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"content": "\u003cp>There’s something happening in trans cinema right now. It’s playful, messy, campy and decidedly raw. Film programmers Gabi Grossman and Aidan Dick, both of Frameline, have coined the phrase “Trans New Weird” to describe this emerging genre coming from mostly trans directors.\u003c/p>\n\u003cp>“These films are extraordinarily playful,” Grossman says. “They’re also a reaction against the demand in certain more mainstream films for trans people to be ‘normal,’ whatever that means.”\u003c/p>\n\u003cp>She puts it another way: “They keep the weird in queer.”\u003c/p>\n\u003cp>To introduce this “new wave” of filmmaking to even more audiences, Grossman and Dick have now programmed a series of double features at Yerba Buena Center for the Arts. Spread across three months, \u003ca href=\"https://ybca.org/event/new-queer-cinema-x-trans-new-weird-who-owns-our-image/\">New Queer Cinema x Trans New Weird\u003c/a> pairs ’90s independent films with contemporary, thematic counterparts.\u003c/p>\n\u003cp>“It was important to give context and to showcase that nothing exists in a vacuum, right?” Grossman says. “Queer and trans artists have always been dreaming up new ways to demand dignity and equal rights.”\u003c/p>\n\u003cfigure id=\"attachment_13988634\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988634\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Poison_Todd-Haynes_TNW.jpg\" alt=\"wet man screams upward\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Poison_Todd-Haynes_TNW.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Poison_Todd-Haynes_TNW-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Poison_Todd-Haynes_TNW-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Poison_Todd-Haynes_TNW-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Poison_Todd-Haynes_TNW-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Todd Haynes’ ‘Poison,’ 1991. \u003ccite>(Zeitgeist Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>First up on the schedule is “Who Owns Our Image,” featuring Todd Haynes’ \u003ci>Poison\u003c/i> (1991) and Vera Drew’s \u003ci>The People’s Joker\u003c/i> (2022). The movies will play back to back on Saturday, April 18, starting at 1 p.m.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Both borrow from and then upend traditional narrative conventions. Haynes channels three distinct genres for \u003ci>Poison\u003c/i>: a television news documentary, a B-movie horror flick, and a gritty prison diary. As the movie progresses, the storylines intercut more frequently and converge, avoiding narrative closure and transgressing “straight” film language.\u003c/p>\n\u003cp>“\u003ci>Poison\u003c/i>, when I first saw it, when I was a teenager, rewired my brain about what it was that a movie could be and what it was that a queer filmmaker could do,” Grossman says.\u003c/p>\n\u003cp>In \u003ci>The People’s Joker\u003c/i>, Drew takes on the canon of DC Comics, depicting the Joker as a trans woman trying to break into the Gotham comedy scene. The movie flits through the tones and styles of a variety of Batman eras; animated sequences create even more surreal possibilities. Proclaiming itself a “fair use film,” \u003ci>The People’s Joker\u003c/i> holds no intellectual property sacred. Drew refashions and remixes both characters and story lines toward her own moviemaking ends.\u003c/p>\n\u003cfigure id=\"attachment_13988632\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988632\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/unnamed-file.jpeg\" alt=\"Black person lowers classes\" width=\"1333\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/unnamed-file.jpeg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/unnamed-file-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/unnamed-file-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/unnamed-file-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">A still from Stephen Winters’ ‘Chocolate Babies,’ 1996. \u003ccite>(Frameline Distribution)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They’re playing with the same idea and doing so in completely different ways that speaks to their time and their place,” Grossman says of Haynes and Drew. Part of the goal in organizing the YBCA series is to create an artistic context — a lineage of independent cinema — that can bridge a generational gap in audiences.\u003c/p>\n\u003cp>“It’s really easy to get our blinders up and to think that we exist in this sort of isolated moment,” Grossman says. Yet thinking of the Reagan administration’s lack of response to the AIDS crisis, and the current proliferation of anti-trans bills, she says, “It’s hard not to see the parallels of what’s going on politically today.”\u003c/p>\n\u003cp>Next up for the series will be “\u003ca href=\"https://ybca.org/event/new-queer-cinema-x-trans-new-weird-queer-vigilantes/\">Queer Vigilantes\u003c/a>” on May 16, with Stephen Winter’s \u003ci>Chocolate Babies\u003c/i> (1996) and Alice Maio Mackay’s \u003ci>T Blockers\u003c/i> (2023). And on June 6, “\u003ca href=\"https://ybca.org/event/new-queer-cinema-x-trans-new-weird-teen-death-drive/\">Teen Death Drive\u003c/a>” will feature Gregg Araki’s \u003ci>Totally Fucked Up\u003c/i> (1993) and Jane Schoenbrun’s \u003ci>We’re All Going to the World’s Fair\u003c/i> (2021).\u003c/p>\n\u003cfigure id=\"attachment_13988633\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988633\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Worlds-Fair.png\" alt=\"person with glowing face paint holds a fake eye to their own eye\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Worlds-Fair.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Worlds-Fair-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Worlds-Fair-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Worlds-Fair-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Worlds-Fair-1200x675.png 1200w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Jane Jane Schoenbrun’s ‘We’re All Going to the World’s Fair,’ 2021.\u003c/figcaption>\u003c/figure>\n\u003cp>If audiences emerge from all three Saturday screenings wanting more, Grossman is happy to report that \u003ca href=\"https://www.frameline.org/festival\">Frameline 50\u003c/a>, coming up June 17–27, will include a more extensive Trans New Weird program.\u003c/p>\n\u003cp>Ultimately, she hopes Trans New Weird films will inspire audiences just like the New Queer Cinema films inspired her the first time she saw them.\u003c/p>\n\u003cp>“We want to make you pick up a camera and go make something,” she says of the YBCA series. “This program is all in the spirit of getting people to make movies that reflect themselves, to make art that reflects their experience.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://ybca.org/event/new-queer-cinema-x-trans-new-weird-who-owns-our-image/\">New Queer Cinema x Trans New Weird: Who Owns Our Image?\u003c/a>’ plays at Yerba Buena Center for the Arts (701 Mission St., San Francisco) on Saturday, April 18, at 1 p.m. Future screenings will take place on May 16 and June 6, also at 1 p.m.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s something happening in trans cinema right now. It’s playful, messy, campy and decidedly raw. Film programmers Gabi Grossman and Aidan Dick, both of Frameline, have coined the phrase “Trans New Weird” to describe this emerging genre coming from mostly trans directors.\u003c/p>\n\u003cp>“These films are extraordinarily playful,” Grossman says. “They’re also a reaction against the demand in certain more mainstream films for trans people to be ‘normal,’ whatever that means.”\u003c/p>\n\u003cp>She puts it another way: “They keep the weird in queer.”\u003c/p>\n\u003cp>To introduce this “new wave” of filmmaking to even more audiences, Grossman and Dick have now programmed a series of double features at Yerba Buena Center for the Arts. Spread across three months, \u003ca href=\"https://ybca.org/event/new-queer-cinema-x-trans-new-weird-who-owns-our-image/\">New Queer Cinema x Trans New Weird\u003c/a> pairs ’90s independent films with contemporary, thematic counterparts.\u003c/p>\n\u003cp>“It was important to give context and to showcase that nothing exists in a vacuum, right?” Grossman says. “Queer and trans artists have always been dreaming up new ways to demand dignity and equal rights.”\u003c/p>\n\u003cfigure id=\"attachment_13988634\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988634\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Poison_Todd-Haynes_TNW.jpg\" alt=\"wet man screams upward\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Poison_Todd-Haynes_TNW.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Poison_Todd-Haynes_TNW-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Poison_Todd-Haynes_TNW-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Poison_Todd-Haynes_TNW-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Poison_Todd-Haynes_TNW-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Todd Haynes’ ‘Poison,’ 1991. \u003ccite>(Zeitgeist Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>First up on the schedule is “Who Owns Our Image,” featuring Todd Haynes’ \u003ci>Poison\u003c/i> (1991) and Vera Drew’s \u003ci>The People’s Joker\u003c/i> (2022). The movies will play back to back on Saturday, April 18, starting at 1 p.m.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Both borrow from and then upend traditional narrative conventions. Haynes channels three distinct genres for \u003ci>Poison\u003c/i>: a television news documentary, a B-movie horror flick, and a gritty prison diary. As the movie progresses, the storylines intercut more frequently and converge, avoiding narrative closure and transgressing “straight” film language.\u003c/p>\n\u003cp>“\u003ci>Poison\u003c/i>, when I first saw it, when I was a teenager, rewired my brain about what it was that a movie could be and what it was that a queer filmmaker could do,” Grossman says.\u003c/p>\n\u003cp>In \u003ci>The People’s Joker\u003c/i>, Drew takes on the canon of DC Comics, depicting the Joker as a trans woman trying to break into the Gotham comedy scene. The movie flits through the tones and styles of a variety of Batman eras; animated sequences create even more surreal possibilities. Proclaiming itself a “fair use film,” \u003ci>The People’s Joker\u003c/i> holds no intellectual property sacred. Drew refashions and remixes both characters and story lines toward her own moviemaking ends.\u003c/p>\n\u003cfigure id=\"attachment_13988632\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988632\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/unnamed-file.jpeg\" alt=\"Black person lowers classes\" width=\"1333\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/unnamed-file.jpeg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/unnamed-file-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/unnamed-file-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/unnamed-file-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">A still from Stephen Winters’ ‘Chocolate Babies,’ 1996. \u003ccite>(Frameline Distribution)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They’re playing with the same idea and doing so in completely different ways that speaks to their time and their place,” Grossman says of Haynes and Drew. Part of the goal in organizing the YBCA series is to create an artistic context — a lineage of independent cinema — that can bridge a generational gap in audiences.\u003c/p>\n\u003cp>“It’s really easy to get our blinders up and to think that we exist in this sort of isolated moment,” Grossman says. Yet thinking of the Reagan administration’s lack of response to the AIDS crisis, and the current proliferation of anti-trans bills, she says, “It’s hard not to see the parallels of what’s going on politically today.”\u003c/p>\n\u003cp>Next up for the series will be “\u003ca href=\"https://ybca.org/event/new-queer-cinema-x-trans-new-weird-queer-vigilantes/\">Queer Vigilantes\u003c/a>” on May 16, with Stephen Winter’s \u003ci>Chocolate Babies\u003c/i> (1996) and Alice Maio Mackay’s \u003ci>T Blockers\u003c/i> (2023). And on June 6, “\u003ca href=\"https://ybca.org/event/new-queer-cinema-x-trans-new-weird-teen-death-drive/\">Teen Death Drive\u003c/a>” will feature Gregg Araki’s \u003ci>Totally Fucked Up\u003c/i> (1993) and Jane Schoenbrun’s \u003ci>We’re All Going to the World’s Fair\u003c/i> (2021).\u003c/p>\n\u003cfigure id=\"attachment_13988633\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988633\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Worlds-Fair.png\" alt=\"person with glowing face paint holds a fake eye to their own eye\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Worlds-Fair.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Worlds-Fair-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Worlds-Fair-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Worlds-Fair-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Worlds-Fair-1200x675.png 1200w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Jane Jane Schoenbrun’s ‘We’re All Going to the World’s Fair,’ 2021.\u003c/figcaption>\u003c/figure>\n\u003cp>If audiences emerge from all three Saturday screenings wanting more, Grossman is happy to report that \u003ca href=\"https://www.frameline.org/festival\">Frameline 50\u003c/a>, coming up June 17–27, will include a more extensive Trans New Weird program.\u003c/p>\n\u003cp>Ultimately, she hopes Trans New Weird films will inspire audiences just like the New Queer Cinema films inspired her the first time she saw them.\u003c/p>\n\u003cp>“We want to make you pick up a camera and go make something,” she says of the YBCA series. “This program is all in the spirit of getting people to make movies that reflect themselves, to make art that reflects their experience.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://ybca.org/event/new-queer-cinema-x-trans-new-weird-who-owns-our-image/\">New Queer Cinema x Trans New Weird: Who Owns Our Image?\u003c/a>’ plays at Yerba Buena Center for the Arts (701 Mission St., San Francisco) on Saturday, April 18, at 1 p.m. Future screenings will take place on May 16 and June 6, also at 1 p.m.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The challenge of shaping Carl Bean’s altogether remarkable life into a \u003ca href=\"https://www.kqed.org/arts/tag/documentaries\">documentary\u003c/a> is that there was \u003cem>just so much of it\u003c/em>. Instead of a climactic triumph or peak period that \u003cem>\u003ca href=\"https://www.frameline.org/films/frameline49/i-was-born-this-way\">I Was Born This Way\u003c/a>\u003c/em> could build up to and fade out from, the gay gospel-steeped singer-turned-minister was a force for decades. \u003c/p>\n\u003cp>[aside postID='arts_13976029']Hallelujah for Bean and the thousands of people he touched. But it made the job of crafting a dramatic narrative from Bean’s lifelong journey tougher for filmmakers Daniel Junge (\u003cem>Saving Face\u003c/em>) and Sam Pollard (\u003cem>Sammy Davis, Jr.: I’ve Gotta Be Me\u003c/em> and \u003cem>Max Roach: The Drum Also Waltzes\u003c/em>). Their solution was to maintain the musical beat all the way through, and to showcase Questlove, Billy Porter and Lady Gaga out of the gate to establish Dean’s bona fides for 2025 audiences.\u003c/p>\n\u003cp>\u003cem>I Was Born This Way\u003c/em>, which premiered earlier this month at the Tribeca Film Festival ahead of its West Coast premiere Thursday, June 19 in \u003ca href=\"https://www.frameline.org/\">Frameline49\u003c/a> (aka the San Francisco International LGBTQ+ Film Festival) takes its name from the openly gay anthem sung by Bean that galvanized discos in 1977. In fact, a film could have been made just recounting the saga of the song, which inspired Gaga’s 2011 hit “Born This Way” (although she didn’t publicly acknowledge the connection until a decade later).\u003c/p>\n\u003cfigure id=\"attachment_13977740\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/CARL-BEAN-12-INCH-SINGLE-PHOTO-1977_2000.jpg\" alt=\"black-and-white photo of young Black man with beard in crouch pose\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13977740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/CARL-BEAN-12-INCH-SINGLE-PHOTO-1977_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/CARL-BEAN-12-INCH-SINGLE-PHOTO-1977_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/CARL-BEAN-12-INCH-SINGLE-PHOTO-1977_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/CARL-BEAN-12-INCH-SINGLE-PHOTO-1977_2000-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A 1977 promotional photo of Carl Bean for the 12” disco single ‘I Was Born This Way.’ \u003ccite>(Courtesy of I Was Born This Way Production, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"https://www.songlyrics.com/carl-bean/i-was-born-this-way-lyrics/\">lyrics\u003c/a> to “I Was Born This Way” were written by Bunny Jones, a (heterosexual) Harlem beautician and entrepreneur who enlisted Chris Spierer to compose the music and Valentino to sing the vocals. Stevie Wonder dropped by the studio to play the drums, and Jones’ small record company moved 15,000 copies in 1975 before selling the distribution rights to Motown.\u003c/p>\n\u003cp>Motown decided to re-record the song two years later with a more pronounced dance beat and a new singer. Carl Bean, who’d honed his chops as a boy at Baltimore’s Providence Baptist Church and a teenager in New York’s Christian Tabernacle Church choir before forming a group called Universal Love that released an album on ABC Records, got the gig. After the song hit and Motown was preparing to make Bean the next David Ruffin, he walked away from stardom to sing the gospel.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Regally seated in a comfortable chair, Bean recounts his story with an engaging blend of self-confidence and defiance. The filmmakers use animated sequences to illustrate a childhood defined by singing, sexual abuse, a then-illegal abortion that resulted in a close relative’s death and the homophobia that Bean experienced in the Black community.\u003c/p>\n\u003cfigure id=\"attachment_13977741\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/CARL-BEAN-ANIMATION-SINGING-IWBTW_2000.jpg\" alt=\"animation of Black man singing with lens flare behind\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13977741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/CARL-BEAN-ANIMATION-SINGING-IWBTW_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/CARL-BEAN-ANIMATION-SINGING-IWBTW_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/CARL-BEAN-ANIMATION-SINGING-IWBTW_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/CARL-BEAN-ANIMATION-SINGING-IWBTW_2000-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An animated scene of Archbishop Carl Bean singing his infamous disco anthem ‘I Was Born This Way.’ \u003ccite>(Courtesy of I Was Born This Way Production, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bean’s drive and talent propelled him out of Baltimore and, eventually, to success in the music industry. But that wasn’t his calling, he realized, so he exited the business by way of a Greyhound bus to Los Angeles, paradoxical as that sounds. \u003c/p>\n\u003cp>With the onslaught of the AIDS epidemic, Dean visited and counseled people of color in hospitals. Noticing that clergy were exempt from the constraint of visiting hours, he became a minister and started the Minority AIDS Project. Bean went on to found the first LQBTQ+ ministry, Los Angeles’ \u003ca href=\"https://ufclosangeles.org/\">Unity Fellowship Church\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_13977169']\u003cem>I Was Born This Way\u003c/em> fully honors Bean’s spirit and service, and his influence and impact on Los Angeles’ Black gay community. That’s the thing, though: The documentary plays like a biography of a historical figure. While it certainly speaks to the painful experiences of some individual viewers, it doesn’t nail the groove of the present moment. Namely, that uninhibited expressions of queer pride persist despite overt, state-endorsed erasure of LGBTQ+ lives and stories (like the \u003ca href=\"https://www.kqed.org/news/12043115/despicable-bay-area-leaders-slam-plan-to-rename-usns-harvey-milk\">Secretary of Defense’s proposal\u003c/a> to remove late Navy veteran and San Francisco Supervisor Harvey Milk’s name from a U.S. ship). \u003c/p>\n\u003cp>\u003cem>I Was Born This Way\u003c/em> does succeed in reminding us, through footage of concertgoers responding to Lady Gaga’s performance of “Born This Way,” all these years after Bunny Jones’ song dropped in clubs, that popular music still can be a cry of affirmation and self-worth. Much like singing in church, as Carl Bean proved to his eternal satisfaction.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.frameline.org/films/frameline49/i-was-born-this-way\">I Was Born This Way\u003c/a>’ screens Thursday, June 19, 2025 at 7 p.m. at KQED (2601 Mariposa St., San Francisco) as part of the Frameline film festival. Tickets are currently at rush.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The challenge of shaping Carl Bean’s altogether remarkable life into a \u003ca href=\"https://www.kqed.org/arts/tag/documentaries\">documentary\u003c/a> is that there was \u003cem>just so much of it\u003c/em>. Instead of a climactic triumph or peak period that \u003cem>\u003ca href=\"https://www.frameline.org/films/frameline49/i-was-born-this-way\">I Was Born This Way\u003c/a>\u003c/em> could build up to and fade out from, the gay gospel-steeped singer-turned-minister was a force for decades. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Hallelujah for Bean and the thousands of people he touched. But it made the job of crafting a dramatic narrative from Bean’s lifelong journey tougher for filmmakers Daniel Junge (\u003cem>Saving Face\u003c/em>) and Sam Pollard (\u003cem>Sammy Davis, Jr.: I’ve Gotta Be Me\u003c/em> and \u003cem>Max Roach: The Drum Also Waltzes\u003c/em>). Their solution was to maintain the musical beat all the way through, and to showcase Questlove, Billy Porter and Lady Gaga out of the gate to establish Dean’s bona fides for 2025 audiences.\u003c/p>\n\u003cp>\u003cem>I Was Born This Way\u003c/em>, which premiered earlier this month at the Tribeca Film Festival ahead of its West Coast premiere Thursday, June 19 in \u003ca href=\"https://www.frameline.org/\">Frameline49\u003c/a> (aka the San Francisco International LGBTQ+ Film Festival) takes its name from the openly gay anthem sung by Bean that galvanized discos in 1977. In fact, a film could have been made just recounting the saga of the song, which inspired Gaga’s 2011 hit “Born This Way” (although she didn’t publicly acknowledge the connection until a decade later).\u003c/p>\n\u003cfigure id=\"attachment_13977740\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/CARL-BEAN-12-INCH-SINGLE-PHOTO-1977_2000.jpg\" alt=\"black-and-white photo of young Black man with beard in crouch pose\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13977740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/CARL-BEAN-12-INCH-SINGLE-PHOTO-1977_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/CARL-BEAN-12-INCH-SINGLE-PHOTO-1977_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/CARL-BEAN-12-INCH-SINGLE-PHOTO-1977_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/CARL-BEAN-12-INCH-SINGLE-PHOTO-1977_2000-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A 1977 promotional photo of Carl Bean for the 12” disco single ‘I Was Born This Way.’ \u003ccite>(Courtesy of I Was Born This Way Production, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"https://www.songlyrics.com/carl-bean/i-was-born-this-way-lyrics/\">lyrics\u003c/a> to “I Was Born This Way” were written by Bunny Jones, a (heterosexual) Harlem beautician and entrepreneur who enlisted Chris Spierer to compose the music and Valentino to sing the vocals. Stevie Wonder dropped by the studio to play the drums, and Jones’ small record company moved 15,000 copies in 1975 before selling the distribution rights to Motown.\u003c/p>\n\u003cp>Motown decided to re-record the song two years later with a more pronounced dance beat and a new singer. Carl Bean, who’d honed his chops as a boy at Baltimore’s Providence Baptist Church and a teenager in New York’s Christian Tabernacle Church choir before forming a group called Universal Love that released an album on ABC Records, got the gig. After the song hit and Motown was preparing to make Bean the next David Ruffin, he walked away from stardom to sing the gospel.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Regally seated in a comfortable chair, Bean recounts his story with an engaging blend of self-confidence and defiance. The filmmakers use animated sequences to illustrate a childhood defined by singing, sexual abuse, a then-illegal abortion that resulted in a close relative’s death and the homophobia that Bean experienced in the Black community.\u003c/p>\n\u003cfigure id=\"attachment_13977741\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/CARL-BEAN-ANIMATION-SINGING-IWBTW_2000.jpg\" alt=\"animation of Black man singing with lens flare behind\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13977741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/CARL-BEAN-ANIMATION-SINGING-IWBTW_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/CARL-BEAN-ANIMATION-SINGING-IWBTW_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/CARL-BEAN-ANIMATION-SINGING-IWBTW_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/CARL-BEAN-ANIMATION-SINGING-IWBTW_2000-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An animated scene of Archbishop Carl Bean singing his infamous disco anthem ‘I Was Born This Way.’ \u003ccite>(Courtesy of I Was Born This Way Production, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bean’s drive and talent propelled him out of Baltimore and, eventually, to success in the music industry. But that wasn’t his calling, he realized, so he exited the business by way of a Greyhound bus to Los Angeles, paradoxical as that sounds. \u003c/p>\n\u003cp>With the onslaught of the AIDS epidemic, Dean visited and counseled people of color in hospitals. Noticing that clergy were exempt from the constraint of visiting hours, he became a minister and started the Minority AIDS Project. Bean went on to found the first LQBTQ+ ministry, Los Angeles’ \u003ca href=\"https://ufclosangeles.org/\">Unity Fellowship Church\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>I Was Born This Way\u003c/em> fully honors Bean’s spirit and service, and his influence and impact on Los Angeles’ Black gay community. That’s the thing, though: The documentary plays like a biography of a historical figure. While it certainly speaks to the painful experiences of some individual viewers, it doesn’t nail the groove of the present moment. Namely, that uninhibited expressions of queer pride persist despite overt, state-endorsed erasure of LGBTQ+ lives and stories (like the \u003ca href=\"https://www.kqed.org/news/12043115/despicable-bay-area-leaders-slam-plan-to-rename-usns-harvey-milk\">Secretary of Defense’s proposal\u003c/a> to remove late Navy veteran and San Francisco Supervisor Harvey Milk’s name from a U.S. ship). \u003c/p>\n\u003cp>\u003cem>I Was Born This Way\u003c/em> does succeed in reminding us, through footage of concertgoers responding to Lady Gaga’s performance of “Born This Way,” all these years after Bunny Jones’ song dropped in clubs, that popular music still can be a cry of affirmation and self-worth. Much like singing in church, as Carl Bean proved to his eternal satisfaction.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.frameline.org/films/frameline49/i-was-born-this-way\">I Was Born This Way\u003c/a>’ screens Thursday, June 19, 2025 at 7 p.m. at KQED (2601 Mariposa St., San Francisco) as part of the Frameline film festival. Tickets are currently at rush.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "helen-and-the-bear-frameline-documentary-pete-mccloskey",
"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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"excerpt": "Alix Blair’s Frameline documentary is a risky, rewarding portrait of her aunt’s marriage to Rep. Pete McCloskey.",
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"title": "‘Helen and the Bear’ Is an Intimate Saga of Love, California Style | KQED",
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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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"slug": "castro-theatre-film-festivals-rental-costs",
"title": "Higher Rental Costs at Castro Theatre Put Small Film Festivals Under Strain",
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"content": "\u003cp>\u003cem>This report contains a clarification.\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">Castro Theatre\u003c/a> was where Joe Talbot got his very first film job. He was 19, had just dropped out of high school and was hired by \u003ca href=\"https://www.noircity.com/\">Noir City film festival\u003c/a> founder Eddie Muller to make a documentary about the festival’s history at the Castro.\u003c/p>\n\u003cp>Almost 10 years later, Talbot returned to the Castro Theatre — this time in a double-breasted gray suit and Giants cap — for the premiere of his 2019 film \u003ca href=\"https://www.kqed.org/pop/112325/the-last-black-man-in-san-francisco-is-about-who-belongs-in-the-city\" target=\"_blank\" rel=\"noopener\">\u003cem>The Last Black Man in San Francisco\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13917362']For Talbot, the most memorable part of the theater, which was a formative part of his childhood and his film education, is its velvety red seats.\u003c/p>\n\u003cp>But in June, the \u003ca href=\"https://www.kqed.org/news/11952358/sf-supes-ok-effort-renovate-castro-theater\" target=\"_blank\" rel=\"noopener\">San Francisco Board of Supervisors approved a controversial renovation plan\u003c/a> by the theater’s new management, the live music promoter Another Planet Entertainment (APE), to replace the Castro Theatre’s seating and raked floor with multi-level flat tiers suited for standing-room concerts. While APE has said the Castro Theatre will still show film, it will do so far less frequently, and moviegoers will have to sit on temporary chairs.\u003c/p>\n\u003cfigure id=\"attachment_10622105\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2015/05/JoeJimmie.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10622105\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/05/JoeJimmie-800x450.jpg\" alt=\"a white man in a suit and a Black man in a green jacket sit on a sidewalk looking at the camera\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/JoeJimmie.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/JoeJimmie-400x225.jpg 400w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joe Talbot and Jimmie Fails on the set of ‘The Last Black Man in San Francisco.’ \u003ccite>(Courtesy of 'The Last Black Man in San Francisco')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s more, higher rental costs under the new management — and fewer seats for which to sell tickets — have put some local film festivals, like the one Talbot made his first paid film about, in jeopardy.\u003c/p>\n\u003cp>“I’m not a fan of it — it’s a big loss,” Talbot said. “It’s a bummer to have people occupying such a wonderful space that don’t appreciate its history or understand its importance.”\u003c/p>\n\u003ch2>‘Like a temple’\u003c/h2>\n\u003cp>Eddie Muller, the founder of the Noir City film festival who gave Talbot the job, has abandoned hope of a future at the Castro Theatre altogether.\u003c/p>\n\u003cp>“Taking out the seats reduces capacity, forces us to upcharge on tickets and makes it inhospitable for film festivals,” Muller said. “They’re changing the whole basic operational strategy of the venue.”\u003c/p>\n\u003cp>For those small festivals that have wanted to stay at the Castro, “now all the accouterments of film festivals are added costs, like hiring someone to operate the projectors, which used to be built in.”\u003c/p>\n\u003cp>Asked if festivals were being asked to shoulder additional costs for a projector and house manager, APE spokesperson David Perry said, “Yes, that is true.”\u003c/p>\n\u003cfigure id=\"attachment_13932962\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/ddieMuller.Castro.jpg\" alt=\"\" width=\"480\" height=\"321\" class=\"size-full wp-image-13932962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ddieMuller.Castro.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ddieMuller.Castro-160x107.jpg 160w\" sizes=\"auto, (max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Eddie Muller introduces a film at the Noir City film festival at the Castro Theatre. Having called San Francisco home since 2003, it moved to Oakland’s Grand Lake Theatre in 2022 after new management took over the Castro Theatre. \u003ccite>(Noir City )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the latest installment of her film festival, \u003ca href=\"http://www.cinemaitaliasf.com/\">Cinema Italia\u003c/a>, Amelia Antonucci looked up at the illuminated grand ceiling of the Castro Theatre as she stood at the mezzanine and thought to herself, “this is magical.”\u003c/p>\n\u003cp>“The Castro is like a temple for classic Italian movies,” Antonucci said of its breathtaking and eccentric mishmash of Art Deco, Renaissance and Spanish architecture. “It’s the only place in San Francisco that has this kind of magic.”\u003c/p>\n\u003cp>For the past 10 years, Antonucci has organized the annual and sometimes biannual celebration of Italian film with the help of the Italian Consulate. But the 2022 festival might have been her last.\u003c/p>\n\u003cp>“Now only the festivals that can afford new costs, like Frameline, will continue,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13932964\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-57540368.jpg\" alt=\"(L-R) Actors Robin Williams, Virginia Madsen and Lily Tomlin arrive at the Castro theater for the closing night of the 2006 San Francisco International Film Festival (now known as SFFILM). \" width=\"1024\" height=\"683\" class=\"size-full wp-image-13932964\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-768x512.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Actors Robin Williams, Virginia Madsen and Lily Tomlin arrive at the Castro theater for the closing night of the 2006 San Francisco International Film Festival (now known as SFFILM). \u003ccite>(David Paul Morris/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Antonucci hosted her latest festival — her first under the theater’s new management — there were unexpected extra costs, she says, in addition to existing ones like venue rental fees and film licensing fees. Rather than allow her to use only volunteers as she had in the past, Antonucci said, APE required her to pay additional fees for their staff.\u003c/p>\n\u003cp>“APE said the price was the same, but that wasn’t true,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13917446\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917446\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-800x533.jpg\" alt=\"red seats in a beloved movie palace\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The interior of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perry said that APE’s higher rental fees and expenses for the Castro are “totally in line” with other similarly sized venues, adding that, due to “artificially low” rent and fees, the Castro Theatre had not broken even for 10 years. \u003c/p>\n\u003cp>But as the physical space of the Castro Theatre changes to accommodate concerts and performances, festivals like Cinema Italia are under even more strain to meet costs.\u003c/p>\n\u003cp>With the reducing seating and increased rental fees, “I’m worried what that will mean for festivals like mine,” Antonucci said.\u003c/p>\n\u003ch2>An unsure future for some festivals\u003c/h2>\n\u003cp>The outlook is indeed brighter for Frameline. A festival representative told KQED in an email that the festival “will be at the venue for the entirety of APE’s 20-year lease.”\u003c/p>\n\u003cp>But for others, the future is still unclear. Even the smallest film festivals involve many moving parts and funding sources that have to be coordinated months — if not a year — in advance.\u003c/p>\n\u003cp>Berlin & Beyond Festival Director Sophoan Sorn told KQED in an email that the Castro Theatre was “unavailable” for his 2023 festival and that he has had no communication with APE about the 2024 festival. A representative for CAAMFest declined to comment, but added that the festival hasn’t had recent communication with APE.\u003c/p>\n\u003cp>The Jewish Film Festival declined to comment, while 3rd i, the Arab Film Festival and the Silent Film Festival could not be reached for comment.\u003c/p>\n\u003cfigure id=\"attachment_13932948\" class=\"wp-caption aligncenter\" style=\"max-width: 683px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1388628758.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932948\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1388628758.jpg\" alt=\"The Castro Theatre marquee reads 'SFFILM festival welcome back to the movies'\" width=\"683\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388628758.jpg 683w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388628758-160x240.jpg 160w\" sizes=\"auto, (max-width: 683px) 100vw, 683px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Castro Theatre, was the venue for the 65th annual SFFILM Festival in 2022, but in 2023, following APE’s acquisition, the festival moved to other theaters. SFFILM Executive Director Anne Lai said the 2024 festival will be elsewhere due to renovations. \u003ccite>(Miikka Skaffari/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SFFILM Executive Director Anne Lai told KQED in an email that the Castro won’t be available for SFFILM’s 2024 festival, presumably because of renovation.\u003c/p>\n\u003cp>“What we are more eager to learn from them is what the rental costs and booking availability will be post-renovation so that we can accurately plan and budget,” she wrote.\u003c/p>\n\u003cp>[aside postid='arts_13929572']In a December \u003ca href=\"https://sffilm.org/a-letter-from-sffilm-executive-director-anne-lai/\" target=\"_blank\" rel=\"noopener\">statement\u003c/a>, Lai had expressed concerns about increased cost but also about accessibility and the theater’s importance in San Francisco’s queer history and culture.\u003c/p>\n\u003cp>Muller is skeptical about how APE will preserve the queer roots and community of the Castro Theatre. But he’s optimistic about Noir City’s new home across the Bay at Oakland’s Grand Lake Theatre, despite having to raise ticket prices to make up for the theater’s smaller capacity. The greater loss is a cultural and community one, Muller says.\u003c/p>\n\u003cp>“I honestly don’t feel sorry for myself — I feel sorry for the city,” he said. “The Castro was the last single-screen movie palace in San Francisco, and by changing it into a concert venue, you’re saying that San Francisco is giving up on movies.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Aug. 27: The story has been updated to more accurately reflect the additional expenses of renting the Castro for Cinema Italia.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Additional fees under new management mean smaller film festivals are having to find a new home.",
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"title": "Higher Rental Costs at Castro Theatre Put Small Film Festivals Under Strain | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This report contains a clarification.\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">Castro Theatre\u003c/a> was where Joe Talbot got his very first film job. He was 19, had just dropped out of high school and was hired by \u003ca href=\"https://www.noircity.com/\">Noir City film festival\u003c/a> founder Eddie Muller to make a documentary about the festival’s history at the Castro.\u003c/p>\n\u003cp>Almost 10 years later, Talbot returned to the Castro Theatre — this time in a double-breasted gray suit and Giants cap — for the premiere of his 2019 film \u003ca href=\"https://www.kqed.org/pop/112325/the-last-black-man-in-san-francisco-is-about-who-belongs-in-the-city\" target=\"_blank\" rel=\"noopener\">\u003cem>The Last Black Man in San Francisco\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For Talbot, the most memorable part of the theater, which was a formative part of his childhood and his film education, is its velvety red seats.\u003c/p>\n\u003cp>But in June, the \u003ca href=\"https://www.kqed.org/news/11952358/sf-supes-ok-effort-renovate-castro-theater\" target=\"_blank\" rel=\"noopener\">San Francisco Board of Supervisors approved a controversial renovation plan\u003c/a> by the theater’s new management, the live music promoter Another Planet Entertainment (APE), to replace the Castro Theatre’s seating and raked floor with multi-level flat tiers suited for standing-room concerts. While APE has said the Castro Theatre will still show film, it will do so far less frequently, and moviegoers will have to sit on temporary chairs.\u003c/p>\n\u003cfigure id=\"attachment_10622105\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2015/05/JoeJimmie.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10622105\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/05/JoeJimmie-800x450.jpg\" alt=\"a white man in a suit and a Black man in a green jacket sit on a sidewalk looking at the camera\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/JoeJimmie.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/JoeJimmie-400x225.jpg 400w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joe Talbot and Jimmie Fails on the set of ‘The Last Black Man in San Francisco.’ \u003ccite>(Courtesy of 'The Last Black Man in San Francisco')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s more, higher rental costs under the new management — and fewer seats for which to sell tickets — have put some local film festivals, like the one Talbot made his first paid film about, in jeopardy.\u003c/p>\n\u003cp>“I’m not a fan of it — it’s a big loss,” Talbot said. “It’s a bummer to have people occupying such a wonderful space that don’t appreciate its history or understand its importance.”\u003c/p>\n\u003ch2>‘Like a temple’\u003c/h2>\n\u003cp>Eddie Muller, the founder of the Noir City film festival who gave Talbot the job, has abandoned hope of a future at the Castro Theatre altogether.\u003c/p>\n\u003cp>“Taking out the seats reduces capacity, forces us to upcharge on tickets and makes it inhospitable for film festivals,” Muller said. “They’re changing the whole basic operational strategy of the venue.”\u003c/p>\n\u003cp>For those small festivals that have wanted to stay at the Castro, “now all the accouterments of film festivals are added costs, like hiring someone to operate the projectors, which used to be built in.”\u003c/p>\n\u003cp>Asked if festivals were being asked to shoulder additional costs for a projector and house manager, APE spokesperson David Perry said, “Yes, that is true.”\u003c/p>\n\u003cfigure id=\"attachment_13932962\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/ddieMuller.Castro.jpg\" alt=\"\" width=\"480\" height=\"321\" class=\"size-full wp-image-13932962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ddieMuller.Castro.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ddieMuller.Castro-160x107.jpg 160w\" sizes=\"auto, (max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Eddie Muller introduces a film at the Noir City film festival at the Castro Theatre. Having called San Francisco home since 2003, it moved to Oakland’s Grand Lake Theatre in 2022 after new management took over the Castro Theatre. \u003ccite>(Noir City )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the latest installment of her film festival, \u003ca href=\"http://www.cinemaitaliasf.com/\">Cinema Italia\u003c/a>, Amelia Antonucci looked up at the illuminated grand ceiling of the Castro Theatre as she stood at the mezzanine and thought to herself, “this is magical.”\u003c/p>\n\u003cp>“The Castro is like a temple for classic Italian movies,” Antonucci said of its breathtaking and eccentric mishmash of Art Deco, Renaissance and Spanish architecture. “It’s the only place in San Francisco that has this kind of magic.”\u003c/p>\n\u003cp>For the past 10 years, Antonucci has organized the annual and sometimes biannual celebration of Italian film with the help of the Italian Consulate. But the 2022 festival might have been her last.\u003c/p>\n\u003cp>“Now only the festivals that can afford new costs, like Frameline, will continue,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13932964\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-57540368.jpg\" alt=\"(L-R) Actors Robin Williams, Virginia Madsen and Lily Tomlin arrive at the Castro theater for the closing night of the 2006 San Francisco International Film Festival (now known as SFFILM). \" width=\"1024\" height=\"683\" class=\"size-full wp-image-13932964\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-768x512.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Actors Robin Williams, Virginia Madsen and Lily Tomlin arrive at the Castro theater for the closing night of the 2006 San Francisco International Film Festival (now known as SFFILM). \u003ccite>(David Paul Morris/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Antonucci hosted her latest festival — her first under the theater’s new management — there were unexpected extra costs, she says, in addition to existing ones like venue rental fees and film licensing fees. Rather than allow her to use only volunteers as she had in the past, Antonucci said, APE required her to pay additional fees for their staff.\u003c/p>\n\u003cp>“APE said the price was the same, but that wasn’t true,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13917446\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917446\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-800x533.jpg\" alt=\"red seats in a beloved movie palace\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The interior of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perry said that APE’s higher rental fees and expenses for the Castro are “totally in line” with other similarly sized venues, adding that, due to “artificially low” rent and fees, the Castro Theatre had not broken even for 10 years. \u003c/p>\n\u003cp>But as the physical space of the Castro Theatre changes to accommodate concerts and performances, festivals like Cinema Italia are under even more strain to meet costs.\u003c/p>\n\u003cp>With the reducing seating and increased rental fees, “I’m worried what that will mean for festivals like mine,” Antonucci said.\u003c/p>\n\u003ch2>An unsure future for some festivals\u003c/h2>\n\u003cp>The outlook is indeed brighter for Frameline. A festival representative told KQED in an email that the festival “will be at the venue for the entirety of APE’s 20-year lease.”\u003c/p>\n\u003cp>But for others, the future is still unclear. Even the smallest film festivals involve many moving parts and funding sources that have to be coordinated months — if not a year — in advance.\u003c/p>\n\u003cp>Berlin & Beyond Festival Director Sophoan Sorn told KQED in an email that the Castro Theatre was “unavailable” for his 2023 festival and that he has had no communication with APE about the 2024 festival. A representative for CAAMFest declined to comment, but added that the festival hasn’t had recent communication with APE.\u003c/p>\n\u003cp>The Jewish Film Festival declined to comment, while 3rd i, the Arab Film Festival and the Silent Film Festival could not be reached for comment.\u003c/p>\n\u003cfigure id=\"attachment_13932948\" class=\"wp-caption aligncenter\" style=\"max-width: 683px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1388628758.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932948\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1388628758.jpg\" alt=\"The Castro Theatre marquee reads 'SFFILM festival welcome back to the movies'\" width=\"683\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388628758.jpg 683w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388628758-160x240.jpg 160w\" sizes=\"auto, (max-width: 683px) 100vw, 683px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Castro Theatre, was the venue for the 65th annual SFFILM Festival in 2022, but in 2023, following APE’s acquisition, the festival moved to other theaters. SFFILM Executive Director Anne Lai said the 2024 festival will be elsewhere due to renovations. \u003ccite>(Miikka Skaffari/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SFFILM Executive Director Anne Lai told KQED in an email that the Castro won’t be available for SFFILM’s 2024 festival, presumably because of renovation.\u003c/p>\n\u003cp>“What we are more eager to learn from them is what the rental costs and booking availability will be post-renovation so that we can accurately plan and budget,” she wrote.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In a December \u003ca href=\"https://sffilm.org/a-letter-from-sffilm-executive-director-anne-lai/\" target=\"_blank\" rel=\"noopener\">statement\u003c/a>, Lai had expressed concerns about increased cost but also about accessibility and the theater’s importance in San Francisco’s queer history and culture.\u003c/p>\n\u003cp>Muller is skeptical about how APE will preserve the queer roots and community of the Castro Theatre. But he’s optimistic about Noir City’s new home across the Bay at Oakland’s Grand Lake Theatre, despite having to raise ticket prices to make up for the theater’s smaller capacity. The greater loss is a cultural and community one, Muller says.\u003c/p>\n\u003cp>“I honestly don’t feel sorry for myself — I feel sorry for the city,” he said. “The Castro was the last single-screen movie palace in San Francisco, and by changing it into a concert venue, you’re saying that San Francisco is giving up on movies.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Aug. 27: The story has been updated to more accurately reflect the additional expenses of renting the Castro for Cinema Italia.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In 2022, it’s still middle fingers up to the patriarchy. Scream it louder for the people in the back.\u003c/p>\n\u003cp>In her latest work, \u003ca href=\"https://www.frameline.org/films/frameline46/vulveeta\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Vulveeta\u003c/em>\u003c/a>, filmmaker and activist Maria Breaux revisits the ’90s riot grrrl era—a feminist punk movement known for its do-it-yourself attitude. Reminiscent of a modern-day \u003cem>Spinal Tap\u003c/em>, the San Francisco-shot mockumentary follows 50-year-old Grrrilda and the resurrection of her band Vulveeta after a 20-year hiatus.\u003c/p>\n\u003cp>Inspired by Breaux’s own experiences, Grrrilda is an aging rockstar who has tried really hard to heal herself even though she has this punk ethos of “Namaste, but f— you all.” “There’s pretty much nothing in the film that [she] had done that I haven’t done myself,” the actor and filmmaker says.\u003c/p>\n\u003cp>Grrrilda ghosted the band before their big break, and when she returns the city and its punk scene aren’t what she remembers. Rent has increased by tenfold. Tech bros have moved in. We’re not making zines like we used to. And apparently, social media marketing took over good ol’ grassroots efforts to spread the word.\u003c/p>\n\u003cp>Pulling from Breaux’s earlier days in sketch comedy, \u003cem>Vulveeta\u003c/em> is entirely improvised and character-driven. Breaux and the cast spent a year workshopping the film prior to filming.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Improv is rooted in the notion of “Yes, and…” Rather than getting stuck or fighting against a statement, it’s the practice of accepting what’s said and building on that story. “The creativity continued all the way to our wrap day,” says associate producer and actor StormMiguel Florez. [aside postid='arts_13844019']\u003c/p>\n\u003cp>“It was a long process of meeting up and slowly getting to know each other better, figuring out who my character Jett is,” says J Aguilar, who plays bassist Jett Groan. “Maria has a way of bringing people together to build community and trust and to collaborate in ways that allow each of us to shine and be seen, which is a rare and beautiful experience.”\u003c/p>\n\u003cp>https://vimeo.com/629494852\u003c/p>\n\u003cp>\u003cem>Vulveeta\u003c/em>—though comedic—emanates from a place of Breaux wanting to overcome trauma. In our interview, she opens up: “I got to this period of my life where I’m like, ‘OK, this is a time of healing and self-care and all these things…’ And I just went all out.”\u003c/p>\n\u003cp>In search of peace, the past 20 years have involved traditional therapy, acupuncture, ear candling and even a two-week trip to Peru’s Amazonian rainforests. “I [didn’t] care what it [was], just tell me what to do. And I’m gonna have this wild time trying it out,” Breaux says.\u003c/p>\n\u003cp>The rock-umentary was crowd-funded and featured a cast that included her entire family and close friends. Breaux’s wife, Sarah Korda—who plays Vulveeta’s newest band member, Harriet—was hesitant at first, but with a little persuasion grew to love the process.\u003c/p>\n\u003cp>“It was special for me as a performer to remember that part of myself. I love improv! This experience reignited my love of creativity, which is central in all my work, whether it’s performance or in my private psychotherapy practice,” Korda says. “[It’s a] reminder of how creative and funny much of life can be.”\u003c/p>\n\u003cp>Their 25-year-old daughter, Dakota Billops-Breaux, who has worked with her mom since she was four years old, says, “Being on set, I always pick up skills that are surprisingly applicable in video content I create in my everyday life—how to frame a shot, where to point the microphone to best pick up a voice, tips on improvising—and this time was no different.” In Vulveeta, Billops-Breaux plays Killer Child, the once-two-year-old badass drummer who now wishes to be seen for who she is rather than work she’s done in the past.\u003c/p>\n\u003cp>The film takes us into the questions that can arise in artist’s mind: What does it mean to keep pushing even when you get lost in your own demons along the way? And how do we navigate the waves of an evolving society and culture?\u003c/p>\n\u003cfigure id=\"attachment_13915117\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915117\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Vulveeta-03-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Vulveeta-03-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Vulveeta-03-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Vulveeta-03-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Vulveeta-03-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Vulveeta-03-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Vulveeta-03-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Vulveeta-03-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘Vulveeta.’ \u003ccite>(Courtesy of Maria Breaux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though San Francisco has changed tremendously, Breaux chooses to highlight the good and what’s still here. She celebrates the blooming artists, shout outs San Francisco Arts Commission for continuing their local programs, and—from a parent’s point of view—expresses gratitude for new parks.\u003c/p>\n\u003cp>In creating \u003cem>Vulveeta\u003c/em>, Breaux was reminded of the unconditional love and support of her close circle. “Change is possible. I know that for myself, scientifically, you know, you can kind of recircuit, if you will, parts of the brain so that you’re triggered less,” she explains. “I did a lot of work to get through it, but also a lot of people helped me overcome it.”\u003c/p>\n\u003cp>Breaux—who currently works a day job at Common Sense Media—has won numerous filmmaking awards, including Frameline33’s Audience Award for Best Short for \u003cem>Lucha\u003c/em> and the Silver Remi Award at WorldFest-Houston for \u003cem>Mother Country\u003c/em>. In 2013, she was a contributing cinematographer on \u003cem>99%–The Occupy Wall Street Collaborative Film\u003c/em>, which premiered at Sundance Film Festival. As a solo sketch comedian, she’s performed at local venues, such as Theatre Rhinoceros, Josie’s Cabaret and Luna Sea. [aside postid='arts_13914904']\u003c/p>\n\u003cp>Much like how improv comedy rolls with the punches, \u003cem>Vulveeta\u003c/em> reminds us that there’s acceptance to be found in understanding life as a work in progress. It’s an ongoing game of “Yes, and…” As Breaux says, “I expect this journey of mine to be a lifelong one—with stops, starts, detours, roadblocks and long, carefree stretches of open road along the way.”\u003c/p>\n\u003cp>Up next, Breaux will be co-producing and acting in Sundance fellow Florez’ upcoming project \u003ca href=\"https://womenandhollywood.com/sundance-institute-introduces-intensive-for-trans-artists-of-color/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Welcome to Roswell\u003c/em>\u003c/a>, a film about a trans filmmaker whose plans to come out to his family are interrupted by his partner’s fixation on the 1947 UFO incident. She is also in early development for a feature film on Duane Fitzpatrick, her hometown neighbor who was sentenced to 27-years-to-life in prison in 1987 and maintains his innocence.\u003c/p>\n\u003cp>“Art has always been healing and transformative. And at their heart, art and activism are acts of love. So, at the most basic level, I hope we see more love in the world. I’d love to see more kindness. There are so many pointed fingers,” Breaux says. “It’d be really great to see more empathy, and more attempts at understanding and finding common ground.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>As part of Frameline46, \u003c/em>Vulveeta\u003cem> will \u003ca href=\"https://www.frameline.org/films/frameline46/vulveeta\" target=\"_blank\" rel=\"noopener noreferrer\">screen at Roxie Theatre in San Francisco on Saturday, June 25, at 6pm\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Vulveeta\u003c/em>—though comedic—emanates from a place of Breaux wanting to overcome trauma. In our interview, she opens up: “I got to this period of my life where I’m like, ‘OK, this is a time of healing and self-care and all these things…’ And I just went all out.”\u003c/p>\n\u003cp>In search of peace, the past 20 years have involved traditional therapy, acupuncture, ear candling and even a two-week trip to Peru’s Amazonian rainforests. “I [didn’t] care what it [was], just tell me what to do. And I’m gonna have this wild time trying it out,” Breaux says.\u003c/p>\n\u003cp>The rock-umentary was crowd-funded and featured a cast that included her entire family and close friends. Breaux’s wife, Sarah Korda—who plays Vulveeta’s newest band member, Harriet—was hesitant at first, but with a little persuasion grew to love the process.\u003c/p>\n\u003cp>“It was special for me as a performer to remember that part of myself. I love improv! This experience reignited my love of creativity, which is central in all my work, whether it’s performance or in my private psychotherapy practice,” Korda says. “[It’s a] reminder of how creative and funny much of life can be.”\u003c/p>\n\u003cp>Their 25-year-old daughter, Dakota Billops-Breaux, who has worked with her mom since she was four years old, says, “Being on set, I always pick up skills that are surprisingly applicable in video content I create in my everyday life—how to frame a shot, where to point the microphone to best pick up a voice, tips on improvising—and this time was no different.” In Vulveeta, Billops-Breaux plays Killer Child, the once-two-year-old badass drummer who now wishes to be seen for who she is rather than work she’s done in the past.\u003c/p>\n\u003cp>The film takes us into the questions that can arise in artist’s mind: What does it mean to keep pushing even when you get lost in your own demons along the way? And how do we navigate the waves of an evolving society and culture?\u003c/p>\n\u003cfigure id=\"attachment_13915117\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915117\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Vulveeta-03-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Vulveeta-03-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Vulveeta-03-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Vulveeta-03-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Vulveeta-03-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Vulveeta-03-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Vulveeta-03-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Vulveeta-03-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘Vulveeta.’ \u003ccite>(Courtesy of Maria Breaux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though San Francisco has changed tremendously, Breaux chooses to highlight the good and what’s still here. She celebrates the blooming artists, shout outs San Francisco Arts Commission for continuing their local programs, and—from a parent’s point of view—expresses gratitude for new parks.\u003c/p>\n\u003cp>In creating \u003cem>Vulveeta\u003c/em>, Breaux was reminded of the unconditional love and support of her close circle. “Change is possible. I know that for myself, scientifically, you know, you can kind of recircuit, if you will, parts of the brain so that you’re triggered less,” she explains. “I did a lot of work to get through it, but also a lot of people helped me overcome it.”\u003c/p>\n\u003cp>Breaux—who currently works a day job at Common Sense Media—has won numerous filmmaking awards, including Frameline33’s Audience Award for Best Short for \u003cem>Lucha\u003c/em> and the Silver Remi Award at WorldFest-Houston for \u003cem>Mother Country\u003c/em>. In 2013, she was a contributing cinematographer on \u003cem>99%–The Occupy Wall Street Collaborative Film\u003c/em>, which premiered at Sundance Film Festival. As a solo sketch comedian, she’s performed at local venues, such as Theatre Rhinoceros, Josie’s Cabaret and Luna Sea. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Much like how improv comedy rolls with the punches, \u003cem>Vulveeta\u003c/em> reminds us that there’s acceptance to be found in understanding life as a work in progress. It’s an ongoing game of “Yes, and…” As Breaux says, “I expect this journey of mine to be a lifelong one—with stops, starts, detours, roadblocks and long, carefree stretches of open road along the way.”\u003c/p>\n\u003cp>Up next, Breaux will be co-producing and acting in Sundance fellow Florez’ upcoming project \u003ca href=\"https://womenandhollywood.com/sundance-institute-introduces-intensive-for-trans-artists-of-color/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Welcome to Roswell\u003c/em>\u003c/a>, a film about a trans filmmaker whose plans to come out to his family are interrupted by his partner’s fixation on the 1947 UFO incident. She is also in early development for a feature film on Duane Fitzpatrick, her hometown neighbor who was sentenced to 27-years-to-life in prison in 1987 and maintains his innocence.\u003c/p>\n\u003cp>“Art has always been healing and transformative. And at their heart, art and activism are acts of love. So, at the most basic level, I hope we see more love in the world. I’d love to see more kindness. There are so many pointed fingers,” Breaux says. “It’d be really great to see more empathy, and more attempts at understanding and finding common ground.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>As we gradually return to pre-pandemic patterns and routines—rush hour traffic! public drinking! berating minimum-wage workers!—the final step, for many of us, will be sitting in a movie theater. Whether you are in a frame of mind to do it physically or vicariously, \u003ca href=\"https://www.frameline.org/festival\" rel=\"noopener noreferrer\" target=\"_blank\">Frameline45\u003c/a> (a.k.a. San Francisco International LGBTQ+ Film Festival) marks a watershed: In its range of venues, but especially in its extraordinary breadth of programming, Frameline45 (June 10–27) heralds a return to true community-based festival-going.\u003c/p>\n\u003cp>I certainly don’t mean to slight SF DocFest (continuing through June 20), with its expansive slate to go with its Roxie playdates (through June 17). But identity-based festivals like Frameline fulfill their mission—to recognize the invisible, the mocked, the persecuted and the “other”—with public showings where people come out and see each other, along with whoever’s on the screen. And if you’re including every corner of that extended and sometimes niche-y community, you have to show a wide range of films.\u003c/p>\n\u003cfigure id=\"attachment_13898587\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Everybodys-Talking-About-Jamie-1_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13898587\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Everybodys-Talking-About-Jamie-1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Everybodys-Talking-About-Jamie-1_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Everybodys-Talking-About-Jamie-1_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Everybodys-Talking-About-Jamie-1_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Everybodys-Talking-About-Jamie-1_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Jonathan Butterell’s ‘Everybody’s Talking About Jamie,’ 2021. \u003ccite>(Courtesy Frameline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To be sure, sometimes it’s mainstream fare, like the big-screen adaptations of Lin-Manuel Miranda’s hit stage musical \u003cem>\u003ca href=\"https://www.frameline.org/year-round/audience/calendar/in-the-heights\" rel=\"noopener noreferrer\" target=\"_blank\">In the Heights\u003c/a>\u003c/em> and the British musical triumph \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/everybodyand8217s-talking-about-jamie\" rel=\"noopener noreferrer\" target=\"_blank\">Everybody’s Talking About Jamie\u003c/a>\u003c/em> (June 12 and 13, respectively at Oracle Park, the home of the Giants).\u003c/p>\n\u003cp>Sometimes the hook is celebrity talent, like the doc \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/truman-and-tennessee-an-intimate-conversation\" rel=\"noopener noreferrer\" target=\"_blank\">Truman and Tennessee: An Intimate Conversation\u003c/a>\u003c/em> (with Jim Parsons and Zachary Quinto voicing the writers) and the equally sharp-tongued dramedy \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/swan-song\" rel=\"noopener noreferrer\" target=\"_blank\">Swan Song\u003c/a>\u003c/em>, starring Udo Kier as an Ohio hairdresser summoned from retirement for one last job. Cloris Leachman plays a stalwart elder with a drag-queen grandson in the Canadian drama \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/jump-darling-(in-theatres)\" rel=\"noopener noreferrer\" target=\"_blank\">Jump, Darling\u003c/a>\u003c/em> (June 26 at the, yes, Castro). The dance docs \u003cem>Ailey\u003c/em> and \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/can-you-bring-it-bill-t-jones-and-d-man-in-the-waters\" rel=\"noopener noreferrer\" target=\"_blank\">Can You Bring It: Bill T. Jones and D-Man in the Waters\u003c/a>\u003c/em> likewise speak (in gestures) for themselves.\u003c/p>\n\u003cp>Then there are the people who should be household names. \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/nelly-queen-the-life-and-times-of-josand233-sarria\" rel=\"noopener noreferrer\" target=\"_blank\">Nelly Queen: The Life and Times of José Sarria\u003c/a>\u003c/em> profiles the lifelong entertainer, activist and first openly gay candidate for public office in the U.S. (he ran for S.F. supervisor 60 years ago). Academy Award-winning S.F. documentary maker Debra Chasnoff was loved and admired by many, but her journey through terminal cancer, which she documented in \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/prognosis-notes-on-living\" rel=\"noopener noreferrer\" target=\"_blank\">Prognosis: Notes on Living\u003c/a>\u003c/em> (completed after her death by her trusted collaborators and premiering online June 19), places her among the immortals.\u003c/p>\n\u003cfigure id=\"attachment_13898588\" class=\"wp-caption aligncenter\" style=\"max-width: 1060px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/NellyQueen2.jpg\" alt=\"\" width=\"1060\" height=\"1073\" class=\"size-full wp-image-13898588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NellyQueen2.jpg 1060w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NellyQueen2-800x810.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NellyQueen2-1020x1033.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NellyQueen2-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NellyQueen2-768x777.jpg 768w\" sizes=\"(max-width: 1060px) 100vw, 1060px\">\u003cfigcaption class=\"wp-caption-text\">A photograph of José Sarria in Joseph R. Castel’s ‘Nelly Queen: The Life and Times of José Sarria,’ 2020. \u003ccite>(Courtesy Frameline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The ’70s all-woman rock band Fanny deserves an exhibit in the Rock & Roll Hall of Fame, and \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/fanny-the-right-to-rock-(drive-in)\" rel=\"noopener noreferrer\" target=\"_blank\">Fanny: The Right to Rock\u003c/a>\u003c/em> (June 10 at the West Wind Solano Drive-in and then online) will help that righteous cause. Speaking of knocking down walls through popular art, East Bay filmmaker Vivian Kleiman’s \u003cem>No Straight Lines: The Rise of Queer Comics\u003c/em> (June 27 at the Castro) salutes the late Howard Cruse, Alison Bechdel and other graphic novelists who animated (and satirized) gay and lesbian life with pen and ink.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Monika Treut’s late-’90s portrait of gender-fluid San Franciscans, \u003cem>Gendernauts\u003c/em>, was a revelation (in Europe, certainly, if not here). Her pre-pandemic sequel, \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/genderation\" rel=\"noopener noreferrer\" target=\"_blank\">Genderation\u003c/a>\u003c/em>, brings us up to speed 20 years down the road with Susan Stryker, Annie Sprinkle and other rebels and disruptors. Is the past prologue? Jose Enrique Tiglao’s Filipino intersex adolescent drama \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/metamorphosis\" rel=\"noopener noreferrer\" target=\"_blank\">Metamorphosis\u003c/a>\u003c/em>, among other Frameline45 entries, continues the work of expanding the mainstream.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Frameline45 takes place in person at various Bay Area venues June 10–27 and streams nationally June 17–27. \u003ca href=\"https://www.frameline.org/festival\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As we gradually return to pre-pandemic patterns and routines—rush hour traffic! public drinking! berating minimum-wage workers!—the final step, for many of us, will be sitting in a movie theater. Whether you are in a frame of mind to do it physically or vicariously, \u003ca href=\"https://www.frameline.org/festival\" rel=\"noopener noreferrer\" target=\"_blank\">Frameline45\u003c/a> (a.k.a. San Francisco International LGBTQ+ Film Festival) marks a watershed: In its range of venues, but especially in its extraordinary breadth of programming, Frameline45 (June 10–27) heralds a return to true community-based festival-going.\u003c/p>\n\u003cp>I certainly don’t mean to slight SF DocFest (continuing through June 20), with its expansive slate to go with its Roxie playdates (through June 17). But identity-based festivals like Frameline fulfill their mission—to recognize the invisible, the mocked, the persecuted and the “other”—with public showings where people come out and see each other, along with whoever’s on the screen. And if you’re including every corner of that extended and sometimes niche-y community, you have to show a wide range of films.\u003c/p>\n\u003cfigure id=\"attachment_13898587\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Everybodys-Talking-About-Jamie-1_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13898587\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Everybodys-Talking-About-Jamie-1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Everybodys-Talking-About-Jamie-1_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Everybodys-Talking-About-Jamie-1_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Everybodys-Talking-About-Jamie-1_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Everybodys-Talking-About-Jamie-1_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Jonathan Butterell’s ‘Everybody’s Talking About Jamie,’ 2021. \u003ccite>(Courtesy Frameline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To be sure, sometimes it’s mainstream fare, like the big-screen adaptations of Lin-Manuel Miranda’s hit stage musical \u003cem>\u003ca href=\"https://www.frameline.org/year-round/audience/calendar/in-the-heights\" rel=\"noopener noreferrer\" target=\"_blank\">In the Heights\u003c/a>\u003c/em> and the British musical triumph \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/everybodyand8217s-talking-about-jamie\" rel=\"noopener noreferrer\" target=\"_blank\">Everybody’s Talking About Jamie\u003c/a>\u003c/em> (June 12 and 13, respectively at Oracle Park, the home of the Giants).\u003c/p>\n\u003cp>Sometimes the hook is celebrity talent, like the doc \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/truman-and-tennessee-an-intimate-conversation\" rel=\"noopener noreferrer\" target=\"_blank\">Truman and Tennessee: An Intimate Conversation\u003c/a>\u003c/em> (with Jim Parsons and Zachary Quinto voicing the writers) and the equally sharp-tongued dramedy \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/swan-song\" rel=\"noopener noreferrer\" target=\"_blank\">Swan Song\u003c/a>\u003c/em>, starring Udo Kier as an Ohio hairdresser summoned from retirement for one last job. Cloris Leachman plays a stalwart elder with a drag-queen grandson in the Canadian drama \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/jump-darling-(in-theatres)\" rel=\"noopener noreferrer\" target=\"_blank\">Jump, Darling\u003c/a>\u003c/em> (June 26 at the, yes, Castro). The dance docs \u003cem>Ailey\u003c/em> and \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/can-you-bring-it-bill-t-jones-and-d-man-in-the-waters\" rel=\"noopener noreferrer\" target=\"_blank\">Can You Bring It: Bill T. Jones and D-Man in the Waters\u003c/a>\u003c/em> likewise speak (in gestures) for themselves.\u003c/p>\n\u003cp>Then there are the people who should be household names. \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/nelly-queen-the-life-and-times-of-josand233-sarria\" rel=\"noopener noreferrer\" target=\"_blank\">Nelly Queen: The Life and Times of José Sarria\u003c/a>\u003c/em> profiles the lifelong entertainer, activist and first openly gay candidate for public office in the U.S. (he ran for S.F. supervisor 60 years ago). Academy Award-winning S.F. documentary maker Debra Chasnoff was loved and admired by many, but her journey through terminal cancer, which she documented in \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/prognosis-notes-on-living\" rel=\"noopener noreferrer\" target=\"_blank\">Prognosis: Notes on Living\u003c/a>\u003c/em> (completed after her death by her trusted collaborators and premiering online June 19), places her among the immortals.\u003c/p>\n\u003cfigure id=\"attachment_13898588\" class=\"wp-caption aligncenter\" style=\"max-width: 1060px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/NellyQueen2.jpg\" alt=\"\" width=\"1060\" height=\"1073\" class=\"size-full wp-image-13898588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NellyQueen2.jpg 1060w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NellyQueen2-800x810.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NellyQueen2-1020x1033.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NellyQueen2-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NellyQueen2-768x777.jpg 768w\" sizes=\"(max-width: 1060px) 100vw, 1060px\">\u003cfigcaption class=\"wp-caption-text\">A photograph of José Sarria in Joseph R. Castel’s ‘Nelly Queen: The Life and Times of José Sarria,’ 2020. \u003ccite>(Courtesy Frameline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The ’70s all-woman rock band Fanny deserves an exhibit in the Rock & Roll Hall of Fame, and \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/fanny-the-right-to-rock-(drive-in)\" rel=\"noopener noreferrer\" target=\"_blank\">Fanny: The Right to Rock\u003c/a>\u003c/em> (June 10 at the West Wind Solano Drive-in and then online) will help that righteous cause. Speaking of knocking down walls through popular art, East Bay filmmaker Vivian Kleiman’s \u003cem>No Straight Lines: The Rise of Queer Comics\u003c/em> (June 27 at the Castro) salutes the late Howard Cruse, Alison Bechdel and other graphic novelists who animated (and satirized) gay and lesbian life with pen and ink.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Monika Treut’s late-’90s portrait of gender-fluid San Franciscans, \u003cem>Gendernauts\u003c/em>, was a revelation (in Europe, certainly, if not here). Her pre-pandemic sequel, \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/genderation\" rel=\"noopener noreferrer\" target=\"_blank\">Genderation\u003c/a>\u003c/em>, brings us up to speed 20 years down the road with Susan Stryker, Annie Sprinkle and other rebels and disruptors. Is the past prologue? Jose Enrique Tiglao’s Filipino intersex adolescent drama \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/metamorphosis\" rel=\"noopener noreferrer\" target=\"_blank\">Metamorphosis\u003c/a>\u003c/em>, among other Frameline45 entries, continues the work of expanding the mainstream.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Frameline45 takes place in person at various Bay Area venues June 10–27 and streams nationally June 17–27. \u003ca href=\"https://www.frameline.org/festival\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "for-lgbtq-pride-parties-and-events-2021-is-a-year-of-transition",
"title": "For LGBTQ+ Pride Parties and Events, 2021 is a Year of Transition",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">[dropcap]“T[/dropcap]hings have changed.” These were the resigned words of Scott Peterson, general manager of San Francisco’s leather and cruise bar \u003ca href=\"https://www.powerhousebar.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Powerhouse\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s been nearly two years since Peterson and his patrons have been able to celebrate Pride in proper style, with cruising, a wet underwear contest and, of course, lots of dancing and mingling. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Although Governor Gavin Newsom announced a plan to \u003ca href=\"https://www.kqed.org/news/11874669/californias-june-15-reopening-will-scrap-social-distancing-and-capacity-requirements\" target=\"_blank\" rel=\"noopener noreferrer\">remove most COVID restrictions\u003c/a> on June 15, Peterson was wary and decided not to plan a big event. Several uncertainties hung in the air: Would Pride celebrants be ready to party in a crowded space after a year of distancing? And would tourism return to San Francisco? Then there were masks—after suggesting that California will lift its mask mandate on June 15, the \u003ca href=\"https://abc7news.com/california-to-end-covid-mask-mandates-face-requirement-coronavirus-guidelines-newsom/10620733/\" target=\"_blank\" rel=\"noopener noreferrer\">governor clarified\u003c/a> that may not be the case for all indoor activities. That left Peterson hesitant. “It would be nice to see everybody smile,” he said, adding, “I’m not even sure if we’ll be able to do the Folsom Street Fair in September.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Over a year of the pandemic has left its mark on Powerhouse and its manager. The bar is weighed down by a sizable debt, and requirements like table service and masking have dulled its dive bar vibe. Though businesses will be able to operate at 100% capacity come June 15, Peterson was reluctant to promise a party that might not come together.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While some in-person celebrations are still happening this year, 2021 will be a year of adjustment for LGBTQ+ artists, performers and events presenters, for whom June is typically the busiest month of the year.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13874543\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874543\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/sf-pride-800x450.jpg\" alt=\"People march during the San Francisco gay pride parade in San Francisco, California on June, 24, 2018\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/sf-pride-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/sf-pride-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/sf-pride-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/sf-pride-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/sf-pride.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People march during the San Francisco gay pride parade in San Francisco, California on June, 24, 2018. \u003ccite>(Josh Edelson/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The main \u003ca href=\"https://sfpride.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Pride\u003c/a> celebrations are going to be muted this year. Billed as “the best version of what is possible at this time,” there will be no centerpiece Pride parade, and the planned Pride Expo—which would have replaced the annual street celebration in the Civic Center—has been cancelled due to the uncertainty surrounding changing COVID restrictions. That leaves two film screenings in conjunction with the \u003ca href=\"https://www.frameline.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Frameline Film Festival\u003c/a> at Oracle Park on June 11–12 and a Black Liberation Event in conjunction with the African American Art & Culture Complex on Juneteenth.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Having a truncated Pride two years running is a loss for the LGBTQ+ community. Peterson knows this firsthand: growing up in Minnesota, he clung to spaces that were accepting of LGBTQ+ identities. Even though it’s now decades later and many things have changed, it’s still necessary to have spaces for LGBTQ+ individuals to feel safe, seen and understood. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Peterson regards Pride as a unique time of year, when people just seem happier, the city gripped by a special energy. “It’s a celebration of who we are, and in San Francisco we can do it better than anywhere else,” he said.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Fortunately, some of that will still be happening in person. Community arts space SOMArts will offer a Pride Kickoff Party on June 23, highlighting the work of queer Black artists and featuring an art party with DJs on its back patio. \u003ca href=\"https://www.oaklandblackpride.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Black Pride\u003c/a> has a slate of in-person and virtual events planned throughout June, including a pub crawl and kickball tournament. On June 25, longtime Pride stalwart El Río will host an outdoor \u003c/span>\u003ca href=\"https://www.elriosf.com/calendar\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">T for T party\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> featuring trans and nonbinary DJs and performance artists, with seating limited to three two-hour time slots. And on June 26, it will also host an outdoor \u003c/span>\u003ca href=\"https://www.facebook.com/mangosf\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Mango SF\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> party. [aside postid='arts_13894499']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Devon Devine, co-founder and producer of \u003ca href=\"https://hardfrench.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hard French\u003c/a>—a raging dance party that styles itself as a home for all of those who feel left out of mainstream Pride—is embracing 2021 as a year of slow emergence after collective trauma. “The pandemic stripped us of our ability to celebrate and give our gift back to the community, which was awful,” he said. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s a healing thing. I’m in a state of re-entering the world, and that’s a lot to take on,” he added. “I’m relearning social skills, learning how to do an event again.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For months, Devine and his collaborators were wracked by indecision, uncertain of whether or not they’d try to do a major Hard French for Pride, or even if they could with such little clarity on what COVID restrictions would look like in June. He’s been experimenting with doing smaller, COVID-safe events, but that didn’t feel right for Pride. “A seated party with masks just wouldn’t feel like a special Pride party,” he said, adding that “it all really goes back to the dancing. We should be hard cruising, but right now we’re hard sitting.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like Peterson and many others, Devine sees the Folsom Street Fair in September, or even events this coming fall and winter, as more natural points at which to rev up LGBTQ+ celebrations to full blast. “We’re lucky to have multiple queer high holy days,” he said. “Folsom is where my brain is at right now.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For event presenters like him, there are benefits in having more time to plan. “We’ve all been working in silos for a year,” Devine explained. “We haven’t been comparing notes or seeing each other, and we’ve had to be a lot more intentional about communication. We need time to re-establish those connections and learn to work together again.” That means waiting until 2022 for another Pride Hard French.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[dropcap]O[/dropcap]ther events are moving ahead at full steam—albeit virtually. Sean Dorsey, artistic director and founder of \u003ca href=\"https://freshmeatproductions.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Meat Productions\u003c/a>, a producer of performance art by trans and gender-nonconforming individuals, is celebrating 20 years of the Fresh Meat Festival with a bigger lineup than ever before. As living with COVID has become more a fact of life, Dorsey’s stance on virtual Pride changed. [aside postid='arts_13882546']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Last year, the idea of doing Pride online two years in a row would have generated a lot of sad-faced emojis,” he said. “I’ve been processing it a month at a time, and while it’s hard to miss connecting with communities for so long, I’m glad to still be investing in artists and commissioning new work.” An online event has its upsides: Dorsey said that this year Fresh Meat Productions will present more national artists than even before. The festival will run on two consecutive weekends, June 18–27, with a full festival program and free ticket registration \u003c/span>\u003ca href=\"https://freshmeatproductions.org/20th-anniversary-fresh-meat-festival/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">available online\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> on May 28.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The \u003ca href=\"https://festival2021.qwocmap.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Queer Women of Color Film Festival\u003c/a> has followed a similar COVID trajectory. A project of the Queer Women of Color Media Arts Project, which came together in 2000, the festival is now in its 17th year. In 2020 it was able to pivot to an all-streaming schedule at the last minute, resulting in a worldwide audience several times larger than what it could host in its usual location, Brava Theater Center. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We were blown away,” said founding executive/artistic director Madeleine Lim, noting that last year’s festival was filled with “unexpected joys and thrills.”\u003c/span>\u003c/p>\n\u003cp>https://vimeo.com/540408520\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This year the Queer Women of Color Film Festival is coming back stronger than ever with 19 new short films. The festival will run June 11–13, with \u003c/span>\u003ca href=\"https://festival2021.qwocmap.org/\">\u003cspan style=\"font-weight: 400\">free ticket registration\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> required beforehand. Lim and her team are trying to compensate for inequities caused by COVID shutdowns. The festival has undertaken outreach efforts to make the films accessible to those who have been left behind by the digital divide—such as older viewers who may not have the technological know-how to view streaming content—a shortcoming that the festival was not able to address in the hasty 2020 pivot to streaming.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There will be other virtual spaces to celebrate. Drag festival \u003c/span>\u003ca href=\"https://www.oaklash.com/lineup\">\u003cspan style=\"font-weight: 400\">Oaklash\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> is happening mostly online through May 31, and, in addition to a dozens of performances, it includes panels about disability justice, housing and harm reduction. The Transgender District will host two Zoom panels on the state of trans visibility. The one on June 7 will focus on politics, policy and social justice, with panelists Sarah McBride, Andrea Jenkins, Chase Strangio, Honey Mahogany and Mariah Moore (moderated by Imara Jones); and one on June 16 will focus on Hollywood, with panelists TS Madison, Zoey Luna, Amiyah Scott, Ian Harvie and Nava Mau (moderated by Raquel Willis). The \u003c/span>\u003ca href=\"https://www.frameline.org/year-round/frameline-blog/frameline45-festival-dates-announced\">\u003cspan style=\"font-weight: 400\">Frameline LGBT Film Festival\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> will run for an unprecedented 18 days, June 10–27, with a mixture of over 50 outdoor, drive-in and streaming films. [aside postid='arts_13896684']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With vaccination rates climbing and COVID infections falling, it’s tempting to hope for a Pride that resembles the pre-COVID normal, but it’s clear that this will be a transitional year—not quite 2019, but not 2020 either. For Devine, this story of misfortunate followed by slow, steady reemergence is typical of how the queer community deals with setbacks. He noted that queer creators have had a whole year to discover new strengths and new sides to their creativity. “I won a literary award this year,” said Devine, “and I never would have seen myself as a writer without the pandemic.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I feel in my gut like we’re on the brink of a queer renaissance right now,” Devine said. June 2021 won’t be quite the Pride he’s hoping for, but it will be the beginning of something major. “Down the line, all these venues are going to be the sites of some amazing experiences.”\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction: \u003c/strong>\u003c/em>\u003cem>This story listed the original location of the Queer Women of Color Film Festival as the Yerba Buena Center for the Arts. In fact, it is the Brava Theater Center. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">“T\u003c/span>\u003c/p>\u003cp>hings have changed.” These were the resigned words of Scott Peterson, general manager of San Francisco’s leather and cruise bar \u003ca href=\"https://www.powerhousebar.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Powerhouse\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s been nearly two years since Peterson and his patrons have been able to celebrate Pride in proper style, with cruising, a wet underwear contest and, of course, lots of dancing and mingling. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Although Governor Gavin Newsom announced a plan to \u003ca href=\"https://www.kqed.org/news/11874669/californias-june-15-reopening-will-scrap-social-distancing-and-capacity-requirements\" target=\"_blank\" rel=\"noopener noreferrer\">remove most COVID restrictions\u003c/a> on June 15, Peterson was wary and decided not to plan a big event. Several uncertainties hung in the air: Would Pride celebrants be ready to party in a crowded space after a year of distancing? And would tourism return to San Francisco? Then there were masks—after suggesting that California will lift its mask mandate on June 15, the \u003ca href=\"https://abc7news.com/california-to-end-covid-mask-mandates-face-requirement-coronavirus-guidelines-newsom/10620733/\" target=\"_blank\" rel=\"noopener noreferrer\">governor clarified\u003c/a> that may not be the case for all indoor activities. That left Peterson hesitant. “It would be nice to see everybody smile,” he said, adding, “I’m not even sure if we’ll be able to do the Folsom Street Fair in September.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Over a year of the pandemic has left its mark on Powerhouse and its manager. The bar is weighed down by a sizable debt, and requirements like table service and masking have dulled its dive bar vibe. Though businesses will be able to operate at 100% capacity come June 15, Peterson was reluctant to promise a party that might not come together.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While some in-person celebrations are still happening this year, 2021 will be a year of adjustment for LGBTQ+ artists, performers and events presenters, for whom June is typically the busiest month of the year.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13874543\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874543\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/sf-pride-800x450.jpg\" alt=\"People march during the San Francisco gay pride parade in San Francisco, California on June, 24, 2018\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/sf-pride-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/sf-pride-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/sf-pride-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/sf-pride-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/sf-pride.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People march during the San Francisco gay pride parade in San Francisco, California on June, 24, 2018. \u003ccite>(Josh Edelson/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The main \u003ca href=\"https://sfpride.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Pride\u003c/a> celebrations are going to be muted this year. Billed as “the best version of what is possible at this time,” there will be no centerpiece Pride parade, and the planned Pride Expo—which would have replaced the annual street celebration in the Civic Center—has been cancelled due to the uncertainty surrounding changing COVID restrictions. That leaves two film screenings in conjunction with the \u003ca href=\"https://www.frameline.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Frameline Film Festival\u003c/a> at Oracle Park on June 11–12 and a Black Liberation Event in conjunction with the African American Art & Culture Complex on Juneteenth.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Having a truncated Pride two years running is a loss for the LGBTQ+ community. Peterson knows this firsthand: growing up in Minnesota, he clung to spaces that were accepting of LGBTQ+ identities. Even though it’s now decades later and many things have changed, it’s still necessary to have spaces for LGBTQ+ individuals to feel safe, seen and understood. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Peterson regards Pride as a unique time of year, when people just seem happier, the city gripped by a special energy. “It’s a celebration of who we are, and in San Francisco we can do it better than anywhere else,” he said.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Fortunately, some of that will still be happening in person. Community arts space SOMArts will offer a Pride Kickoff Party on June 23, highlighting the work of queer Black artists and featuring an art party with DJs on its back patio. \u003ca href=\"https://www.oaklandblackpride.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Black Pride\u003c/a> has a slate of in-person and virtual events planned throughout June, including a pub crawl and kickball tournament. On June 25, longtime Pride stalwart El Río will host an outdoor \u003c/span>\u003ca href=\"https://www.elriosf.com/calendar\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">T for T party\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> featuring trans and nonbinary DJs and performance artists, with seating limited to three two-hour time slots. And on June 26, it will also host an outdoor \u003c/span>\u003ca href=\"https://www.facebook.com/mangosf\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Mango SF\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> party. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Devon Devine, co-founder and producer of \u003ca href=\"https://hardfrench.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hard French\u003c/a>—a raging dance party that styles itself as a home for all of those who feel left out of mainstream Pride—is embracing 2021 as a year of slow emergence after collective trauma. “The pandemic stripped us of our ability to celebrate and give our gift back to the community, which was awful,” he said. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s a healing thing. I’m in a state of re-entering the world, and that’s a lot to take on,” he added. “I’m relearning social skills, learning how to do an event again.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For months, Devine and his collaborators were wracked by indecision, uncertain of whether or not they’d try to do a major Hard French for Pride, or even if they could with such little clarity on what COVID restrictions would look like in June. He’s been experimenting with doing smaller, COVID-safe events, but that didn’t feel right for Pride. “A seated party with masks just wouldn’t feel like a special Pride party,” he said, adding that “it all really goes back to the dancing. We should be hard cruising, but right now we’re hard sitting.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like Peterson and many others, Devine sees the Folsom Street Fair in September, or even events this coming fall and winter, as more natural points at which to rev up LGBTQ+ celebrations to full blast. “We’re lucky to have multiple queer high holy days,” he said. “Folsom is where my brain is at right now.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For event presenters like him, there are benefits in having more time to plan. “We’ve all been working in silos for a year,” Devine explained. “We haven’t been comparing notes or seeing each other, and we’ve had to be a lot more intentional about communication. We need time to re-establish those connections and learn to work together again.” That means waiting until 2022 for another Pride Hard French.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">O\u003c/span>\u003c/p>\u003cp>ther events are moving ahead at full steam—albeit virtually. Sean Dorsey, artistic director and founder of \u003ca href=\"https://freshmeatproductions.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Meat Productions\u003c/a>, a producer of performance art by trans and gender-nonconforming individuals, is celebrating 20 years of the Fresh Meat Festival with a bigger lineup than ever before. As living with COVID has become more a fact of life, Dorsey’s stance on virtual Pride changed. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Last year, the idea of doing Pride online two years in a row would have generated a lot of sad-faced emojis,” he said. “I’ve been processing it a month at a time, and while it’s hard to miss connecting with communities for so long, I’m glad to still be investing in artists and commissioning new work.” An online event has its upsides: Dorsey said that this year Fresh Meat Productions will present more national artists than even before. The festival will run on two consecutive weekends, June 18–27, with a full festival program and free ticket registration \u003c/span>\u003ca href=\"https://freshmeatproductions.org/20th-anniversary-fresh-meat-festival/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">available online\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> on May 28.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The \u003ca href=\"https://festival2021.qwocmap.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Queer Women of Color Film Festival\u003c/a> has followed a similar COVID trajectory. A project of the Queer Women of Color Media Arts Project, which came together in 2000, the festival is now in its 17th year. In 2020 it was able to pivot to an all-streaming schedule at the last minute, resulting in a worldwide audience several times larger than what it could host in its usual location, Brava Theater Center. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We were blown away,” said founding executive/artistic director Madeleine Lim, noting that last year’s festival was filled with “unexpected joys and thrills.”\u003c/span>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">This year the Queer Women of Color Film Festival is coming back stronger than ever with 19 new short films. The festival will run June 11–13, with \u003c/span>\u003ca href=\"https://festival2021.qwocmap.org/\">\u003cspan style=\"font-weight: 400\">free ticket registration\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> required beforehand. Lim and her team are trying to compensate for inequities caused by COVID shutdowns. The festival has undertaken outreach efforts to make the films accessible to those who have been left behind by the digital divide—such as older viewers who may not have the technological know-how to view streaming content—a shortcoming that the festival was not able to address in the hasty 2020 pivot to streaming.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There will be other virtual spaces to celebrate. Drag festival \u003c/span>\u003ca href=\"https://www.oaklash.com/lineup\">\u003cspan style=\"font-weight: 400\">Oaklash\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> is happening mostly online through May 31, and, in addition to a dozens of performances, it includes panels about disability justice, housing and harm reduction. The Transgender District will host two Zoom panels on the state of trans visibility. The one on June 7 will focus on politics, policy and social justice, with panelists Sarah McBride, Andrea Jenkins, Chase Strangio, Honey Mahogany and Mariah Moore (moderated by Imara Jones); and one on June 16 will focus on Hollywood, with panelists TS Madison, Zoey Luna, Amiyah Scott, Ian Harvie and Nava Mau (moderated by Raquel Willis). The \u003c/span>\u003ca href=\"https://www.frameline.org/year-round/frameline-blog/frameline45-festival-dates-announced\">\u003cspan style=\"font-weight: 400\">Frameline LGBT Film Festival\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> will run for an unprecedented 18 days, June 10–27, with a mixture of over 50 outdoor, drive-in and streaming films. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With vaccination rates climbing and COVID infections falling, it’s tempting to hope for a Pride that resembles the pre-COVID normal, but it’s clear that this will be a transitional year—not quite 2019, but not 2020 either. For Devine, this story of misfortunate followed by slow, steady reemergence is typical of how the queer community deals with setbacks. He noted that queer creators have had a whole year to discover new strengths and new sides to their creativity. “I won a literary award this year,” said Devine, “and I never would have seen myself as a writer without the pandemic.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I feel in my gut like we’re on the brink of a queer renaissance right now,” Devine said. June 2021 won’t be quite the Pride he’s hoping for, but it will be the beginning of something major. “Down the line, all these venues are going to be the sites of some amazing experiences.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction: \u003c/strong>\u003c/em>\u003cem>This story listed the original location of the Queer Women of Color Film Festival as the Yerba Buena Center for the Arts. In fact, it is the Brava Theater Center. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In addition to the return of \u003ca href=\"https://ww2.kqed.org/arts/2021/03/24/sf-pride-to-return-in-june-with-new-in-person-format/\" target=\"_blank\" rel=\"noopener noreferrer\">in-person Pride\u003c/a> this year, the LGBTQ+ community and our allies have something else to celebrate: \u003ca href=\"https://www.frameline.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Frameline45: The San Francisco International LGBTQ+ Film Festival\u003c/a>. The cinematic event is back this year June 10–27 with outdoor and drive-in screenings, a Pride movie night at Oracle Park and virtual showings of narrative and documentary films with LGBTQ+ filmmakers, subjects and casts.\u003c/p>\n\u003cp>The program hasn’t been announced yet, but it will be the first one curated by Allegra Madsen, the director of programming who assumed her new role earlier this year. She comes to Frameline after curating PROXY Outdoor Film Festival and Black Light Cinema, a program celebrating Black filmmakers in Bayview-Hunters Point.\u003c/p>\n\u003cp>Last year, as COVID-19-related cancelations decimated the arts sector, Frameline produced a condensed online and drive-in showcase during Pride month in June. As Zoom became the norm, it \u003ca href=\"https://www.kqed.org/arts/13886462/slimmed-down-grown-up-frameline-dazzles-the-eye\" target=\"_blank\" rel=\"noopener noreferrer\">re-emerged in September\u003c/a> with a program of 30 feature films and six shorts, including trans, Brazilian coming-of-age story \u003cem>Alice Júnior \u003c/em>and psychological thriller \u003cem>Through the Glass Darkly\u003c/em>.\u003c/p>\n\u003cp>This year’s Frameline program will be announced in the coming weeks, and tickets go on sale May 25. \u003ca href=\"http://frameline.org\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\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>In addition to the return of \u003ca href=\"https://ww2.kqed.org/arts/2021/03/24/sf-pride-to-return-in-june-with-new-in-person-format/\" target=\"_blank\" rel=\"noopener noreferrer\">in-person Pride\u003c/a> this year, the LGBTQ+ community and our allies have something else to celebrate: \u003ca href=\"https://www.frameline.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Frameline45: The San Francisco International LGBTQ+ Film Festival\u003c/a>. The cinematic event is back this year June 10–27 with outdoor and drive-in screenings, a Pride movie night at Oracle Park and virtual showings of narrative and documentary films with LGBTQ+ filmmakers, subjects and casts.\u003c/p>\n\u003cp>The program hasn’t been announced yet, but it will be the first one curated by Allegra Madsen, the director of programming who assumed her new role earlier this year. She comes to Frameline after curating PROXY Outdoor Film Festival and Black Light Cinema, a program celebrating Black filmmakers in Bayview-Hunters Point.\u003c/p>\n\u003cp>Last year, as COVID-19-related cancelations decimated the arts sector, Frameline produced a condensed online and drive-in showcase during Pride month in June. As Zoom became the norm, it \u003ca href=\"https://www.kqed.org/arts/13886462/slimmed-down-grown-up-frameline-dazzles-the-eye\" target=\"_blank\" rel=\"noopener noreferrer\">re-emerged in September\u003c/a> with a program of 30 feature films and six shorts, including trans, Brazilian coming-of-age story \u003cem>Alice Júnior \u003c/em>and psychological thriller \u003cem>Through the Glass Darkly\u003c/em>.\u003c/p>\n\u003cp>This year’s Frameline program will be announced in the coming weeks, and tickets go on sale May 25. \u003ca href=\"http://frameline.org\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Slimmed Down, Grown Up Frameline Dazzles the Eye",
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"content": "\u003cp>Coming out to join the crowd at the Castro for a hot-and-heavy Frameline screening—with every delectable connotation that suggests—is off the table this year. The \u003ca href=\"https://www.frameline.org\" rel=\"noopener noreferrer\" target=\"_blank\">44th San Francisco International LGBTQ+ Film Festival\u003c/a>, revamped and rescheduled from its perennial Pride Month residency, is entirely (with the exception of tonight’s drive-in opener, \u003cem>Shit & Champagne\u003c/em>) an online affair.\u003c/p>\n\u003cp>Making the scene to see and be seen is a thing of the past, and the TBD future.\u003c/p>\n\u003cp>When sheltering in place became the canon of the county, Frameline hustled to produce a condensed Pride Showcase in June that raised spirits and cash via an online and drive-in program. In the ensuing months, the model and mode of online festivals has become codified (for viewers as much as for presenters), with nearly all the films available to stream anytime during the festival. A specific viewing time is recommended, however, to coincide with the added feature of a live Zoom Q&A with the filmmakers.\u003c/p>\n\u003cp>Frameline (Sept. 17–27) is renowned, justifiably, for the delirious scope of its program: In a typical year you can find something about and for literally everyone across the fluid LGBTQ+ horizon. A few of those films are less than great, shall we say, but they honor Frameline’s mission to reflect on the big screen the breadth of the community. One of the challenges of moving online is the logistical necessity to pare a sprawling program down to a manageable level without sacrificing big-umbrella diversity.\u003c/p>\n\u003cfigure id=\"attachment_13886522\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/AliceJunior1_1200.jpg\" alt=\"\" width=\"1200\" height=\"750\" class=\"size-full wp-image-13886522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/AliceJunior1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/AliceJunior1_1200-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/AliceJunior1_1200-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/AliceJunior1_1200-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/AliceJunior1_1200-768x480.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Alice Júnior.’ \u003ccite>(Frameline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At 30 features and six shorts program, plus the first season of the locally filmed episodic series \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/chosen-fam-season-1\" rel=\"noopener noreferrer\" target=\"_blank\">Chosen Fam\u003c/a>\u003c/em>, Frameline 44 is one trimmed-down festival. With the gyms closed for months and sedentary weight gain a pervasive issue, the festival is just about the only slimmed-down beast around. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The broad multitude of experiences encompassed by the festival is pretty well illustrated by the three Centerpiece films. The award-winning Brazilian coming-of-age romp \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/alice-jand250nior\" rel=\"noopener noreferrer\" target=\"_blank\">Alice Júnior\u003c/a>\u003c/em> relocates its teenage trans protagonist, a burgeoning social-media and real-life star, to a Catholic school in the sticks. Where she triumphs, don’t you know. \u003c/p>\n\u003cp>The psychological thriller \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/through-the-glass-darkly\" rel=\"noopener noreferrer\" target=\"_blank\">Through the Glass Darkly\u003c/a>\u003c/em> follows a lesbian mom in small-town Georgia investigating the disappearance of young women—including her daughter. \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/the-obituary-of-tunde-johnson\" rel=\"noopener noreferrer\" target=\"_blank\">The Obituary of Tunde Johnson\u003c/a>\u003c/em> takes on racism, homophobia and police brutality through the recurring-yet-never-identical nightmare of a Black teenager’s last day on earth.\u003c/p>\n\u003cfigure id=\"attachment_13886520\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/nohardfeelings3_1200.jpg\" alt=\"\" width=\"1200\" height=\"876\" class=\"size-full wp-image-13886520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/nohardfeelings3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/nohardfeelings3_1200-800x584.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/nohardfeelings3_1200-1020x745.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/nohardfeelings3_1200-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/nohardfeelings3_1200-768x561.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘No Hard Feelings.’ \u003ccite>(Frameline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other standouts in the program include German-Iranian filmmaker Faraz Shariat’s feature debut, \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/no-hard-feelings\" rel=\"noopener noreferrer\" target=\"_blank\">No Hard Feelings\u003c/a>\u003c/em>, which won the Teddy Award for best LGBT film at the Berlin Film Festival in February. The Hanover-born son of Iranian immigrants falls in (love) with an Iranian brother and sister seeking asylum and at risk of deportation. The characters’ struggles aren’t with racist xenophobes or uncomprehending parents but more profoundly with their individual senses of, and needs for, “homeland” and “home.”\u003c/p>\n\u003cp>Perhaps the most fascinating aspect of Filippo Meneghetti’s precisely composed and framed French drama \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/two-of-us\" rel=\"noopener noreferrer\" target=\"_blank\">Two of Us\u003c/a>\u003c/em> (only available Sept. 25–27) is how far viewers will go to sympathize with Nina, the fiercely obsessive half of an older lesbian couple. Across-the-hall neighbors, they’ve kept their love affair secret from Mado’s adult daughter—a gradually spiraling disaster when Mado has a health crisis. The scary-good (and just plain scary) Barbara Sukowa nails Nina at the crossroads of devoted lover and psycho stalker.\u003c/p>\n\u003cfigure id=\"attachment_13886519\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/cicada2_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13886519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/cicada2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/cicada2_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/cicada2_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/cicada2_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/cicada2_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Cicada.’ \u003ccite>(Frameline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>New York actor-writer-director Matthew Fifer’s looser approach to his resonant summer-set debut, \u003cem>Cicada\u003c/em>, revels in the spontaneity of the lovestruck leads Ben and Sam (Fifer and Sheldon D. Brown) and the unencumbered handheld camerawork. But all that freedom, down to their interracial relationship, eventually runs headfirst into their respective traumas and fears.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/cicada\" rel=\"noopener noreferrer\" target=\"_blank\">Cicada\u003c/a>\u003c/em> (co-directed by Kieran Mulcare) is set in 2013, when the pseudonymous insects reappeared on the 17-year dot and Penn State coach Jerry Sandusky’s litany of sexual abuses of boys were finally publicly exposed. The metaphor, especially as it relates to Ben’s childhood, is on the nose but still effective: You can bury the past, but not forever. And when it resurfaces, it won’t leave you alone—as if it ever did.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At 44, Frameline is assuredly not having a midlife crisis. Its COVID-19 crisis, though, will persist through next year’s festival. Regardless of where we are with the virus, I expect the 2021 festival to be a similarly streamlined affair. The pandemic has put a global kibosh on filmmaking, and it’s anyone’s guess how many new films, let alone excellent ones, will be available to screen come June. One more reason, if you needed one, to immerse yourself in the 2020 program.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Coming out to join the crowd at the Castro for a hot-and-heavy Frameline screening—with every delectable connotation that suggests—is off the table this year. The \u003ca href=\"https://www.frameline.org\" rel=\"noopener noreferrer\" target=\"_blank\">44th San Francisco International LGBTQ+ Film Festival\u003c/a>, revamped and rescheduled from its perennial Pride Month residency, is entirely (with the exception of tonight’s drive-in opener, \u003cem>Shit & Champagne\u003c/em>) an online affair.\u003c/p>\n\u003cp>Making the scene to see and be seen is a thing of the past, and the TBD future.\u003c/p>\n\u003cp>When sheltering in place became the canon of the county, Frameline hustled to produce a condensed Pride Showcase in June that raised spirits and cash via an online and drive-in program. In the ensuing months, the model and mode of online festivals has become codified (for viewers as much as for presenters), with nearly all the films available to stream anytime during the festival. A specific viewing time is recommended, however, to coincide with the added feature of a live Zoom Q&A with the filmmakers.\u003c/p>\n\u003cp>Frameline (Sept. 17–27) is renowned, justifiably, for the delirious scope of its program: In a typical year you can find something about and for literally everyone across the fluid LGBTQ+ horizon. A few of those films are less than great, shall we say, but they honor Frameline’s mission to reflect on the big screen the breadth of the community. One of the challenges of moving online is the logistical necessity to pare a sprawling program down to a manageable level without sacrificing big-umbrella diversity.\u003c/p>\n\u003cfigure id=\"attachment_13886522\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/AliceJunior1_1200.jpg\" alt=\"\" width=\"1200\" height=\"750\" class=\"size-full wp-image-13886522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/AliceJunior1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/AliceJunior1_1200-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/AliceJunior1_1200-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/AliceJunior1_1200-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/AliceJunior1_1200-768x480.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Alice Júnior.’ \u003ccite>(Frameline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At 30 features and six shorts program, plus the first season of the locally filmed episodic series \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/chosen-fam-season-1\" rel=\"noopener noreferrer\" target=\"_blank\">Chosen Fam\u003c/a>\u003c/em>, Frameline 44 is one trimmed-down festival. With the gyms closed for months and sedentary weight gain a pervasive issue, the festival is just about the only slimmed-down beast around. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The broad multitude of experiences encompassed by the festival is pretty well illustrated by the three Centerpiece films. The award-winning Brazilian coming-of-age romp \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/alice-jand250nior\" rel=\"noopener noreferrer\" target=\"_blank\">Alice Júnior\u003c/a>\u003c/em> relocates its teenage trans protagonist, a burgeoning social-media and real-life star, to a Catholic school in the sticks. Where she triumphs, don’t you know. \u003c/p>\n\u003cp>The psychological thriller \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/through-the-glass-darkly\" rel=\"noopener noreferrer\" target=\"_blank\">Through the Glass Darkly\u003c/a>\u003c/em> follows a lesbian mom in small-town Georgia investigating the disappearance of young women—including her daughter. \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/the-obituary-of-tunde-johnson\" rel=\"noopener noreferrer\" target=\"_blank\">The Obituary of Tunde Johnson\u003c/a>\u003c/em> takes on racism, homophobia and police brutality through the recurring-yet-never-identical nightmare of a Black teenager’s last day on earth.\u003c/p>\n\u003cfigure id=\"attachment_13886520\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/nohardfeelings3_1200.jpg\" alt=\"\" width=\"1200\" height=\"876\" class=\"size-full wp-image-13886520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/nohardfeelings3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/nohardfeelings3_1200-800x584.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/nohardfeelings3_1200-1020x745.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/nohardfeelings3_1200-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/nohardfeelings3_1200-768x561.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘No Hard Feelings.’ \u003ccite>(Frameline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other standouts in the program include German-Iranian filmmaker Faraz Shariat’s feature debut, \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/no-hard-feelings\" rel=\"noopener noreferrer\" target=\"_blank\">No Hard Feelings\u003c/a>\u003c/em>, which won the Teddy Award for best LGBT film at the Berlin Film Festival in February. The Hanover-born son of Iranian immigrants falls in (love) with an Iranian brother and sister seeking asylum and at risk of deportation. The characters’ struggles aren’t with racist xenophobes or uncomprehending parents but more profoundly with their individual senses of, and needs for, “homeland” and “home.”\u003c/p>\n\u003cp>Perhaps the most fascinating aspect of Filippo Meneghetti’s precisely composed and framed French drama \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/two-of-us\" rel=\"noopener noreferrer\" target=\"_blank\">Two of Us\u003c/a>\u003c/em> (only available Sept. 25–27) is how far viewers will go to sympathize with Nina, the fiercely obsessive half of an older lesbian couple. Across-the-hall neighbors, they’ve kept their love affair secret from Mado’s adult daughter—a gradually spiraling disaster when Mado has a health crisis. The scary-good (and just plain scary) Barbara Sukowa nails Nina at the crossroads of devoted lover and psycho stalker.\u003c/p>\n\u003cfigure id=\"attachment_13886519\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/cicada2_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13886519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/cicada2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/cicada2_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/cicada2_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/cicada2_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/cicada2_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Cicada.’ \u003ccite>(Frameline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>New York actor-writer-director Matthew Fifer’s looser approach to his resonant summer-set debut, \u003cem>Cicada\u003c/em>, revels in the spontaneity of the lovestruck leads Ben and Sam (Fifer and Sheldon D. Brown) and the unencumbered handheld camerawork. But all that freedom, down to their interracial relationship, eventually runs headfirst into their respective traumas and fears.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/cicada\" rel=\"noopener noreferrer\" target=\"_blank\">Cicada\u003c/a>\u003c/em> (co-directed by Kieran Mulcare) is set in 2013, when the pseudonymous insects reappeared on the 17-year dot and Penn State coach Jerry Sandusky’s litany of sexual abuses of boys were finally publicly exposed. The metaphor, especially as it relates to Ben’s childhood, is on the nose but still effective: You can bury the past, but not forever. And when it resurfaces, it won’t leave you alone—as if it ever did.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At 44, Frameline is assuredly not having a midlife crisis. Its COVID-19 crisis, though, will persist through next year’s festival. Regardless of where we are with the virus, I expect the 2021 festival to be a similarly streamlined affair. The pandemic has put a global kibosh on filmmaking, and it’s anyone’s guess how many new films, let alone excellent ones, will be available to screen come June. One more reason, if you needed one, to immerse yourself in the 2020 program.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Oakland International Film Fest, ‘Antebellum’ on the Home Screen",
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"content": "\u003cp>The vast majority of film festivals, especially in the Bay Area, aren’t simply cultural events or entertainment options. They are community gatherings. Online iterations necessitated by the pandemic try to replicate that feeling. (The new tradition of the opening night drive-in screening is a way of creating a live experience by placing \u003cem>some\u003c/em> people in safe proximity.)\u003c/p>\n\u003cp>But online fests are better than nothing, no doubt. They do require, however, a little more effort—focusing our full attention during streamed home screenings, attending post-film Zoom Q&As with the filmmakers—than passively sitting in a packed theater. Test the waters, join the fray, catch a flick at the Oakland International Film Festival and Frameline (a.k.a. the San Francisco International LGBTQ+ Film Festival), both launching their respective 10-day bashes Sept. 17. \u003c/p>\n\u003cp>https://youtu.be/1lJRPZLuY9c\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.oiff.org\" rel=\"noopener noreferrer\" target=\"_blank\">Oakland International Film Festival\u003c/a>\u003c/b>\u003cbr>\nSept. 17–27\u003cbr>\nOnline\u003c/p>\n\u003cp>David Roach searches far and wide to populate the OIFF with a chorus of voices that speak to Oakland’s challenges, history, multiculturalism and vitality. The lineup of 65-plus shorts and features corresponds to the metropolis’s wide-ranging and ever-evolving character.\u003c/p>\n\u003cp>The opening night film, \u003cem>We Are the Dream: The Kids of the Oakland MLK Oratorical Fest\u003c/em>, gives us a front-row introduction to the best and brightest speechmakers, poets and public speakers among Oaktown’s children. (The competition is open to pre-kindergarten through 12th grade.) The participants include a Sri Lankan boy who lectures us on Dr. King’s contributions, a tiny Black girl practicing her poem on a picnic table for her dad, and a 9-year-old preacher’s grandson who delivers a powerhouse rendition of the “I’ve Been to the Mountaintop” speech. You won’t be able to limit yourself to just one favorite.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Oakland writer-director-actor Pharoah Charles Powell’s latest made-on-a-shoestring feature, \u003cem>All the Love\u003c/em>, centers on a young woman forced to confront the truth about her father, and her own identity. Powell will discuss his film at 10:25pm on Sept. 24 following its screening.\u003c/p>\n\u003cp>Another local filmmaker, Spencer Wilkinson (\u003cem>One Voice: The Story of the Oakland Interfaith Gospel Choir\u003c/em>), returns with his second quintessential hometown documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13875585/in-alice-street-oakland-artist-activists-build-power-by-bridging-communities\" rel=\"noopener noreferrer\" target=\"_blank\">Alice Street\u003c/a>\u003c/em>. Wilkinson originally set out to document the conception and execution of a mural near his house. But nothing is simple, or static, in America’s cities, and the public art becomes the catalyst for a saga of gentrification and empowerment.\u003c/p>\n\u003cp>\u003cb>Frameline44\u003c/b>\u003cbr>\nSept. 17–27\u003cbr>\nOnline\u003c/p>\n\u003cp>Check back later this week for an overview of the 44th San Francisco International LGBTQ+ Film Festival, rescheduled and reshaped from its usual omnibus in June. But drop everything right this instant and reserve a ticket to \u003cem>Shit & Champagne\u003c/em>, the world premiere of S.F. writer-director-star D’Arcy Drollinger’s delicious drag parody of 1970s sexploitation movies at the West Wind Solano Drive-in in Concord on opening night.\u003c/p>\n\u003cfigure id=\"attachment_13886380\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Collaboration_Irmi_005-2_1200.jpg\" alt=\"\" width=\"1200\" height=\"861\" class=\"size-full wp-image-13886380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Collaboration_Irmi_005-2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Collaboration_Irmi_005-2_1200-800x574.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Collaboration_Irmi_005-2_1200-1020x732.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Collaboration_Irmi_005-2_1200-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Collaboration_Irmi_005-2_1200-768x551.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Irmi,’ 2020. \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>Irmi\u003c/em>\u003c/b>\u003cbr>\n\u003ca href=\"https://bampfa.org/event/irmi\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>\u003cbr>\nNow streaming\u003c/p>\n\u003cp>Ace editor and occasional director Veronica Selver has been a crucial component of the Bay Area’s world-class independent documentary community since the mid-’70s, when she partnered with Peter Adair, Lucy Massie Phenix, Rob Epstein and a couple other gutsy visionaries on the breakthrough gay and lesbian oral history \u003cem>Word Is Out\u003c/em>. If anyone can avoid the pitfalls (with panache) of the family documentary, that most perilous of nonfiction films, it’s Selver.\u003c/p>\n\u003cp>Fifteen years after her mother’s death at 97, Selver and co-director Susan Fanshel recount Irmi Selver’s roller-coaster ride through the 20th century with affection, wit and an appreciation for the unknowable mystery that is at the heart of every person. Using her late-in-life memoir (read by Hanna Schygulla) as a guide, \u003cem>Irmi\u003c/em> traces its protagonist’s affluent childhood in pre- and post-World War I Germany to—and far beyond—the tragedy that struck her young family in 1939 on a refugee ship in the North Sea.\u003c/p>\n\u003cp>Resolutely life-affirming and unexpectedly universal, \u003cem>Irmi\u003c/em> is streaming through BAMPFA, along with a recorded conversation among the filmmakers and esteemed film composer Todd Boekelheide, following its July debut in the Jewish Film Festival’s Cinegogue Summer Days.\u003c/p>\n\u003cp>https://youtu.be/7MPib67BDHY\u003c/p>\n\u003cp>\u003cb>\u003cem>Antebellum\u003c/em>\u003c/b>\u003cbr>\nOpens Sept. 18\u003cbr>\n\u003ca href=\"https://www.lionsgate.com/movies/antebellum\" rel=\"noopener noreferrer\" target=\"_blank\">Premium video on demand\u003c/a>\u003c/p>\n\u003cp>Janelle Monáe can do it all, and co-writers and directors Gerard Bush and Christopher Renz invite her to handle just about everything but singing in \u003cem>Antebellum\u003c/em>. In a double role that spans then and now, slavery and independence, Monáe exudes dignity and inner strength throughout, and fashion-mag style and action-heroine grit in the film’s middle and later sections.\u003c/p>\n\u003cp>Her performance, by turns glowering and glamorous, is undercut by a screenplay whose pieces don’t completely click into lucid, satisfying place. Set on a plantation in Civil War-era Louisiana, \u003cem>Antebellum\u003c/em> is a walking nightmare dreamed at golden hour, when the sun gleams languidly through the trees as if to mock the horrors that we know await in just a few hours.\u003c/p>\n\u003cp>The filmmakers display great care in avoiding the torture-porn clichés of slavery without eliding the cavalier cruelty or soul-crushing hopelessness. Then, late one night, the anachronistic ring of a cellphone jolts us and the movie into the present-day life of Dr. Veronica Henley (also played by Monáe), an in-demand intellectual and the author of \u003cem>Shedding the Coping Persona\u003c/em>. While she revels with friends at a conference in New Orleans, Bush and Renz disturbingly portray how casual and overt racism are precisely meant to dent and demean successful Black people. \u003c/p>\n\u003cp>Our journey with Monae’s dual characters from literal to paranoid to fantastical pays off with a reasonably satisfying cascade of payback. \u003cem>Antebellum\u003c/em>’s clever structure works to demonstrate in a visceral way how whites have smuggled, in broad daylight, 19th-century racism all the way into today. It’s not, shall we say, a pretty picture.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The vast majority of film festivals, especially in the Bay Area, aren’t simply cultural events or entertainment options. They are community gatherings. Online iterations necessitated by the pandemic try to replicate that feeling. (The new tradition of the opening night drive-in screening is a way of creating a live experience by placing \u003cem>some\u003c/em> people in safe proximity.)\u003c/p>\n\u003cp>But online fests are better than nothing, no doubt. They do require, however, a little more effort—focusing our full attention during streamed home screenings, attending post-film Zoom Q&As with the filmmakers—than passively sitting in a packed theater. Test the waters, join the fray, catch a flick at the Oakland International Film Festival and Frameline (a.k.a. the San Francisco International LGBTQ+ Film Festival), both launching their respective 10-day bashes Sept. 17. \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/1lJRPZLuY9c'\n title='//www.youtube.com/embed/1lJRPZLuY9c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>\u003ca href=\"https://www.oiff.org\" rel=\"noopener noreferrer\" target=\"_blank\">Oakland International Film Festival\u003c/a>\u003c/b>\u003cbr>\nSept. 17–27\u003cbr>\nOnline\u003c/p>\n\u003cp>David Roach searches far and wide to populate the OIFF with a chorus of voices that speak to Oakland’s challenges, history, multiculturalism and vitality. The lineup of 65-plus shorts and features corresponds to the metropolis’s wide-ranging and ever-evolving character.\u003c/p>\n\u003cp>The opening night film, \u003cem>We Are the Dream: The Kids of the Oakland MLK Oratorical Fest\u003c/em>, gives us a front-row introduction to the best and brightest speechmakers, poets and public speakers among Oaktown’s children. (The competition is open to pre-kindergarten through 12th grade.) The participants include a Sri Lankan boy who lectures us on Dr. King’s contributions, a tiny Black girl practicing her poem on a picnic table for her dad, and a 9-year-old preacher’s grandson who delivers a powerhouse rendition of the “I’ve Been to the Mountaintop” speech. You won’t be able to limit yourself to just one favorite.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Oakland writer-director-actor Pharoah Charles Powell’s latest made-on-a-shoestring feature, \u003cem>All the Love\u003c/em>, centers on a young woman forced to confront the truth about her father, and her own identity. Powell will discuss his film at 10:25pm on Sept. 24 following its screening.\u003c/p>\n\u003cp>Another local filmmaker, Spencer Wilkinson (\u003cem>One Voice: The Story of the Oakland Interfaith Gospel Choir\u003c/em>), returns with his second quintessential hometown documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13875585/in-alice-street-oakland-artist-activists-build-power-by-bridging-communities\" rel=\"noopener noreferrer\" target=\"_blank\">Alice Street\u003c/a>\u003c/em>. Wilkinson originally set out to document the conception and execution of a mural near his house. But nothing is simple, or static, in America’s cities, and the public art becomes the catalyst for a saga of gentrification and empowerment.\u003c/p>\n\u003cp>\u003cb>Frameline44\u003c/b>\u003cbr>\nSept. 17–27\u003cbr>\nOnline\u003c/p>\n\u003cp>Check back later this week for an overview of the 44th San Francisco International LGBTQ+ Film Festival, rescheduled and reshaped from its usual omnibus in June. But drop everything right this instant and reserve a ticket to \u003cem>Shit & Champagne\u003c/em>, the world premiere of S.F. writer-director-star D’Arcy Drollinger’s delicious drag parody of 1970s sexploitation movies at the West Wind Solano Drive-in in Concord on opening night.\u003c/p>\n\u003cfigure id=\"attachment_13886380\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Collaboration_Irmi_005-2_1200.jpg\" alt=\"\" width=\"1200\" height=\"861\" class=\"size-full wp-image-13886380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Collaboration_Irmi_005-2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Collaboration_Irmi_005-2_1200-800x574.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Collaboration_Irmi_005-2_1200-1020x732.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Collaboration_Irmi_005-2_1200-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Collaboration_Irmi_005-2_1200-768x551.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Irmi,’ 2020. \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>Irmi\u003c/em>\u003c/b>\u003cbr>\n\u003ca href=\"https://bampfa.org/event/irmi\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>\u003cbr>\nNow streaming\u003c/p>\n\u003cp>Ace editor and occasional director Veronica Selver has been a crucial component of the Bay Area’s world-class independent documentary community since the mid-’70s, when she partnered with Peter Adair, Lucy Massie Phenix, Rob Epstein and a couple other gutsy visionaries on the breakthrough gay and lesbian oral history \u003cem>Word Is Out\u003c/em>. If anyone can avoid the pitfalls (with panache) of the family documentary, that most perilous of nonfiction films, it’s Selver.\u003c/p>\n\u003cp>Fifteen years after her mother’s death at 97, Selver and co-director Susan Fanshel recount Irmi Selver’s roller-coaster ride through the 20th century with affection, wit and an appreciation for the unknowable mystery that is at the heart of every person. Using her late-in-life memoir (read by Hanna Schygulla) as a guide, \u003cem>Irmi\u003c/em> traces its protagonist’s affluent childhood in pre- and post-World War I Germany to—and far beyond—the tragedy that struck her young family in 1939 on a refugee ship in the North Sea.\u003c/p>\n\u003cp>Resolutely life-affirming and unexpectedly universal, \u003cem>Irmi\u003c/em> is streaming through BAMPFA, along with a recorded conversation among the filmmakers and esteemed film composer Todd Boekelheide, following its July debut in the Jewish Film Festival’s Cinegogue Summer Days.\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/7MPib67BDHY'\n title='//www.youtube.com/embed/7MPib67BDHY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>\u003cem>Antebellum\u003c/em>\u003c/b>\u003cbr>\nOpens Sept. 18\u003cbr>\n\u003ca href=\"https://www.lionsgate.com/movies/antebellum\" rel=\"noopener noreferrer\" target=\"_blank\">Premium video on demand\u003c/a>\u003c/p>\n\u003cp>Janelle Monáe can do it all, and co-writers and directors Gerard Bush and Christopher Renz invite her to handle just about everything but singing in \u003cem>Antebellum\u003c/em>. In a double role that spans then and now, slavery and independence, Monáe exudes dignity and inner strength throughout, and fashion-mag style and action-heroine grit in the film’s middle and later sections.\u003c/p>\n\u003cp>Her performance, by turns glowering and glamorous, is undercut by a screenplay whose pieces don’t completely click into lucid, satisfying place. Set on a plantation in Civil War-era Louisiana, \u003cem>Antebellum\u003c/em> is a walking nightmare dreamed at golden hour, when the sun gleams languidly through the trees as if to mock the horrors that we know await in just a few hours.\u003c/p>\n\u003cp>The filmmakers display great care in avoiding the torture-porn clichés of slavery without eliding the cavalier cruelty or soul-crushing hopelessness. Then, late one night, the anachronistic ring of a cellphone jolts us and the movie into the present-day life of Dr. Veronica Henley (also played by Monáe), an in-demand intellectual and the author of \u003cem>Shedding the Coping Persona\u003c/em>. While she revels with friends at a conference in New Orleans, Bush and Renz disturbingly portray how casual and overt racism are precisely meant to dent and demean successful Black people. \u003c/p>\n\u003cp>Our journey with Monae’s dual characters from literal to paranoid to fantastical pays off with a reasonably satisfying cascade of payback. \u003cem>Antebellum\u003c/em>’s clever structure works to demonstrate in a visceral way how whites have smuggled, in broad daylight, 19th-century racism all the way into today. It’s not, shall we say, a pretty picture.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Truth Breaks Through, From Pride Month to Ukraine’s Famine",
"headTitle": "Now Playing! Truth Breaks Through, From Pride Month to Ukraine’s Famine | KQED",
"content": "\u003cp>The truth—societal truth, institutional truth, individual truth—is often concealed and camouflaged. History is written by the winners and all that. It occurs to me that June, which is celebrated as Pride Month, could also be called Tell Your Truth Month.\u003c/p>\n\u003cp>This week’s movie picks speak directly to the risk, joy and necessity of being true to yourself. Live large.\u003c/p>\n\u003cfigure id=\"attachment_13882451\" class=\"wp-caption aligncenter\" style=\"max-width: 832px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/AheadOfTheCurve.jpg\" alt=\"\" width=\"832\" height=\"468\" class=\"size-full wp-image-13882451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/AheadOfTheCurve.jpg 832w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/AheadOfTheCurve-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/AheadOfTheCurve-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/AheadOfTheCurve-768x432.jpg 768w\" sizes=\"(max-width: 832px) 100vw, 832px\">\u003cfigcaption class=\"wp-caption-text\">From Jen Rainin’s ‘Ahead of the Curve.’ \u003ccite>(Courtesy Frameline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"https://frameline.org/festival\" rel=\"noopener noreferrer\" target=\"_blank\">Frameline44 Pride Showcase\u003c/a>\u003cbr>\nJune 25–28\u003c/b>\u003cbr>\nSan Francisco’s expansive LGBTQ+ film festival has been downsized and (largely) deployed online this year on account of the pandemic. The bash opens Thursday, June 25 with a free screening of Ronald Chase’s 1971 short \u003cem>\u003ca href=\"https://frameline.org/festival/film-guide/parade\" rel=\"noopener noreferrer\" target=\"_blank\">Parade\u003c/a>\u003c/em>, which documents the city’s first sanctioned Gay Pride Parade. (A Q&A will follow the 6pm screening on opening night, though the film—like almost everything in the lineup—can be viewed anytime during the four-day weekend.)\u003c/p>\n\u003cp>Jen Rainin’s brand new lesbian history, \u003cem>Ahead of the Curve\u003c/em>, tracing the history of \u003cem>Curve\u003c/em> magazine through founder Franco Stevens and her contemporaries, screens Saturday, June 27 at the \u003ca href=\"https://frameline.org/festival/film-guide/ahead-of-the-curve-drive-in\" rel=\"noopener noreferrer\" target=\"_blank\">West Wind Solano Drive-In\u003c/a> in Concord and \u003ca href=\"https://frameline.org/festival/film-guide/ahead-of-the-curve\" rel=\"noopener noreferrer\" target=\"_blank\">online\u003c/a>. On the cusp of its HBO premiere, the new pulse-pounding verité documentary by David France, \u003cem>\u003ca href=\"https://frameline.org/festival/film-guide/welcome-to-chechnya\" rel=\"noopener noreferrer\" target=\"_blank\">Welcome to Chechnya\u003c/a>\u003c/em>, screens digitally along with a June 27 Q&A.\u003c/p>\n\u003cp>The 2020 Showcase wraps with Thom Fitzgerald’s latest guerrilla attack on the culture wars, \u003cem>\u003ca href=\"https://frameline.org/festival/film-guide/stage-mother\" rel=\"noopener noreferrer\" target=\"_blank\">Stage Mother\u003c/a>\u003c/em> (Sunday, June 28), which hands the keys of a San Francisco drag cabaret to a conservative Texas choir director (Jacki Weaver). Can I get a witness?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/ysbX6JUlaEc\u003c/p>\n\u003cp>\u003cb>\u003cem>Disclosure\u003c/em>\u003c/b>\u003cbr>\n\u003ca href=\"https://www.netflix.com/title/81284247\" rel=\"noopener noreferrer\" target=\"_blank\">Netflix\u003c/a>\u003cbr>\nThe ways in which mainstream movies and television portray one or another minority group has become an accessible, entertaining documentary genre. Trans people take the spotlight and \u003cem>all\u003c/em> the interviews in Sam Feder’s incisive film. Trans representation is a complicated subject—what were viewed as advances in visibility 25 years ago, from \u003cem>The Crying Game\u003c/em> to trans guests on “The Jerry Springer Show,” are now cringe-worthy—but the commentary (from Laverne Cox, Candis Cayne and several others) is insightful and nuanced.\u003c/p>\n\u003cp>The film smoothly moves through three stages of the depiction of trans people onscreen: Silent Era stereotypes, sensationalist tropes (murder victim, deviant killer or deceptive coward whose disclosure of his/her “secret” makes cis people vomit or injure the “freak”) and recent screen representations. It’s worth noting that television (including Netflix, most prominently) has outpaced film in sensitive, accurate portrayals of trans people. On the eve of Frameline44 Pride Showcase, a conversation among the filmmakers and many of the interviewees in \u003ci>Disclosure\u003c/i> takes place \u003ca href=\"https://frameline.org/festival/film-guide/disclosure\" rel=\"noopener noreferrer\" target=\"_blank\">online\u003c/a> at 6pm on Wednesday, June 24.\u003c/p>\n\u003cp>https://youtu.be/bOU_Pghu6T0\u003c/p>\n\u003cp>\u003cb>\u003cem>Aviva\u003c/em>\u003c/b>\u003cbr>\n\u003ca href=\"https://rafaelfilm.cafilm.org/aviva/\" rel=\"noopener noreferrer\" target=\"_blank\">Rafael@Home\u003c/a> and VOD\u003cbr>\nIf you’re a sucker for dancing in the streets of Paris and New York, Boaz Yakin’s boundary-crossing independent feature will hook you within minutes. But before those first steps off the straight and narrow barré, \u003cem>Aviva\u003c/em> tells us up front that it’s not interested in the artifice of tears-and-torment romantic drama.\u003c/p>\n\u003cp>The opening shot is of the cameras, and we’re quickly introduced to the camerapeople. Then a naked woman on a bed looks into the lens and informs us she’s a dancer who is acting. (Yakin and company decided this strategy was preferable to casting actors and asking them to dance.) \u003c/p>\n\u003cp>Yakin’s kinetic, sexually explicit evocation of a long-distance relationship goes even further, though. Each of the lovers (Aviva and Eden) is played by two characters to express and explore their feminine and masculine sides. This radical yet oddly accessible idea proves liberating for both the filmmaker and the viewer.\u003c/p>\n\u003cp>\u003cem>Aviva\u003c/em> doesn’t work at every amped-up moment, but it’s one of the most alive and probing films you’ll see all year. The Smith Rafael Film Center hosts a livestream conversation with director Boaz Yakin and Daniel Gillies at 7pm on Saturday, June 27. Come for the dancing, stay for the honesty.\u003c/p>\n\u003cp>https://youtu.be/wtWSyFNT9qY\u003c/p>\n\u003cp>\u003cb>\u003cem>Mr. Jones\u003c/em>\u003c/b>\u003cbr>\nVOD\u003cbr>\nWe can only imagine the raucous screening of \u003cem>Stage Mother\u003c/em> (see above) that would have rocked the Castro sans COVID-19. For different reasons, it’s an enormous shame that Agnieszka Holland’s epic yet personal \u003cem>Mr. Jones\u003c/em> was deprived of a big-screen run. (It was scheduled to open April 10 at a Landmark house).\u003c/p>\n\u003cp>The Polish director’s best work (\u003cem>Angry Harvest\u003c/em>; \u003cem>Europa, Europa\u003c/em>; \u003cem>In Darkness\u003c/em>) is set amid the dark shadows of World War II. \u003cem>Mr. Jones\u003c/em> unfolds in the murky prelude, when Welsh journalist Garth Jones (a very good James Norton) journeys from the cozy confines of 1933 London to paranoid Moscow to the snow-blasted Ukraine, where Stalin is wantonly starving millions in the Holodomor.\u003c/p>\n\u003cp>This extraordinary film works as both a riveting saga of one man’s conscience and a wrenching exposé of the cruel chasm that separates the universe’s masters from the masses. It resonates with viewers disgusted with politicians’ cries of “fake news” and pampered, compromised Beltway journalists—represented here by the \u003cem>New York Times\u003c/em>’ dissolute Moscow correspondent, Pulitzer Prize-winner Walter Duranty (Peter Sarsgaard in another delicious, brilliant performance).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>From the exquisite monochrome renderings of Ukrainian suffering to the piercing moments of professional sacrifice, \u003cem>Mr. Jones\u003c/em> is a declaration of truth camouflaged as a work of art. It shouldn’t slip through the cracks.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The truth—societal truth, institutional truth, individual truth—is often concealed and camouflaged. History is written by the winners and all that. It occurs to me that June, which is celebrated as Pride Month, could also be called Tell Your Truth Month.\u003c/p>\n\u003cp>This week’s movie picks speak directly to the risk, joy and necessity of being true to yourself. Live large.\u003c/p>\n\u003cfigure id=\"attachment_13882451\" class=\"wp-caption aligncenter\" style=\"max-width: 832px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/AheadOfTheCurve.jpg\" alt=\"\" width=\"832\" height=\"468\" class=\"size-full wp-image-13882451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/AheadOfTheCurve.jpg 832w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/AheadOfTheCurve-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/AheadOfTheCurve-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/AheadOfTheCurve-768x432.jpg 768w\" sizes=\"(max-width: 832px) 100vw, 832px\">\u003cfigcaption class=\"wp-caption-text\">From Jen Rainin’s ‘Ahead of the Curve.’ \u003ccite>(Courtesy Frameline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"https://frameline.org/festival\" rel=\"noopener noreferrer\" target=\"_blank\">Frameline44 Pride Showcase\u003c/a>\u003cbr>\nJune 25–28\u003c/b>\u003cbr>\nSan Francisco’s expansive LGBTQ+ film festival has been downsized and (largely) deployed online this year on account of the pandemic. The bash opens Thursday, June 25 with a free screening of Ronald Chase’s 1971 short \u003cem>\u003ca href=\"https://frameline.org/festival/film-guide/parade\" rel=\"noopener noreferrer\" target=\"_blank\">Parade\u003c/a>\u003c/em>, which documents the city’s first sanctioned Gay Pride Parade. (A Q&A will follow the 6pm screening on opening night, though the film—like almost everything in the lineup—can be viewed anytime during the four-day weekend.)\u003c/p>\n\u003cp>Jen Rainin’s brand new lesbian history, \u003cem>Ahead of the Curve\u003c/em>, tracing the history of \u003cem>Curve\u003c/em> magazine through founder Franco Stevens and her contemporaries, screens Saturday, June 27 at the \u003ca href=\"https://frameline.org/festival/film-guide/ahead-of-the-curve-drive-in\" rel=\"noopener noreferrer\" target=\"_blank\">West Wind Solano Drive-In\u003c/a> in Concord and \u003ca href=\"https://frameline.org/festival/film-guide/ahead-of-the-curve\" rel=\"noopener noreferrer\" target=\"_blank\">online\u003c/a>. On the cusp of its HBO premiere, the new pulse-pounding verité documentary by David France, \u003cem>\u003ca href=\"https://frameline.org/festival/film-guide/welcome-to-chechnya\" rel=\"noopener noreferrer\" target=\"_blank\">Welcome to Chechnya\u003c/a>\u003c/em>, screens digitally along with a June 27 Q&A.\u003c/p>\n\u003cp>The 2020 Showcase wraps with Thom Fitzgerald’s latest guerrilla attack on the culture wars, \u003cem>\u003ca href=\"https://frameline.org/festival/film-guide/stage-mother\" rel=\"noopener noreferrer\" target=\"_blank\">Stage Mother\u003c/a>\u003c/em> (Sunday, June 28), which hands the keys of a San Francisco drag cabaret to a conservative Texas choir director (Jacki Weaver). Can I get a witness?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ysbX6JUlaEc'\n title='//www.youtube.com/embed/ysbX6JUlaEc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>\u003cem>Disclosure\u003c/em>\u003c/b>\u003cbr>\n\u003ca href=\"https://www.netflix.com/title/81284247\" rel=\"noopener noreferrer\" target=\"_blank\">Netflix\u003c/a>\u003cbr>\nThe ways in which mainstream movies and television portray one or another minority group has become an accessible, entertaining documentary genre. Trans people take the spotlight and \u003cem>all\u003c/em> the interviews in Sam Feder’s incisive film. Trans representation is a complicated subject—what were viewed as advances in visibility 25 years ago, from \u003cem>The Crying Game\u003c/em> to trans guests on “The Jerry Springer Show,” are now cringe-worthy—but the commentary (from Laverne Cox, Candis Cayne and several others) is insightful and nuanced.\u003c/p>\n\u003cp>The film smoothly moves through three stages of the depiction of trans people onscreen: Silent Era stereotypes, sensationalist tropes (murder victim, deviant killer or deceptive coward whose disclosure of his/her “secret” makes cis people vomit or injure the “freak”) and recent screen representations. It’s worth noting that television (including Netflix, most prominently) has outpaced film in sensitive, accurate portrayals of trans people. On the eve of Frameline44 Pride Showcase, a conversation among the filmmakers and many of the interviewees in \u003ci>Disclosure\u003c/i> takes place \u003ca href=\"https://frameline.org/festival/film-guide/disclosure\" rel=\"noopener noreferrer\" target=\"_blank\">online\u003c/a> at 6pm on Wednesday, June 24.\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/bOU_Pghu6T0'\n title='//www.youtube.com/embed/bOU_Pghu6T0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>\u003cem>Aviva\u003c/em>\u003c/b>\u003cbr>\n\u003ca href=\"https://rafaelfilm.cafilm.org/aviva/\" rel=\"noopener noreferrer\" target=\"_blank\">Rafael@Home\u003c/a> and VOD\u003cbr>\nIf you’re a sucker for dancing in the streets of Paris and New York, Boaz Yakin’s boundary-crossing independent feature will hook you within minutes. But before those first steps off the straight and narrow barré, \u003cem>Aviva\u003c/em> tells us up front that it’s not interested in the artifice of tears-and-torment romantic drama.\u003c/p>\n\u003cp>The opening shot is of the cameras, and we’re quickly introduced to the camerapeople. Then a naked woman on a bed looks into the lens and informs us she’s a dancer who is acting. (Yakin and company decided this strategy was preferable to casting actors and asking them to dance.) \u003c/p>\n\u003cp>Yakin’s kinetic, sexually explicit evocation of a long-distance relationship goes even further, though. Each of the lovers (Aviva and Eden) is played by two characters to express and explore their feminine and masculine sides. This radical yet oddly accessible idea proves liberating for both the filmmaker and the viewer.\u003c/p>\n\u003cp>\u003cem>Aviva\u003c/em> doesn’t work at every amped-up moment, but it’s one of the most alive and probing films you’ll see all year. The Smith Rafael Film Center hosts a livestream conversation with director Boaz Yakin and Daniel Gillies at 7pm on Saturday, June 27. Come for the dancing, stay for the honesty.\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/wtWSyFNT9qY'\n title='//www.youtube.com/embed/wtWSyFNT9qY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>\u003cem>Mr. Jones\u003c/em>\u003c/b>\u003cbr>\nVOD\u003cbr>\nWe can only imagine the raucous screening of \u003cem>Stage Mother\u003c/em> (see above) that would have rocked the Castro sans COVID-19. For different reasons, it’s an enormous shame that Agnieszka Holland’s epic yet personal \u003cem>Mr. Jones\u003c/em> was deprived of a big-screen run. (It was scheduled to open April 10 at a Landmark house).\u003c/p>\n\u003cp>The Polish director’s best work (\u003cem>Angry Harvest\u003c/em>; \u003cem>Europa, Europa\u003c/em>; \u003cem>In Darkness\u003c/em>) is set amid the dark shadows of World War II. \u003cem>Mr. Jones\u003c/em> unfolds in the murky prelude, when Welsh journalist Garth Jones (a very good James Norton) journeys from the cozy confines of 1933 London to paranoid Moscow to the snow-blasted Ukraine, where Stalin is wantonly starving millions in the Holodomor.\u003c/p>\n\u003cp>This extraordinary film works as both a riveting saga of one man’s conscience and a wrenching exposé of the cruel chasm that separates the universe’s masters from the masses. It resonates with viewers disgusted with politicians’ cries of “fake news” and pampered, compromised Beltway journalists—represented here by the \u003cem>New York Times\u003c/em>’ dissolute Moscow correspondent, Pulitzer Prize-winner Walter Duranty (Peter Sarsgaard in another delicious, brilliant performance).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>From the exquisite monochrome renderings of Ukrainian suffering to the piercing moments of professional sacrifice, \u003cem>Mr. Jones\u003c/em> is a declaration of truth camouflaged as a work of art. It shouldn’t slip through the cracks.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It seems obvious to me that the current political reality stems directly from the passing of the World War II generation. It’s more difficult to con and lie about the past, you see, to people who lived through the past. To put it another way, the present moment offers a tough lesson about the importance of knowing history. One of the great merits of independent documentary makers (that we don’t fully appreciate) is their intrepidness in researching, reviving and preserving our collective history—which the powers that be would prefer remain buried and forgotten.\u003c/p>\n\u003cp>Among the many highlights of the San Francisco International LGBTQ+ Festival, a.k.a. \u003ca href=\"https://www.frameline.org/festival\" rel=\"noopener\" target=\"_blank\">Frameline43\u003c/a>, which runs June 20–30, are revelatory new works by a choice handful of Bay Area filmmakers. Bret Parker and Petey Barma’s \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/through-the-windows\" rel=\"noopener\" target=\"_blank\">Through the Windows\u003c/a>\u003c/em> (world premiere, June 24) takes us inside Twin Peaks, the high-windowed bar at the high-visibility corner of Market and Castro. The doc reminds us that it was no small thing for an establishment with a gay clientele to assert its presence so unabashedly in the early 1970s. \u003c/p>\n\u003cfigure id=\"attachment_13859798\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/ThroughtheWindows01_1200.jpg\" alt=\"Still from 'Through the Window.'\" width=\"1200\" height=\"791\" class=\"size-full wp-image-13859798\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ThroughtheWindows01_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ThroughtheWindows01_1200-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ThroughtheWindows01_1200-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ThroughtheWindows01_1200-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ThroughtheWindows01_1200-1020x672.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Through the Window.’ \u003ccite>(Courtesy of Frameline43)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even more remarkable, though, is the guts it took for each person to walk into Twin Peaks for the first time. Because you could readily be seen from the street or sidewalk, you were effectively making a personal declaration that you were out of the closet. No small thing then, or now.\u003c/p>\n\u003cp>Rob Epstein and Jeffrey Friedman, whose superlative docs (including \u003cem>The Times of Harvey Milk\u003c/em> and \u003cem>Common Threads: Stories from the Quilt\u003c/em>) were instrumental in the evolution of gay rights and queer acceptance, take today’s temperature in their latest, \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/state-of-pride\" rel=\"noopener\" target=\"_blank\">State of Pride\u003c/a>\u003c/em> (June 28), made for (and now streaming on) YouTube. The duo accompanies social media activist Raymond Braun on expeditions to Salt Lake City and Tuscaloosa to explore the meaning and value of queer pride celebrations in less-enlightened places, and also turns the camera on San Francisco to probe the significance of pride in our long-established queer community.\u003c/p>\n\u003cfigure id=\"attachment_13859796\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/screamqueen2_1200.jpg\" alt=\"Still from 'Scream Queen! My Nightmare on Elm Street.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13859796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/screamqueen2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/screamqueen2_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/screamqueen2_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/screamqueen2_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/screamqueen2_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Scream Queen! My Nightmare on Elm Street.’ \u003ccite>(Courtesy of Frameline43)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roman Chimienti and Tyler Jensen’s perfectly titled \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/scream-queen-my-nightmare-on-elm-street\" rel=\"noopener\" target=\"_blank\">Scream Queen! My Nightmare on Elm Street\u003c/a>\u003c/em> (June 29) delves into the painful personal saga of actor Mark Patton, who thought he was on the highway to success when he was cast as the lead in the 1985 sequel to Wes Craven’s horror hit. Gay and closeted, Patton’s experience on the set and afterward, when the film was reviled and dismissed by fans of the original, was the stuff of nightmares. The reputation of A \u003ci>Nightmare on Elm Street 2: Freddy’s Revenge\u003c/i> has improved somewhat over the years, and Patton looks back at the past he lived through.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>David Charles Rodrigues’ equally well-titled \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/gay-chorus-deep-south\" rel=\"noopener\" target=\"_blank\">Gay Chorus Deep South\u003c/a>\u003c/em> (closing night, June 30) follows the San Francisco Gay Men’s Chorus on its 2017 tour of the southern U.S. with the Oakland Interfaith Gospel Choir. Cheers, tears and years of family memories and harsh history, along with irresistible performances, propel the film forward out of the darkness. But wasn’t it Mississippi’s favorite son, William Faulkner, who said, “The past is never dead. It’s not even past.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It seems obvious to me that the current political reality stems directly from the passing of the World War II generation. It’s more difficult to con and lie about the past, you see, to people who lived through the past. To put it another way, the present moment offers a tough lesson about the importance of knowing history. One of the great merits of independent documentary makers (that we don’t fully appreciate) is their intrepidness in researching, reviving and preserving our collective history—which the powers that be would prefer remain buried and forgotten.\u003c/p>\n\u003cp>Among the many highlights of the San Francisco International LGBTQ+ Festival, a.k.a. \u003ca href=\"https://www.frameline.org/festival\" rel=\"noopener\" target=\"_blank\">Frameline43\u003c/a>, which runs June 20–30, are revelatory new works by a choice handful of Bay Area filmmakers. Bret Parker and Petey Barma’s \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/through-the-windows\" rel=\"noopener\" target=\"_blank\">Through the Windows\u003c/a>\u003c/em> (world premiere, June 24) takes us inside Twin Peaks, the high-windowed bar at the high-visibility corner of Market and Castro. The doc reminds us that it was no small thing for an establishment with a gay clientele to assert its presence so unabashedly in the early 1970s. \u003c/p>\n\u003cfigure id=\"attachment_13859798\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/ThroughtheWindows01_1200.jpg\" alt=\"Still from 'Through the Window.'\" width=\"1200\" height=\"791\" class=\"size-full wp-image-13859798\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ThroughtheWindows01_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ThroughtheWindows01_1200-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ThroughtheWindows01_1200-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ThroughtheWindows01_1200-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ThroughtheWindows01_1200-1020x672.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Through the Window.’ \u003ccite>(Courtesy of Frameline43)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even more remarkable, though, is the guts it took for each person to walk into Twin Peaks for the first time. Because you could readily be seen from the street or sidewalk, you were effectively making a personal declaration that you were out of the closet. No small thing then, or now.\u003c/p>\n\u003cp>Rob Epstein and Jeffrey Friedman, whose superlative docs (including \u003cem>The Times of Harvey Milk\u003c/em> and \u003cem>Common Threads: Stories from the Quilt\u003c/em>) were instrumental in the evolution of gay rights and queer acceptance, take today’s temperature in their latest, \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/state-of-pride\" rel=\"noopener\" target=\"_blank\">State of Pride\u003c/a>\u003c/em> (June 28), made for (and now streaming on) YouTube. The duo accompanies social media activist Raymond Braun on expeditions to Salt Lake City and Tuscaloosa to explore the meaning and value of queer pride celebrations in less-enlightened places, and also turns the camera on San Francisco to probe the significance of pride in our long-established queer community.\u003c/p>\n\u003cfigure id=\"attachment_13859796\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/screamqueen2_1200.jpg\" alt=\"Still from 'Scream Queen! My Nightmare on Elm Street.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13859796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/screamqueen2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/screamqueen2_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/screamqueen2_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/screamqueen2_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/screamqueen2_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Scream Queen! My Nightmare on Elm Street.’ \u003ccite>(Courtesy of Frameline43)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roman Chimienti and Tyler Jensen’s perfectly titled \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/scream-queen-my-nightmare-on-elm-street\" rel=\"noopener\" target=\"_blank\">Scream Queen! My Nightmare on Elm Street\u003c/a>\u003c/em> (June 29) delves into the painful personal saga of actor Mark Patton, who thought he was on the highway to success when he was cast as the lead in the 1985 sequel to Wes Craven’s horror hit. Gay and closeted, Patton’s experience on the set and afterward, when the film was reviled and dismissed by fans of the original, was the stuff of nightmares. The reputation of A \u003ci>Nightmare on Elm Street 2: Freddy’s Revenge\u003c/i> has improved somewhat over the years, and Patton looks back at the past he lived through.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
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"order": 18
},
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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