken victim?\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/chinatown2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/chinatown4.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/chinatown7.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>The ending, which Polanski had to fight for, is one of the bleakest in American cinema. When Huston’s Noah Cross drags his daughter/granddaughter away, the failure of our detective hero is complete, and we know that history will repeat in Cross’ perverse sexuality and in his successful financial scheming. If Gittes has solved any mystery, it’s only that in the face of powerful forces you don’t understand, it’s better to do “as little as possible,” as they used to say on his old Chinatown beat.\u003c/p>\n\u003cp>What else makes the movie great? The rich sepia-toned cinematography lends a parched but beautiful look to a story with a backdrop of drought. The atmosphere is grim; everyone’s suspicious, wary, or cranky. And the acting is out of this world. Nicholson’s Gittes is another in an extraordinary run of indelible performances over a six-year period (\u003ci>Five Easy Pieces\u003c/i>, \u003ci>Carnal Knowledge\u003c/i>, \u003ci>The King of Marvin Gardens\u003c/i>, \u003ci>The Last Detail\u003c/i>, and \u003ci>One Flew Over the Cuckoo’s Nest\u003c/i>). Dunaway may go him one better; in a star turn of supreme intelligence, her fragility comes into focus only after her horrifying secret is revealed. At one point she stumbles over the words “my father,” looking blankly into the distance, the familial term seeming to confound all reason. Later, while naked, she covers herself up at his mention.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/chinatown8.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>With good reason. “I don’t blame myself,” the robber baron and pedophile says about the sexual abuse of his daughter. “Most people never have to face the fact that at the right time and the right place, they’re capable of \u003ci>anything\u003c/i>.” John Huston as Noah Cross lends the type of megalomania that can only come from personal experience. Yet something comical stirs amid the monstrousness — he’s a ruffian who has terrorized his way into high society but can barely conceal his pirate’s heart. At the end, when he is shot point blank, he naturally suffers only a flesh wound. A mere bullet, it seems, cannot defeat such an embodiment of avarice.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Because this is \u003ci>Chinatown\u003c/i>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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