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"content": "\u003cp>“The greatest thing you’ll ever learn, is just to love and be loved in return.” So sang Nat King Cole in 1948’s “Nature Boy.”\u003c/p>\n\u003cp>[aside postid='arts_13962259']What Mr. Cole failed to mention was just how challenging that task might prove to be in reality — especially for the more mature folks in the dating pool. As youth fades, baggage collects and personalities harden, finding a love that is mutual, uncomplicated and, well, \u003cem>great\u003c/em>, can be a mighty big challenge. And that many-splendored thing is what \u003cem>Between the Temples\u003c/em> is all about.\u003c/p>\n\u003cp>In this ’70s-style drama, Jason Schwartzman plays Ben, a Jewish cantor who has lost his wife, his singing voice and, for the most part, his will to participate in life. One night at the local tavern, while attempting to drown his grief with mudslides (his embarrassing beverage of choice), he stands up to the wrong townie and gets a punch in the chops for his trouble. The person who comes to his aid is the kooky but naturally kind Carla (Carol Kane in dazzling form). Ben recognizes Carla as his former school music teacher and soon, that old thread begins to tie their lives back together.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DeqBcFAOOoU\u003c/p>\n\u003cp>Ostensibly, the storyline of \u003cem>Between the Temples\u003c/em> revolves around Carla’s desire to have a bat mitzvah — a right of passage she was denied by the Communist parents she grew up with. Ben (reluctantly) agrees to help the unconventional septuagenarian with the process and soon he finds himself with a spring in his step that’s been absent since his wife’s sudden death. Ben and Carla impart wisdom, kindness, music and the occasional hallucinogen to each other, and both of their lives are much improved for it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meanwhile, the people closest to Ben — in particular his infuriating stepmother, Judith (Dolly De Leon) — are pushing hard for Ben to find love with the rabbi’s beautiful daughter, Gabby (Madeline Weinstein). Gabby herself is recovering from a major heartbreak and both her and Ben’s parents assume that two sads might make a happy. Gabby is keen to the point of trying to latch on to Ben’s deceased wife in ways that are almost vampiric. She is also entirely incapable of grasping Ben’s friendship with Carla — but she’s not the only one. Carla’s son Nat (a brilliantly objectionable Matthew Shear) is aghast at the mere sight of a younger man in his mom’s home, further complicated by the fact that Ben is wearing Nat’s pajamas at the time.\u003c/p>\n\u003cp>[aside postid='arts_13962666']\u003cem>Between the Temples\u003c/em> is one of those movies that’s about nothing and everything all at once. It’s about complicated humans muddling through and grasping for joy wherever they can find it. It’s about being seen and accepted for who you are. It’s about reaching a point in life when being impervious to other people’s judgments becomes perfectly natural. It’s also very funny in a variety of unexpected ways.\u003c/p>\n\u003cp>If you loved \u003cem>Harold and Maude\u003c/em>, \u003cem>Withnail and I\u003c/em> and \u003cem>Annie Hall\u003c/em>, you’ll appreciate \u003cem>Between the Temples\u003c/em>’ low-key but unerringly oddball characters, complex companionships and dry humor. And if you’ve ever loved and lost and then loved again? \u003cem>Between the Temples\u003c/em> will leave you renewed and aglow, just like its central characters.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Between the Temples’ opens in Bay Area theaters on Aug. 23, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cp>We love a recommendation from a respected source. And when an artist working in one medium recommends an artwork in another, it’s an extra treat. Here is another avenue into that person’s practice, a way to better understand their interests and creative inspirations. Also, talented people tend to like cool stuff.\u003c/p>\n\u003cp>It was a sense of this alternate entry point, combined with a desire to celebrate, as \u003cem>\u003ca href=\"https://www.zyzzyva.org/\">Zyzzyva\u003c/a>\u003c/em> Editor Oscar Villalon says, “the simple act of hanging out” that brought about San Francisco’s latest cross-disciplinary event, \u003cem>Zyzzyva\u003c/em> Movie Night at the Roxie.\u003c/p>\n\u003cp>“One of the things that we talked about was how we really longed for a place and a time for the literary community to come together,” says author \u003ca href=\"https://www.kqed.org/arts/13915986/ingrid-rojas-contreras-man-who-could-move-clouds-penguin\">Ingrid Rojas Contreras\u003c/a>, who’s co-hosting the series with Villalon. Specifically, she says, they were interested in “places that were outside of the traditional book releases and readings.”\u003c/p>\n\u003cp>With a bit more brainstorming, \u003cem>Zyzzyva\u003c/em> Movie Night was born as a new, quarterly film series that answers the question, “What are your favorite writers watching?”\u003c/p>\n\u003cp>[aside postID='arts_13956967']First up on Tuesday, July 30 is a pick from local author R.O. Kwon: the deliciously kinky 2002 movie \u003ci>\u003ca href=\"https://roxie.com/film/zzyva-movie-night-secretary/\">Secretary\u003c/a>\u003c/i>. Starring Maggie Gyllenhaal and James Spader, the film is loosely adapted from a Mary Gaitskill short story, and dives into BDSM, office power dynamics and the erotic possibilities of “dull work.” It’s a logical, delightful selection from Kwon, whose most recent novel, \u003ci>\u003ca href=\"https://www.kqed.org/arts/13956967/r-o-kwon-exhibit-new-novel-ingrid-rojas-contreras-book-launch\">Exhibit\u003c/a>\u003c/i>, centers on a sadomasochistic affair between a photographer and a ballerina.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Contreras says \u003ci>Secretary\u003c/i> is an important first pick for other, more ideological reasons. “So much of what’s happening politically is trying to kill the art in us or the soft parts of us,” she says. “I think it’s so important to insist that our mental landscapes bend toward wanting art, toward desire and toward humanity.”\u003c/p>\n\u003cp>In the spirit of tangible, in-person revelry, the movie night is also a collaboration with Dog Eared Books, who will be set up in the Roxie’s lobby with copies of \u003ci>Exhibit\u003c/i> and Kwon’s on-theme “\u003ca href=\"https://dog-eared-valencia.square.site/\">recommended reading\u003c/a>”: Torrey Peters’ \u003ci>Detransition, Baby\u003c/i>; Audre Lorde’s \u003ci>Sister Outsider\u003c/i>; and Raven Leilani’s \u003ci>Luster\u003c/i>. Kwon will linger after the screening for a short conversation about the movie and what it means to truly pursue desire.\u003c/p>\n\u003cp>One of Villalon’s dreams for \u003cem>Zyzzyva\u003c/em> Movie Night is to create a literary event that people would be excited to bring their less bookish friend to. “Maybe this sounds a little silly, but I don’t think it is — something like an opportunity for an affordable first date,” he says.\u003c/p>\n\u003cp>(Warning to those considering \u003ci>Secretary\u003c/i> as first date fodder: be prepared to possibly cover a lot of ground about one’s specific — ahem — likes and dislikes during that post-movie tête-à-tête.)\u003c/p>\n\u003cp>Contreras and Villalon envision the series as a quarterly endeavor. The next \u003cem>Zyzzyva\u003c/em> Movie Night will feature novelist and poet Kaveh Akbar (author of the much-celebrated \u003ci>\u003ca href=\"https://www.npr.org/2024/01/29/1227116232/book-review-martyr-by-kaveh-akbar\">Martyr!\u003c/a>\u003c/i>) on Oct. 13, in collaboration with Litquake.\u003c/p>\n\u003cp>For Villalon, who came on as the literary journal’s third editor a little over a year ago, this is a natural extension of \u003cem>Zyzzyva\u003c/em>’s previous decades of programming, and an example of the direction he wants the journal to take moving forward. \u003cem>Zyzzyva\u003c/em> will celebrate its 40th anniversary in 2025.\u003c/p>\n\u003cp>“We really want to ingrain ourselves further in the city and in the Bay Area in general,” he says, “and be a facilitator for the community to come out and have a good time.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/film/zzyva-movie-night-secretary/\">Zyzzyva Movie Night: Secretary\u003c/a>’ takes place Tuesday, July 30, 2024 with doors opening at 5:30 p.m., movie starting at 6 p.m.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We love a recommendation from a respected source. And when an artist working in one medium recommends an artwork in another, it’s an extra treat. Here is another avenue into that person’s practice, a way to better understand their interests and creative inspirations. Also, talented people tend to like cool stuff.\u003c/p>\n\u003cp>It was a sense of this alternate entry point, combined with a desire to celebrate, as \u003cem>\u003ca href=\"https://www.zyzzyva.org/\">Zyzzyva\u003c/a>\u003c/em> Editor Oscar Villalon says, “the simple act of hanging out” that brought about San Francisco’s latest cross-disciplinary event, \u003cem>Zyzzyva\u003c/em> Movie Night at the Roxie.\u003c/p>\n\u003cp>“One of the things that we talked about was how we really longed for a place and a time for the literary community to come together,” says author \u003ca href=\"https://www.kqed.org/arts/13915986/ingrid-rojas-contreras-man-who-could-move-clouds-penguin\">Ingrid Rojas Contreras\u003c/a>, who’s co-hosting the series with Villalon. Specifically, she says, they were interested in “places that were outside of the traditional book releases and readings.”\u003c/p>\n\u003cp>With a bit more brainstorming, \u003cem>Zyzzyva\u003c/em> Movie Night was born as a new, quarterly film series that answers the question, “What are your favorite writers watching?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>First up on Tuesday, July 30 is a pick from local author R.O. Kwon: the deliciously kinky 2002 movie \u003ci>\u003ca href=\"https://roxie.com/film/zzyva-movie-night-secretary/\">Secretary\u003c/a>\u003c/i>. Starring Maggie Gyllenhaal and James Spader, the film is loosely adapted from a Mary Gaitskill short story, and dives into BDSM, office power dynamics and the erotic possibilities of “dull work.” It’s a logical, delightful selection from Kwon, whose most recent novel, \u003ci>\u003ca href=\"https://www.kqed.org/arts/13956967/r-o-kwon-exhibit-new-novel-ingrid-rojas-contreras-book-launch\">Exhibit\u003c/a>\u003c/i>, centers on a sadomasochistic affair between a photographer and a ballerina.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Contreras says \u003ci>Secretary\u003c/i> is an important first pick for other, more ideological reasons. “So much of what’s happening politically is trying to kill the art in us or the soft parts of us,” she says. “I think it’s so important to insist that our mental landscapes bend toward wanting art, toward desire and toward humanity.”\u003c/p>\n\u003cp>In the spirit of tangible, in-person revelry, the movie night is also a collaboration with Dog Eared Books, who will be set up in the Roxie’s lobby with copies of \u003ci>Exhibit\u003c/i> and Kwon’s on-theme “\u003ca href=\"https://dog-eared-valencia.square.site/\">recommended reading\u003c/a>”: Torrey Peters’ \u003ci>Detransition, Baby\u003c/i>; Audre Lorde’s \u003ci>Sister Outsider\u003c/i>; and Raven Leilani’s \u003ci>Luster\u003c/i>. Kwon will linger after the screening for a short conversation about the movie and what it means to truly pursue desire.\u003c/p>\n\u003cp>One of Villalon’s dreams for \u003cem>Zyzzyva\u003c/em> Movie Night is to create a literary event that people would be excited to bring their less bookish friend to. “Maybe this sounds a little silly, but I don’t think it is — something like an opportunity for an affordable first date,” he says.\u003c/p>\n\u003cp>(Warning to those considering \u003ci>Secretary\u003c/i> as first date fodder: be prepared to possibly cover a lot of ground about one’s specific — ahem — likes and dislikes during that post-movie tête-à-tête.)\u003c/p>\n\u003cp>Contreras and Villalon envision the series as a quarterly endeavor. The next \u003cem>Zyzzyva\u003c/em> Movie Night will feature novelist and poet Kaveh Akbar (author of the much-celebrated \u003ci>\u003ca href=\"https://www.npr.org/2024/01/29/1227116232/book-review-martyr-by-kaveh-akbar\">Martyr!\u003c/a>\u003c/i>) on Oct. 13, in collaboration with Litquake.\u003c/p>\n\u003cp>For Villalon, who came on as the literary journal’s third editor a little over a year ago, this is a natural extension of \u003cem>Zyzzyva\u003c/em>’s previous decades of programming, and an example of the direction he wants the journal to take moving forward. \u003cem>Zyzzyva\u003c/em> will celebrate its 40th anniversary in 2025.\u003c/p>\n\u003cp>“We really want to ingrain ourselves further in the city and in the Bay Area in general,” he says, “and be a facilitator for the community to come out and have a good time.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/film/zzyva-movie-night-secretary/\">Zyzzyva Movie Night: Secretary\u003c/a>’ takes place Tuesday, July 30, 2024 with doors opening at 5:30 p.m., movie starting at 6 p.m.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Skywalkers’ Takes Us to Dizzying Heights — But Only Physically",
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"content": "\u003cp>During the moments of quiet introspection — both of them – in Jeff Zimbalist and Maria Bukhonina’s high-rise climbing and posing documentary \u003cem>\u003ca href=\"https://www.netflix.com/title/81758544\">Skywalkers: A Love Story\u003c/a>\u003c/em> (new on Netflix after a short festival run that included Sundance and DocLands), I found myself thinking of another screen character with heights issues: San Francisco detective John “Scottie” Ferguson.\u003c/p>\n\u003cp>In my mind’s eye, I saw James Stewart clinging to a rooftop gutter in abject terror in the opening scene of Alfred Hitchcock’s devious \u003cem>Vertigo\u003c/em> (1958). Terribly traumatized and trundled off to a quiet sanitarium to recover, the poor man could barely climb a curb. Scottie’s problem, I realized watching \u003cem>Skywalkers\u003c/em>, was that he didn’t have an Instagram account, a camera-equipped drone and half a million followers.\u003c/p>\n\u003cp>Amusing as it is to imagine Stewart in the post-and-share digital age, it’s difficult to conceive of Ivan Beerkus and Angela Nikolau, the Russian protagonists of \u003cem>Skywalkers: A Love Story\u003c/em>, existing without social media.\u003c/p>\n\u003cp>Zimbalist and Bukhonina strategically park the lure of likes and lust for fame in the back seat throughout \u003cem>Skywalkers\u003c/em>, depicting Ivan and Angela as driven by high-level impulses like trust and artistic expression. I never completely bought it; the film’s thematic and narrative pretensions feel like window-dressing for a nonstop (excuse me, immersive) onslaught of breathtaking images of two extremely attractive athletes-turned-models perched atop cranes, skyscrapers and landmarks around the world.\u003c/p>\n\u003cfigure id=\"attachment_13961324\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_31_34_00_2000.jpg\" alt=\"Woman in white tutu leaps on top of building with skyline in background\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13961324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_31_34_00_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_31_34_00_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_31_34_00_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_31_34_00_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_31_34_00_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_31_34_00_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_31_34_00_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Angela Nikolau in ‘Skywalkers: A Love Story.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Constructed and presented as an intimate portrait of a relationship under high stress, \u003cem>Skywalkers: A Love Story\u003c/em> really belongs in the extreme-sports subgenre of documentary. Its main selling point — how rude of me to put it so crassly — is the visceral thrill of watching young people straining, sweating, swirling and twirling in extreme jeopardy while we cradle a cold IPA on our couch. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thanks to the technologies of digital video, GoPro cameras and drones, the photography consistently finds the sweet spot between “incredible” and “impossible.” There are so many drop-dead gorgeous shots, in fact, that the filmmakers can package them like throwaways in quick-cut collages.\u003c/p>\n\u003cp>In those breathtaking aerial vistas, Angela and Ivan resemble Plasticine action figures as much as gravity-defying human beings. It’s a trick of the camera and the eye, but also a product of surface-level filmmaking.\u003c/p>\n\u003cp>The doc hooks us at the outset with the drama of Ivan and Angela trapped mid-climb in Merdeka 118, a massive yet elegant office building under construction in Kuala Lumpur, Malaysia. Then \u003cem>Skywalkers\u003c/em> introduces the duo via flashbacks that succinctly encapsulate their origin stories. Be advised that the backstories don’t interest the filmmakers except to the degree they can be used for thumbnail character definition and toe-deep psychological insight. Or to tie a bow around a character at the film’s climax.\u003c/p>\n\u003cfigure id=\"attachment_13961326\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_43_14_08_2000.jpg\" alt=\"Woman in acrobatic pose in a gym\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13961326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_43_14_08_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_43_14_08_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_43_14_08_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_43_14_08_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_43_14_08_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_43_14_08_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_43_14_08_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Angela Nikolau in ‘Skywalkers: A Love Story.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vanya had an unmemorable adolescence until he discovered rooftopping. “The higher I went, the easier it was to breathe,” he recalls. He’s neither a daredevil nor a rebel; his defining attribute appears to be a total lack of fear. His parents, like characters in a Nicholas Ray film, don’t understand him; they wish Vanya would accept the well-paying sales-rep job that dad has arranged through a friend.\u003c/p>\n\u003cp>Even the most risk-averse couch-sitter (i.e., your correspondent) silently cheers when Vanya respectfully passes on his dad’s invitation to enter the workaday world via the front door. It would be nice, though, if \u003cem>Skywalkers\u003c/em> provided more details about Vanya’s sponsorship deals. But any focus on the protagonists as business operators would dilute the rush and romance of their high-altitude, high-risk endeavors.\u003c/p>\n\u003cp>Angela’s parents were circus performers who enrolled her in acrobatics training at a young age. She learned about partnership watching them in action — until her father left for another woman. “I made a rule,” Angela relates in voice-over. “Never depend on anyone but myself.”\u003c/p>\n\u003cp>While we wait for Dr. Freud to pick up the white courtesy telephone, Angela describes the chip on her shoulder (a combination of ambition and attitude) as the lone female rooftopper in Moscow. Even then, she tracked and marveled at Vanya’s globe-spanning accomplishments. \u003c/p>\n\u003cfigure id=\"attachment_13961322\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_01_37_46_19_2000.jpg\" alt=\"Two people lean on each other in back seat of car under purple light\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13961322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_01_37_46_19_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_01_37_46_19_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_01_37_46_19_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_01_37_46_19_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_01_37_46_19_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_01_37_46_19_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_01_37_46_19_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Angela Nikolau and Ivan Beerkus in ‘Skywalkers: A Love Story.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When they get together, the movie has our full attention. Not, as you might expect, because of added sexual tension — \u003cem>Skywalkers\u003c/em> is more chaste than the average Disney animated film, weirdly. And while the greater complexities and complications of two-person climbs-slash-photo sessions are compelling, they don’t fully explain the film’s grip on us.\u003c/p>\n\u003cp>I think the presence of a second character works, in the case of both Angela and Vanya, to counteract the unattractive side effects of self-sufficiency: selfishness, ruthlessness, narcissism and indifference to their own well-being. I suppose I am describing the narrative (and occasionally illusory) dynamic implicit in team sports that we respond to, and often prefer to individual achievement.\u003c/p>\n\u003cp>Or it may simply be that we would prefer to share the thrill, the pride, the adrenaline rush of being 118 stories above Earth’s concrete surface with another like-minded person. (Note how many ads hawk a product or activity via the added presence of family or friends.) And who among us can’t identify with a couple arguing about the composition and quality of a photograph or a pose … standing on a slender vantage point a quarter of a mile up in the air?\u003c/p>\n\u003cfigure id=\"attachment_13961321\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_32_52_19_2000.jpg\" alt=\"Looking town tall tower, someone holds a camera while another person poses\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13961321\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_32_52_19_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_32_52_19_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_32_52_19_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_32_52_19_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_32_52_19_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_32_52_19_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_32_52_19_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ivan Beerkus and Angela Nikolau compose a photograph in ‘Skywalkers: A Love Story.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Zimbalist, a prolific director and producer who scored out of the gate with \u003cem>Favela Rising\u003c/em> (2005) and \u003cem>The Two Escobars\u003c/em> (2010), is a master of breathless editing. His aesthetic combines a barrage of whiplash-quick cuts and close-up reaction shots into neatly packaged sequences that unambiguously convey their intended meaning. They are usually plot-related (i.e., storytelling blocks), but also serve to distill a character’s emotional state at that moment.\u003c/p>\n\u003cp>It is a kinetic kind of filmmaking that is very effective moment to moment but, in my view, doesn’t stick after the credits end. \u003cem>Skywalkers: A Love Story\u003c/em> is entertaining and even mesmerizing, heightened by the possibility that a sudden slip by Angela or Vanya could change its trajectory, but even those stakes can’t alchemize glibness into profundity.\u003c/p>\n\u003cp>Perhaps you will be moved when Vanya’s father and mother share their pride with him at the end of \u003cem>Skywalkers\u003c/em>. Or when Angela returns to Russia, as well, to present a gift to her grandmother. Maybe you will be inspired to take a selfie on your roof (and upload it, of course). Or, like Scottie, perhaps you will be relieved and thankful to feel your feet on the ground.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.netflix.com/title/81758544\">Skywalkers: A Love Story\u003c/a>’ begins streaming on Netflix on July 19, 2024.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>During the moments of quiet introspection — both of them – in Jeff Zimbalist and Maria Bukhonina’s high-rise climbing and posing documentary \u003cem>\u003ca href=\"https://www.netflix.com/title/81758544\">Skywalkers: A Love Story\u003c/a>\u003c/em> (new on Netflix after a short festival run that included Sundance and DocLands), I found myself thinking of another screen character with heights issues: San Francisco detective John “Scottie” Ferguson.\u003c/p>\n\u003cp>In my mind’s eye, I saw James Stewart clinging to a rooftop gutter in abject terror in the opening scene of Alfred Hitchcock’s devious \u003cem>Vertigo\u003c/em> (1958). Terribly traumatized and trundled off to a quiet sanitarium to recover, the poor man could barely climb a curb. Scottie’s problem, I realized watching \u003cem>Skywalkers\u003c/em>, was that he didn’t have an Instagram account, a camera-equipped drone and half a million followers.\u003c/p>\n\u003cp>Amusing as it is to imagine Stewart in the post-and-share digital age, it’s difficult to conceive of Ivan Beerkus and Angela Nikolau, the Russian protagonists of \u003cem>Skywalkers: A Love Story\u003c/em>, existing without social media.\u003c/p>\n\u003cp>Zimbalist and Bukhonina strategically park the lure of likes and lust for fame in the back seat throughout \u003cem>Skywalkers\u003c/em>, depicting Ivan and Angela as driven by high-level impulses like trust and artistic expression. I never completely bought it; the film’s thematic and narrative pretensions feel like window-dressing for a nonstop (excuse me, immersive) onslaught of breathtaking images of two extremely attractive athletes-turned-models perched atop cranes, skyscrapers and landmarks around the world.\u003c/p>\n\u003cfigure id=\"attachment_13961324\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_31_34_00_2000.jpg\" alt=\"Woman in white tutu leaps on top of building with skyline in background\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13961324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_31_34_00_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_31_34_00_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_31_34_00_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_31_34_00_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_31_34_00_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_31_34_00_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_31_34_00_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Angela Nikolau in ‘Skywalkers: A Love Story.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Constructed and presented as an intimate portrait of a relationship under high stress, \u003cem>Skywalkers: A Love Story\u003c/em> really belongs in the extreme-sports subgenre of documentary. Its main selling point — how rude of me to put it so crassly — is the visceral thrill of watching young people straining, sweating, swirling and twirling in extreme jeopardy while we cradle a cold IPA on our couch. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thanks to the technologies of digital video, GoPro cameras and drones, the photography consistently finds the sweet spot between “incredible” and “impossible.” There are so many drop-dead gorgeous shots, in fact, that the filmmakers can package them like throwaways in quick-cut collages.\u003c/p>\n\u003cp>In those breathtaking aerial vistas, Angela and Ivan resemble Plasticine action figures as much as gravity-defying human beings. It’s a trick of the camera and the eye, but also a product of surface-level filmmaking.\u003c/p>\n\u003cp>The doc hooks us at the outset with the drama of Ivan and Angela trapped mid-climb in Merdeka 118, a massive yet elegant office building under construction in Kuala Lumpur, Malaysia. Then \u003cem>Skywalkers\u003c/em> introduces the duo via flashbacks that succinctly encapsulate their origin stories. Be advised that the backstories don’t interest the filmmakers except to the degree they can be used for thumbnail character definition and toe-deep psychological insight. Or to tie a bow around a character at the film’s climax.\u003c/p>\n\u003cfigure id=\"attachment_13961326\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_43_14_08_2000.jpg\" alt=\"Woman in acrobatic pose in a gym\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13961326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_43_14_08_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_43_14_08_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_43_14_08_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_43_14_08_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_43_14_08_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_43_14_08_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_43_14_08_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Angela Nikolau in ‘Skywalkers: A Love Story.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vanya had an unmemorable adolescence until he discovered rooftopping. “The higher I went, the easier it was to breathe,” he recalls. He’s neither a daredevil nor a rebel; his defining attribute appears to be a total lack of fear. His parents, like characters in a Nicholas Ray film, don’t understand him; they wish Vanya would accept the well-paying sales-rep job that dad has arranged through a friend.\u003c/p>\n\u003cp>Even the most risk-averse couch-sitter (i.e., your correspondent) silently cheers when Vanya respectfully passes on his dad’s invitation to enter the workaday world via the front door. It would be nice, though, if \u003cem>Skywalkers\u003c/em> provided more details about Vanya’s sponsorship deals. But any focus on the protagonists as business operators would dilute the rush and romance of their high-altitude, high-risk endeavors.\u003c/p>\n\u003cp>Angela’s parents were circus performers who enrolled her in acrobatics training at a young age. She learned about partnership watching them in action — until her father left for another woman. “I made a rule,” Angela relates in voice-over. “Never depend on anyone but myself.”\u003c/p>\n\u003cp>While we wait for Dr. Freud to pick up the white courtesy telephone, Angela describes the chip on her shoulder (a combination of ambition and attitude) as the lone female rooftopper in Moscow. Even then, she tracked and marveled at Vanya’s globe-spanning accomplishments. \u003c/p>\n\u003cfigure id=\"attachment_13961322\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_01_37_46_19_2000.jpg\" alt=\"Two people lean on each other in back seat of car under purple light\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13961322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_01_37_46_19_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_01_37_46_19_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_01_37_46_19_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_01_37_46_19_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_01_37_46_19_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_01_37_46_19_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_01_37_46_19_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Angela Nikolau and Ivan Beerkus in ‘Skywalkers: A Love Story.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When they get together, the movie has our full attention. Not, as you might expect, because of added sexual tension — \u003cem>Skywalkers\u003c/em> is more chaste than the average Disney animated film, weirdly. And while the greater complexities and complications of two-person climbs-slash-photo sessions are compelling, they don’t fully explain the film’s grip on us.\u003c/p>\n\u003cp>I think the presence of a second character works, in the case of both Angela and Vanya, to counteract the unattractive side effects of self-sufficiency: selfishness, ruthlessness, narcissism and indifference to their own well-being. I suppose I am describing the narrative (and occasionally illusory) dynamic implicit in team sports that we respond to, and often prefer to individual achievement.\u003c/p>\n\u003cp>Or it may simply be that we would prefer to share the thrill, the pride, the adrenaline rush of being 118 stories above Earth’s concrete surface with another like-minded person. (Note how many ads hawk a product or activity via the added presence of family or friends.) And who among us can’t identify with a couple arguing about the composition and quality of a photograph or a pose … standing on a slender vantage point a quarter of a mile up in the air?\u003c/p>\n\u003cfigure id=\"attachment_13961321\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_32_52_19_2000.jpg\" alt=\"Looking town tall tower, someone holds a camera while another person poses\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13961321\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_32_52_19_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_32_52_19_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_32_52_19_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_32_52_19_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_32_52_19_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_32_52_19_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_32_52_19_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ivan Beerkus and Angela Nikolau compose a photograph in ‘Skywalkers: A Love Story.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Zimbalist, a prolific director and producer who scored out of the gate with \u003cem>Favela Rising\u003c/em> (2005) and \u003cem>The Two Escobars\u003c/em> (2010), is a master of breathless editing. His aesthetic combines a barrage of whiplash-quick cuts and close-up reaction shots into neatly packaged sequences that unambiguously convey their intended meaning. They are usually plot-related (i.e., storytelling blocks), but also serve to distill a character’s emotional state at that moment.\u003c/p>\n\u003cp>It is a kinetic kind of filmmaking that is very effective moment to moment but, in my view, doesn’t stick after the credits end. \u003cem>Skywalkers: A Love Story\u003c/em> is entertaining and even mesmerizing, heightened by the possibility that a sudden slip by Angela or Vanya could change its trajectory, but even those stakes can’t alchemize glibness into profundity.\u003c/p>\n\u003cp>Perhaps you will be moved when Vanya’s father and mother share their pride with him at the end of \u003cem>Skywalkers\u003c/em>. Or when Angela returns to Russia, as well, to present a gift to her grandmother. Maybe you will be inspired to take a selfie on your roof (and upload it, of course). Or, like Scottie, perhaps you will be relieved and thankful to feel your feet on the ground.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.netflix.com/title/81758544\">Skywalkers: A Love Story\u003c/a>’ begins streaming on Netflix on July 19, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "san-francisco-jewish-film-festival-lyd-nakba-israel-palestine",
"title": "At the Roxie, ‘Lyd’ Connects the Nakba to Today",
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"content": "\u003cp>Lydda does not appear on a contemporary map of Israel. You will find Lod, though, in the center of the country, 14 miles from Tel Aviv and 29 miles from Jerusalem in the opposite direction. The remains of the Christian martyr St. George have resided in this place for many centuries, while the modern international airport dates to the mid-1930s.\u003c/p>\n\u003cp>Lydda connected Palestine with the Arab world until 1948, we’re informed at the beginning of Rami Younis and Sarah Ema Friedland’s documentary \u003cem>\u003ca href=\"https://jfi.org/sfjff-2024/film-guide/lyd\">Lyd\u003c/a>\u003c/em>. In fact, Lyd herself (Palestinian actress Maisa Abd Elhadi) narrates the film (in Arabic, of course), which receives its Bay Area premiere in the \u003ca href=\"https://sfjff.org/film-festival\">San Francisco Jewish Film Festival\u003c/a> Sunday, July 28 at the Vogue Theater and Tuesday, July 30 at the Piedmont Theatre in Oakland.\u003c/p>\n\u003cp>The creative decision to “cast” Lyd as a character recounting her story has a slightly fanciful aspect, underscored by animated sequences that conjure life in previous eras. But the filmmakers’ decision to make what they call “a sci-fi documentary,” that in part imagines how the city would have developed without Israeli occupation and resettlement, is nonetheless grounded in reality.\u003c/p>\n\u003cp>This is not the first film to unearth the Nakba, when approximately 750,000 Palestinian residents were exiled and hundreds killed during the war triggered by Israel’s declaration of independence. Israelis still celebrate their victory, of course, and their then-leader David Ben-Gurion, while Palestinians record the date as the beginning of their national tragedy.\u003c/p>\n\u003cfigure id=\"attachment_13961282\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-1.jpg\" alt=\"Skyline of city with taller buildings in distance\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13961282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-1-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still of the skyline of Lod, once Lydda, from Sarah Ema Friedland and Rami Younis’ ‘Lyd.’ \u003ccite>(Icarus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003ca href=\"https://jfi.org/year-round/jfi-on-demand/al-nakba-the-palestinian-catastrophe-of-1948\">Al Nakba: The Palestinian Catastrophe of 1948\u003c/a>\u003c/em> screened at the 1998 San Francisco Jewish Film Festival, where it played like a corrective to the mythic history that Israelis and American Jews tell themselves. The shrines that displaced Palestinians made of their house keys, dreaming of the day they would return, still stick with me.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Lyd\u003c/em>, which premiered last August at the Amman International Film Festival, implicitly acknowledges that most if not all Palestinians had reluctantly accepted that return was never going to happen long before the Oct. 7 Hamas attack and the horrific war in Gaza waged by Israeli Prime Minister Benjamin Netanyahu.\u003c/p>\n\u003cp>So if history has moved on in a very tangible way, what are Younis and Friedland’s goals? Any impulse to advocate, it strikes me, would feel aspirational rather than attainable in the present moment, and out of touch. An earnest exposé of injustice and suffering, on the other hand, though always valuable, faces the hurdle of getting people to listen, to discover, to be surprised.\u003c/p>\n\u003cp>Hence the idea of engaging the viewer’s imagination with speculative or alternative history. And the non-traditional technique of Lyd narrating, despite the challenge of creating a voice that is powerful and moving without veering into self-parody.\u003c/p>\n\u003cfigure id=\"attachment_13961283\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-2.jpg\" alt=\"Teacher leans over five young students working at table\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13961283\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-2-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Sarah Ema Friedland and Rami Younis’ ‘Lyd.’ \u003ccite>(Icarus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The trickiest part of the whole endeavor is nailing a consistent tone, and Younis and Friedland don’t pull it off. But although \u003cem>Lyd\u003c/em> is uneven, it gets points for ambition.\u003c/p>\n\u003cp>The first consideration in any film about the Palestinians and Israelis is how far into the past you go. \u003cem>Lyd\u003c/em> sets its starting point in 1918 after World War I, when the British empire claimed swaths of the Middle East that had been under Ottoman rule. But its focus is 1948, and the massacre of Palestinian residents in a Lydda mosque by the Israel Defense Forces.\u003c/p>\n\u003cp>\u003cem>Lyd\u003c/em> draws on raw video interviews conducted in 1989 with Israeli veterans of the events to depict a scene where — in an act of swift, bloody opportunism or in the fog of war — soldiers killed dozens of civilians who had packed the sacred, and presumably safe, house of worship. In the present day, Palestinian elder Eissa Fanous powerfully recalls how, as a boy, he was forced by soldiers to carry bodies from the mosque. \u003c/p>\n\u003cp>Damning as evidence of Israeli behavior at the time \u003cem>and\u003c/em> the long-running desire to cover it up, the sequence is nonetheless assembled in a way that some viewers could dismiss it as propaganda. It’s impossible to credibly levy that charge against \u003cem>Tantura\u003c/em>, Israeli filmmaker Alon Schwarz’s deep dive into another 1948 massacre that’s now streaming on \u003ca href=\"https://www.kanopy.com/en/sfpl/video/14020563\" rel=\"noopener\" target=\"_blank\">Kanopy\u003c/a> after screening at SFJFF two years ago.\u003c/p>\n\u003cp>For viewers unfamiliar with the 1948 events that still cast a shadow, \u003cem>Lyd\u003c/em> provides a decent introduction. For audiences who aren’t aware of the injustice and discrimination that the Israeli government continues to inflict — such as home demolitions and land confiscations — the documentary gives voice to Lod’s current Palestinian residents.\u003c/p>\n\u003cp>“The story of Lyd is the story of Palestine,” Maisa Abd Elhadi tells us early in the film. It is inevitable that \u003cem>Lyd\u003c/em> leaves us in the present, where nothing is resolved or solved. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/film/lyd/\">Lyd\u003c/a>’ plays at the Roxie Theater (3125 16th St., San Francisco) on Aug. 2, 3, 8 and 10.\u003c/i> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lydda does not appear on a contemporary map of Israel. You will find Lod, though, in the center of the country, 14 miles from Tel Aviv and 29 miles from Jerusalem in the opposite direction. The remains of the Christian martyr St. George have resided in this place for many centuries, while the modern international airport dates to the mid-1930s.\u003c/p>\n\u003cp>Lydda connected Palestine with the Arab world until 1948, we’re informed at the beginning of Rami Younis and Sarah Ema Friedland’s documentary \u003cem>\u003ca href=\"https://jfi.org/sfjff-2024/film-guide/lyd\">Lyd\u003c/a>\u003c/em>. In fact, Lyd herself (Palestinian actress Maisa Abd Elhadi) narrates the film (in Arabic, of course), which receives its Bay Area premiere in the \u003ca href=\"https://sfjff.org/film-festival\">San Francisco Jewish Film Festival\u003c/a> Sunday, July 28 at the Vogue Theater and Tuesday, July 30 at the Piedmont Theatre in Oakland.\u003c/p>\n\u003cp>The creative decision to “cast” Lyd as a character recounting her story has a slightly fanciful aspect, underscored by animated sequences that conjure life in previous eras. But the filmmakers’ decision to make what they call “a sci-fi documentary,” that in part imagines how the city would have developed without Israeli occupation and resettlement, is nonetheless grounded in reality.\u003c/p>\n\u003cp>This is not the first film to unearth the Nakba, when approximately 750,000 Palestinian residents were exiled and hundreds killed during the war triggered by Israel’s declaration of independence. Israelis still celebrate their victory, of course, and their then-leader David Ben-Gurion, while Palestinians record the date as the beginning of their national tragedy.\u003c/p>\n\u003cfigure id=\"attachment_13961282\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-1.jpg\" alt=\"Skyline of city with taller buildings in distance\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13961282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-1-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still of the skyline of Lod, once Lydda, from Sarah Ema Friedland and Rami Younis’ ‘Lyd.’ \u003ccite>(Icarus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003ca href=\"https://jfi.org/year-round/jfi-on-demand/al-nakba-the-palestinian-catastrophe-of-1948\">Al Nakba: The Palestinian Catastrophe of 1948\u003c/a>\u003c/em> screened at the 1998 San Francisco Jewish Film Festival, where it played like a corrective to the mythic history that Israelis and American Jews tell themselves. The shrines that displaced Palestinians made of their house keys, dreaming of the day they would return, still stick with me.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Lyd\u003c/em>, which premiered last August at the Amman International Film Festival, implicitly acknowledges that most if not all Palestinians had reluctantly accepted that return was never going to happen long before the Oct. 7 Hamas attack and the horrific war in Gaza waged by Israeli Prime Minister Benjamin Netanyahu.\u003c/p>\n\u003cp>So if history has moved on in a very tangible way, what are Younis and Friedland’s goals? Any impulse to advocate, it strikes me, would feel aspirational rather than attainable in the present moment, and out of touch. An earnest exposé of injustice and suffering, on the other hand, though always valuable, faces the hurdle of getting people to listen, to discover, to be surprised.\u003c/p>\n\u003cp>Hence the idea of engaging the viewer’s imagination with speculative or alternative history. And the non-traditional technique of Lyd narrating, despite the challenge of creating a voice that is powerful and moving without veering into self-parody.\u003c/p>\n\u003cfigure id=\"attachment_13961283\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-2.jpg\" alt=\"Teacher leans over five young students working at table\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13961283\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-2-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Sarah Ema Friedland and Rami Younis’ ‘Lyd.’ \u003ccite>(Icarus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The trickiest part of the whole endeavor is nailing a consistent tone, and Younis and Friedland don’t pull it off. But although \u003cem>Lyd\u003c/em> is uneven, it gets points for ambition.\u003c/p>\n\u003cp>The first consideration in any film about the Palestinians and Israelis is how far into the past you go. \u003cem>Lyd\u003c/em> sets its starting point in 1918 after World War I, when the British empire claimed swaths of the Middle East that had been under Ottoman rule. But its focus is 1948, and the massacre of Palestinian residents in a Lydda mosque by the Israel Defense Forces.\u003c/p>\n\u003cp>\u003cem>Lyd\u003c/em> draws on raw video interviews conducted in 1989 with Israeli veterans of the events to depict a scene where — in an act of swift, bloody opportunism or in the fog of war — soldiers killed dozens of civilians who had packed the sacred, and presumably safe, house of worship. In the present day, Palestinian elder Eissa Fanous powerfully recalls how, as a boy, he was forced by soldiers to carry bodies from the mosque. \u003c/p>\n\u003cp>Damning as evidence of Israeli behavior at the time \u003cem>and\u003c/em> the long-running desire to cover it up, the sequence is nonetheless assembled in a way that some viewers could dismiss it as propaganda. It’s impossible to credibly levy that charge against \u003cem>Tantura\u003c/em>, Israeli filmmaker Alon Schwarz’s deep dive into another 1948 massacre that’s now streaming on \u003ca href=\"https://www.kanopy.com/en/sfpl/video/14020563\" rel=\"noopener\" target=\"_blank\">Kanopy\u003c/a> after screening at SFJFF two years ago.\u003c/p>\n\u003cp>For viewers unfamiliar with the 1948 events that still cast a shadow, \u003cem>Lyd\u003c/em> provides a decent introduction. For audiences who aren’t aware of the injustice and discrimination that the Israeli government continues to inflict — such as home demolitions and land confiscations — the documentary gives voice to Lod’s current Palestinian residents.\u003c/p>\n\u003cp>“The story of Lyd is the story of Palestine,” Maisa Abd Elhadi tells us early in the film. It is inevitable that \u003cem>Lyd\u003c/em> leaves us in the present, where nothing is resolved or solved. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/film/lyd/\">Lyd\u003c/a>’ plays at the Roxie Theater (3125 16th St., San Francisco) on Aug. 2, 3, 8 and 10.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When I heard the news of Shelley Duvall’s death, I immediately began searching for a beloved, 55-second supercut from the 1980s children’s television show \u003ci>Faerie Tale Theatre\u003c/i>. \u003c/p>\n\u003cp>“Hello! I’m Shelley Duvall. Hello! I’m Shelley Duvall. Hello! I’m Shelley Duvall.” Each new costume and setting seemingly ups the fanciful weirdness of these introductory remarks. For one second, she sits on a giant beanstalk. A few seconds later, she’s astride a horse. Later she stands, dressed in an Old Testament cloak, against a cloudy red sky. \u003c/p>\n\u003cp>https://youtu.be/QrVoJgQ7u8w?feature=shared\u003c/p>\n\u003cp>This strange repetition is also completely true. Every one of those Shelleys \u003ci>is\u003c/i> Shelley Duvall — her career was evidence of her shape-shifting abilities. In Robert Altman’s films alone, she played a mail-order bride, a Nashville groupie, a spinach aficionado’s love interest and a Palm Springs health spa worker.\u003c/p>\n\u003cp>And, according to San Francisco’s 4 Star Theater, “she was funny and tragic and alien and vulnerable on screen in a way few actors are able to master fully.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13961008']In celebration of Duvall’s 75th birthday, which took place just a few days ago on July 7, the Richmond District theater had already planned to screen \u003ca href=\"https://www.4-star-movies.com/shelley-duvall-day\">four classics\u003c/a> from her catalog — Terry Gilliam’s \u003ci>Time Bandits\u003c/i>, Altman’s \u003ci>Brewster McCloud\u003c/i> and \u003ci>3 Women\u003c/i> and Stanley Kubrick’s \u003ci>The Shining\u003c/i> — on Sunday, July 14. \u003c/p>\n\u003cp>After her death, a Shelley Duvall Day takes on greater resonance. When they heard the news, 4 Star programmer Sydney Peterson, who originally pitched the series, says they experienced a big wave of feeling. “Oh, gosh,” they remember thinking. “I just hope we can do her justice.”\u003c/p>\n\u003cp>Duvall’s career encompassed so much more than can fit in one day at the 4 Star. “She has this core 30 years of incredible entertainment that she was a part of,” Peterson says. “She has this insane, just amazing legacy.”\u003c/p>\n\u003cp>For those without the stamina for a day-long movie marathon, the 4 Star program can be watched in three possible double features. Starting at 10 a.m., \u003ci>Time Bandits\u003c/i> and \u003ci>Brewster McCloud\u003c/i> offer lighter fare, examples of wacky worlds.\u003c/p>\n\u003cp>Then, at 1 p.m., “\u003ci>Brewster\u003c/i> and \u003ci>3 Women\u003c/i> lean into this really special relationship that she has with Altman,” Peterson says, “and this picture of Americana that they created together.”\u003c/p>\n\u003cp>Finally, at 4 p.m., \u003ci>3 Women\u003c/i> and \u003ci>The Shining\u003c/i> may be her most celebrated roles. \u003c/p>\n\u003cp>The theater will screen specially made pre-shows highlighting the range of Duvall’s work beyond these early films. Look out for Duvall’s appearances in \u003ci>Frankenweenie\u003c/i> and on \u003ci>Wishbone\u003c/i> and \u003ci>The Ray Bradbury Theater\u003c/i>.\u003c/p>\n\u003cp>A day spent in the company of one of the greatest actresses of all time? A single word comes to mind: \u003ca href=\"https://youtu.be/8MNlfq3DtFc?feature=shared\">transplendent\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.4-star-movies.com/shelley-duvall-day\">Shelley Duvall Day\u003c/a>’ takes place at the 4 Star Theater (2200 Clement St., San Francisco) starting at 10 a.m. on Sunday, July 14, 2024.\u003c/i> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I heard the news of Shelley Duvall’s death, I immediately began searching for a beloved, 55-second supercut from the 1980s children’s television show \u003ci>Faerie Tale Theatre\u003c/i>. \u003c/p>\n\u003cp>“Hello! I’m Shelley Duvall. Hello! I’m Shelley Duvall. Hello! I’m Shelley Duvall.” Each new costume and setting seemingly ups the fanciful weirdness of these introductory remarks. For one second, she sits on a giant beanstalk. A few seconds later, she’s astride a horse. Later she stands, dressed in an Old Testament cloak, against a cloudy red sky. \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/QrVoJgQ7u8w'\n title='//www.youtube.com/embed/QrVoJgQ7u8w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This strange repetition is also completely true. Every one of those Shelleys \u003ci>is\u003c/i> Shelley Duvall — her career was evidence of her shape-shifting abilities. In Robert Altman’s films alone, she played a mail-order bride, a Nashville groupie, a spinach aficionado’s love interest and a Palm Springs health spa worker.\u003c/p>\n\u003cp>And, according to San Francisco’s 4 Star Theater, “she was funny and tragic and alien and vulnerable on screen in a way few actors are able to master fully.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In celebration of Duvall’s 75th birthday, which took place just a few days ago on July 7, the Richmond District theater had already planned to screen \u003ca href=\"https://www.4-star-movies.com/shelley-duvall-day\">four classics\u003c/a> from her catalog — Terry Gilliam’s \u003ci>Time Bandits\u003c/i>, Altman’s \u003ci>Brewster McCloud\u003c/i> and \u003ci>3 Women\u003c/i> and Stanley Kubrick’s \u003ci>The Shining\u003c/i> — on Sunday, July 14. \u003c/p>\n\u003cp>After her death, a Shelley Duvall Day takes on greater resonance. When they heard the news, 4 Star programmer Sydney Peterson, who originally pitched the series, says they experienced a big wave of feeling. “Oh, gosh,” they remember thinking. “I just hope we can do her justice.”\u003c/p>\n\u003cp>Duvall’s career encompassed so much more than can fit in one day at the 4 Star. “She has this core 30 years of incredible entertainment that she was a part of,” Peterson says. “She has this insane, just amazing legacy.”\u003c/p>\n\u003cp>For those without the stamina for a day-long movie marathon, the 4 Star program can be watched in three possible double features. Starting at 10 a.m., \u003ci>Time Bandits\u003c/i> and \u003ci>Brewster McCloud\u003c/i> offer lighter fare, examples of wacky worlds.\u003c/p>\n\u003cp>Then, at 1 p.m., “\u003ci>Brewster\u003c/i> and \u003ci>3 Women\u003c/i> lean into this really special relationship that she has with Altman,” Peterson says, “and this picture of Americana that they created together.”\u003c/p>\n\u003cp>Finally, at 4 p.m., \u003ci>3 Women\u003c/i> and \u003ci>The Shining\u003c/i> may be her most celebrated roles. \u003c/p>\n\u003cp>The theater will screen specially made pre-shows highlighting the range of Duvall’s work beyond these early films. Look out for Duvall’s appearances in \u003ci>Frankenweenie\u003c/i> and on \u003ci>Wishbone\u003c/i> and \u003ci>The Ray Bradbury Theater\u003c/i>.\u003c/p>\n\u003cp>A day spent in the company of one of the greatest actresses of all time? A single word comes to mind: \u003ca href=\"https://youtu.be/8MNlfq3DtFc?feature=shared\">transplendent\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.4-star-movies.com/shelley-duvall-day\">Shelley Duvall Day\u003c/a>’ takes place at the 4 Star Theater (2200 Clement St., San Francisco) starting at 10 a.m. on Sunday, July 14, 2024.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Shelley Duvall, Star of ‘The Shining’ and ‘Nashville’ Dies at 75",
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"content": "\u003cp>Shelley Duvall, the intrepid, Texas-born movie star whose wide-eyed, winsome presence was a mainstay in the films of Robert Altman and who co-starred in Stanley Kubrick’s \u003ci>The Shining\u003c/i>, has died. She was 75. \u003c/p>\n\u003cp>Duvall died Thursday in her sleep at her home in Blanco, Texas, her longtime partner, Dan Gilroy, announced. The cause was complications of diabetes, said her friend, the publicist Gary Springer.\u003c/p>\n\u003cp>“My dear, sweet, wonderful life, partner, and friend left us last night,” Gilroy said in a statement. “Too much suffering lately, now she’s free. Fly away beautiful Shelley.”\u003c/p>\n\u003cp>Duvall was attending junior college in Texas when Altman’s crew members, preparing to film \u003ci>Brewster McCloud\u003c/i>, encountered her at a party in Houston in 1970. They introduced her to the director, who cast her in \u003ci>Brewster McCloud\u003c/i> and made her his protege.\u003c/p>\n\u003cp>Duvall would go on to appear in Altman films including \u003ci>Thieves Like Us\u003c/i>, \u003ci>Nashville\u003c/i>, \u003ci>Popeye\u003c/i>, \u003ci>Three Women\u003c/i> and \u003ci>McCabe & Ms. Miller\u003c/i>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He offers me damn good roles,” Duvall told \u003cem>The New York Times\u003c/em> in 1977. “None of them have been alike. He has a great confidence in me, and a trust and respect for me, and he doesn’t put any restrictions on me or intimidate me, and I love him. I remember the first advice he ever gave me: ‘Don’t take yourself seriously.’”\u003c/p>\n\u003cp>Duvall, gaunt and gawky, was no conventional Hollywood starlet. But she had a beguiling frank manner and exuded a singular naturalism. The film critic Pauline Kael called her the “female Buster Keaton.”\u003c/p>\n\u003cfigure id=\"attachment_13961012\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Shining_2000.jpg\" alt=\"Axe head in foreground going through door with screaming woman behind\" width=\"2000\" height=\"1617\" class=\"size-full wp-image-13961012\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Shining_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Shining_2000-800x647.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Shining_2000-1020x825.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Shining_2000-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Shining_2000-768x621.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Shining_2000-1536x1242.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Shining_2000-1920x1552.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Terrified Shelley Duvall in the lobby card for the Stanley Kubrick film ‘The Shining,’ 1980. \u003ccite>(Warner Brothers/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At her peak, Duvall was a regular star in some of the defining movies of the 1970s. In \u003ci>The Shining\u003c/i> (1980), she played Wendy Torrance, who watches in horror as her husband, Jack (Jack Nicholson), goes crazy while their family is isolated in the Overlook Hotel. It was Duvall’s screaming face that made up half of the film’s most iconic image, along with Jack’s axe coming through the door.\u003c/p>\n\u003cp>Kubrick, a famous perfectionist, was notoriously hard on Duvall in making \u003ci>The Shining\u003c/i>. His methods of pushing her through countless takes in the most anguished scenes took a toll on the actor. One scene was reportedly performed in 127 takes. The entire shoot took 13 months. Duvall, in an interview in 1981 with \u003cem>People\u003c/em> magazine said she was crying “12 hours a day for weeks on end” during the film’s production.\u003c/p>\n\u003cp>“I will never give that much again,” said Duvall. “If you want to get into pain and call it art, go ahead, but not with me.”\u003c/p>\n\u003cp>Duvall disappeared from movies almost as quickly as she arrived in them. By the 1990s, she began retiring from acting and retreated from public life.\u003c/p>\n\u003cp>“How would you feel if people were really nice, and then, suddenly, on a dime, they turn on you?” Duvall told the \u003cem>Times\u003c/em> earlier this year. “You would never believe it unless it happens to you. That’s why you get hurt, because you can’t really believe it’s true.”\u003c/p>\n\u003cp>Duvall, the oldest of four, was born in Fort Worth, Texas, on July 7, 1949. Her father, Robert, was a cattle auctioneer before working in law and her mother, Bobbie, was a real estate agent.\u003c/p>\n\u003cp>Duvall was 20 when she met Altman. She was also engaged to the artist Bernard Sampson, whom she married in 1970. They divorced four years later. Duvall was in a long-term relationship with the musician Paul Simon in the late ’70s after meeting during the making of Woody Allen’s \u003ci>Annie Hall\u003c/i>. (Duvall played the rock critic who keeps declaring things “transplendent.”) She also dated Ringo Starr. During the making of the 1990 Disney Channel movie \u003ci>Mother Goose Rock ‘n’ Roll\u003c/i>, Duvall met the musician Dan Gilroy, of the group Breakfast Club, who she remained with until her death.\u003c/p>\n\u003cp>Duvall’s run in the 1970s was remarkably versatile. In the rugged Western \u003ci>McCabe & Mrs. Miller\u003c/i> (1971), she played the mail-order bride Ida. She was a groupie in \u003ci>Nashville\u003c/i> (1975) and Olive Oyl, opposite Robin Williams, in \u003ci>Popeye\u003c/i> (1980). In \u003ci>3 Women\u003c/i>, co-starring Sissy Spacek and Janice Rule, Duvall played Millie Lammoreaux, a Palm Springs health spa worker, and won best actress at the Cannes Film Festival.\u003c/p>\n\u003cp>In the 1980s, Duvall produced and hosted a number of children’s TV series, among them \u003ci>Faerie Tale Theatre\u003c/i>, \u003ci>Tall Tales & Legends\u003c/i> and \u003ci>Shelley Duvall’s Bedtime Stories\u003c/i>.\u003c/p>\n\u003cp>Duvall moved back to Texas in the mid-1990s. Around 2002, after making the comedy \u003ci>Manna from Heaven\u003c/i>, she retreated from Hollywood completely. Her whereabouts became a favorite topic of internet sleuths. A favorite but incorrect theory was that it was residual trauma from the grueling shoot for \u003ci>The Shining\u003c/i>. Another was that the damage to her home after the Northridge Earthquake was the last straw.\u003c/p>\n\u003cp>To those living in Texas Hill Country, where Duvall lived for some 30 years, she was neither in “hiding” nor a recluse, but her circumstances were a mystery to both the media and many of her old Hollywood friends. That changed in 2016, when producers for the \u003ci>Dr. Phil\u003c/i> show tracked her down and aired a controversial hourlong interview with her in which she spoke about her mental health issues. “I’m very sick. I need help,” Duvall said on the program, which was widely criticized for being exploitative.\u003c/p>\n\u003cp>“I found out the kind of person he is the hard way,” Duvall told \u003cem>The Hollywood Reporter\u003c/em> in 2021.\u003c/p>\n\u003cp>\u003cem>THR\u003c/em> journalist Seth Abramovitch wrote at the time that he went on a pilgrimage to find her because, “it didn’t feel right for McGraw’s insensitive sideshow to be the final word on her legacy.”\u003c/p>\n\u003cp>Duvall attempted to restart her career, dipping her toe in with the indie horror \u003ci>The Forest Hills\u003c/i> that filmed in 2022 and premiered quietly in early 2023.\u003c/p>\n\u003cp>“Acting again — it’s so much fun,” Duvall told \u003cem>People\u003c/em> at the time. “It enriches your life.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>AP Film Writer Lindsey Bahr contributed to this report\u003c/p>\n\n",
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"title": "Shelley Duvall, Star of ‘The Shining’ and ‘Nashville’ Dies at 75 | KQED",
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"headline": "Shelley Duvall, Star of ‘The Shining’ and ‘Nashville’ Dies at 75",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Shelley Duvall, the intrepid, Texas-born movie star whose wide-eyed, winsome presence was a mainstay in the films of Robert Altman and who co-starred in Stanley Kubrick’s \u003ci>The Shining\u003c/i>, has died. She was 75. \u003c/p>\n\u003cp>Duvall died Thursday in her sleep at her home in Blanco, Texas, her longtime partner, Dan Gilroy, announced. The cause was complications of diabetes, said her friend, the publicist Gary Springer.\u003c/p>\n\u003cp>“My dear, sweet, wonderful life, partner, and friend left us last night,” Gilroy said in a statement. “Too much suffering lately, now she’s free. Fly away beautiful Shelley.”\u003c/p>\n\u003cp>Duvall was attending junior college in Texas when Altman’s crew members, preparing to film \u003ci>Brewster McCloud\u003c/i>, encountered her at a party in Houston in 1970. They introduced her to the director, who cast her in \u003ci>Brewster McCloud\u003c/i> and made her his protege.\u003c/p>\n\u003cp>Duvall would go on to appear in Altman films including \u003ci>Thieves Like Us\u003c/i>, \u003ci>Nashville\u003c/i>, \u003ci>Popeye\u003c/i>, \u003ci>Three Women\u003c/i> and \u003ci>McCabe & Ms. Miller\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He offers me damn good roles,” Duvall told \u003cem>The New York Times\u003c/em> in 1977. “None of them have been alike. He has a great confidence in me, and a trust and respect for me, and he doesn’t put any restrictions on me or intimidate me, and I love him. I remember the first advice he ever gave me: ‘Don’t take yourself seriously.’”\u003c/p>\n\u003cp>Duvall, gaunt and gawky, was no conventional Hollywood starlet. But she had a beguiling frank manner and exuded a singular naturalism. The film critic Pauline Kael called her the “female Buster Keaton.”\u003c/p>\n\u003cfigure id=\"attachment_13961012\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Shining_2000.jpg\" alt=\"Axe head in foreground going through door with screaming woman behind\" width=\"2000\" height=\"1617\" class=\"size-full wp-image-13961012\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Shining_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Shining_2000-800x647.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Shining_2000-1020x825.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Shining_2000-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Shining_2000-768x621.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Shining_2000-1536x1242.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Shining_2000-1920x1552.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Terrified Shelley Duvall in the lobby card for the Stanley Kubrick film ‘The Shining,’ 1980. \u003ccite>(Warner Brothers/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At her peak, Duvall was a regular star in some of the defining movies of the 1970s. In \u003ci>The Shining\u003c/i> (1980), she played Wendy Torrance, who watches in horror as her husband, Jack (Jack Nicholson), goes crazy while their family is isolated in the Overlook Hotel. It was Duvall’s screaming face that made up half of the film’s most iconic image, along with Jack’s axe coming through the door.\u003c/p>\n\u003cp>Kubrick, a famous perfectionist, was notoriously hard on Duvall in making \u003ci>The Shining\u003c/i>. His methods of pushing her through countless takes in the most anguished scenes took a toll on the actor. One scene was reportedly performed in 127 takes. The entire shoot took 13 months. Duvall, in an interview in 1981 with \u003cem>People\u003c/em> magazine said she was crying “12 hours a day for weeks on end” during the film’s production.\u003c/p>\n\u003cp>“I will never give that much again,” said Duvall. “If you want to get into pain and call it art, go ahead, but not with me.”\u003c/p>\n\u003cp>Duvall disappeared from movies almost as quickly as she arrived in them. By the 1990s, she began retiring from acting and retreated from public life.\u003c/p>\n\u003cp>“How would you feel if people were really nice, and then, suddenly, on a dime, they turn on you?” Duvall told the \u003cem>Times\u003c/em> earlier this year. “You would never believe it unless it happens to you. That’s why you get hurt, because you can’t really believe it’s true.”\u003c/p>\n\u003cp>Duvall, the oldest of four, was born in Fort Worth, Texas, on July 7, 1949. Her father, Robert, was a cattle auctioneer before working in law and her mother, Bobbie, was a real estate agent.\u003c/p>\n\u003cp>Duvall was 20 when she met Altman. She was also engaged to the artist Bernard Sampson, whom she married in 1970. They divorced four years later. Duvall was in a long-term relationship with the musician Paul Simon in the late ’70s after meeting during the making of Woody Allen’s \u003ci>Annie Hall\u003c/i>. (Duvall played the rock critic who keeps declaring things “transplendent.”) She also dated Ringo Starr. During the making of the 1990 Disney Channel movie \u003ci>Mother Goose Rock ‘n’ Roll\u003c/i>, Duvall met the musician Dan Gilroy, of the group Breakfast Club, who she remained with until her death.\u003c/p>\n\u003cp>Duvall’s run in the 1970s was remarkably versatile. In the rugged Western \u003ci>McCabe & Mrs. Miller\u003c/i> (1971), she played the mail-order bride Ida. She was a groupie in \u003ci>Nashville\u003c/i> (1975) and Olive Oyl, opposite Robin Williams, in \u003ci>Popeye\u003c/i> (1980). In \u003ci>3 Women\u003c/i>, co-starring Sissy Spacek and Janice Rule, Duvall played Millie Lammoreaux, a Palm Springs health spa worker, and won best actress at the Cannes Film Festival.\u003c/p>\n\u003cp>In the 1980s, Duvall produced and hosted a number of children’s TV series, among them \u003ci>Faerie Tale Theatre\u003c/i>, \u003ci>Tall Tales & Legends\u003c/i> and \u003ci>Shelley Duvall’s Bedtime Stories\u003c/i>.\u003c/p>\n\u003cp>Duvall moved back to Texas in the mid-1990s. Around 2002, after making the comedy \u003ci>Manna from Heaven\u003c/i>, she retreated from Hollywood completely. Her whereabouts became a favorite topic of internet sleuths. A favorite but incorrect theory was that it was residual trauma from the grueling shoot for \u003ci>The Shining\u003c/i>. Another was that the damage to her home after the Northridge Earthquake was the last straw.\u003c/p>\n\u003cp>To those living in Texas Hill Country, where Duvall lived for some 30 years, she was neither in “hiding” nor a recluse, but her circumstances were a mystery to both the media and many of her old Hollywood friends. That changed in 2016, when producers for the \u003ci>Dr. Phil\u003c/i> show tracked her down and aired a controversial hourlong interview with her in which she spoke about her mental health issues. “I’m very sick. I need help,” Duvall said on the program, which was widely criticized for being exploitative.\u003c/p>\n\u003cp>“I found out the kind of person he is the hard way,” Duvall told \u003cem>The Hollywood Reporter\u003c/em> in 2021.\u003c/p>\n\u003cp>\u003cem>THR\u003c/em> journalist Seth Abramovitch wrote at the time that he went on a pilgrimage to find her because, “it didn’t feel right for McGraw’s insensitive sideshow to be the final word on her legacy.”\u003c/p>\n\u003cp>Duvall attempted to restart her career, dipping her toe in with the indie horror \u003ci>The Forest Hills\u003c/i> that filmed in 2022 and premiered quietly in early 2023.\u003c/p>\n\u003cp>“Acting again — it’s so much fun,” Duvall told \u003cem>People\u003c/em> at the time. “It enriches your life.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>AP Film Writer Lindsey Bahr contributed to this report\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "fraenkel-gallery-45th-anniversary-film-festival-roxie-theater",
"title": "Fraenkel Gallery Celebrates 45 Years with a Film Festival",
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"content": "\u003cp>To Jeffrey Fraenkel, founder of San Francisco’s Fraenkel Gallery, celebrating their 45th anniversary with \u003ca href=\"https://roxie.com/series/fraenkel-film-festival/\">a film festival\u003c/a> is equal parts no-brainer and “why not?”\u003c/p>\n\u003cp>“I asked the entire staff to think outside of the box, since we don’t want to repeat ourselves, and we definitely wanted to do something new and fresh,” he says. Previous milestones have been marked by thematic exhibitions, hefty publications and in-gallery picnics.\u003c/p>\n\u003cp>[aside postID='arts_13957326']The \u003ca href=\"https://roxie.com/series/fraenkel-film-festival/\">Fraenkel Film Festival\u003c/a> is not coming completely out of left field. Film \u003ci>is\u003c/i> a form of photography, Fraenkel emphasizes, a collection of thousands of still images that come together as motion in the viewer’s mind. \u003c/p>\n\u003cp>So the gallery put out the call to 10 of their artists: What films would you like to share with others? The resulting 11-day festival, proceeds of which will benefit the Roxie, is an eclectic assortment of classics and arthouse flicks, spanning 1943’s \u003ci>\u003ca href=\"https://roxie.com/film/casablanca/\">Casablanca\u003c/a>\u003c/i> to 2016’s \u003ci>Moonlight\u003c/i>. Part of the fun in the assortment is seeing which two films each artist chose.\u003c/p>\n\u003cp>Carrie Mae Weems, whose poetic, expansive photographic work often addresses her own family history, selected \u003ci>\u003ca href=\"https://roxie.com/film/moonlight/\">Moonlight\u003c/a>\u003c/i>, Barry Jenkins’ quiet film depicting three moments in the life of a Black boy/teen/man. She also picked Ingmar Bergman’s \u003ci>\u003ca href=\"https://roxie.com/film/wild-strawberries/\">Wild Strawberries\u003c/a>\u003c/i>, the story of an older man facing his past decisions, present relationships and impending death while making a long car ride from Stockholm to Lund.\u003c/p>\n\u003cfigure id=\"attachment_13960408\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-scaled.jpg\" alt=\"Man with back to camera looks at woman standing in living room\" width=\"2560\" height=\"1955\" class=\"size-full wp-image-13960408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-800x611.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-1020x779.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-768x587.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-1536x1173.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-2048x1564.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-1920x1466.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Still from Michaelangelo Antonioni’s ‘Blow-Up’ (1966), selected by Christian Marclay. \u003ccite>(Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Each artist’s choice is such an interesting reflection of who they are,” Fraenkel says. The other nine festival “programmers” are Kota Ezawa, Christian Marclay, Lee Friedlander, Robert Adams, Sophie Calle, Hiroshi Sugimoto, Nan Goldin, Martine Gutierrez and Richard Misrach.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Each night of the festival is given over to a particular artist, with their films showing back to back — perfect for a double feature. Many will be shown in 35mm, including \u003ci>Wild Strawberries\u003c/i>, \u003ci>\u003ca href=\"https://roxie.com/film/the-straight-story/\">The Straight Story\u003c/a>\u003c/i>, \u003ci>Casablanca\u003c/i>, \u003ci>Kwaidan\u003c/i>, \u003ci>\u003ca href=\"https://roxie.com/film/paths-of-glory/\">Paths of Glory\u003c/a>\u003c/i> and \u003ci>\u003ca href=\"https://roxie.com/film/the-truman-show/\">The Truman Show\u003c/a>\u003c/i>. The closing film, \u003ci>\u003ca href=\"https://roxie.com/film/the-right-stuff/\">The Right Stuff\u003c/a>\u003c/i>, will begin with a conversation between writer-director Philip Kaufman, now 87, and photographer Richard Misrach.\u003c/p>\n\u003cp>For Fraenkel, organizing a film festival is more than a fun experiment in format. It’s aboout the fundamental importance of viewing art in person, together.\u003c/p>\n\u003cp>“While we can all watch movies at home whenever we like,” he says, “nothing compares to watching a film in a real theater and sharing that experience with others.” It is, he says, “a profound psychological experience.”\u003c/p>\n\u003cfigure id=\"attachment_13960409\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots.jpg\" alt=\"Group of people laugh, hug and dance, some blurred in motion\" width=\"1440\" height=\"810\" class=\"size-full wp-image-13960409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots-768x432.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Still from Lars von Trier’s ‘The Idiots’ (1998), selected by Sophie Calle. \u003ccite>(MUBI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the gallery’s artists were given free rein in their selections, Fraenkel did add one of his own favorites to the mix: Joel and Ethan Coen’s 2000 adaptation of Homer’s \u003ci>The Odyssey\u003c/i>, \u003ci>\u003ca href=\"https://roxie.com/film/o-brother-where-art-thou/\">O Brother Where Art Thou?\u003c/a>\u003c/i> \u003c/p>\n\u003cp>[aside postID='arts_13951535']“Out of the 20 films that were chosen, no one selected either a Coen brothers film or a John Waters film. That was a surprise to me,” Fraenkel says. The gallery has a relationship with both directors. Joel Cohen \u003ca href=\"https://fraenkelgallery.com/exhibitions/lee-friedlander-framed-by-joel-coen\">curated an exhibition\u003c/a> of Lee Friedlander’s photographs for the gallery last year; Waters’ own work has been shown at the gallery, and he curated a group show for a Fraenkel project space in 2016. \u003c/p>\n\u003cp>“So I took the prerogative here of adding an opening night,” he says. “I think it is one of their great and underseen movies.”\u003c/p>\n\u003cp>The single addition is a minimal intrusion into the festival’s conceptual framework, representative of Fraenkel’s ego-less approach to running the gallery for the past 45 years. And even in this celebratory moment, the festival proceeds will be funneled towards another deserving cause. \u003c/p>\n\u003cp>“Does anyone not love the Roxie?” Fraenkel asks. “It’s been there for only 110 years, so it’s a little bit ahead of Fraenkel Gallery, but it has just this beautiful DNA that one can feel the moment one walks in.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Fraenkel Film Festival takes place July 9–20, 2024 at the Roxie Theater (3125 16th St., San Francisco). Tickets are $16 per film, $72 for a six-film pass or $200 for an all-films pass. \u003ca href=\"https://roxie.com/series/fraenkel-film-festival/\">Click here for tickets and more information\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To Jeffrey Fraenkel, founder of San Francisco’s Fraenkel Gallery, celebrating their 45th anniversary with \u003ca href=\"https://roxie.com/series/fraenkel-film-festival/\">a film festival\u003c/a> is equal parts no-brainer and “why not?”\u003c/p>\n\u003cp>“I asked the entire staff to think outside of the box, since we don’t want to repeat ourselves, and we definitely wanted to do something new and fresh,” he says. Previous milestones have been marked by thematic exhibitions, hefty publications and in-gallery picnics.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The \u003ca href=\"https://roxie.com/series/fraenkel-film-festival/\">Fraenkel Film Festival\u003c/a> is not coming completely out of left field. Film \u003ci>is\u003c/i> a form of photography, Fraenkel emphasizes, a collection of thousands of still images that come together as motion in the viewer’s mind. \u003c/p>\n\u003cp>So the gallery put out the call to 10 of their artists: What films would you like to share with others? The resulting 11-day festival, proceeds of which will benefit the Roxie, is an eclectic assortment of classics and arthouse flicks, spanning 1943’s \u003ci>\u003ca href=\"https://roxie.com/film/casablanca/\">Casablanca\u003c/a>\u003c/i> to 2016’s \u003ci>Moonlight\u003c/i>. Part of the fun in the assortment is seeing which two films each artist chose.\u003c/p>\n\u003cp>Carrie Mae Weems, whose poetic, expansive photographic work often addresses her own family history, selected \u003ci>\u003ca href=\"https://roxie.com/film/moonlight/\">Moonlight\u003c/a>\u003c/i>, Barry Jenkins’ quiet film depicting three moments in the life of a Black boy/teen/man. She also picked Ingmar Bergman’s \u003ci>\u003ca href=\"https://roxie.com/film/wild-strawberries/\">Wild Strawberries\u003c/a>\u003c/i>, the story of an older man facing his past decisions, present relationships and impending death while making a long car ride from Stockholm to Lund.\u003c/p>\n\u003cfigure id=\"attachment_13960408\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-scaled.jpg\" alt=\"Man with back to camera looks at woman standing in living room\" width=\"2560\" height=\"1955\" class=\"size-full wp-image-13960408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-800x611.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-1020x779.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-768x587.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-1536x1173.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-2048x1564.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-1920x1466.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Still from Michaelangelo Antonioni’s ‘Blow-Up’ (1966), selected by Christian Marclay. \u003ccite>(Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Each artist’s choice is such an interesting reflection of who they are,” Fraenkel says. The other nine festival “programmers” are Kota Ezawa, Christian Marclay, Lee Friedlander, Robert Adams, Sophie Calle, Hiroshi Sugimoto, Nan Goldin, Martine Gutierrez and Richard Misrach.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Each night of the festival is given over to a particular artist, with their films showing back to back — perfect for a double feature. Many will be shown in 35mm, including \u003ci>Wild Strawberries\u003c/i>, \u003ci>\u003ca href=\"https://roxie.com/film/the-straight-story/\">The Straight Story\u003c/a>\u003c/i>, \u003ci>Casablanca\u003c/i>, \u003ci>Kwaidan\u003c/i>, \u003ci>\u003ca href=\"https://roxie.com/film/paths-of-glory/\">Paths of Glory\u003c/a>\u003c/i> and \u003ci>\u003ca href=\"https://roxie.com/film/the-truman-show/\">The Truman Show\u003c/a>\u003c/i>. The closing film, \u003ci>\u003ca href=\"https://roxie.com/film/the-right-stuff/\">The Right Stuff\u003c/a>\u003c/i>, will begin with a conversation between writer-director Philip Kaufman, now 87, and photographer Richard Misrach.\u003c/p>\n\u003cp>For Fraenkel, organizing a film festival is more than a fun experiment in format. It’s aboout the fundamental importance of viewing art in person, together.\u003c/p>\n\u003cp>“While we can all watch movies at home whenever we like,” he says, “nothing compares to watching a film in a real theater and sharing that experience with others.” It is, he says, “a profound psychological experience.”\u003c/p>\n\u003cfigure id=\"attachment_13960409\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots.jpg\" alt=\"Group of people laugh, hug and dance, some blurred in motion\" width=\"1440\" height=\"810\" class=\"size-full wp-image-13960409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots-768x432.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Still from Lars von Trier’s ‘The Idiots’ (1998), selected by Sophie Calle. \u003ccite>(MUBI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the gallery’s artists were given free rein in their selections, Fraenkel did add one of his own favorites to the mix: Joel and Ethan Coen’s 2000 adaptation of Homer’s \u003ci>The Odyssey\u003c/i>, \u003ci>\u003ca href=\"https://roxie.com/film/o-brother-where-art-thou/\">O Brother Where Art Thou?\u003c/a>\u003c/i> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Out of the 20 films that were chosen, no one selected either a Coen brothers film or a John Waters film. That was a surprise to me,” Fraenkel says. The gallery has a relationship with both directors. Joel Cohen \u003ca href=\"https://fraenkelgallery.com/exhibitions/lee-friedlander-framed-by-joel-coen\">curated an exhibition\u003c/a> of Lee Friedlander’s photographs for the gallery last year; Waters’ own work has been shown at the gallery, and he curated a group show for a Fraenkel project space in 2016. \u003c/p>\n\u003cp>“So I took the prerogative here of adding an opening night,” he says. “I think it is one of their great and underseen movies.”\u003c/p>\n\u003cp>The single addition is a minimal intrusion into the festival’s conceptual framework, representative of Fraenkel’s ego-less approach to running the gallery for the past 45 years. And even in this celebratory moment, the festival proceeds will be funneled towards another deserving cause. \u003c/p>\n\u003cp>“Does anyone not love the Roxie?” Fraenkel asks. “It’s been there for only 110 years, so it’s a little bit ahead of Fraenkel Gallery, but it has just this beautiful DNA that one can feel the moment one walks in.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Fraenkel Film Festival takes place July 9–20, 2024 at the Roxie Theater (3125 16th St., San Francisco). Tickets are $16 per film, $72 for a six-film pass or $200 for an all-films pass. \u003ca href=\"https://roxie.com/series/fraenkel-film-festival/\">Click here for tickets and more information\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Kinds of Kindness’ Is a Bleak Triptych of Tortured Souls",
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"headTitle": "‘Kinds of Kindness’ Is a Bleak Triptych of Tortured Souls | KQED",
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"content": "\u003cp>No one would mistake one of Francis Bacon’s triptychs for a dose of painterly realism. \u003ci>\u003ca href=\"https://www.guggenheim.org/artwork/293\">Three Studies for a Crucifixion\u003c/a>\u003c/i> is a portrait of a soul, or souls, in distress. The series of contorted bodies dripping with intestinal gore are recognizable as human artifacts — the exhausted aftermath of lives undone by an array of physical and psychological torments.\u003c/p>\n\u003cp>In Yorgos Lanthimos’ \u003ci>Kinds of Kindness\u003c/i>, the director has made his own harrowing triptych: a starched, unblinking look at a variety of souls pressed together and blessed with the capacity to cause harm and induce grief. When Annie Lennox starts singing “\u003ca href=\"https://youtu.be/qeMFqkcPYcg?feature=shared\">Sweet Dreams (Are Made of This)\u003c/a>” over the opening sequence, Lanthimos announces the movie’s theme with characteristic bluntness. Everybody’s looking for someone to use and abuse — or wants to be used and abused.\u003c/p>\n\u003cp>In three distinct segments, each with its own subtitle, Lanthimos foregrounds abusers with malevolent or sadistic imaginations. Their victims are both willing and unwilling. These roles are unfixed: the seven main actors reappear in each storyline as different characters, swapping power dynamics.\u003c/p>\n\u003cfigure id=\"attachment_13960154\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_b.jpg\" alt=\"Two people on couch, one lays with head in the other's lap\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13960154\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_b.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_b-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_b-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_b-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_b-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_b-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Hong Chau and Jesse Plemons in ‘Kinds of Kindness.’ \u003ccite>(Atsushi Nishijima/Fox Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While many films structure their narrative arcs around a struggle between good and evil, Lanthimos begins \u003ci>Kinds of Kindness\u003c/i>, as he does most of his films, after goodness has already surrendered. His characters have been bled dry of pure intentions. He builds an unbearable amount of tension in long takes, just to see how bad things can get. The body, and the spirit housed within it, will not triumph. Lanthimos is there to zoom in on his characters’ parallel states of decay.\u003c/p>\n\u003cp>In the first segment, Robert (Jesse Plemons) deliberately crashes his SUV into another car. The next day at work, we meet Robert’s employer Raymond (Willem Dafoe), their conversation a brittle confrontation between supplicant and omnipotent master. For a decade, Raymond has provided Robert with a written list of instructions that dictate his daily life, including what food he eats and when he can have sex with his wife Sarah (Hong Chau).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Robert visits Raymond’s home to beg off a second car crash, Dafoe, with a measured degree of glee and malevolence, slips into the role of an exacting film director. He repeatedly asks Robert to reenact his scripted entrance into the living room.\u003c/p>\n\u003cfigure id=\"attachment_13960158\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_e.jpg\" alt=\"Person stands in parking lot looking up, person in wheelchair nearby\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13960158\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_e.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_e-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_e-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_e-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_e-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_e-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Emma Stone in ‘Kinds of Kindness.’ \u003ccite>(Atsushi Nishijima/Fox Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Part two amps up the series of absurd situations by implying that a police officer’s wife (Emma Stone) is an imposter, a supernatural replacement. When her shoes no longer fit, her husband (Plemons) becomes suspicious. His theory is confirmed when, at his request, she’s willing to cut off one of her fingers, cook it and then serve it to him for dinner with a side of roasted cauliflower.\u003c/p>\n\u003cp>Self-mutilation and homemade pornography make up the middle section of the film; rape, kidnapping, suicide and a cult dedicated to free love form the basis of part three. Car crashes open and close the trio. (In all this darkness, it’s a wonder Lanthimos manages to avoid bestiality, incest and pedophilia.)\u003c/p>\n\u003cp>In Lanthimos’ last film, \u003ci>Poor Things\u003c/i>, Gothic trappings and a fisheye lens made it easy for viewers to categorize it as a fable. It’s the dialogue in \u003ci>Kinds of Kindness\u003c/i>, not the costumes, set design or camera angles, that signals the film’s increasing sense of menace. The actors’ stiff, affectless line readings aren’t meant to conjure up relatable emotions. Lanthimos empowers his actors to forsake the conscience and moral center of the characters they play.\u003c/p>\n\u003cfigure id=\"attachment_13960078\" class=\"wp-caption aligncenter\" style=\"max-width: 1470px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-3.45.46-PM.png\" alt=\"A man and woman stand side-by-side behind a large outdoor receptacle of water. There are a few women standing behind them.\" width=\"1470\" height=\"972\" class=\"size-full wp-image-13960078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-3.45.46-PM.png 1470w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-3.45.46-PM-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-3.45.46-PM-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-3.45.46-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-3.45.46-PM-768x508.png 768w\" sizes=\"(max-width: 1470px) 100vw, 1470px\">\u003cfigcaption class=\"wp-caption-text\">Emma Stone and Jesse Plemons play cult members in one story segment from ‘Kinds of Kindness.’ \u003ccite>(Atsushi Nishijima/Fox Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout the film, Jerskin Fendrix’s plangent piano soundtrack haunts Plemons’ three characters, but little else connects his roles. The entire cast of multiple selves are unified solely by their raw and unyielding appetites. Like Francis Bacon, Lanthimos favors a brutal vision of humanity that makes realistic portraiture pale in comparison.\u003c/p>\n\u003cp>The three parts of \u003ci>Kinds of Kindness\u003c/i> add up to a theater of cruelty that should appeal to nihilists, pessimists and anyone willing to indulge in 165 minutes of unremitting bleakness.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Kinds of Kindness’ opens in Bay Area theaters on Friday, June 28, 2024.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>No one would mistake one of Francis Bacon’s triptychs for a dose of painterly realism. \u003ci>\u003ca href=\"https://www.guggenheim.org/artwork/293\">Three Studies for a Crucifixion\u003c/a>\u003c/i> is a portrait of a soul, or souls, in distress. The series of contorted bodies dripping with intestinal gore are recognizable as human artifacts — the exhausted aftermath of lives undone by an array of physical and psychological torments.\u003c/p>\n\u003cp>In Yorgos Lanthimos’ \u003ci>Kinds of Kindness\u003c/i>, the director has made his own harrowing triptych: a starched, unblinking look at a variety of souls pressed together and blessed with the capacity to cause harm and induce grief. When Annie Lennox starts singing “\u003ca href=\"https://youtu.be/qeMFqkcPYcg?feature=shared\">Sweet Dreams (Are Made of This)\u003c/a>” over the opening sequence, Lanthimos announces the movie’s theme with characteristic bluntness. Everybody’s looking for someone to use and abuse — or wants to be used and abused.\u003c/p>\n\u003cp>In three distinct segments, each with its own subtitle, Lanthimos foregrounds abusers with malevolent or sadistic imaginations. Their victims are both willing and unwilling. These roles are unfixed: the seven main actors reappear in each storyline as different characters, swapping power dynamics.\u003c/p>\n\u003cfigure id=\"attachment_13960154\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_b.jpg\" alt=\"Two people on couch, one lays with head in the other's lap\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13960154\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_b.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_b-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_b-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_b-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_b-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_b-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Hong Chau and Jesse Plemons in ‘Kinds of Kindness.’ \u003ccite>(Atsushi Nishijima/Fox Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While many films structure their narrative arcs around a struggle between good and evil, Lanthimos begins \u003ci>Kinds of Kindness\u003c/i>, as he does most of his films, after goodness has already surrendered. His characters have been bled dry of pure intentions. He builds an unbearable amount of tension in long takes, just to see how bad things can get. The body, and the spirit housed within it, will not triumph. Lanthimos is there to zoom in on his characters’ parallel states of decay.\u003c/p>\n\u003cp>In the first segment, Robert (Jesse Plemons) deliberately crashes his SUV into another car. The next day at work, we meet Robert’s employer Raymond (Willem Dafoe), their conversation a brittle confrontation between supplicant and omnipotent master. For a decade, Raymond has provided Robert with a written list of instructions that dictate his daily life, including what food he eats and when he can have sex with his wife Sarah (Hong Chau).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When Robert visits Raymond’s home to beg off a second car crash, Dafoe, with a measured degree of glee and malevolence, slips into the role of an exacting film director. He repeatedly asks Robert to reenact his scripted entrance into the living room.\u003c/p>\n\u003cfigure id=\"attachment_13960158\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_e.jpg\" alt=\"Person stands in parking lot looking up, person in wheelchair nearby\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13960158\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_e.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_e-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_e-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_e-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_e-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_e-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Emma Stone in ‘Kinds of Kindness.’ \u003ccite>(Atsushi Nishijima/Fox Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Part two amps up the series of absurd situations by implying that a police officer’s wife (Emma Stone) is an imposter, a supernatural replacement. When her shoes no longer fit, her husband (Plemons) becomes suspicious. His theory is confirmed when, at his request, she’s willing to cut off one of her fingers, cook it and then serve it to him for dinner with a side of roasted cauliflower.\u003c/p>\n\u003cp>Self-mutilation and homemade pornography make up the middle section of the film; rape, kidnapping, suicide and a cult dedicated to free love form the basis of part three. Car crashes open and close the trio. (In all this darkness, it’s a wonder Lanthimos manages to avoid bestiality, incest and pedophilia.)\u003c/p>\n\u003cp>In Lanthimos’ last film, \u003ci>Poor Things\u003c/i>, Gothic trappings and a fisheye lens made it easy for viewers to categorize it as a fable. It’s the dialogue in \u003ci>Kinds of Kindness\u003c/i>, not the costumes, set design or camera angles, that signals the film’s increasing sense of menace. The actors’ stiff, affectless line readings aren’t meant to conjure up relatable emotions. Lanthimos empowers his actors to forsake the conscience and moral center of the characters they play.\u003c/p>\n\u003cfigure id=\"attachment_13960078\" class=\"wp-caption aligncenter\" style=\"max-width: 1470px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-3.45.46-PM.png\" alt=\"A man and woman stand side-by-side behind a large outdoor receptacle of water. There are a few women standing behind them.\" width=\"1470\" height=\"972\" class=\"size-full wp-image-13960078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-3.45.46-PM.png 1470w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-3.45.46-PM-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-3.45.46-PM-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-3.45.46-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-3.45.46-PM-768x508.png 768w\" sizes=\"(max-width: 1470px) 100vw, 1470px\">\u003cfigcaption class=\"wp-caption-text\">Emma Stone and Jesse Plemons play cult members in one story segment from ‘Kinds of Kindness.’ \u003ccite>(Atsushi Nishijima/Fox Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout the film, Jerskin Fendrix’s plangent piano soundtrack haunts Plemons’ three characters, but little else connects his roles. The entire cast of multiple selves are unified solely by their raw and unyielding appetites. Like Francis Bacon, Lanthimos favors a brutal vision of humanity that makes realistic portraiture pale in comparison.\u003c/p>\n\u003cp>The three parts of \u003ci>Kinds of Kindness\u003c/i> add up to a theater of cruelty that should appeal to nihilists, pessimists and anyone willing to indulge in 165 minutes of unremitting bleakness.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Kinds of Kindness’ opens in Bay Area theaters on Friday, June 28, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Helen and the Bear’ Is an Intimate Saga of Love, California Style",
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"headTitle": "‘Helen and the Bear’ Is an Intimate Saga of Love, California Style | KQED",
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"content": "\u003cp>For longtime political observers and students of California history, Alix Blair’s sublime documentary \u003cem>Helen and the Bear\u003c/em> (receiving its U.S. premiere Sunday, June 23 at the Vogue in \u003ca href=\"https://www.frameline.org/\">Frameline48\u003c/a>, San Francisco’s long-running LGBTQ+ film festival) has an irresistible hook: The titular co-star is Rep. Pete McCloskey. \u003c/p>\n\u003cp>The eight-term congressman from San Mateo County — a product of Stanford (undergraduate and law) and a decorated Marine (the Korean War) — was the rare Republican who opposed the Vietnam War. That was his central issue when he challenged incumbent President Richard Nixon in the 1972 New Hampshire primary. The following year, amid the Watergate scandal, McCloskey was the first member of Congress to call for Nixon’s impeachment.\u003c/p>\n\u003cp>[aside postID='arts_13957326']McCloskey is in his 90s when \u003cem>Helen and the Bear\u003c/em> begins, but still a formidable figure. He remains politically involved, telephoning allies and staying up late watching election returns. But the documentary’s engine is its complicated and compelling heroine, the force of nature named Helen Hooper McCloskey.\u003c/p>\n\u003cp>Helen, Alix Blair writes in the production notes, was the cool California aunt her family would spend half a day with during their annual summer visit from Chicago. Aunt Helen’s nickname was The Hellion, though one wonders just how much the conservative Midwesterners knew about the love affairs and cocaine that Helen discloses in the film.\u003c/p>\n\u003cfigure id=\"attachment_13960050\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000.jpg\" alt=\"Man and woman stand smiling on beach with names written below photograph\" width=\"2000\" height=\"1862\" class=\"size-full wp-image-13960050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-800x745.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-1020x950.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-768x715.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-1536x1430.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-1920x1788.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A young Helen and Pete McCloskey. \u003ccite>(Courtesy of Helen and Pete McCloskey’s personal archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her 20s, Helen got a job on McCloskey’s staff working on abortion rights and environmental legislation. He had a wife and four children but was devoted to the job above all; a few years after his divorce, Pete and Helen became a couple and married, notwithstanding an age difference of some 25 years. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is all colorful and fascinating background, which Blair and editor Katrina Taylor periodically and artfully dispense in often-impressionistic collages of home movies, newsreel excerpts, still photographs and Helen’s journal entries. (In one simple yet effective wide shot, a TV sitting in the couple’s empty living room beams an old interview with Pete, bringing to life the ghosts that reside in their farmhouse’s walls.) \u003c/p>\n\u003cp>Blair and her collaborators make the risky but correct decision not to waste her extraordinary access on a boilerplate biographical piece. Helen and Pete’s past informs their present, of course, and Helen occasionally thinks about the road not taken, but the film’s thematic and emotional focus is the dynamic of a long-term love affair.\u003c/p>\n\u003cp>While this is the universal stuff of relationships, it is nonetheless a risky subject. \u003cem>Helen and the Bear\u003c/em> is at times a working-on-the-farm film, a travelogue and a portrait of elder care. Blair opts not to manipulate and massage the material to create or inflate the drama, conflict and narrative thrust that we typically want and expect from movies. \u003cem>Helen and the Bear\u003c/em> is an unusual film, therefore, that invites and demands the audience’s willingness to reflect on their own relationships.\u003c/p>\n\u003cfigure id=\"attachment_13960049\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset.jpg\" alt=\"Older woman in desert with dramatic sky behind\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13960049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Helen in the New Mexico desert. \u003ccite>(Alix Blair)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You may be wondering, right about now, why Frameline is showing a movie about a 40-year heterosexual marriage. In her 30s and 40s, Helen had serious affairs with women. They were authentic expressions of her identity and sexuality, though they were also a response to being left alone by a workaholic husband. Pete criticized Helen at the time for her adultery (his word); it’s unclear if he was completely faithful during this period.\u003c/p>\n\u003cp>Ultimately, they remain unequivocally devoted to each other as they go about their days on the organic farm they operated for three decades. (Pete’s passing, in May of this year at 96, occurs off-screen, which leaves us remembering \u003cem>Helen and the Bear\u003c/em> as a sun-dappled tale of life and death.)\u003c/p>\n\u003cp>I see Frameline’s inclusion of \u003cem>Helen and the Bear\u003c/em> as a marker of how queer film festivals have evolved. In the beginning, representations of gay and lesbian identity (in its various forms) were limited (as in rare) and proscribed (as in positive). The range of relationships, and the nuance with which they can be depicted, are both much greater today. \u003c/p>\n\u003cp>To put it another way, the world has evolved and Frameline reflects the current and ongoing reality.\u003c/p>\n\u003cp>Like every other film, \u003cem>Helen and the Bear\u003c/em> is informed by the viewer’s life experiences. Some will wallow in the echoes of the hungover ’70s. Others will be cast back to a time when “principled Republican” was not an oxymoron. And other viewers will revisit their various love and sexual relationships from a more, uh, mature perspective.\u003c/p>\n\u003cp>And you will interpret and judge — and yes, admire — Helen for her choices, her commitment and her integrity. \u003cem>Helen and the Bear\u003c/em> is as rewarding as it is rare.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.frameline.org/films/frameline48/helen-and-the-bear\">Helen and the Bear\u003c/a>’ screens as part of Frameline48 on Sunday, June 23 at 2:15 p.m. at the Vogue Theatre (3290 Sacramento St., San Francisco). Tickets are currently at rush.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For longtime political observers and students of California history, Alix Blair’s sublime documentary \u003cem>Helen and the Bear\u003c/em> (receiving its U.S. premiere Sunday, June 23 at the Vogue in \u003ca href=\"https://www.frameline.org/\">Frameline48\u003c/a>, San Francisco’s long-running LGBTQ+ film festival) has an irresistible hook: The titular co-star is Rep. Pete McCloskey. \u003c/p>\n\u003cp>The eight-term congressman from San Mateo County — a product of Stanford (undergraduate and law) and a decorated Marine (the Korean War) — was the rare Republican who opposed the Vietnam War. That was his central issue when he challenged incumbent President Richard Nixon in the 1972 New Hampshire primary. The following year, amid the Watergate scandal, McCloskey was the first member of Congress to call for Nixon’s impeachment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>McCloskey is in his 90s when \u003cem>Helen and the Bear\u003c/em> begins, but still a formidable figure. He remains politically involved, telephoning allies and staying up late watching election returns. But the documentary’s engine is its complicated and compelling heroine, the force of nature named Helen Hooper McCloskey.\u003c/p>\n\u003cp>Helen, Alix Blair writes in the production notes, was the cool California aunt her family would spend half a day with during their annual summer visit from Chicago. Aunt Helen’s nickname was The Hellion, though one wonders just how much the conservative Midwesterners knew about the love affairs and cocaine that Helen discloses in the film.\u003c/p>\n\u003cfigure id=\"attachment_13960050\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000.jpg\" alt=\"Man and woman stand smiling on beach with names written below photograph\" width=\"2000\" height=\"1862\" class=\"size-full wp-image-13960050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-800x745.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-1020x950.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-768x715.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-1536x1430.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-1920x1788.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A young Helen and Pete McCloskey. \u003ccite>(Courtesy of Helen and Pete McCloskey’s personal archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her 20s, Helen got a job on McCloskey’s staff working on abortion rights and environmental legislation. He had a wife and four children but was devoted to the job above all; a few years after his divorce, Pete and Helen became a couple and married, notwithstanding an age difference of some 25 years. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is all colorful and fascinating background, which Blair and editor Katrina Taylor periodically and artfully dispense in often-impressionistic collages of home movies, newsreel excerpts, still photographs and Helen’s journal entries. (In one simple yet effective wide shot, a TV sitting in the couple’s empty living room beams an old interview with Pete, bringing to life the ghosts that reside in their farmhouse’s walls.) \u003c/p>\n\u003cp>Blair and her collaborators make the risky but correct decision not to waste her extraordinary access on a boilerplate biographical piece. Helen and Pete’s past informs their present, of course, and Helen occasionally thinks about the road not taken, but the film’s thematic and emotional focus is the dynamic of a long-term love affair.\u003c/p>\n\u003cp>While this is the universal stuff of relationships, it is nonetheless a risky subject. \u003cem>Helen and the Bear\u003c/em> is at times a working-on-the-farm film, a travelogue and a portrait of elder care. Blair opts not to manipulate and massage the material to create or inflate the drama, conflict and narrative thrust that we typically want and expect from movies. \u003cem>Helen and the Bear\u003c/em> is an unusual film, therefore, that invites and demands the audience’s willingness to reflect on their own relationships.\u003c/p>\n\u003cfigure id=\"attachment_13960049\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset.jpg\" alt=\"Older woman in desert with dramatic sky behind\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13960049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Helen in the New Mexico desert. \u003ccite>(Alix Blair)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You may be wondering, right about now, why Frameline is showing a movie about a 40-year heterosexual marriage. In her 30s and 40s, Helen had serious affairs with women. They were authentic expressions of her identity and sexuality, though they were also a response to being left alone by a workaholic husband. Pete criticized Helen at the time for her adultery (his word); it’s unclear if he was completely faithful during this period.\u003c/p>\n\u003cp>Ultimately, they remain unequivocally devoted to each other as they go about their days on the organic farm they operated for three decades. (Pete’s passing, in May of this year at 96, occurs off-screen, which leaves us remembering \u003cem>Helen and the Bear\u003c/em> as a sun-dappled tale of life and death.)\u003c/p>\n\u003cp>I see Frameline’s inclusion of \u003cem>Helen and the Bear\u003c/em> as a marker of how queer film festivals have evolved. In the beginning, representations of gay and lesbian identity (in its various forms) were limited (as in rare) and proscribed (as in positive). The range of relationships, and the nuance with which they can be depicted, are both much greater today. \u003c/p>\n\u003cp>To put it another way, the world has evolved and Frameline reflects the current and ongoing reality.\u003c/p>\n\u003cp>Like every other film, \u003cem>Helen and the Bear\u003c/em> is informed by the viewer’s life experiences. Some will wallow in the echoes of the hungover ’70s. Others will be cast back to a time when “principled Republican” was not an oxymoron. And other viewers will revisit their various love and sexual relationships from a more, uh, mature perspective.\u003c/p>\n\u003cp>And you will interpret and judge — and yes, admire — Helen for her choices, her commitment and her integrity. \u003cem>Helen and the Bear\u003c/em> is as rewarding as it is rare.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.frameline.org/films/frameline48/helen-and-the-bear\">Helen and the Bear\u003c/a>’ screens as part of Frameline48 on Sunday, June 23 at 2:15 p.m. at the Vogue Theatre (3290 Sacramento St., San Francisco). Tickets are currently at rush.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The first time photographer and filmmaker Clara Pérez visited Berkeley’s \u003ca href=\"https://lapena.org/\">La Peña Cultural Center\u003c/a> for an open mic, they were amazed by the sense of community at the venue.\u003c/p>\n\u003cp>“I was new to the Bay, trying to get my grounding,” says Pérez, “and just walking into that room, there was so much love.” Moved by the performers and the way the crowd received them, Pérez reached out to management that same evening. “Pretty quickly after that I became a staff photographer with La Peña.”\u003c/p>\n\u003cp>The venue, active for nearly 50 years, is well known for its live music and community gatherings that are often full of political discourse.\u003c/p>\n\u003cp>On the outside of the building is \u003ca href=\"https://lapena.org/about-lapena/\">the center’s trademark mural\u003c/a>, \u003ci>Song of Unity\u003c/i>. The 15-by-40-foot piece depicts multiple icons, including Mexican American labor leader Cesar Chavez, Native American activist Bill Wahpepah and slain Chilean folk singer Victor Jara. Originally painted in 1978, the mural is a visual representation of what the space is all about — the people \u003cem>and\u003c/em> the culture.\u003c/p>\n\u003cfigure id=\"attachment_13959720\" class=\"wp-caption aligncenter\" style=\"max-width: 1159px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8.jpg\" alt=\"four people look at a sheet of paper with brainstorming ideas in a colorfully painted room\" width=\"1159\" height=\"608\" class=\"size-full wp-image-13959720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8.jpg 1159w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8-800x420.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8-1020x535.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8-768x403.jpg 768w\" sizes=\"auto, (max-width: 1159px) 100vw, 1159px\">\u003cfigcaption class=\"wp-caption-text\">Artist Cece Carpio leads a workshop as attendees review notes. \u003ccite>(Clara Pérez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That idea, of using murals to claim space for cultural purposes, is explored in the new short film \u003cem>A Place to Call Home\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Directed by \u003ca href=\"https://www.claraperezmedina.com/\">Clara Pérez\u003c/a> and co-produced by \u003ca href=\"https://www.instagram.com/coreylapena/\">Corey Raynor\u003c/a>, the film focuses on La Peña’s intergenerational mural-making workshops and the importance of cultural preservation through visual art.\u003c/p>\n\u003cp>The 11-minute documentary film, which screens on Friday, June 14, at \u003ca href=\"https://qwocff.org/\">San Francisco’s Queer Women of Color Film Festival\u003c/a>, features budding visual artists \u003ca href=\"https://www.instagram.com/art.bymarshall/\">Lauryn Marshall\u003c/a>, \u003ca href=\"https://www.instagram.com/corazon_ycolor/\">Angélica López\u003c/a> and \u003ca href=\"https://www.instagram.com/maangohoney/\">kahalla\u003c/a> all working on their craft under the tutelage of artist and educator \u003ca href=\"https://www.instagram.com/cececarpio/\">Cece Carpio\u003c/a>.\u003c/p>\n\u003cp>The film follows the artists through the process of painting a floor-to-ceiling mural in the center’s community room. The finished mural, Pérez explains, is a nod to intergenerational connections.\u003c/p>\n\u003cp>“On the left side is a Black queer trans nonbinary person, and the different iterations of them as a child. And then on the right, you see three generations of Black women who are braiding each other’s hair — a grandmother, a mother and a child,” says Pérez. Elsewhere, an image of corn is López’s way of acknowledging the cultural ritual of corn dances to celebrate womanhood.\u003c/p>\n\u003cp>“[The artists] had these amazing stories about honoring their ancestors, in place,” says Pérez, noting that a tree in the middle of the mural represents Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13959728\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6.jpg\" alt=\"Three artists sit at a table during the filming of a documentary.\" width=\"2048\" height=\"1536\" class=\"size-full wp-image-13959728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Behind the scenes of ‘A Place To Call Home’: artists Lauryn Marshall, kahalla and Angélica López talk shop. \u003ccite>(Clara Pérez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pérez followed the trio through the creative process, attending meetings and brainstorming sessions. At times, Pérez put the camera down to allow the artists to fully express themselves during vulnerable moments.\u003c/p>\n\u003cp>“Seeing them, as artists, come up with something on the spot, it really requires a collaboration that you don’t see in other spaces,” says Pérez. Discussions about turning abstract ideas into a tangible creation takes more than just \u003cem>work\u003c/em>. “Color, shape, theme — how can we communicate these things?” asks Pérez. “It requires a certain level of vulnerability.”\u003c/p>\n\u003cp>Add in the hurdle of finding funding, and these artists get the real-world experience of being muralists. \u003c/p>\n\u003cp>https://vimeo.com/957245456\u003c/p>\n\u003cp>The hope is that those who see the film will appreciate the time artists must spend to learn and perfect their craft. Having a vision, translating it to something real, and in doing so, uplifting their cultural heritage: “It’s real spiritual work,” says Pérez.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Place to Call Home’ screens Friday, June 14 at 7 p.m. at the Presidio Theatre (499 Moraga Ave., San Francisco). \u003ca href=\"http://qwocff.org\">Find tickets and information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first time photographer and filmmaker Clara Pérez visited Berkeley’s \u003ca href=\"https://lapena.org/\">La Peña Cultural Center\u003c/a> for an open mic, they were amazed by the sense of community at the venue.\u003c/p>\n\u003cp>“I was new to the Bay, trying to get my grounding,” says Pérez, “and just walking into that room, there was so much love.” Moved by the performers and the way the crowd received them, Pérez reached out to management that same evening. “Pretty quickly after that I became a staff photographer with La Peña.”\u003c/p>\n\u003cp>The venue, active for nearly 50 years, is well known for its live music and community gatherings that are often full of political discourse.\u003c/p>\n\u003cp>On the outside of the building is \u003ca href=\"https://lapena.org/about-lapena/\">the center’s trademark mural\u003c/a>, \u003ci>Song of Unity\u003c/i>. The 15-by-40-foot piece depicts multiple icons, including Mexican American labor leader Cesar Chavez, Native American activist Bill Wahpepah and slain Chilean folk singer Victor Jara. Originally painted in 1978, the mural is a visual representation of what the space is all about — the people \u003cem>and\u003c/em> the culture.\u003c/p>\n\u003cfigure id=\"attachment_13959720\" class=\"wp-caption aligncenter\" style=\"max-width: 1159px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8.jpg\" alt=\"four people look at a sheet of paper with brainstorming ideas in a colorfully painted room\" width=\"1159\" height=\"608\" class=\"size-full wp-image-13959720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8.jpg 1159w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8-800x420.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8-1020x535.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8-768x403.jpg 768w\" sizes=\"auto, (max-width: 1159px) 100vw, 1159px\">\u003cfigcaption class=\"wp-caption-text\">Artist Cece Carpio leads a workshop as attendees review notes. \u003ccite>(Clara Pérez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That idea, of using murals to claim space for cultural purposes, is explored in the new short film \u003cem>A Place to Call Home\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Directed by \u003ca href=\"https://www.claraperezmedina.com/\">Clara Pérez\u003c/a> and co-produced by \u003ca href=\"https://www.instagram.com/coreylapena/\">Corey Raynor\u003c/a>, the film focuses on La Peña’s intergenerational mural-making workshops and the importance of cultural preservation through visual art.\u003c/p>\n\u003cp>The 11-minute documentary film, which screens on Friday, June 14, at \u003ca href=\"https://qwocff.org/\">San Francisco’s Queer Women of Color Film Festival\u003c/a>, features budding visual artists \u003ca href=\"https://www.instagram.com/art.bymarshall/\">Lauryn Marshall\u003c/a>, \u003ca href=\"https://www.instagram.com/corazon_ycolor/\">Angélica López\u003c/a> and \u003ca href=\"https://www.instagram.com/maangohoney/\">kahalla\u003c/a> all working on their craft under the tutelage of artist and educator \u003ca href=\"https://www.instagram.com/cececarpio/\">Cece Carpio\u003c/a>.\u003c/p>\n\u003cp>The film follows the artists through the process of painting a floor-to-ceiling mural in the center’s community room. The finished mural, Pérez explains, is a nod to intergenerational connections.\u003c/p>\n\u003cp>“On the left side is a Black queer trans nonbinary person, and the different iterations of them as a child. And then on the right, you see three generations of Black women who are braiding each other’s hair — a grandmother, a mother and a child,” says Pérez. Elsewhere, an image of corn is López’s way of acknowledging the cultural ritual of corn dances to celebrate womanhood.\u003c/p>\n\u003cp>“[The artists] had these amazing stories about honoring their ancestors, in place,” says Pérez, noting that a tree in the middle of the mural represents Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13959728\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6.jpg\" alt=\"Three artists sit at a table during the filming of a documentary.\" width=\"2048\" height=\"1536\" class=\"size-full wp-image-13959728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Behind the scenes of ‘A Place To Call Home’: artists Lauryn Marshall, kahalla and Angélica López talk shop. \u003ccite>(Clara Pérez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pérez followed the trio through the creative process, attending meetings and brainstorming sessions. At times, Pérez put the camera down to allow the artists to fully express themselves during vulnerable moments.\u003c/p>\n\u003cp>“Seeing them, as artists, come up with something on the spot, it really requires a collaboration that you don’t see in other spaces,” says Pérez. Discussions about turning abstract ideas into a tangible creation takes more than just \u003cem>work\u003c/em>. “Color, shape, theme — how can we communicate these things?” asks Pérez. “It requires a certain level of vulnerability.”\u003c/p>\n\u003cp>Add in the hurdle of finding funding, and these artists get the real-world experience of being muralists. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The hope is that those who see the film will appreciate the time artists must spend to learn and perfect their craft. Having a vision, translating it to something real, and in doing so, uplifting their cultural heritage: “It’s real spiritual work,” says Pérez.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Place to Call Home’ screens Friday, June 14 at 7 p.m. at the Presidio Theatre (499 Moraga Ave., San Francisco). \u003ca href=\"http://qwocff.org\">Find tickets and information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Fresh Look at San Francisco’s Starring Hollywood Roles",
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"content": "\u003cp>San Francisco has long captured the imagination of filmmakers, who love shooting establishing shots of the Golden Gate Bridge almost as much as destroying it. For over a century, the city’s downtown skyline, distinctive neighborhoods and dramatic history have provided iconic backdrops for cinematic imaginings. \u003c/p>\n\u003cp>Local writer and historian (and former librarian) Jim Van Buskirk, co-author of the 2006 book \u003ci>Celluloid San Francisco: The Film Lover’s Guide to Bay Area Movie Locations\u003c/i>, knows this well. Now, in a series of lively Tuesday night talks in the San Francisco Public Library’s Koret Auditorium, he’ll share some of that knowledge, along with clips and still photographs related to movie-making in the Bay. \u003c/p>\n\u003cp>The program kicks off on June 4 with “\u003ca href=\"https://sfpl.org/events/2024/06/18/film-cinematic-san-francisco\">San Francisco on the Silver Screen\u003c/a>,” a broad survey of the region’s role in movies and television shows. Christina Moretta, photo curator of the library’s San Francisco History Center, worked with Van Buskirk to pull images from the \u003ca href=\"https://sfpl.org/locations/main-library/historical-photographs/photo-collections/san-francisco-news-call-bulletin\">\u003cem>San Francisco News-Call Bulletin\u003c/em> Photo Morgue\u003c/a>, a collection of over 2 million photographs donated to the library in the 1960s.\u003c/p>\n\u003cfigure id=\"attachment_13959081\" class=\"wp-caption aligncenter\" style=\"max-width: 1406px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp.jpg\" alt=\"Black-and-white image of man in old diving gear, back of photo with news clipping and writing\" width=\"1406\" height=\"1110\" class=\"size-full wp-image-13959081\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp.jpg 1406w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp-800x632.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp-1020x805.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp-768x606.jpg 768w\" sizes=\"(max-width: 1406px) 100vw, 1406px\">\u003cfigcaption class=\"wp-caption-text\">Photo of Kim Novak taken while filming ‘Vertigo’ in San Francisco, 1957. \u003ccite>(United Press Telephoto; Courtesy of San Francisco History Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We actually went through the photo morgue identifying all the movie stars and found original photographs of [them] on set here in San Francisco,” says Moretta. “For example, one is Alfred Hitchcock and James Stewart in the cemetery of Mission Dolores, with the lights in the background and them talking over a script.”\u003c/p>\n\u003cp>In addition to glimpses of behind-the-scenes action, the photographs tell a story of the studio publicity machine, Moretta notes: “For Bette Davis, they had like two cartons of photographs of her.” (Orson Welles? “Maybe five folders.”)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On June 11, Van Buskirk turns his focus to depictions of the 1906 earthquake and fire for “Hollywood Shakes San Francisco.” Alongside newsreels, the program includes clips from the silent film \u003ci>When the Earth Trembled\u003c/i> (1913), possibly the first drama to depict the disaster via early 20th-century special effects. In the ’30s, \u003ci>Frisco Jenny\u003c/i>, \u003ci>San Francisco\u003c/i> and \u003ci>The Sisters\u003c/i> all included the earthquake in their mix of political, romantic and musical drama, the devastation bringing characters together or temporarily forcing them apart. \u003c/p>\n\u003cp>A note here on the format of these Tuesday nights: Moretta implies that “talk” is a bit dry for what Van Buskirk has in store. “He does encourage audience participation and there’s kind of a camp element to it,” she says. (Van Buskirk has previously given presentations for San Francisco Neon on Market Street movie marquees and gay bar signs.)\u003c/p>\n\u003cfigure id=\"attachment_13959084\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000.jpg\" alt=\"Photo of man and woman looking up under the Golden Gate Bridge, verso to right with news clipping and writing\" width=\"2000\" height=\"1233\" class=\"size-full wp-image-13959084\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-1020x629.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-768x473.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-1536x947.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-1920x1184.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lee J. Cobb and Jane Wyatt during filming of ‘The Man Who Cheated Himself,’ 1950. \u003ccite>(Call Bulletin; Courtesy of San Francisco History Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the final two events of the series, he’ll turn his attention to the Golden Gate Bridge and Alcatraz (June 18 and 25, respectively). The bridge isn’t just a recognizable backdrop, Van Buskirk argues, but a character in its own right — one that has withstood sea monsters, natural disasters and villains of all stripes, in movies like \u003ci>Superman\u003c/i> (1978), \u003ci>A View to a Kill\u003c/i> (1985) and \u003ci>Rise of the Planet of the Apes\u003c/i> (2011). \u003c/p>\n\u003cp>[aside postID='arts_13958881,arts_13957326']Alcatraz, rocky and removed, was depicted \u003ca href=\"https://en.wikipedia.org/wiki/Alcatraz_Island_(film)\">on film in 1937\u003c/a>, just three years after it opened as a federal prison. Its role shifted in film as it did in real life: in 1967 the by-then deserted site was the setting of an ambush in \u003ci>Point Blank\u003c/i>; a criminal organization hides out on the island in 1976’s \u003ci>The Enforcer\u003c/i>, the third \u003ci>Dirty Harry\u003c/i> film. Van Buskirk, of course, will not overlook \u003ci>The Rock\u003c/i>. \u003c/p>\n\u003cp>(For those seeking a deeper dive on any of the above, the library has compiled \u003ca href=\"https://sfpl.bibliocommons.com/list/share/379727478_sfpl_artmusiclibrarians/2539869619_cinematic_san_francisco\">a list of recommendations\u003c/a> for further reading, and all the titles discussed are available to library patrons via \u003ca href=\"https://www.kanopy.com/en\">Kanopy\u003c/a> or on DVD.)\u003c/p>\n\u003cp>Moretta says the talks, peppered throughout with short clips, are for anyone interested in film and learning more about San Francisco. “And then also for anyone who thinks they know everything,” she says. “I think everyone will have a discovery in the moment.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Jim Van Buskirk’s series of ‘\u003ca href=\"https://sfpl.org/events/2024/06/18/film-cinematic-san-francisco\">Film: Cinematic San Francisco\u003c/a>’ talks take place June 4, 11, 18 and 25 in the San Francisco Public Library’s Koret Auditorium (100 Larkin St.). All events begin at 6:00 p.m. and are free to attend.\u003c/i>\u003c/p>\n\n",
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"excerpt": "On Tuesday nights in June, Jim Van Buskirk mines the city’s celluloid history, with clips and stills galore. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco has long captured the imagination of filmmakers, who love shooting establishing shots of the Golden Gate Bridge almost as much as destroying it. For over a century, the city’s downtown skyline, distinctive neighborhoods and dramatic history have provided iconic backdrops for cinematic imaginings. \u003c/p>\n\u003cp>Local writer and historian (and former librarian) Jim Van Buskirk, co-author of the 2006 book \u003ci>Celluloid San Francisco: The Film Lover’s Guide to Bay Area Movie Locations\u003c/i>, knows this well. Now, in a series of lively Tuesday night talks in the San Francisco Public Library’s Koret Auditorium, he’ll share some of that knowledge, along with clips and still photographs related to movie-making in the Bay. \u003c/p>\n\u003cp>The program kicks off on June 4 with “\u003ca href=\"https://sfpl.org/events/2024/06/18/film-cinematic-san-francisco\">San Francisco on the Silver Screen\u003c/a>,” a broad survey of the region’s role in movies and television shows. Christina Moretta, photo curator of the library’s San Francisco History Center, worked with Van Buskirk to pull images from the \u003ca href=\"https://sfpl.org/locations/main-library/historical-photographs/photo-collections/san-francisco-news-call-bulletin\">\u003cem>San Francisco News-Call Bulletin\u003c/em> Photo Morgue\u003c/a>, a collection of over 2 million photographs donated to the library in the 1960s.\u003c/p>\n\u003cfigure id=\"attachment_13959081\" class=\"wp-caption aligncenter\" style=\"max-width: 1406px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp.jpg\" alt=\"Black-and-white image of man in old diving gear, back of photo with news clipping and writing\" width=\"1406\" height=\"1110\" class=\"size-full wp-image-13959081\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp.jpg 1406w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp-800x632.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp-1020x805.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp-768x606.jpg 768w\" sizes=\"(max-width: 1406px) 100vw, 1406px\">\u003cfigcaption class=\"wp-caption-text\">Photo of Kim Novak taken while filming ‘Vertigo’ in San Francisco, 1957. \u003ccite>(United Press Telephoto; Courtesy of San Francisco History Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We actually went through the photo morgue identifying all the movie stars and found original photographs of [them] on set here in San Francisco,” says Moretta. “For example, one is Alfred Hitchcock and James Stewart in the cemetery of Mission Dolores, with the lights in the background and them talking over a script.”\u003c/p>\n\u003cp>In addition to glimpses of behind-the-scenes action, the photographs tell a story of the studio publicity machine, Moretta notes: “For Bette Davis, they had like two cartons of photographs of her.” (Orson Welles? “Maybe five folders.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On June 11, Van Buskirk turns his focus to depictions of the 1906 earthquake and fire for “Hollywood Shakes San Francisco.” Alongside newsreels, the program includes clips from the silent film \u003ci>When the Earth Trembled\u003c/i> (1913), possibly the first drama to depict the disaster via early 20th-century special effects. In the ’30s, \u003ci>Frisco Jenny\u003c/i>, \u003ci>San Francisco\u003c/i> and \u003ci>The Sisters\u003c/i> all included the earthquake in their mix of political, romantic and musical drama, the devastation bringing characters together or temporarily forcing them apart. \u003c/p>\n\u003cp>A note here on the format of these Tuesday nights: Moretta implies that “talk” is a bit dry for what Van Buskirk has in store. “He does encourage audience participation and there’s kind of a camp element to it,” she says. (Van Buskirk has previously given presentations for San Francisco Neon on Market Street movie marquees and gay bar signs.)\u003c/p>\n\u003cfigure id=\"attachment_13959084\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000.jpg\" alt=\"Photo of man and woman looking up under the Golden Gate Bridge, verso to right with news clipping and writing\" width=\"2000\" height=\"1233\" class=\"size-full wp-image-13959084\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-1020x629.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-768x473.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-1536x947.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-1920x1184.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lee J. Cobb and Jane Wyatt during filming of ‘The Man Who Cheated Himself,’ 1950. \u003ccite>(Call Bulletin; Courtesy of San Francisco History Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the final two events of the series, he’ll turn his attention to the Golden Gate Bridge and Alcatraz (June 18 and 25, respectively). The bridge isn’t just a recognizable backdrop, Van Buskirk argues, but a character in its own right — one that has withstood sea monsters, natural disasters and villains of all stripes, in movies like \u003ci>Superman\u003c/i> (1978), \u003ci>A View to a Kill\u003c/i> (1985) and \u003ci>Rise of the Planet of the Apes\u003c/i> (2011). \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Alcatraz, rocky and removed, was depicted \u003ca href=\"https://en.wikipedia.org/wiki/Alcatraz_Island_(film)\">on film in 1937\u003c/a>, just three years after it opened as a federal prison. Its role shifted in film as it did in real life: in 1967 the by-then deserted site was the setting of an ambush in \u003ci>Point Blank\u003c/i>; a criminal organization hides out on the island in 1976’s \u003ci>The Enforcer\u003c/i>, the third \u003ci>Dirty Harry\u003c/i> film. Van Buskirk, of course, will not overlook \u003ci>The Rock\u003c/i>. \u003c/p>\n\u003cp>(For those seeking a deeper dive on any of the above, the library has compiled \u003ca href=\"https://sfpl.bibliocommons.com/list/share/379727478_sfpl_artmusiclibrarians/2539869619_cinematic_san_francisco\">a list of recommendations\u003c/a> for further reading, and all the titles discussed are available to library patrons via \u003ca href=\"https://www.kanopy.com/en\">Kanopy\u003c/a> or on DVD.)\u003c/p>\n\u003cp>Moretta says the talks, peppered throughout with short clips, are for anyone interested in film and learning more about San Francisco. “And then also for anyone who thinks they know everything,” she says. “I think everyone will have a discovery in the moment.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Jim Van Buskirk’s series of ‘\u003ca href=\"https://sfpl.org/events/2024/06/18/film-cinematic-san-francisco\">Film: Cinematic San Francisco\u003c/a>’ talks take place June 4, 11, 18 and 25 in the San Francisco Public Library’s Koret Auditorium (100 Larkin St.). All events begin at 6:00 p.m. and are free to attend.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A New Outdoor Movie Series Comes to Treasure Island This Summer",
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"content": "\u003cp>Starting June 3, Treasure Island distillery \u003ca href=\"https://goldbarwhiskey.com/\">Gold Bar Whiskey\u003c/a> is hosting a series of outdoor movie nights at sunset, spotlighting films shot in and around the Bay Area.\u003c/p>\n\u003cp>The full line-up so far includes \u003cem>Indiana Jones and the Last Crusade\u003c/em> on June 3, \u003cem>Milk\u003c/em> on June 11, \u003cem>The Pursuit of Happyness\u003c/em> on July 9, \u003cem>The Parent Trap\u003c/em> on Aug. 13, \u003cem>Bicentennial Man\u003c/em> on Sept. 10 and \u003cem>What Dreams May Come\u003c/em> on Oct. 8. The screenings cost $10, are dog- and child-friendly, and babies under two can attend for free.\u003c/p>\n\u003cp>[aside postid='arts_13957727']Gold Bar Whiskey has been open since October 2023 and is housed inside the former Pan Am Airport on Treasure Island, along with the \u003ca href=\"https://www.treasureislandmuseum.org/\">Treasure Island Museum\u003c/a>. The grand, semi-circular building makes an appearance in \u003cem>Indiana Jones and the Last Crusade\u003c/em> as the Berlin airport — no doubt the reason it’s the first on this summer’s movie roster.\u003c/p>\n\u003cp>The Art Deco-inspired building was first constructed as part of 1939’s \u003ca href=\"https://www.kqed.org/news/11790693/magic-city-and-the-making-of-treasure-island\">Golden Gate International Exposition\u003c/a> and was the brainchild of architects William Peyton Day, who designed Oakland’s Fox Theater, and George William Kelham, who helped reconstruct the Palace Hotel after the 1906 earthquake. It is perfectly situated to enjoy stunning views of the San Francisco skyline.\u003c/p>\n\u003cp>Though limited seating will be available during the movie screenings, attendees are encouraged to bring their own chairs and blankets. Drinks and snacks will be available for purchase from the distillery. Start times for each screening will vary in order to coincide with that day’s sunset. \u003ca href=\"https://www.eventbrite.com/e/sunset-movie-nights-on-treasure-island-tickets-906437347507?aff=oddtdtcreator\">Check individual events for specifics\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Starting June 3, Treasure Island distillery \u003ca href=\"https://goldbarwhiskey.com/\">Gold Bar Whiskey\u003c/a> is hosting a series of outdoor movie nights at sunset, spotlighting films shot in and around the Bay Area.\u003c/p>\n\u003cp>The full line-up so far includes \u003cem>Indiana Jones and the Last Crusade\u003c/em> on June 3, \u003cem>Milk\u003c/em> on June 11, \u003cem>The Pursuit of Happyness\u003c/em> on July 9, \u003cem>The Parent Trap\u003c/em> on Aug. 13, \u003cem>Bicentennial Man\u003c/em> on Sept. 10 and \u003cem>What Dreams May Come\u003c/em> on Oct. 8. The screenings cost $10, are dog- and child-friendly, and babies under two can attend for free.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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