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"content": "\u003cp>Any time a notable figure of the French New Wave is introduced in Richard Linklater’s \u003cem>Nouvelle Vague\u003c/em>, we’re treated to a momentary straight-on shot of them, with a nameplate — Claude Chabrol, Jacques Rivette, Éric Rohmer — at the bottom of the screen. It’s a little like Linklater, as he goes, is cataloging different species of the same 1950s genus, or playing a grand game of New Wave “Guess Who?”\u003c/p>\n\u003cp>\u003cem>Nouvelle Vague\u003c/em> is principally about \u003ca href=\"https://www.kqed.org/arts/13919055/jean-luc-godard-iconic-french-new-wave-director-dies-at-91\">Jean-Luc Godard\u003c/a> (Guillaume Marbeck) and the making of his landmark feature debut, \u003cem>Breathless\u003c/em>. But it is also a wider portrait of a moveable filmmaking feast, of an entire generation of French filmmakers who were passionately engaged, individually and as one, in changing cinema. In 1959, it’s a movement that’s on the move.\u003c/p>\n\u003cp>[aside postid='arts_13982507']To a remarkable degree, Linklater’s film, in French and boxed into the Academy ratio, black-and-white style of \u003cem>Breathless\u003c/em>, has fully imbibed that spirit, resurrecting one of the most hallowed eras of movies to capture an iconoclast in the making. The result is something endlessly stylish and almost absurdly uncanny, even if \u003cem>Nouvelle Vague\u003c/em> never adopts the brash daring of its subject.\u003c/p>\n\u003cp>Instead, \u003cem>Nouvelle Vague\u003c/em> is more of a straightforward though deeply affectionate ode to a singularly unconventional filmmaker. The contrast makes \u003cem>Nouvelle Vague\u003c/em> a curious thing: a meticulous recreation of a rule-breaking cinematic revolution. Godard would have hated it. That doesn’t make it any less enchanting.\u003c/p>\n\u003cp>At the outset of the film, Godard and company have gathered for the premiere of François Truffaut’s \u003cem>The 400 Blows\u003c/em>. For Godard, the last of the Cahiers du Cinéma crowd to transition from writing criticism to directing, anxiety is mounting. He’s 29 and beginning to fear he’s missed the wave.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But confidence is not lacking in Godard. (Marbeck, excellent, doesn’t take off his sunglasses for the duration of the movie, including in movie screenings.) On the heels of the Cannes reception for \u003cem>The 400 Blows\u003c/em>, the producer Georges de Beauregard (Bruno Dreyfürst, tremendous) agrees to make \u003cem>Breathless\u003c/em>. Beauregard warily eyes Godard, likely aware of the trouble he’s making for himself. He pleads for Godard to just make a sexy “slice of film noir.”\u003c/p>\n\u003cp>[aside postid='arts_13983105']Godard, though, knows his chance has finally come to transfer all his ideas into film. Before production starts, he visits the elder statesmen of European cinema at the time — \u003ca href=\"https://www.kqed.org/arts/13368964/now-playing-jean-pierre-melville-shoots-out-the-lights\">Jean-Pierre Melville\u003c/a> (Tom Novembre), \u003ca href=\"https://www.kqed.org/arts/121630/fathers_rule_the_roost_5_to_watch\">Roberto Rossellini\u003c/a> (Laurent Mothe) — for advice. “Shoot quickly,” Rossellini tells him.\u003c/p>\n\u003cp>Godard wants no lights, no soundstages and no script. He’ll go into each day not knowing what he’s going to shoot. On the first day of production, he announces: “Time to enter the pantheon.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UufRzKVFseg\u003c/p>\n\u003cp>The bulk of \u003cem>Nouvelle Vague\u003c/em> is the day-to-day shooting of\u003cem> Breathless\u003c/em>, for which Godard cast Jean-Paul Belmondo (Aubry Dullin) as the small-time gangster lead and Jean Seberg (Zoey Deutch) as the \u003cem>Herald Tribune\u003c/em>-selling American student he wants to run off with. (These, like so many of the many roles of \u003cem>Nouvelle Vague\u003c/em>, are so well matched that casting director Catherine Schwartz deserves a shot at the inaugural Oscar.)\u003c/p>\n\u003cp>The thrill of following the making of \u003cem>Breathless\u003c/em> day by day is seeing just how brazenly Godard disregards the assumed conventions of moviemaking. On the first day, he wraps after two hours. For Linklater (\u003cem>Slacker\u003c/em>, \u003ca href=\"https://www.kqed.org/pop/9050/1993-was-20-years-ago-youre-officially-old-now\">\u003cem>Dazed and Confused\u003c/em>\u003c/a>, \u003cem>Before Sunset\u003c/em>), these scenes have a special resonance. Few filmmakers believe more ardently in the benefits of a leisurely hangout.\u003c/p>\n\u003cp>But Godard’s methods have a purpose. “I’m trying to seize reality at random,” he explains.\u003c/p>\n\u003cp>[aside postid='arts_13982780']\u003cem>Nouvelle Vague\u003c/em> captures Godard stealing from his influences (\u003ca href=\"https://www.kqed.org/arts/13817958/life-could-be-very-strange-and-very-hard-and-very-cruel\">Ingmar Bergman\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/10957761/from-the-club-to-the-cathedral-revisiting-duke-ellingtons-controversial-sacred-concert\">Duke Ellington\u003c/a>, Humphrey Bogart) while striving to realize his own voice as an artist. \u003cem>Breathless\u003c/em> is a movie poised between movie eras — a deconstructionist bebop riff on a Hollywood genre film. \u003cem>Nouvelle Vague\u003c/em>, more than anything, is about how becoming an artist requires both reverence for the past and a stubborn insistence on breaking ground on the future.\u003c/p>\n\u003cp>\u003cem>Nouvelle Vague\u003c/em>, which opens in theaters Friday and streams Nov. 14 on \u003ca href=\"https://www.kqed.org/arts/tag/netflix\">Netflix\u003c/a>, is one of two artist portraits by Linklater this fall, the other being \u003ca href=\"https://www.kqed.org/arts/13982507/blue-moon-movie-review-richard-linklater-lorenz-hart-true-story\">\u003cem>Blue Moon\u003c/em>\u003c/a>, with \u003ca href=\"https://www.kqed.org/pop/8017/what-ethan-hawke-movies-taught-me-about-boys\">Ethan Hawke\u003c/a> as the tragic lyricist Lorenz Hart. Both, as it happens, have their Bogart quotes. And both are stirring, cigarette-smoking musings on what makes a great lyric, a memorable song or a movie that will live on forever.\u003c/p>\n\u003cp>In \u003cem>Nouvelle Vague\u003c/em>, you wouldn’t say that it takes a village. It’s Godard’s force of will that propels \u003cem>Breathless\u003c/em>. Each filmmaker gets a Wes Anderson-style close-up in Linklater’s film perhaps because each is pursuing a uniquely personal vision of cinema. In today’s movie world, where risk aversion and brand management carry the day, such a moviemaking spirit often feels extinct or, at least, elusive. \u003cem>Nouvelle Vague\u003c/em>, with a young Godard making things up off the cuff and on the fly, is a reminder how less can be so, so much more. And how it’s nice, as a young filmmaker with big ambitions, to have some company.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Nouvelle Vague’ hits Bay Area movie theaters on Oct. 31, 2025. The film begins streaming on Netflix on Nov. 14, 2025.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Any time a notable figure of the French New Wave is introduced in Richard Linklater’s \u003cem>Nouvelle Vague\u003c/em>, we’re treated to a momentary straight-on shot of them, with a nameplate — Claude Chabrol, Jacques Rivette, Éric Rohmer — at the bottom of the screen. It’s a little like Linklater, as he goes, is cataloging different species of the same 1950s genus, or playing a grand game of New Wave “Guess Who?”\u003c/p>\n\u003cp>\u003cem>Nouvelle Vague\u003c/em> is principally about \u003ca href=\"https://www.kqed.org/arts/13919055/jean-luc-godard-iconic-french-new-wave-director-dies-at-91\">Jean-Luc Godard\u003c/a> (Guillaume Marbeck) and the making of his landmark feature debut, \u003cem>Breathless\u003c/em>. But it is also a wider portrait of a moveable filmmaking feast, of an entire generation of French filmmakers who were passionately engaged, individually and as one, in changing cinema. In 1959, it’s a movement that’s on the move.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>To a remarkable degree, Linklater’s film, in French and boxed into the Academy ratio, black-and-white style of \u003cem>Breathless\u003c/em>, has fully imbibed that spirit, resurrecting one of the most hallowed eras of movies to capture an iconoclast in the making. The result is something endlessly stylish and almost absurdly uncanny, even if \u003cem>Nouvelle Vague\u003c/em> never adopts the brash daring of its subject.\u003c/p>\n\u003cp>Instead, \u003cem>Nouvelle Vague\u003c/em> is more of a straightforward though deeply affectionate ode to a singularly unconventional filmmaker. The contrast makes \u003cem>Nouvelle Vague\u003c/em> a curious thing: a meticulous recreation of a rule-breaking cinematic revolution. Godard would have hated it. That doesn’t make it any less enchanting.\u003c/p>\n\u003cp>At the outset of the film, Godard and company have gathered for the premiere of François Truffaut’s \u003cem>The 400 Blows\u003c/em>. For Godard, the last of the Cahiers du Cinéma crowd to transition from writing criticism to directing, anxiety is mounting. He’s 29 and beginning to fear he’s missed the wave.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But confidence is not lacking in Godard. (Marbeck, excellent, doesn’t take off his sunglasses for the duration of the movie, including in movie screenings.) On the heels of the Cannes reception for \u003cem>The 400 Blows\u003c/em>, the producer Georges de Beauregard (Bruno Dreyfürst, tremendous) agrees to make \u003cem>Breathless\u003c/em>. Beauregard warily eyes Godard, likely aware of the trouble he’s making for himself. He pleads for Godard to just make a sexy “slice of film noir.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Godard, though, knows his chance has finally come to transfer all his ideas into film. Before production starts, he visits the elder statesmen of European cinema at the time — \u003ca href=\"https://www.kqed.org/arts/13368964/now-playing-jean-pierre-melville-shoots-out-the-lights\">Jean-Pierre Melville\u003c/a> (Tom Novembre), \u003ca href=\"https://www.kqed.org/arts/121630/fathers_rule_the_roost_5_to_watch\">Roberto Rossellini\u003c/a> (Laurent Mothe) — for advice. “Shoot quickly,” Rossellini tells him.\u003c/p>\n\u003cp>Godard wants no lights, no soundstages and no script. He’ll go into each day not knowing what he’s going to shoot. On the first day of production, he announces: “Time to enter the pantheon.”\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/UufRzKVFseg'\n title='//www.youtube.com/embed/UufRzKVFseg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The bulk of \u003cem>Nouvelle Vague\u003c/em> is the day-to-day shooting of\u003cem> Breathless\u003c/em>, for which Godard cast Jean-Paul Belmondo (Aubry Dullin) as the small-time gangster lead and Jean Seberg (Zoey Deutch) as the \u003cem>Herald Tribune\u003c/em>-selling American student he wants to run off with. (These, like so many of the many roles of \u003cem>Nouvelle Vague\u003c/em>, are so well matched that casting director Catherine Schwartz deserves a shot at the inaugural Oscar.)\u003c/p>\n\u003cp>The thrill of following the making of \u003cem>Breathless\u003c/em> day by day is seeing just how brazenly Godard disregards the assumed conventions of moviemaking. On the first day, he wraps after two hours. For Linklater (\u003cem>Slacker\u003c/em>, \u003ca href=\"https://www.kqed.org/pop/9050/1993-was-20-years-ago-youre-officially-old-now\">\u003cem>Dazed and Confused\u003c/em>\u003c/a>, \u003cem>Before Sunset\u003c/em>), these scenes have a special resonance. Few filmmakers believe more ardently in the benefits of a leisurely hangout.\u003c/p>\n\u003cp>But Godard’s methods have a purpose. “I’m trying to seize reality at random,” he explains.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Nouvelle Vague\u003c/em> captures Godard stealing from his influences (\u003ca href=\"https://www.kqed.org/arts/13817958/life-could-be-very-strange-and-very-hard-and-very-cruel\">Ingmar Bergman\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/10957761/from-the-club-to-the-cathedral-revisiting-duke-ellingtons-controversial-sacred-concert\">Duke Ellington\u003c/a>, Humphrey Bogart) while striving to realize his own voice as an artist. \u003cem>Breathless\u003c/em> is a movie poised between movie eras — a deconstructionist bebop riff on a Hollywood genre film. \u003cem>Nouvelle Vague\u003c/em>, more than anything, is about how becoming an artist requires both reverence for the past and a stubborn insistence on breaking ground on the future.\u003c/p>\n\u003cp>\u003cem>Nouvelle Vague\u003c/em>, which opens in theaters Friday and streams Nov. 14 on \u003ca href=\"https://www.kqed.org/arts/tag/netflix\">Netflix\u003c/a>, is one of two artist portraits by Linklater this fall, the other being \u003ca href=\"https://www.kqed.org/arts/13982507/blue-moon-movie-review-richard-linklater-lorenz-hart-true-story\">\u003cem>Blue Moon\u003c/em>\u003c/a>, with \u003ca href=\"https://www.kqed.org/pop/8017/what-ethan-hawke-movies-taught-me-about-boys\">Ethan Hawke\u003c/a> as the tragic lyricist Lorenz Hart. Both, as it happens, have their Bogart quotes. And both are stirring, cigarette-smoking musings on what makes a great lyric, a memorable song or a movie that will live on forever.\u003c/p>\n\u003cp>In \u003cem>Nouvelle Vague\u003c/em>, you wouldn’t say that it takes a village. It’s Godard’s force of will that propels \u003cem>Breathless\u003c/em>. Each filmmaker gets a Wes Anderson-style close-up in Linklater’s film perhaps because each is pursuing a uniquely personal vision of cinema. In today’s movie world, where risk aversion and brand management carry the day, such a moviemaking spirit often feels extinct or, at least, elusive. \u003cem>Nouvelle Vague\u003c/em>, with a young Godard making things up off the cuff and on the fly, is a reminder how less can be so, so much more. And how it’s nice, as a young filmmaker with big ambitions, to have some company.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Nouvelle Vague’ hits Bay Area movie theaters on Oct. 31, 2025. The film begins streaming on Netflix on Nov. 14, 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "explaining-french-metoo-movement-gerard-depardieu-trial-details-paris",
"title": "France’s #MeToo Reckoning Puts Gérard Depardieu — and the Country — on Trial",
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"headTitle": "France’s #MeToo Reckoning Puts Gérard Depardieu — and the Country — on Trial | KQED",
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"content": "\u003cp>Gérard Depardieu once seemed larger than \u003ca href=\"https://www.kqed.org/arts/tag/france\">France\u003c/a> itself. With his hulking frame, crooked nose, and volcanic charisma, he reigned over cinema for half a century — a national icon as familiar as the baguette.\u003c/p>\n\u003cp>But this week, the actor who starred in more than 230 films — and who inspired writer John Updike to lament, “I think that I shall never view / a French film without Depardieu” — sat slumped on a special orthopedic stool in a Paris courtroom.\u003c/p>\n\u003cp>[aside postid='arts_13966505']He faces two counts of sexual assault. If convicted, he could face up to five years in prison and a €75,000 ($81,000) fine.\u003c/p>\n\u003cp>But more than Depardieu is on trial.\u003c/p>\n\u003cp>For many in France, this case marks the country’s ultimate litmus test — a question not just of guilt or innocence, but of readiness. Can a nation famed for its culture of seduction — and long criticized for shielding its male artists — finally hold one of them accountable?\u003c/p>\n\u003ch2>The Fall of a Giant\u003c/h2>\n\u003cp>Depardieu, 76, is accused of groping two women — a set dresser and an assistant — during the 2021 filming of \u003cem>Les Volets Verts\u003c/em> (\u003cem>The Green Shutters\u003c/em>). According to complaints and witness statements, he trapped one woman with his legs, grabbed her breasts and waist, and shouted: “I can’t even get it up because of this heat!” before crudely inviting her to touch his “big parasol.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He denies all allegations. “Never, but never, have I abused a woman,” he wrote in \u003cem>Le Figaro\u003c/em>. “I have only ever been guilty of being too loving, too generous, or having a temperament that is too strong.”\u003c/p>\n\u003cp>But this is the first time one of the more than 20 accusations against him has reached court.\u003c/p>\n\u003cp>Once a symbol of France’s creative power, Depardieu’s career now shadows the nation’s delayed reckoning with \u003ca href=\"https://www.kqed.org/arts/tag/metoo\">#MeToo\u003c/a>. The courtroom has become the stage for something deeper: a country finally confronting the myths it has long told itself about art, power, and male genius.\u003c/p>\n\u003ch2>A Life of Extremes\u003c/h2>\n\u003cp>Born in 1948 to a working-class family in Châteauroux, Depardieu’s rise was the stuff of legend. A stuttering teen with no formal education, he drifted into acting and exploded onto the French stage with \u003cem>Les Valseuses\u003c/em> (\u003cem>Going Places\u003c/em>), a 1974 film so provocative it remains banned in some countries.\u003c/p>\n\u003cp>[aside postid='arts_13956667']From there came a blur of hits: \u003cem>Jean de Florette\u003c/em>, \u003cem>Cyrano de Bergerac\u003c/em>, \u003cem>Green Card\u003c/em>, \u003cem>The Last Metro\u003c/em>, \u003cem>Danton\u003c/em>. He won a Golden Globe, an Oscar nomination, and the adoration of millions. He played Columbus, Jean Valjean, and even Obélix in the \u003cem>Asterix\u003c/em> films. He was prolific, omnipresent — messy, magnetic, and untouchable.\u003c/p>\n\u003cp>But the excess was real off-screen too. He crashed his motorcycle while drunk, accepted a Russian passport from Vladimir Putin during a tax dispute, and once urinated in a plane aisle. He boasted of his appetites. France seemed to cheer them on.\u003c/p>\n\u003cp>That myth — of the lovable brute — is now unraveling.\u003c/p>\n\u003ch2>The Unfinished Revolution\u003c/h2>\n\u003cp>In Hollywood, #MeToo toppled titans. In France, the movement was met with a wary eye. When #BalanceTonPorc (“Expose Your Pig”) emerged in 2017, it rattled the country’s self-image — particularly in the arts, where seduction and transgression had long been celebrated.\u003c/p>\n\u003cp>Some warned that #MeToo was killing romance. In 2018, screen legend Catherine Deneuve and 99 other prominent French women published an open letter in \u003cem>Le Monde\u003c/em>, scolding the movement for going, in their words, “too far.” They championed la liberté d’importuner — “the freedom to bother” — as a pillar of French life, defending the right of men to pursue women without fear of consequence. To many, it sounded less like a defense of flirtation than a permission slip for harassment, cloaked in perfume and nostalgia.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6Ku-tRgWZuc\u003c/p>\n\u003cp>Even President Emmanuel Macron echoed the sentiment. In Dec. 2023 — shortly after a documentary aired footage of Depardieu making sexually suggestive comments about a young girl in North Korea — Macron defended the actor on national television, condemning the backlash as a “manhunt.” “Gérard Depardieu makes France proud,” he said.\u003c/p>\n\u003cp>The remark sparked national outrage — not just for its timing, but for what it revealed: the instinct to protect cultural giants, no matter the cost.\u003c/p>\n\u003ch2>A Safe Haven for the Famous\u003c/h2>\n\u003cp>France’s reluctance to confront sexual misconduct among its stars has long set it apart.\u003c/p>\n\u003cp>[aside postid='pop_98603']\u003ca href=\"https://www.kqed.org/pop/98603/as-woody-allen-falls-where-is-roman-polanskis-reckoning\">Roman Polanski\u003c/a>, convicted of statutory rape in the U.S. and accused by several other women, continues to work and live freely in France. In 2020, his César Award win prompted walkouts — but also a standing ovation. There was little institutional pushback.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/johnny-depp\">Johnny Depp\u003c/a>, dropped from US production \u003cem>Pirates of the Caribbean\u003c/em> after domestic abuse allegations by ex-wife Amber Heard (\u003ca href=\"https://www.kqed.org/arts/13913533/amber-heard-johnny-depp-trial-misogyny-abuse-defamation-libel\">he was exonerated\u003c/a>), was embraced in France. In 2023, he played Louis XV in \u003cem>Jeanne du Barry\u003c/em>, the opening film at the French Cannes Film Festival. Amid the trial, Dior, the luxury French fashion house, not only kept him on as the face of its Sauvage fragrance — it signed him to a multiyear, seven-figure deal in 2022.\u003c/p>\n\u003ch2>A Cultural Earthquake\u003c/h2>\n\u003cp>Depardieu’s trial isn’t the only case shaking French cinema. In recent months, a string of high-profile convictions have suggested that the shield of fame may finally be cracking.\u003c/p>\n\u003cp>Director Christophe Ruggia was sentenced in 2024 for sexually abusing actress Adèle Haenel when she was a child. Nicolas Bedos was handed house arrest in 2023 after groping multiple women.\u003c/p>\n\u003cp>Actor-director Judith Godrèche soon followed. Testifying before parliament, she accused two renowned directors of exploiting her as a teenager. “This is not about desire,” she told lawmakers. “It’s about power. About silence. About a system that protects itself.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WwOOy_mDWDI\u003c/p>\n\u003cp>That same commission has since summoned major actors — including Jean Dujardin. Some reportedly asked to testify behind closed doors.\u003c/p>\n\u003ch2>The Reckoning\u003c/h2>\n\u003cp>Anouk Grinberg, who appeared in \u003cem>Les Volets Verts\u003c/em>, has publicly supported the two women accusing Depardieu. “What I saw on set was not seduction,” she said. “It was shameful.”\u003c/p>\n\u003cp>[aside postid='arts_13887034']The case has become a national mirror — reflecting everything France has tolerated, denied, and excused.\u003c/p>\n\u003cp>On the Parisian sidewalks, opinions still diverge. “We’re losing our culture of flirtation,” said Alain Morel, 62, sipping an espresso at a café near the Arc de Triomphe. “Flirting isn’t a crime — it’s part of who we are.”\u003c/p>\n\u003cp>But across the street, 28-year-old student Yasmine Bensalem shook her head. “We called it charm,” she said. “But it was always about power.”\u003c/p>\n\u003ch2>A Verdict Beyond the Courtroom\u003c/h2>\n\u003cp>The trial continues. Depardieu, who has diabetes and heart disease, attends with medical accommodations. His lawyer claims the case is a political vendetta — a plot to “make Depardieu fall.”\u003c/p>\n\u003cp>But whether he is convicted or not, the deeper judgment is already underway.\u003c/p>\n\u003cp>For decades, France’s artists were seen as untouchable — their genius a shield. That shield is cracking. The myth is dying. And in its place, a question rises:\u003c/p>\n\u003cp>Can France finally hold its most powerful men to account?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>This is not just the trial of Gérard Depardieu. This is the trial of a country — and whether its unfinished revolution will finish at last.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Gérard Depardieu once seemed larger than \u003ca href=\"https://www.kqed.org/arts/tag/france\">France\u003c/a> itself. With his hulking frame, crooked nose, and volcanic charisma, he reigned over cinema for half a century — a national icon as familiar as the baguette.\u003c/p>\n\u003cp>But this week, the actor who starred in more than 230 films — and who inspired writer John Updike to lament, “I think that I shall never view / a French film without Depardieu” — sat slumped on a special orthopedic stool in a Paris courtroom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>He faces two counts of sexual assault. If convicted, he could face up to five years in prison and a €75,000 ($81,000) fine.\u003c/p>\n\u003cp>But more than Depardieu is on trial.\u003c/p>\n\u003cp>For many in France, this case marks the country’s ultimate litmus test — a question not just of guilt or innocence, but of readiness. Can a nation famed for its culture of seduction — and long criticized for shielding its male artists — finally hold one of them accountable?\u003c/p>\n\u003ch2>The Fall of a Giant\u003c/h2>\n\u003cp>Depardieu, 76, is accused of groping two women — a set dresser and an assistant — during the 2021 filming of \u003cem>Les Volets Verts\u003c/em> (\u003cem>The Green Shutters\u003c/em>). According to complaints and witness statements, he trapped one woman with his legs, grabbed her breasts and waist, and shouted: “I can’t even get it up because of this heat!” before crudely inviting her to touch his “big parasol.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He denies all allegations. “Never, but never, have I abused a woman,” he wrote in \u003cem>Le Figaro\u003c/em>. “I have only ever been guilty of being too loving, too generous, or having a temperament that is too strong.”\u003c/p>\n\u003cp>But this is the first time one of the more than 20 accusations against him has reached court.\u003c/p>\n\u003cp>Once a symbol of France’s creative power, Depardieu’s career now shadows the nation’s delayed reckoning with \u003ca href=\"https://www.kqed.org/arts/tag/metoo\">#MeToo\u003c/a>. The courtroom has become the stage for something deeper: a country finally confronting the myths it has long told itself about art, power, and male genius.\u003c/p>\n\u003ch2>A Life of Extremes\u003c/h2>\n\u003cp>Born in 1948 to a working-class family in Châteauroux, Depardieu’s rise was the stuff of legend. A stuttering teen with no formal education, he drifted into acting and exploded onto the French stage with \u003cem>Les Valseuses\u003c/em> (\u003cem>Going Places\u003c/em>), a 1974 film so provocative it remains banned in some countries.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>From there came a blur of hits: \u003cem>Jean de Florette\u003c/em>, \u003cem>Cyrano de Bergerac\u003c/em>, \u003cem>Green Card\u003c/em>, \u003cem>The Last Metro\u003c/em>, \u003cem>Danton\u003c/em>. He won a Golden Globe, an Oscar nomination, and the adoration of millions. He played Columbus, Jean Valjean, and even Obélix in the \u003cem>Asterix\u003c/em> films. He was prolific, omnipresent — messy, magnetic, and untouchable.\u003c/p>\n\u003cp>But the excess was real off-screen too. He crashed his motorcycle while drunk, accepted a Russian passport from Vladimir Putin during a tax dispute, and once urinated in a plane aisle. He boasted of his appetites. France seemed to cheer them on.\u003c/p>\n\u003cp>That myth — of the lovable brute — is now unraveling.\u003c/p>\n\u003ch2>The Unfinished Revolution\u003c/h2>\n\u003cp>In Hollywood, #MeToo toppled titans. In France, the movement was met with a wary eye. When #BalanceTonPorc (“Expose Your Pig”) emerged in 2017, it rattled the country’s self-image — particularly in the arts, where seduction and transgression had long been celebrated.\u003c/p>\n\u003cp>Some warned that #MeToo was killing romance. In 2018, screen legend Catherine Deneuve and 99 other prominent French women published an open letter in \u003cem>Le Monde\u003c/em>, scolding the movement for going, in their words, “too far.” They championed la liberté d’importuner — “the freedom to bother” — as a pillar of French life, defending the right of men to pursue women without fear of consequence. To many, it sounded less like a defense of flirtation than a permission slip for harassment, cloaked in perfume and nostalgia.\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/6Ku-tRgWZuc'\n title='//www.youtube.com/embed/6Ku-tRgWZuc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Even President Emmanuel Macron echoed the sentiment. In Dec. 2023 — shortly after a documentary aired footage of Depardieu making sexually suggestive comments about a young girl in North Korea — Macron defended the actor on national television, condemning the backlash as a “manhunt.” “Gérard Depardieu makes France proud,” he said.\u003c/p>\n\u003cp>The remark sparked national outrage — not just for its timing, but for what it revealed: the instinct to protect cultural giants, no matter the cost.\u003c/p>\n\u003ch2>A Safe Haven for the Famous\u003c/h2>\n\u003cp>France’s reluctance to confront sexual misconduct among its stars has long set it apart.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://www.kqed.org/pop/98603/as-woody-allen-falls-where-is-roman-polanskis-reckoning\">Roman Polanski\u003c/a>, convicted of statutory rape in the U.S. and accused by several other women, continues to work and live freely in France. In 2020, his César Award win prompted walkouts — but also a standing ovation. There was little institutional pushback.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/johnny-depp\">Johnny Depp\u003c/a>, dropped from US production \u003cem>Pirates of the Caribbean\u003c/em> after domestic abuse allegations by ex-wife Amber Heard (\u003ca href=\"https://www.kqed.org/arts/13913533/amber-heard-johnny-depp-trial-misogyny-abuse-defamation-libel\">he was exonerated\u003c/a>), was embraced in France. In 2023, he played Louis XV in \u003cem>Jeanne du Barry\u003c/em>, the opening film at the French Cannes Film Festival. Amid the trial, Dior, the luxury French fashion house, not only kept him on as the face of its Sauvage fragrance — it signed him to a multiyear, seven-figure deal in 2022.\u003c/p>\n\u003ch2>A Cultural Earthquake\u003c/h2>\n\u003cp>Depardieu’s trial isn’t the only case shaking French cinema. In recent months, a string of high-profile convictions have suggested that the shield of fame may finally be cracking.\u003c/p>\n\u003cp>Director Christophe Ruggia was sentenced in 2024 for sexually abusing actress Adèle Haenel when she was a child. Nicolas Bedos was handed house arrest in 2023 after groping multiple women.\u003c/p>\n\u003cp>Actor-director Judith Godrèche soon followed. Testifying before parliament, she accused two renowned directors of exploiting her as a teenager. “This is not about desire,” she told lawmakers. “It’s about power. About silence. About a system that protects itself.”\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/WwOOy_mDWDI'\n title='//www.youtube.com/embed/WwOOy_mDWDI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That same commission has since summoned major actors — including Jean Dujardin. Some reportedly asked to testify behind closed doors.\u003c/p>\n\u003ch2>The Reckoning\u003c/h2>\n\u003cp>Anouk Grinberg, who appeared in \u003cem>Les Volets Verts\u003c/em>, has publicly supported the two women accusing Depardieu. “What I saw on set was not seduction,” she said. “It was shameful.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The case has become a national mirror — reflecting everything France has tolerated, denied, and excused.\u003c/p>\n\u003cp>On the Parisian sidewalks, opinions still diverge. “We’re losing our culture of flirtation,” said Alain Morel, 62, sipping an espresso at a café near the Arc de Triomphe. “Flirting isn’t a crime — it’s part of who we are.”\u003c/p>\n\u003cp>But across the street, 28-year-old student Yasmine Bensalem shook her head. “We called it charm,” she said. “But it was always about power.”\u003c/p>\n\u003ch2>A Verdict Beyond the Courtroom\u003c/h2>\n\u003cp>The trial continues. Depardieu, who has diabetes and heart disease, attends with medical accommodations. His lawyer claims the case is a political vendetta — a plot to “make Depardieu fall.”\u003c/p>\n\u003cp>But whether he is convicted or not, the deeper judgment is already underway.\u003c/p>\n\u003cp>For decades, France’s artists were seen as untouchable — their genius a shield. That shield is cracking. The myth is dying. And in its place, a question rises:\u003c/p>\n\u003cp>Can France finally hold its most powerful men to account?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Cézanne Seascape Mural Discovered at Artist’s Childhood Home",
"headTitle": "Cézanne Seascape Mural Discovered at Artist’s Childhood Home | KQED",
"content": "\u003cp>A mural by Paul Cézanne has been discovered at the artist’s family home, \u003ca href=\"https://www.cezanne-en-provence.com/en/the-cezanne-sites/bastide-du-jas-de-bouffan/\">Bastide du Jas de Bouffan\u003c/a>, in Aix-en-Provence, France.\u003c/p>\n\u003cp>The previously unknown large-scale artwork by the great Post-Impressionist painter, which experts are referring to as \u003cem>Entrée du port (Entrance to the Port)\u003c/em>, is in poor condition. It was hidden under layers of wallpaper, plaster and paint. But despite the gaping hole at its center, the composition clearly depicts a harbor scene with boats and buildings set against a streaked white and blue sky.\u003c/p>\n\u003cp>[aside postid='arts_13951379']Contractors uncovered the artwork during renovations at Bastide du Jas de Bouffan last August in preparation for upcoming celebrations centering on Cézanne’s connection to Aix.\u003c/p>\n\u003cp>In an interview with NPR, Cézanne scholar Mary Tompkins Lewis said she learned about the discovery as part of a small group of experts who visited the property last September. “We were just thunderstruck,” Tompkins Lewis said. “It was a very exciting moment.”\u003c/p>\n\u003cp>However, local authorities in Aix only officially announced the find earlier this month. “We were sworn to secrecy,” Tompkins Lewis said.\u003c/p>\n\u003cfigure id=\"attachment_13952952\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952952\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1345189538-scaled-e1708730283779.jpg\" alt=\"An elderly man with white beard in a suit sits in front of a painting of people and trees.\" width=\"1920\" height=\"1504\">\u003cfigcaption class=\"wp-caption-text\">Paul Cézanne in his studio in Les Lauves, 1904. \u003ccite>(Fine Art Images/ Heritage Images via Getty Images/ Private Collection, Émile Bernard, 1868-1941)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to the \u003ca href=\"https://www.societe-cezanne.fr/\">Société Paul Cézanne\u003c/a> (Paul Cézanne Association), the composition is one of 14 artworks (counting works in fragments) discovered on the walls of the Grand Salon at the Cézanne family home. The artist’s father purchased the property in 1859 and allowed his son to experiment liberally in the space with his brushes and paints over the decade.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The young man took the opportunity to test his skills by imitating the works of other painters including the French artists Gustave Courbet and Nicolas Lancret, and the Dutch artist Jacob van Ruisdael.\u003c/p>\n\u003cp>“The artwork expands our understanding of how the artist developed his style,” said Tompkins Lewis, noting the probable influence of Claude-Joseph Vernet, an 18th-century French painter well known for his harbor scenes, on Cézanne’s \u003cem>Entrée du port\u003c/em>. “We really see him grow up from a provincial painter trying to please his father to this young rebellious artist who would take on the world in Paris.”\u003c/p>\n\u003cp>[aside postid='arts_13952460']In an interview with NPR, Société Paul Cézanne president Denis Coutagne said the other Cézanne murals discovered on the walls of the salon were removed from the property over the years. These works are now housed in various institutions around the world, such as the Musée d’Orsay in Paris, France; the Nakata Museum in Onomichi, Japan; and the Chrysler Museum of Art in Norfolk, Va.\u003c/p>\n\u003cp>But Coutagne said the fate of \u003cem>Entrée du port\u003c/em> will be different.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This mural that we discovered, we’re going to leave it; we’re going to keep it there,” Coutagne said. “It’s the result of continuous restoration work on the Grand Salon, with a view to its reopening in 2025.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Cezanne+seascape+mural+discovered+at+artist%27s+childhood+home&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A mural by Paul Cézanne has been discovered at the artist’s family home, \u003ca href=\"https://www.cezanne-en-provence.com/en/the-cezanne-sites/bastide-du-jas-de-bouffan/\">Bastide du Jas de Bouffan\u003c/a>, in Aix-en-Provence, France.\u003c/p>\n\u003cp>The previously unknown large-scale artwork by the great Post-Impressionist painter, which experts are referring to as \u003cem>Entrée du port (Entrance to the Port)\u003c/em>, is in poor condition. It was hidden under layers of wallpaper, plaster and paint. But despite the gaping hole at its center, the composition clearly depicts a harbor scene with boats and buildings set against a streaked white and blue sky.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Contractors uncovered the artwork during renovations at Bastide du Jas de Bouffan last August in preparation for upcoming celebrations centering on Cézanne’s connection to Aix.\u003c/p>\n\u003cp>In an interview with NPR, Cézanne scholar Mary Tompkins Lewis said she learned about the discovery as part of a small group of experts who visited the property last September. “We were just thunderstruck,” Tompkins Lewis said. “It was a very exciting moment.”\u003c/p>\n\u003cp>However, local authorities in Aix only officially announced the find earlier this month. “We were sworn to secrecy,” Tompkins Lewis said.\u003c/p>\n\u003cfigure id=\"attachment_13952952\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952952\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1345189538-scaled-e1708730283779.jpg\" alt=\"An elderly man with white beard in a suit sits in front of a painting of people and trees.\" width=\"1920\" height=\"1504\">\u003cfigcaption class=\"wp-caption-text\">Paul Cézanne in his studio in Les Lauves, 1904. \u003ccite>(Fine Art Images/ Heritage Images via Getty Images/ Private Collection, Émile Bernard, 1868-1941)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to the \u003ca href=\"https://www.societe-cezanne.fr/\">Société Paul Cézanne\u003c/a> (Paul Cézanne Association), the composition is one of 14 artworks (counting works in fragments) discovered on the walls of the Grand Salon at the Cézanne family home. The artist’s father purchased the property in 1859 and allowed his son to experiment liberally in the space with his brushes and paints over the decade.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The young man took the opportunity to test his skills by imitating the works of other painters including the French artists Gustave Courbet and Nicolas Lancret, and the Dutch artist Jacob van Ruisdael.\u003c/p>\n\u003cp>“The artwork expands our understanding of how the artist developed his style,” said Tompkins Lewis, noting the probable influence of Claude-Joseph Vernet, an 18th-century French painter well known for his harbor scenes, on Cézanne’s \u003cem>Entrée du port\u003c/em>. “We really see him grow up from a provincial painter trying to please his father to this young rebellious artist who would take on the world in Paris.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In an interview with NPR, Société Paul Cézanne president Denis Coutagne said the other Cézanne murals discovered on the walls of the salon were removed from the property over the years. These works are now housed in various institutions around the world, such as the Musée d’Orsay in Paris, France; the Nakata Museum in Onomichi, Japan; and the Chrysler Museum of Art in Norfolk, Va.\u003c/p>\n\u003cp>But Coutagne said the fate of \u003cem>Entrée du port\u003c/em> will be different.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This mural that we discovered, we’re going to leave it; we’re going to keep it there,” Coutagne said. “It’s the result of continuous restoration work on the Grand Salon, with a view to its reopening in 2025.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Cezanne+seascape+mural+discovered+at+artist%27s+childhood+home&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>The Taste of Things\u003c/em> should come with a warning: Audiences may be tempted to abandon work as they know it and start a beautiful, calm new life in the French countryside devoted to the culinary arts.\u003c/p>\n\u003cp>[aside postid='arts_13951641']There is something rather cruel about releasing a film this lovely and voyeuristic in the dead of February, in which the cinematic gardens are lush, the game is fresh, the atmosphere is tranquil, the distractions are non-existent, the conversations are intellectual and the goal is shared. But maybe that’s why we need movies like this. It’s pure escapism and the cost of the movie ticket is slightly more affordable.\u003c/p>\n\u003cp>The film is fictional, a sort of prequel to Marcel Rouff’s \u003cem>The Life and Passion of Dodin-Bouffant, Gourmet \u003c/em>from 1924, itself loosely inspired by 19th century French epicure Jean Anthelme Brillat-Savarin. But the food is real, imagined by three-star chef Pierre Gagnaire and prepared on set by Michel Nave. Far from that ugly, almost meaningless phrase “food porn,” \u003cem>The Taste of Things\u003c/em> is a cinematic expression of the art of cuisine. The sounds of cooking provide the score. The visuals seem to transcend the screen in a very mystical way.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cKKCGtoIOVY\u003c/p>\n\u003cp>Director and screenwriter Trần Anh Hùng and cinematographer Jonathan Ricquebourg use the camera as almost a sous chef, letting the audience feel like they’re in the flurry of everything in the kitchen as well. It is not chaotic like \u003cem>The Bear\u003c/em> or any number of those shouty reality shows. This is more like a ballet — precise, delicate and quiet. And the luminous Juliette Binoche is the regal principal, guiding the proceedings with grace and a slightly undone bun.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of course, there’s a story here, too, the side dish to the main course, which focuses on Dodin’s (Benoît Magimel) relationship with his cook Eugénie (Binoche). Theirs is a long and deep companionship, forged by a shared passion for food and a mutual respect that belies normal dynamics between boss and employee. It is kind of the ultimate in intimacy, being on the same page about quality and pairings and the seemingly very mundane, ordinary question of “What are we eating tonight?” Dodin wants to marry her. She refuses. It’s a conversation they’ve probably had many times before and perhaps why the dynamic continues to work.\u003c/p>\n\u003cp>[aside postid='arts_13950994']There is a moving story in here about love in ones “autumn years” as Dodin calls it. Everything is understated and lovely, including their very adult conversations about marriage and the right to lock their doors at night. There are some tropey flourishes, too, like a precocious young girl reciting flavor notes with suspicious specificity, and foreshadowing illness by showing a character who suddenly feels faint. They stand out as common choices in a film that is anything but.\u003c/p>\n\u003cp>Hùng won the best director award for \u003cem>The Taste of Things\u003c/em> at the Cannes Film Festival last year, and it was selected to represent France in the Oscars but was passed over for a nomination. This technicality should not dissuade anyone from being interested in the film — just a reminder of how unfair it is that all of world cinema is reduced to five nominations every year.\u003c/p>\n\u003cp>Just make sure you either go in satiated or with set plans for your post-viewing meal. In our world of gross TikTok hacks for one pot meals, it’s a balm to see things slowed down and with many, many beautifully rustic copper pots and cast-iron pans. And don’t be surprised if everyone suddenly starts making pot-au-feu, which, come to think of it, is actually a perfect meal for February.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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>\n\u003cp>\u003cem>‘The Taste of Things’ is released in select cities, including San Francisco, on Feb. 9, 2024. It will reach screens nationwide on Feb. 14.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There is something rather cruel about releasing a film this lovely and voyeuristic in the dead of February, in which the cinematic gardens are lush, the game is fresh, the atmosphere is tranquil, the distractions are non-existent, the conversations are intellectual and the goal is shared. But maybe that’s why we need movies like this. It’s pure escapism and the cost of the movie ticket is slightly more affordable.\u003c/p>\n\u003cp>The film is fictional, a sort of prequel to Marcel Rouff’s \u003cem>The Life and Passion of Dodin-Bouffant, Gourmet \u003c/em>from 1924, itself loosely inspired by 19th century French epicure Jean Anthelme Brillat-Savarin. But the food is real, imagined by three-star chef Pierre Gagnaire and prepared on set by Michel Nave. Far from that ugly, almost meaningless phrase “food porn,” \u003cem>The Taste of Things\u003c/em> is a cinematic expression of the art of cuisine. The sounds of cooking provide the score. The visuals seem to transcend the screen in a very mystical way.\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/cKKCGtoIOVY'\n title='//www.youtube.com/embed/cKKCGtoIOVY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Director and screenwriter Trần Anh Hùng and cinematographer Jonathan Ricquebourg use the camera as almost a sous chef, letting the audience feel like they’re in the flurry of everything in the kitchen as well. It is not chaotic like \u003cem>The Bear\u003c/em> or any number of those shouty reality shows. This is more like a ballet — precise, delicate and quiet. And the luminous Juliette Binoche is the regal principal, guiding the proceedings with grace and a slightly undone bun.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There is a moving story in here about love in ones “autumn years” as Dodin calls it. Everything is understated and lovely, including their very adult conversations about marriage and the right to lock their doors at night. There are some tropey flourishes, too, like a precocious young girl reciting flavor notes with suspicious specificity, and foreshadowing illness by showing a character who suddenly feels faint. They stand out as common choices in a film that is anything but.\u003c/p>\n\u003cp>Hùng won the best director award for \u003cem>The Taste of Things\u003c/em> at the Cannes Film Festival last year, and it was selected to represent France in the Oscars but was passed over for a nomination. This technicality should not dissuade anyone from being interested in the film — just a reminder of how unfair it is that all of world cinema is reduced to five nominations every year.\u003c/p>\n\u003cp>Just make sure you either go in satiated or with set plans for your post-viewing meal. In our world of gross TikTok hacks for one pot meals, it’s a balm to see things slowed down and with many, many beautifully rustic copper pots and cast-iron pans. And don’t be surprised if everyone suddenly starts making pot-au-feu, which, come to think of it, is actually a perfect meal for February.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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>\n\u003cp>\u003cem>‘The Taste of Things’ is released in select cities, including San Francisco, on Feb. 9, 2024. It will reach screens nationwide on Feb. 14.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Joseph Bologne, the Chevalier de Saint-Georges, was an extraordinarily accomplished man in Marie Antoinette’s France. He was a scholar, a fencer, a virtuoso violinist and a famous and sought-after composer who wrote string quartets, symphonies and operas. His influence was vast, but he was all but erased from history books because Bologne was also Black, born in 1745 in the French colony of Guadeloupe to a wealthy French plantation owner and an enslaved Senegalese teenager.\u003c/p>\n\u003cp>At the height of his celebrity and renown in France, he even put his name forth to lead the Royal Academy of Music at the Paris Opera. Though qualified for the prestigious post, his appointment was blocked. He would later become a revolutionary and lead an all-Black regiment. Three years after his death in 1799, Napoleon Bonaparte reestablished slavery in France and many of his works were destroyed.\u003c/p>\n\u003cp>[aside postid='arts_13927621']It’s his story — or a fictionalized version of it with the requisite drama, romance, scandal and tears to fill in the many gaps in his biography — that’s told in the new film \u003cem>Chevalier\u003c/em>, which opens in theaters this week with Kelvin Harrison Jr. in the title role. In this France, everyone has English accents and he’s introduced having a very public violin-off with a very flustered Wolfgang Amadeus Mozart in front of a large audience. Though this makes for a rousing start to the film, this is very unlikely to have happened, like quite a bit in the film. But it’s inspired by something real — scholars have posited that Mozart would have been well aware of Bologne and was perhaps even directly influenced by his string concertos.\u003c/p>\n\u003cp>These and many more embellishments are easy to forgive, however. For one, they’re necessary to fill in the vast holes in a history that was purposefully neglected. It’s also entertainment that functions just as well if you have found yourself at \u003cem>Chevalier\u003c/em> not knowing that it is inspired by truth.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-LtCIImfSCk&t=30s\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the film, directed by Stephen Williams, Bologne’s father recognizes him as a musical prodigy and sends him to a boarding school in France to nurture his talent. This is also likely a fabrication and apparently it was more common than the film shows for the fathers of mixed-race children to send them to these schools. But at school he distinguishes himself in spite of resistance and racism — his father leaves him with a haunting requirement that excellence is his only defense. After a tense bout with a champion fencer, he catches the attention of Queen Marie Antoinette (Lucy Boynton), who gives him the title of nobility.\u003c/p>\n\u003cp>[aside postid='arts_13927175']Harrison and the script (written by \u003cem>Atlanta\u003c/em> scribe Stefani Robinson) make Bologne quite arrogant, at least at first. He made incredible strides in French society and had the talent to back it up. When he decides to put his name in the hat for the Paris Opera position, he rebuffs the advances of an older star, Marie-Madeleine Guimard (Minnie Driver), and fixates on a younger talent Marie-Joséphine de Comarieu (Samara Weaving) who he later starts an ill-advised affair with while writing an opera for her. \u003cem>Fleabag\u003c/em>’s Sian Clifford is a nice presence too as an opera producer and Marie-Joséphine’s cousin. It is quite a bit of soap opera fabrication, that’s a bit melodramatic but not ineffective.\u003c/p>\n\u003cp>And it’s all serving to get Bologne, who had been quite content playing the necessary games to thrive within the system, to reach a moment of radicalization and revolt (along with much of France) as he grapples with injustices and prejudices. The arrival of his mother helps shatter his illusions too.\u003c/p>\n\u003cp>In the end, \u003cem>Chevalier\u003c/em> may be more fiction than history, but it’s worthwhile with effective acting, tension (helped by Kris Bowers’ score) and a decadently beautiful production. And it is especially important in a moment of fanciful \u003cem>Bridgerton\u003c/em>s to focus the lens on important people of color who did actually exist and who have been forgotten and erased.\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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>\n\u003cp>\u003cem>‘Chevalier’ is out on April 21, 2023.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Joseph Bologne’s influence was vast, but he was all but erased from history books. A new movie finally gives him a spotlight.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Joseph Bologne, the Chevalier de Saint-Georges, was an extraordinarily accomplished man in Marie Antoinette’s France. He was a scholar, a fencer, a virtuoso violinist and a famous and sought-after composer who wrote string quartets, symphonies and operas. His influence was vast, but he was all but erased from history books because Bologne was also Black, born in 1745 in the French colony of Guadeloupe to a wealthy French plantation owner and an enslaved Senegalese teenager.\u003c/p>\n\u003cp>At the height of his celebrity and renown in France, he even put his name forth to lead the Royal Academy of Music at the Paris Opera. Though qualified for the prestigious post, his appointment was blocked. He would later become a revolutionary and lead an all-Black regiment. Three years after his death in 1799, Napoleon Bonaparte reestablished slavery in France and many of his works were destroyed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s his story — or a fictionalized version of it with the requisite drama, romance, scandal and tears to fill in the many gaps in his biography — that’s told in the new film \u003cem>Chevalier\u003c/em>, which opens in theaters this week with Kelvin Harrison Jr. in the title role. In this France, everyone has English accents and he’s introduced having a very public violin-off with a very flustered Wolfgang Amadeus Mozart in front of a large audience. Though this makes for a rousing start to the film, this is very unlikely to have happened, like quite a bit in the film. But it’s inspired by something real — scholars have posited that Mozart would have been well aware of Bologne and was perhaps even directly influenced by his string concertos.\u003c/p>\n\u003cp>These and many more embellishments are easy to forgive, however. For one, they’re necessary to fill in the vast holes in a history that was purposefully neglected. It’s also entertainment that functions just as well if you have found yourself at \u003cem>Chevalier\u003c/em> not knowing that it is inspired by truth.\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/-LtCIImfSCk'\n title='//www.youtube.com/embed/-LtCIImfSCk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the film, directed by Stephen Williams, Bologne’s father recognizes him as a musical prodigy and sends him to a boarding school in France to nurture his talent. This is also likely a fabrication and apparently it was more common than the film shows for the fathers of mixed-race children to send them to these schools. But at school he distinguishes himself in spite of resistance and racism — his father leaves him with a haunting requirement that excellence is his only defense. After a tense bout with a champion fencer, he catches the attention of Queen Marie Antoinette (Lucy Boynton), who gives him the title of nobility.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Harrison and the script (written by \u003cem>Atlanta\u003c/em> scribe Stefani Robinson) make Bologne quite arrogant, at least at first. He made incredible strides in French society and had the talent to back it up. When he decides to put his name in the hat for the Paris Opera position, he rebuffs the advances of an older star, Marie-Madeleine Guimard (Minnie Driver), and fixates on a younger talent Marie-Joséphine de Comarieu (Samara Weaving) who he later starts an ill-advised affair with while writing an opera for her. \u003cem>Fleabag\u003c/em>’s Sian Clifford is a nice presence too as an opera producer and Marie-Joséphine’s cousin. It is quite a bit of soap opera fabrication, that’s a bit melodramatic but not ineffective.\u003c/p>\n\u003cp>And it’s all serving to get Bologne, who had been quite content playing the necessary games to thrive within the system, to reach a moment of radicalization and revolt (along with much of France) as he grapples with injustices and prejudices. The arrival of his mother helps shatter his illusions too.\u003c/p>\n\u003cp>In the end, \u003cem>Chevalier\u003c/em> may be more fiction than history, but it’s worthwhile with effective acting, tension (helped by Kris Bowers’ score) and a decadently beautiful production. And it is especially important in a moment of fanciful \u003cem>Bridgerton\u003c/em>s to focus the lens on important people of color who did actually exist and who have been forgotten and erased.\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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>\n\u003cp>\u003cem>‘Chevalier’ is out on April 21, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When I was a kid, I used to watch \u003cem>Perry Mason\u003c/em> every day after school. I was drawn to the show’s black-and-white clarity. Perry always found out who was lying, who was telling the truth, who was guilty — and why.\u003c/p>\n\u003cp>As I grew older, I naturally discovered that things are grayer and more elusive in real world courtrooms. It’s not simply that you can’t always be sure who’s telling the truth, but that sometimes nobody knows the truth well enough to tell it.\u003c/p>\n\u003cp>[aside postid='arts_13923388']This ambiguity takes mesmerizing form in \u003cem>Saint Omer\u003c/em>, the strikingly confident feature debut of Alice Diop, a 43-year-old French filmmaker born of Senegalese immigrants. Based on an actual criminal case in France in which a Senegalese woman killed her baby daughter, Diop’s fictionalized version is at once rigorous, powerful and crackling with ideas about isolation, colonialism, the tricky bonds between mothers and daughters, and the equally tricky human habit of identifying with other people for reasons we may not grasp.\u003c/p>\n\u003cp>\u003cem>Saint Omer\u003c/em> begins with Diop’s surrogate, Rama (Kayije Kagame), a successful intellectual writer who has a white musician boyfriend and a Senegalese mother she can’t quite stand. She heads off from Paris to the town of Saint Omer to watch the trial of Laurence Coly (Guslagie Malanda).\u003c/p>\n\u003cp>Laurence is a Senegalese woman who once dreamed of being a genius philosopher — she casually namechecks Descartes — but now confesses to causing the death of her baby daughter Elise. Rama plans to write a book about her titled, \u003cem>Medea Shipwrecked\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iWw-EyrG5Sw\u003c/p>\n\u003cp>Like Rama, we get sucked into a trial that unfolds in the French manner, meaning that the judge — empathetically played by Valérie Dréville — questions most of the witnesses in a probing, expansive way reminiscent of a Ph.D. oral exam.\u003c/p>\n\u003cp>We see the self-serving slipperiness of Laurence’s partner, a bearded white man 30-odd years her senior who wouldn’t let her meet his family or friends. We hear the righteous words of the mother she always felt distant from, and we cringe at the testimony of her one-time professor who, with exquisite cultural condescension, wonders why Laurence had wanted to study Wittgenstein rather than a thinker befitting her African roots.\u003c/p>\n\u003cp>Of course, the trial’s star attraction is Laurence who, in Malanda’s rivetingly charismatic performance, is at once controlled and unreadable: She makes us feel that there’s a whole universe in Laurence’s head that we can never reach. Although her testimony is delivered matter-of-factly — even when she blames the murder on sorcery — she often contradicts her earlier statements. Asked why she left Elise to die on the beach, she replies that she doesn’t know, adding, “I hope this trial will give me the answer.”\u003c/p>\n\u003cfigure id=\"attachment_13923820\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923820\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029-800x400.jpg\" alt=\"A young Black woman with braids, wearing a loose olive green shirt, wears a concerned expression, sitting in the audience of a court hearing.\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kayije Kagame plays a writer covering the murder trial. \u003ccite>(via Toronto Film Fest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If Laurence remains a mystery, even to herself, we gradually realize why Rama is so enthralled by her story. I won’t tell you exactly why, but I will say that \u003cem>Saint Omer\u003c/em> is as much about Rama as it is about Laurence. The film explores Rama’s own cultural alienation, trouble with her mother, and intellectual analogies to Elise’s murder that may or may not be accurate. She wonders if she may contain within herself the seeds of whatever has been motivating Laurence.\u003c/p>\n\u003cp>[aside postid='arts_13923573']Now, it must be said that Rama’s story is less emotionally compelling than the murder case, in part because Kagame, though haunted looking, is a less expressive actor than Malanda. That said, her story is important conceptually. Rama’s identification with Laurence shows how the social and psychological issues raised in the trial go well beyond the courtroom. \u003cem>Saint Omer \u003c/em>is about far more than just one murderous mother.\u003c/p>\n\u003cp>What makes the movie unforgettable are the scenes in the courtroom, every moment of them gripping. Diop started out making documentaries, and she looks at the trial with a born observer’s unblinkingly rapt attention. Using superbly-acted long takes, she scrutinizes the characters for hints as to what made Laurence do it; she makes us feel the volcanic emotional pressure behind Laurence’s largely unflappable demeanor; and she lets us see the complex, multi-layered network of social and psychological forces that led her to the beach. We keep asking ourselves whether Laurence is a criminal — or a victim. There are no easy answers, no simple explanation for her actions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We’re a long, long way from Perry Mason.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Saint+Omer%27+is+a+complex+courtroom+drama+about+much+more+than+the+murder+at+hand&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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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/iWw-EyrG5Sw'\n title='//www.youtube.com/embed/iWw-EyrG5Sw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Like Rama, we get sucked into a trial that unfolds in the French manner, meaning that the judge — empathetically played by Valérie Dréville — questions most of the witnesses in a probing, expansive way reminiscent of a Ph.D. oral exam.\u003c/p>\n\u003cp>We see the self-serving slipperiness of Laurence’s partner, a bearded white man 30-odd years her senior who wouldn’t let her meet his family or friends. We hear the righteous words of the mother she always felt distant from, and we cringe at the testimony of her one-time professor who, with exquisite cultural condescension, wonders why Laurence had wanted to study Wittgenstein rather than a thinker befitting her African roots.\u003c/p>\n\u003cp>Of course, the trial’s star attraction is Laurence who, in Malanda’s rivetingly charismatic performance, is at once controlled and unreadable: She makes us feel that there’s a whole universe in Laurence’s head that we can never reach. Although her testimony is delivered matter-of-factly — even when she blames the murder on sorcery — she often contradicts her earlier statements. Asked why she left Elise to die on the beach, she replies that she doesn’t know, adding, “I hope this trial will give me the answer.”\u003c/p>\n\u003cfigure id=\"attachment_13923820\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923820\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029-800x400.jpg\" alt=\"A young Black woman with braids, wearing a loose olive green shirt, wears a concerned expression, sitting in the audience of a court hearing.\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kayije Kagame plays a writer covering the murder trial. \u003ccite>(via Toronto Film Fest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If Laurence remains a mystery, even to herself, we gradually realize why Rama is so enthralled by her story. I won’t tell you exactly why, but I will say that \u003cem>Saint Omer\u003c/em> is as much about Rama as it is about Laurence. The film explores Rama’s own cultural alienation, trouble with her mother, and intellectual analogies to Elise’s murder that may or may not be accurate. She wonders if she may contain within herself the seeds of whatever has been motivating Laurence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Now, it must be said that Rama’s story is less emotionally compelling than the murder case, in part because Kagame, though haunted looking, is a less expressive actor than Malanda. That said, her story is important conceptually. Rama’s identification with Laurence shows how the social and psychological issues raised in the trial go well beyond the courtroom. \u003cem>Saint Omer \u003c/em>is about far more than just one murderous mother.\u003c/p>\n\u003cp>What makes the movie unforgettable are the scenes in the courtroom, every moment of them gripping. Diop started out making documentaries, and she looks at the trial with a born observer’s unblinkingly rapt attention. Using superbly-acted long takes, she scrutinizes the characters for hints as to what made Laurence do it; she makes us feel the volcanic emotional pressure behind Laurence’s largely unflappable demeanor; and she lets us see the complex, multi-layered network of social and psychological forces that led her to the beach. We keep asking ourselves whether Laurence is a criminal — or a victim. There are no easy answers, no simple explanation for her actions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We’re a long, long way from Perry Mason.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Saint+Omer%27+is+a+complex+courtroom+drama+about+much+more+than+the+murder+at+hand&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Both Sides of the Blade' is a French Melodrama About Intimacy and Illicit Desire",
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"content": "\u003cp>\u003cem>Both Sides of the Blade\u003c/em> might sound at first like a quintessentially French movie, or perhaps even a parody of one. It stars \u003ca href=\"https://www.npr.org/2015/09/28/443484430/from-ingenue-to-antigone-juliette-binoche-discusses-acting-aging-and-family\" target=\"_blank\" rel=\"noopener noreferrer\">Juliette Binoche\u003c/a> and Vincent Lindon, two of France’s best-known actors, as a couple who have a lot of sex and talk a lot about their emotions. Their scenes together have an erotic intimacy that we associate with French cinema, in part because it’s relatively rare in American movies. Then a figure from the past returns and threatens their relationship; voices are raised, tables are turned and nothing will ever be the same.\u003c/p>\n\u003cp>That might make \u003cem>Both Sides of the Blade\u003c/em> sound like standard soap-opera material, especially coming from Claire Denis, the director of daringly elliptical art films like \u003cem>Beau Travail\u003c/em> and \u003ca href=\"https://www.npr.org/2019/04/05/709455760/high-life-is-a-stunning-space-odyssey-with-a-baby-on-board\">\u003cem>High Life\u003c/em>\u003c/a>. But nothing about the movie, which Denis and Christine Angot adapted from Angot’s novel, feels trite or predictable. It’s a jolt of a movie, full of hot-blooded sensuality one moment but then oddly cool and studied the next, almost as if it were deconstructing itself as it went along. Which, again, sounds very French, but never mind.\u003c/p>\n\u003cp>[aside postid='arts_13915702']Binoche and Lindon give superb performances as Sara and Jean, who’ve lived together for about 10 years and still can’t keep their hands off each other. They have an apartment in Paris, where they’ve carved out what looks like a perfect life amid decidedly imperfect circumstances. Sara hosts a successful radio talk show, but work is less steady for Jean, who spent some time in prison for an undisclosed crime. He also has a tough relationship with Marcus, his teenage son from an earlier marriage, who lives with Jean’s mother in the suburbs.\u003c/p>\n\u003cp>Then one day, François, played by Grégoire Colin, slips back into their lives. He used to be Jean’s colleague and Sara’s lover. It begins innocuously enough, when François offers Jean a job at his sports talent agency. But Sara can’t hide her anxiety or her excitement at the prospect of seeing François again, and when they finally meet, long-repressed memories and desires come surging back. Inevitably Sara will succumb to those desires, but the movie, set to a haunting score by the English band \u003ca href=\"https://www.npr.org/artists/462907640/tindersticks\" target=\"_blank\" rel=\"noopener noreferrer\">Tindersticks\u003c/a>, wrings enormous tension from the buildup.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OWEqBhstjP0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The title of \u003cem>Both Sides of the Blade\u003c/em> evokes the age-old question of whether a person can love two people at the same time. And Binoche, so good at revealing complex, contradictory emotions, shows us a woman torn between a partner she adores and an ex she can’t forget. This is the latest collaboration between Binoche and Denis, and it’d make a great double bill with their recent rom-com \u003ca href=\"https://www.npr.org/2018/04/26/605337833/let-the-sunshine-in-a-soulful-french-comedy-of-carnality\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Let the Sunshine In\u003c/em>\u003c/a>, a much funnier story about a woman’s emotional indecision.\u003c/p>\n\u003cp>Binoche is well matched here by Lindon, whose handsome, weathered face suggests a man who’s already lost too much and can’t bear the idea of also losing the woman he loves. Jean is quick to pick up on the warning signs and confronts Sara. I’ve seen a lot of heated arguments in movies, but few have been acted or shot with this much sustained intensity. Denis is a master of form, and she uses extreme closeups and jagged edits to suggest that something has broken between these two, possibly for good.\u003c/p>\n\u003cp>[aside postid='arts_13914231']But even as she pulls her characters close, Denis sometimes steps back and examines them from a more critical perspective. As a radio host, Sara interviews a lot of writers and artists, often about racial and political issues that she doesn’t engage with much outside work. Jean’s son is a Black biracial youth who’s struggling to figure out his future, and there’s an awkward but moving scene in which he and his father talk about race and discrimination. On top of all that, this is one of the few movies shot during COVID that acknowledges the reality of the pandemic, as we can see from the characters repeatedly putting on and taking off their face masks.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There’s something a little ungainly about how Denis balances her characters’ romantic anguish with these bigger-picture concerns, but that messiness seems to be the point: Even when illicit desires intrude and relationships fall apart, real life doesn’t just politely recede into the background. \u003cem>Both Sides of the Blade\u003c/em> wants us to see its characters rage, but it never loses sight of the larger world raging outside their windows. It’s a different kind of melodrama—and a great one.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Both+Sides+of+the+Blade%27+is+a+French+melodrama+about+intimacy+and+illicit+desire&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Both Sides of the Blade\u003c/em> might sound at first like a quintessentially French movie, or perhaps even a parody of one. It stars \u003ca href=\"https://www.npr.org/2015/09/28/443484430/from-ingenue-to-antigone-juliette-binoche-discusses-acting-aging-and-family\" target=\"_blank\" rel=\"noopener noreferrer\">Juliette Binoche\u003c/a> and Vincent Lindon, two of France’s best-known actors, as a couple who have a lot of sex and talk a lot about their emotions. Their scenes together have an erotic intimacy that we associate with French cinema, in part because it’s relatively rare in American movies. Then a figure from the past returns and threatens their relationship; voices are raised, tables are turned and nothing will ever be the same.\u003c/p>\n\u003cp>That might make \u003cem>Both Sides of the Blade\u003c/em> sound like standard soap-opera material, especially coming from Claire Denis, the director of daringly elliptical art films like \u003cem>Beau Travail\u003c/em> and \u003ca href=\"https://www.npr.org/2019/04/05/709455760/high-life-is-a-stunning-space-odyssey-with-a-baby-on-board\">\u003cem>High Life\u003c/em>\u003c/a>. But nothing about the movie, which Denis and Christine Angot adapted from Angot’s novel, feels trite or predictable. It’s a jolt of a movie, full of hot-blooded sensuality one moment but then oddly cool and studied the next, almost as if it were deconstructing itself as it went along. Which, again, sounds very French, but never mind.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Binoche and Lindon give superb performances as Sara and Jean, who’ve lived together for about 10 years and still can’t keep their hands off each other. They have an apartment in Paris, where they’ve carved out what looks like a perfect life amid decidedly imperfect circumstances. Sara hosts a successful radio talk show, but work is less steady for Jean, who spent some time in prison for an undisclosed crime. He also has a tough relationship with Marcus, his teenage son from an earlier marriage, who lives with Jean’s mother in the suburbs.\u003c/p>\n\u003cp>Then one day, François, played by Grégoire Colin, slips back into their lives. He used to be Jean’s colleague and Sara’s lover. It begins innocuously enough, when François offers Jean a job at his sports talent agency. But Sara can’t hide her anxiety or her excitement at the prospect of seeing François again, and when they finally meet, long-repressed memories and desires come surging back. Inevitably Sara will succumb to those desires, but the movie, set to a haunting score by the English band \u003ca href=\"https://www.npr.org/artists/462907640/tindersticks\" target=\"_blank\" rel=\"noopener noreferrer\">Tindersticks\u003c/a>, wrings enormous tension from the buildup.\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/OWEqBhstjP0'\n title='//www.youtube.com/embed/OWEqBhstjP0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The title of \u003cem>Both Sides of the Blade\u003c/em> evokes the age-old question of whether a person can love two people at the same time. And Binoche, so good at revealing complex, contradictory emotions, shows us a woman torn between a partner she adores and an ex she can’t forget. This is the latest collaboration between Binoche and Denis, and it’d make a great double bill with their recent rom-com \u003ca href=\"https://www.npr.org/2018/04/26/605337833/let-the-sunshine-in-a-soulful-french-comedy-of-carnality\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Let the Sunshine In\u003c/em>\u003c/a>, a much funnier story about a woman’s emotional indecision.\u003c/p>\n\u003cp>Binoche is well matched here by Lindon, whose handsome, weathered face suggests a man who’s already lost too much and can’t bear the idea of also losing the woman he loves. Jean is quick to pick up on the warning signs and confronts Sara. I’ve seen a lot of heated arguments in movies, but few have been acted or shot with this much sustained intensity. Denis is a master of form, and she uses extreme closeups and jagged edits to suggest that something has broken between these two, possibly for good.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But even as she pulls her characters close, Denis sometimes steps back and examines them from a more critical perspective. As a radio host, Sara interviews a lot of writers and artists, often about racial and political issues that she doesn’t engage with much outside work. Jean’s son is a Black biracial youth who’s struggling to figure out his future, and there’s an awkward but moving scene in which he and his father talk about race and discrimination. On top of all that, this is one of the few movies shot during COVID that acknowledges the reality of the pandemic, as we can see from the characters repeatedly putting on and taking off their face masks.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There’s something a little ungainly about how Denis balances her characters’ romantic anguish with these bigger-picture concerns, but that messiness seems to be the point: Even when illicit desires intrude and relationships fall apart, real life doesn’t just politely recede into the background. \u003cem>Both Sides of the Blade\u003c/em> wants us to see its characters rage, but it never loses sight of the larger world raging outside their windows. It’s a different kind of melodrama—and a great one.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Both+Sides+of+the+Blade%27+is+a+French+melodrama+about+intimacy+and+illicit+desire&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The writer and director Céline Sciamma makes beautiful movies about girls and young women navigating the complexities of gender and sexual identity. You can tell as much from their titles: \u003ca href=\"https://www.npr.org/2011/11/16/142247936/tomboy-truths-and-dares-for-a-10-year-old\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Tomboy\u003c/em>\u003c/a>, \u003ca href=\"https://www.npr.org/2015/01/29/381866202/a-parisian-finds-her-place-in-a-rarely-seen-part-of-girlhood\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Girlhood\u003c/em>\u003c/a>, \u003ca href=\"https://www.npr.org/2019/12/05/784106216/portrait-of-a-lady-on-fire-painted-in-precise-subdued-brushstrokes\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Portrait of a Lady on Fire\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Her wonderful new film, \u003cem>Petite Maman\u003c/em>, is no less focused on the inner lives of its female characters. But it’s also something of a departure: This is Sciamma’s first work to earn a PG rating, and it’s both the best family movie and the best movie about a family that I’ve seen in some time.\u003c/p>\n\u003cp>[aside postid='arts_10345578']It tells the gently surreal story of Nelly, an 8-year-old girl played by the remarkable young Joséphine Sanz, who has long brown hair and a sharp, perceptive gaze. Nelly’s just lost her maternal grandmother after a long illness. Now, she watches as her parents go about the solemn task of packing up Grandma’s house—the very house where Nelly’s mother, Marion, grew up years earlier. To pass the time, Nelly plays in the woods surrounding the house. It’s there that she meets another 8-year-old girl, who also happens to be named Marion. She’s played by Gabrielle Sanz, Joséphine’s identical twin sister.\u003c/p>\n\u003cp>This eerie encounter naturally raises a lot of questions: Who is Marion, and why does she look so much like Nelly? Is this forest the backdrop for a modern-day fairy tale, or have we slipped through a hole in the space-time continuum? Sciamma is in no hurry to provide the answers. The title \u003cem>Petite Maman—\u003c/em>which translates literally as “Little Mom”—provides a bit of a clue. But one of the pleasures of this movie is the way it casually introduces a series of strange events as if there were nothing strange about them at all.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mdORAHCydyY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At times the movie feels like a live-action version of \u003ca href=\"https://www.npr.org/sections/codeswitch/2013/09/03/218594051/the-wondrous-melancholy-worlds-of-hayao-miyazaki\" target=\"_blank\" rel=\"noopener noreferrer\">Hayao Miyazaki’\u003c/a>s anime fantasies like \u003cem>Ponyo \u003c/em>or \u003cem>My Neighbor Totoro\u003c/em>: full of childlike wonderment, but also very matter-of-fact in its approach to magic. Rather than being puzzled by the situation, Nelly and Marion simply accept it and become fast friends. You accept it, too, mainly because the Sanz sisters have such a sweet and funny rapport onscreen.\u003c/p>\n\u003cp>Sciamma’s camera follows the girls as they run around the woods, gathering leaves and branches to build a hut. Eventually Marion invites Nelly over to her house, which looks an awful lot like Nelly’s grandmother’s house. There, the girls giggle as they cook up a messy pancake breakfast and act out a hilariously elaborate murder mystery. Few recent movies have so effortlessly captured the joy and creativity of children at play.\u003c/p>\n\u003cp>[aside postid='arts_13878619']\u003cem>Petite Maman\u003c/em> itself plays a kind of game with the audience, and you figure out the rules as you watch. You learn to tell the girls apart based on slight differences in hairstyle and the colors that they wear. You also get to know a few of the adult characters hovering on the periphery: At one point, Nelly introduces her father to her new best friend, and if he thinks there’s anything weird about this, he doesn’t show it. Meanwhile, Nelly’s mother—the older Marion—has temporarily left the house, needing some time to herself to grieve her mother’s death.\u003c/p>\n\u003cp>And without a hint of didacticism, \u003cem>Petite Maman\u003c/em> reveals itself as very much a movie about grief, about how a child learns to cope with sudden loss and inevitable change. It’s also about how hard it is to really know who your parents were before they became your parents. But in this movie, Nelly gets the rare chance to see or perhaps imagine her mother as the sweet, sensitive, independent-minded young girl she used to be.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Although \u003cem>Petite Maman\u003c/em> is decidedly different from Sciamma’s art-house touchstone \u003cem>Portrait of a Lady on Fire\u003c/em>, they’re structured in similar ways: In both films, two female characters are granted a brief, even utopian retreat from the outside world and something mysterious and beautiful transpires. If that’s not enough of an enticement, you should know that \u003cem>Petite Maman\u003c/em> runs a tight 72 minutes and achieves an emotional depth that eludes many movies twice its length. It’s funny, sad, full of enchanting possibilities and over far too soon—sort of like childhood itself.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Petite+Maman%27+is+the+best+%E2%80%94+and+most+surreal+%E2%80%94+family+movie+you%27ll+see+in+a+while&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The writer and director Céline Sciamma makes beautiful movies about girls and young women navigating the complexities of gender and sexual identity. You can tell as much from their titles: \u003ca href=\"https://www.npr.org/2011/11/16/142247936/tomboy-truths-and-dares-for-a-10-year-old\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Tomboy\u003c/em>\u003c/a>, \u003ca href=\"https://www.npr.org/2015/01/29/381866202/a-parisian-finds-her-place-in-a-rarely-seen-part-of-girlhood\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Girlhood\u003c/em>\u003c/a>, \u003ca href=\"https://www.npr.org/2019/12/05/784106216/portrait-of-a-lady-on-fire-painted-in-precise-subdued-brushstrokes\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Portrait of a Lady on Fire\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Her wonderful new film, \u003cem>Petite Maman\u003c/em>, is no less focused on the inner lives of its female characters. But it’s also something of a departure: This is Sciamma’s first work to earn a PG rating, and it’s both the best family movie and the best movie about a family that I’ve seen in some time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It tells the gently surreal story of Nelly, an 8-year-old girl played by the remarkable young Joséphine Sanz, who has long brown hair and a sharp, perceptive gaze. Nelly’s just lost her maternal grandmother after a long illness. Now, she watches as her parents go about the solemn task of packing up Grandma’s house—the very house where Nelly’s mother, Marion, grew up years earlier. To pass the time, Nelly plays in the woods surrounding the house. It’s there that she meets another 8-year-old girl, who also happens to be named Marion. She’s played by Gabrielle Sanz, Joséphine’s identical twin sister.\u003c/p>\n\u003cp>This eerie encounter naturally raises a lot of questions: Who is Marion, and why does she look so much like Nelly? Is this forest the backdrop for a modern-day fairy tale, or have we slipped through a hole in the space-time continuum? Sciamma is in no hurry to provide the answers. The title \u003cem>Petite Maman—\u003c/em>which translates literally as “Little Mom”—provides a bit of a clue. But one of the pleasures of this movie is the way it casually introduces a series of strange events as if there were nothing strange about them at all.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/mdORAHCydyY'\n title='//www.youtube.com/embed/mdORAHCydyY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At times the movie feels like a live-action version of \u003ca href=\"https://www.npr.org/sections/codeswitch/2013/09/03/218594051/the-wondrous-melancholy-worlds-of-hayao-miyazaki\" target=\"_blank\" rel=\"noopener noreferrer\">Hayao Miyazaki’\u003c/a>s anime fantasies like \u003cem>Ponyo \u003c/em>or \u003cem>My Neighbor Totoro\u003c/em>: full of childlike wonderment, but also very matter-of-fact in its approach to magic. Rather than being puzzled by the situation, Nelly and Marion simply accept it and become fast friends. You accept it, too, mainly because the Sanz sisters have such a sweet and funny rapport onscreen.\u003c/p>\n\u003cp>Sciamma’s camera follows the girls as they run around the woods, gathering leaves and branches to build a hut. Eventually Marion invites Nelly over to her house, which looks an awful lot like Nelly’s grandmother’s house. There, the girls giggle as they cook up a messy pancake breakfast and act out a hilariously elaborate murder mystery. Few recent movies have so effortlessly captured the joy and creativity of children at play.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Petite Maman\u003c/em> itself plays a kind of game with the audience, and you figure out the rules as you watch. You learn to tell the girls apart based on slight differences in hairstyle and the colors that they wear. You also get to know a few of the adult characters hovering on the periphery: At one point, Nelly introduces her father to her new best friend, and if he thinks there’s anything weird about this, he doesn’t show it. Meanwhile, Nelly’s mother—the older Marion—has temporarily left the house, needing some time to herself to grieve her mother’s death.\u003c/p>\n\u003cp>And without a hint of didacticism, \u003cem>Petite Maman\u003c/em> reveals itself as very much a movie about grief, about how a child learns to cope with sudden loss and inevitable change. It’s also about how hard it is to really know who your parents were before they became your parents. But in this movie, Nelly gets the rare chance to see or perhaps imagine her mother as the sweet, sensitive, independent-minded young girl she used to be.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Although \u003cem>Petite Maman\u003c/em> is decidedly different from Sciamma’s art-house touchstone \u003cem>Portrait of a Lady on Fire\u003c/em>, they’re structured in similar ways: In both films, two female characters are granted a brief, even utopian retreat from the outside world and something mysterious and beautiful transpires. If that’s not enough of an enticement, you should know that \u003cem>Petite Maman\u003c/em> runs a tight 72 minutes and achieves an emotional depth that eludes many movies twice its length. It’s funny, sad, full of enchanting possibilities and over far too soon—sort of like childhood itself.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Petite+Maman%27+is+the+best+%E2%80%94+and+most+surreal+%E2%80%94+family+movie+you%27ll+see+in+a+while&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'The Last Duel' is a 'Rashomon'-Style #MeToo Story—and a Messy Medieval Epic",
"headTitle": "‘The Last Duel’ is a ‘Rashomon’-Style #MeToo Story—and a Messy Medieval Epic | KQED",
"content": "\u003cp>\u003cem>The Last Duel \u003c/em>is a sprawling, often ungainly movie—a talky, three-part \u003ca href=\"https://www.youtube.com/watch?v=Zqoyl2p8_lw\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rashomon\u003c/em>\u003c/a>-style drama that mixes past and present-day politics—but there’s a bracing intelligence to its messiness. It opens the way a lot of Ridley Scott period epics do, on a gloomy day with two sides preparing for battle.\u003c/p>\n\u003cp>[aside postid='arts_13894842']We’re in Paris in the year 1386, and the combatants are the dashing squire Jacques Le Gris—that’s \u003ca href=\"https://www.npr.org/2015/08/26/434868775/former-marine-adam-driver-on-what-acting-and-the-military-have-in-common\" target=\"_blank\" rel=\"noopener noreferrer\">Adam Driver\u003c/a>—and the sullen knight Sir Jean de Carrouges—that’s \u003ca href=\"https://www.kqed.org/pop/96702/even-when-matt-damon-is-apologizing-he-gets-it-wrong\" target=\"_blank\" rel=\"noopener noreferrer\">Matt Damon\u003c/a>. Jean’s wife, Marguerite, played by Jodie Comer, watches anxiously from her seat. Just as the two men are about to clash lances, the movie cuts away and rewinds several years to show what brought these three characters to this moment.\u003c/p>\n\u003cp>There’s a lot more rewinding to come. \u003cem>The Last Duel\u003c/em> is based on a true story that it tells no fewer than three times, each time from a different character’s perspective. The script, adapted from Eric Jager’s \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4245183\" target=\"_blank\" rel=\"noopener noreferrer\">nonfiction book\u003c/a>, emerged from a unique collaboration among three writers. Damon and \u003ca href=\"https://www.npr.org/2014/10/04/352772313/affleck-gone-girl-was-freeing-and-batman-will-be-no-daredevil\" target=\"_blank\" rel=\"noopener noreferrer\">Ben Affleck\u003c/a> wrote the first two chapters focusing on the men, while \u003ca href=\"https://www.npr.org/2019/02/22/696961097/oscar-nominated-filmmaker-nicole-holofcener\">Nicole Holofcener\u003c/a> wrote the third chapter centering on Marguerite. It’s an ingenious approach to what plays like a medieval #MeToo story, tackling the dynamics of power, class and gender in an era when women were regarded as little more than male property.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mgygUwPJvYk\u003c/p>\n\u003cp>The opening chapter focuses on Carrouges, played by Damon with a righteous scowl and a mullet so hideous it almost immediately turns you against him. Carrouges is a brave warrior from a long line of brave warriors, but also a proud, petty man with a chip on his shoulder. We first see him and Le Gris in 1370, fighting valiantly against the English and becoming close friends. But Carrouges begins to feel resentful when their superior—Count Pierre d’Alençon, a saucy libertine played hilariously by Affleck—takes Le Gris under his wing. The count even gives Le Gris a coveted piece of land that was originally intended for Carrouges as part of his wife Marguerite’s dowry, leading to years of legal struggles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then one evening, Marguerite comes forward and tells her husband that while he was away, Le Gris came to their castle in Normandy and raped her. Carrouges takes the accusation public, setting in motion a duel between himself and Le Gris, which would become the last trial by combat officially recognized in France.\u003c/p>\n\u003cp>At this point, the first chapter ends and the movie returns to the beginning, this time replaying events from Le Gris’ perspective. As one of the count’s closest allies, Le Gris has come to enjoy a life of privilege and debauchery, and Driver basically plays him as God’s gift to women. That stokes his tensions with Carrouges, who eventually is made a knight and demands that Le Gris show him respect.\u003c/p>\n\u003cp>Around this time, Le Gris falls madly in love with Marguerite and becomes certain that she reciprocates his feelings. That brings us to their fateful encounter, in which Le Gris convinces himself that Marguerite’s protests are merely the signs of a guilty conscience. But even though the movie is showing us his version of events, it rejects his delusion completely: What we see is unmistakably a sexual assault, in which Marguerite repeatedly says no and tries to push him away.\u003c/p>\n\u003cp>[aside postid='arts_13903966']The third chapter, which unfolds from Marguerite’s perspective, revisits the rape scene, and for some viewers—fair warning—it may seem like one grueling replay too many, especially since Marguerite’s trauma is now even more apparent. But this is also the chapter in which the moral arc of the story snaps into focus. After so much boorish male behavior, fully embodied by Damon and Driver, the fierce intelligence and humanity of Comer’s performance is like a balm. Marguerite emerges as by far the most honest and clear-eyed of the movie’s three leads, heroic in her refusal to stay silent about what she endured.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Near the end of the film, Marguerite finds herself on trial, forced to defend her rape allegation in a court full of men trying to discredit her. The sequence plays like dark satire, suggesting how much has changed and also how much hasn’t. And then there’s the duel, which feels almost subversively anticlimactic: It delivers all the gory virtuosity you’d expect from Ridley Scott, but something about it rings deliberately hollow. It hardly matters which man wins, the movie seems to be saying, in a world where women are destined to lose.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Last+Duel%27+is+a+%27Rashomon%27-style+%23MeToo+story+%E2%80%94+and+a+messy+medieval+epic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Last Duel \u003c/em>is a sprawling, often ungainly movie—a talky, three-part \u003ca href=\"https://www.youtube.com/watch?v=Zqoyl2p8_lw\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rashomon\u003c/em>\u003c/a>-style drama that mixes past and present-day politics—but there’s a bracing intelligence to its messiness. It opens the way a lot of Ridley Scott period epics do, on a gloomy day with two sides preparing for battle.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>We’re in Paris in the year 1386, and the combatants are the dashing squire Jacques Le Gris—that’s \u003ca href=\"https://www.npr.org/2015/08/26/434868775/former-marine-adam-driver-on-what-acting-and-the-military-have-in-common\" target=\"_blank\" rel=\"noopener noreferrer\">Adam Driver\u003c/a>—and the sullen knight Sir Jean de Carrouges—that’s \u003ca href=\"https://www.kqed.org/pop/96702/even-when-matt-damon-is-apologizing-he-gets-it-wrong\" target=\"_blank\" rel=\"noopener noreferrer\">Matt Damon\u003c/a>. Jean’s wife, Marguerite, played by Jodie Comer, watches anxiously from her seat. Just as the two men are about to clash lances, the movie cuts away and rewinds several years to show what brought these three characters to this moment.\u003c/p>\n\u003cp>There’s a lot more rewinding to come. \u003cem>The Last Duel\u003c/em> is based on a true story that it tells no fewer than three times, each time from a different character’s perspective. The script, adapted from Eric Jager’s \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4245183\" target=\"_blank\" rel=\"noopener noreferrer\">nonfiction book\u003c/a>, emerged from a unique collaboration among three writers. Damon and \u003ca href=\"https://www.npr.org/2014/10/04/352772313/affleck-gone-girl-was-freeing-and-batman-will-be-no-daredevil\" target=\"_blank\" rel=\"noopener noreferrer\">Ben Affleck\u003c/a> wrote the first two chapters focusing on the men, while \u003ca href=\"https://www.npr.org/2019/02/22/696961097/oscar-nominated-filmmaker-nicole-holofcener\">Nicole Holofcener\u003c/a> wrote the third chapter centering on Marguerite. It’s an ingenious approach to what plays like a medieval #MeToo story, tackling the dynamics of power, class and gender in an era when women were regarded as little more than male property.\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/mgygUwPJvYk'\n title='//www.youtube.com/embed/mgygUwPJvYk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The opening chapter focuses on Carrouges, played by Damon with a righteous scowl and a mullet so hideous it almost immediately turns you against him. Carrouges is a brave warrior from a long line of brave warriors, but also a proud, petty man with a chip on his shoulder. We first see him and Le Gris in 1370, fighting valiantly against the English and becoming close friends. But Carrouges begins to feel resentful when their superior—Count Pierre d’Alençon, a saucy libertine played hilariously by Affleck—takes Le Gris under his wing. The count even gives Le Gris a coveted piece of land that was originally intended for Carrouges as part of his wife Marguerite’s dowry, leading to years of legal struggles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then one evening, Marguerite comes forward and tells her husband that while he was away, Le Gris came to their castle in Normandy and raped her. Carrouges takes the accusation public, setting in motion a duel between himself and Le Gris, which would become the last trial by combat officially recognized in France.\u003c/p>\n\u003cp>At this point, the first chapter ends and the movie returns to the beginning, this time replaying events from Le Gris’ perspective. As one of the count’s closest allies, Le Gris has come to enjoy a life of privilege and debauchery, and Driver basically plays him as God’s gift to women. That stokes his tensions with Carrouges, who eventually is made a knight and demands that Le Gris show him respect.\u003c/p>\n\u003cp>Around this time, Le Gris falls madly in love with Marguerite and becomes certain that she reciprocates his feelings. That brings us to their fateful encounter, in which Le Gris convinces himself that Marguerite’s protests are merely the signs of a guilty conscience. But even though the movie is showing us his version of events, it rejects his delusion completely: What we see is unmistakably a sexual assault, in which Marguerite repeatedly says no and tries to push him away.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The third chapter, which unfolds from Marguerite’s perspective, revisits the rape scene, and for some viewers—fair warning—it may seem like one grueling replay too many, especially since Marguerite’s trauma is now even more apparent. But this is also the chapter in which the moral arc of the story snaps into focus. After so much boorish male behavior, fully embodied by Damon and Driver, the fierce intelligence and humanity of Comer’s performance is like a balm. Marguerite emerges as by far the most honest and clear-eyed of the movie’s three leads, heroic in her refusal to stay silent about what she endured.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Near the end of the film, Marguerite finds herself on trial, forced to defend her rape allegation in a court full of men trying to discredit her. The sequence plays like dark satire, suggesting how much has changed and also how much hasn’t. And then there’s the duel, which feels almost subversively anticlimactic: It delivers all the gory virtuosity you’d expect from Ridley Scott, but something about it rings deliberately hollow. It hardly matters which man wins, the movie seems to be saying, in a world where women are destined to lose.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Last+Duel%27+is+a+%27Rashomon%27-style+%23MeToo+story+%E2%80%94+and+a+messy+medieval+epic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On August 16, 1917, Elizabeth Ashe found herself in Northern France, close to the front lines of World War I, in the middle of an air raid.\u003c/p>\n\u003cp>“The Tocsin [siren] sounded and the fearsome took to the cellar,” the nurse wrote in a letter three days later. “I figured it is as dangerous as crossing Market Street…”\u003c/p>\n\u003cp>The casual bravery exhibited in that letter was present throughout Elizabeth’s life, and enabled her to transform innumerable other lives for the better. Whether taking care of the most disease-ridden communities in her native San Francisco, or helping impoverished new mothers and soldiers in France, Elizabeth’s life was spent in enthusiastic service of others. So enthusiastic, in fact, she spent three years \u003ca href=\"https://books.google.com/books?id=AuSEUamWbu0C&printsec=frontcover&dq=%E2%80%98A+Day+At+A+Time:+The+Diary+Literature+of+American+Women+From+1764+to+the+Present.%E2%80%99&hl=en&newbks=1&newbks_redir=0&sa=X&ved=2ahUKEwi2_Jvr6bHoAhXEpZ4KHdtDBxAQ6AEwAHoECAAQAg#v=onepage&q=elizabeth%20ashe&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">persuading the Red Cross\u003c/a> to send her to France in the first place. (They had been hesitant to send a woman in her mid-40s to serve in such a dangerous region.) [aside postid='pop_103422']\u003c/p>\n\u003cp>Born in 1869, Elizabeth Haywood Ashe had bravery woven into her DNA. Her grandfather, North Carolina governor \u003ca href=\"https://en.wikipedia.org/wiki/Samuel_Ashe_(North_Carolina)\" target=\"_blank\" rel=\"noopener noreferrer\">Samuel Ashe\u003c/a> (whom Asheville is named after), served as a lieutenant in the American revolution. Her uncle was Civil War admiral \u003ca href=\"https://en.wikipedia.org/wiki/David_Farragut\" target=\"_blank\" rel=\"noopener noreferrer\">David Farragut\u003c/a>, a Southern Unionist who captured New Orleans in 1862. Her parents, Richard and Caroline, were pioneers who arrived in San Francisco in 1848, just in time for the gold rush.\u003c/p>\n\u003cp>Elizabeth became a community activist in her teens, while teaching Sunday School at what later became Grace Cathedral (then at the intersection of California and Stockton). During her classes, she got to know her neighbors from Telegraph Hill—mostly Irish, Italian, German and Latin American immigrants who frequently lived in overcrowded, unsanitary conditions without heat or plumbing. Elizabeth, born of privilege, found herself deeply concerned about those communities, particularly when it came to the number of unsupervised and sometimes working children she encountered.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When epidemics of diphtheria, tuberculosis, whooping cough and typhoid fever broke out, Elizabeth wasn’t discouraged from staying and working in the area. Instead, she and her friend Alice Griffith established the city’s first \u003ca href=\"https://en.wikipedia.org/wiki/Settlement_movement\" target=\"_blank\" rel=\"noopener noreferrer\">settlement house\u003c/a>—an organization designed to assist struggling families with healthcare, daycare and education. Elizabeth was just 21 at the time. (Today, the house lives on as the \u003ca href=\"https://www.telhi.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Telegraph Hill Neighborhood Center\u003c/a>.)[aside postid='arts_13870056']\u003c/p>\n\u003cp>Elizabeth graduated from the School of Nursing at Presbyterian Hospital in New York just four years before the 1906 earthquake. Her work helping city residents recover from the fiery aftermath left such a grim and permanent impression on her that everything she did afterward seemed somehow manageable. In \u003ca href=\"https://books.google.com/books/about/Intimate_Letters_from_France.html?id=NUNDAAAAIAAJ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Intimate Letters from France and Extracts from the Diary of Elizabeth Ashe, 1917-1919\u003c/em>\u003c/a>, one of Elizabeth’s war-time letters, to Alice Griffith from “Somewhere in France,” states:\u003c/p>\n\u003cblockquote>\u003cp>No other women have ever been so near the lines… We visited several demolished villages en route… Christ on his crucifix in many villages is the only thing erect, where women and little children by thousands must work in the fields under shell fire wearing gas masks to protect them… [It] did not make the dreadful impression on me I anticipated, it is not a circumstance to our fire.\u003c/p>\u003c/blockquote>\n\u003cp>During her time in France, Elizabeth tackled the country’s high infant mortality rate by educating new mothers everywhere, from Paris tenements to country farms. She taught them the best ways to care for babies, including prenatal hygiene, healthy feeding and infection avoidance. In the course of doing so, she helped establish a clinic in Paris, advised those working in “orphan asylums” and still somehow found the time to teach French children how to play leapfrog.\u003c/p>\n\u003cp>Remarkably, Elizabeth spent her days off during that time tending to injured soldiers at Neuilly’s American Military Hospital, \u003ca href=\"https://books.google.com/books?id=7zQLAAAAYAAJ&pg=PA112&dq=The+wounded+continue+to+pour+in+night+and+day,+it+is+impossible+to+handle+them+properly.+I+am+duty+in+the+receiving+ward+(a+big+garage+which+holds+about+100+stretchers,+packed+so+closely+together+you+cant+step+between.)&hl=en&newbks=1&newbks_redir=0&sa=X&ved=2ahUKEwiAlsTEv7LoAhWSuJ4KHdHxBMIQ6AEwAHoECAAQAg#v=onepage&q=The%20wounded%20continue%20to%20pour%20in%20night%20and%20day%2C%20it%20is%20impossible%20to%20handle%20them%20properly.%20I%20am%20duty%20in%20the%20receiving%20ward%20(a%20big%20garage%20which%20holds%20about%20100%20stretchers%2C%20packed%20so%20closely%20together%20you%20cant%20step%20between.)&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">writing home\u003c/a> of the hellish conditions:\u003c/p>\n\u003cblockquote>\u003cp>The wounded continue to pour in night and day, it is impossible to handle them properly. I am duty in the receiving ward (a big garage which holds about 100 stretchers, packed so closely together you can’t step between.)\u003c/p>\u003c/blockquote>\n\u003cp>When Elizabeth’s fascinating collection of unedited wartime letters was released, it served two purposes: to raise money for further health education programs in France, and to give readers a bird’s-eye view of the horrors of war. When the \u003cem>San Francisco Chronicle\u003c/em> reviewed it, it declared the book “not only informative, but essentially human. One sees the routine life of the nurse both in base hospitals and nearer the firing line… Brave girl.” [aside postid='pop_110017']\u003c/p>\n\u003cp>One of the most notable things in Elizabeth’s letters was her ability to always find beauty, even in the midst of war and destruction. One, dated July 23, 1917, states: “Just how much I can tell you of yesterday’s attack, I don’t know, but we tumbled out at 7am, clad hastily… The firing lasted about thirty minutes. The shots went all over and around us, but except for a few broken windows, no damage was done.” Just two sentences later, she writes: “The coast is very lovely. With glasses we can see quaint houses and we smell the new mown hay.”\u003c/p>\n\u003cp>On her return to San Francisco in July 1919, Elizabeth went back to work at \u003ca href=\"http://wikimapia.org/7600881/Henry-E-Bothin-Youth-Center-Hill-Farm\" target=\"_blank\" rel=\"noopener noreferrer\">Hill Farm\u003c/a>—also known as the Bothin Convalescent Home for women and children—that she had established in 1903, and then \u003ca href=\"http://pcad.lib.washington.edu/building/20368/\" target=\"_blank\" rel=\"noopener noreferrer\">expanded in 1910\u003c/a> with the help of steel magnate and philanthropist, Henry E. Bothin.\u003c/p>\n\u003cp>Remarkably, just one year later in 1911, alongside Alice Griffith, Elizabeth also opened the Arequipa Sanitarium for tuberculosis patients. \u003ca href=\"http://pcad.lib.washington.edu/building/20368/\" target=\"_blank\" rel=\"noopener noreferrer\">The facility\u003c/a>, designed by San Francisco doctor Philip King Brown and prestigious architectural firm Bakewell and Brown, was established after Elizabeth and Alice managed to raise $20,000 from wealthy donors.\u003c/p>\n\u003cp>For decades, Arequipa had a long waiting list for admission, due in part to its state-of-the-art facilities and low costs for patients. However, as demand for its services dropped over the years due to medical advancements in the fight against TB, Elizabeth found new ways to use the space. In 1948, she gave a building to the San Francisco Girl Scouts for troop camping and, by 1959, the organization had taken over the entire property and added a swimming pool. The center was officially renamed the Henry E. Bothin Youth Center in 1963, and \u003ca href=\"https://camp.gsnorcal.org/summer-camp/camp-locations/bothin\" target=\"_blank\" rel=\"noopener noreferrer\">Camp Bothin\u003c/a>—which offers programs for kids of all ages—continues to operate there to this day.\u003c/p>\n\u003cp>Elizabeth Ashe died in 1954, but her legacy of community service remains scattered across San Francisco and the North Bay, with the continued existence of organizations she worked tirelessly to establish. There can be no doubt that this most generous woman would be thrilled to see the longterm impact she made.\u003c/p>\n\u003cp>In one letter dated Sunday July 22, 1917, Elizabeth—known to her closest friends as Betty—humbly wrote:\u003c/p>\n\u003cblockquote>\u003cp>Did I tell you that Miss Maxwell, in introducing me to a group of nurses, told them that I had humanized her training school, had showed them that all nurses did not have to be made after the same pattern?\u003c/p>\n\u003cp>I felt that I had not lived in vain.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For stories on other Rebel Girls from Bay Area History, click \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On August 16, 1917, Elizabeth Ashe found herself in Northern France, close to the front lines of World War I, in the middle of an air raid.\u003c/p>\n\u003cp>“The Tocsin [siren] sounded and the fearsome took to the cellar,” the nurse wrote in a letter three days later. “I figured it is as dangerous as crossing Market Street…”\u003c/p>\n\u003cp>The casual bravery exhibited in that letter was present throughout Elizabeth’s life, and enabled her to transform innumerable other lives for the better. Whether taking care of the most disease-ridden communities in her native San Francisco, or helping impoverished new mothers and soldiers in France, Elizabeth’s life was spent in enthusiastic service of others. So enthusiastic, in fact, she spent three years \u003ca href=\"https://books.google.com/books?id=AuSEUamWbu0C&printsec=frontcover&dq=%E2%80%98A+Day+At+A+Time:+The+Diary+Literature+of+American+Women+From+1764+to+the+Present.%E2%80%99&hl=en&newbks=1&newbks_redir=0&sa=X&ved=2ahUKEwi2_Jvr6bHoAhXEpZ4KHdtDBxAQ6AEwAHoECAAQAg#v=onepage&q=elizabeth%20ashe&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">persuading the Red Cross\u003c/a> to send her to France in the first place. (They had been hesitant to send a woman in her mid-40s to serve in such a dangerous region.) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Born in 1869, Elizabeth Haywood Ashe had bravery woven into her DNA. Her grandfather, North Carolina governor \u003ca href=\"https://en.wikipedia.org/wiki/Samuel_Ashe_(North_Carolina)\" target=\"_blank\" rel=\"noopener noreferrer\">Samuel Ashe\u003c/a> (whom Asheville is named after), served as a lieutenant in the American revolution. Her uncle was Civil War admiral \u003ca href=\"https://en.wikipedia.org/wiki/David_Farragut\" target=\"_blank\" rel=\"noopener noreferrer\">David Farragut\u003c/a>, a Southern Unionist who captured New Orleans in 1862. Her parents, Richard and Caroline, were pioneers who arrived in San Francisco in 1848, just in time for the gold rush.\u003c/p>\n\u003cp>Elizabeth became a community activist in her teens, while teaching Sunday School at what later became Grace Cathedral (then at the intersection of California and Stockton). During her classes, she got to know her neighbors from Telegraph Hill—mostly Irish, Italian, German and Latin American immigrants who frequently lived in overcrowded, unsanitary conditions without heat or plumbing. Elizabeth, born of privilege, found herself deeply concerned about those communities, particularly when it came to the number of unsupervised and sometimes working children she encountered.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When epidemics of diphtheria, tuberculosis, whooping cough and typhoid fever broke out, Elizabeth wasn’t discouraged from staying and working in the area. Instead, she and her friend Alice Griffith established the city’s first \u003ca href=\"https://en.wikipedia.org/wiki/Settlement_movement\" target=\"_blank\" rel=\"noopener noreferrer\">settlement house\u003c/a>—an organization designed to assist struggling families with healthcare, daycare and education. Elizabeth was just 21 at the time. (Today, the house lives on as the \u003ca href=\"https://www.telhi.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Telegraph Hill Neighborhood Center\u003c/a>.)\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Elizabeth graduated from the School of Nursing at Presbyterian Hospital in New York just four years before the 1906 earthquake. Her work helping city residents recover from the fiery aftermath left such a grim and permanent impression on her that everything she did afterward seemed somehow manageable. In \u003ca href=\"https://books.google.com/books/about/Intimate_Letters_from_France.html?id=NUNDAAAAIAAJ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Intimate Letters from France and Extracts from the Diary of Elizabeth Ashe, 1917-1919\u003c/em>\u003c/a>, one of Elizabeth’s war-time letters, to Alice Griffith from “Somewhere in France,” states:\u003c/p>\n\u003cblockquote>\u003cp>No other women have ever been so near the lines… We visited several demolished villages en route… Christ on his crucifix in many villages is the only thing erect, where women and little children by thousands must work in the fields under shell fire wearing gas masks to protect them… [It] did not make the dreadful impression on me I anticipated, it is not a circumstance to our fire.\u003c/p>\u003c/blockquote>\n\u003cp>During her time in France, Elizabeth tackled the country’s high infant mortality rate by educating new mothers everywhere, from Paris tenements to country farms. She taught them the best ways to care for babies, including prenatal hygiene, healthy feeding and infection avoidance. In the course of doing so, she helped establish a clinic in Paris, advised those working in “orphan asylums” and still somehow found the time to teach French children how to play leapfrog.\u003c/p>\n\u003cp>Remarkably, Elizabeth spent her days off during that time tending to injured soldiers at Neuilly’s American Military Hospital, \u003ca href=\"https://books.google.com/books?id=7zQLAAAAYAAJ&pg=PA112&dq=The+wounded+continue+to+pour+in+night+and+day,+it+is+impossible+to+handle+them+properly.+I+am+duty+in+the+receiving+ward+(a+big+garage+which+holds+about+100+stretchers,+packed+so+closely+together+you+cant+step+between.)&hl=en&newbks=1&newbks_redir=0&sa=X&ved=2ahUKEwiAlsTEv7LoAhWSuJ4KHdHxBMIQ6AEwAHoECAAQAg#v=onepage&q=The%20wounded%20continue%20to%20pour%20in%20night%20and%20day%2C%20it%20is%20impossible%20to%20handle%20them%20properly.%20I%20am%20duty%20in%20the%20receiving%20ward%20(a%20big%20garage%20which%20holds%20about%20100%20stretchers%2C%20packed%20so%20closely%20together%20you%20cant%20step%20between.)&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">writing home\u003c/a> of the hellish conditions:\u003c/p>\n\u003cblockquote>\u003cp>The wounded continue to pour in night and day, it is impossible to handle them properly. I am duty in the receiving ward (a big garage which holds about 100 stretchers, packed so closely together you can’t step between.)\u003c/p>\u003c/blockquote>\n\u003cp>When Elizabeth’s fascinating collection of unedited wartime letters was released, it served two purposes: to raise money for further health education programs in France, and to give readers a bird’s-eye view of the horrors of war. When the \u003cem>San Francisco Chronicle\u003c/em> reviewed it, it declared the book “not only informative, but essentially human. One sees the routine life of the nurse both in base hospitals and nearer the firing line… Brave girl.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of the most notable things in Elizabeth’s letters was her ability to always find beauty, even in the midst of war and destruction. One, dated July 23, 1917, states: “Just how much I can tell you of yesterday’s attack, I don’t know, but we tumbled out at 7am, clad hastily… The firing lasted about thirty minutes. The shots went all over and around us, but except for a few broken windows, no damage was done.” Just two sentences later, she writes: “The coast is very lovely. With glasses we can see quaint houses and we smell the new mown hay.”\u003c/p>\n\u003cp>On her return to San Francisco in July 1919, Elizabeth went back to work at \u003ca href=\"http://wikimapia.org/7600881/Henry-E-Bothin-Youth-Center-Hill-Farm\" target=\"_blank\" rel=\"noopener noreferrer\">Hill Farm\u003c/a>—also known as the Bothin Convalescent Home for women and children—that she had established in 1903, and then \u003ca href=\"http://pcad.lib.washington.edu/building/20368/\" target=\"_blank\" rel=\"noopener noreferrer\">expanded in 1910\u003c/a> with the help of steel magnate and philanthropist, Henry E. Bothin.\u003c/p>\n\u003cp>Remarkably, just one year later in 1911, alongside Alice Griffith, Elizabeth also opened the Arequipa Sanitarium for tuberculosis patients. \u003ca href=\"http://pcad.lib.washington.edu/building/20368/\" target=\"_blank\" rel=\"noopener noreferrer\">The facility\u003c/a>, designed by San Francisco doctor Philip King Brown and prestigious architectural firm Bakewell and Brown, was established after Elizabeth and Alice managed to raise $20,000 from wealthy donors.\u003c/p>\n\u003cp>For decades, Arequipa had a long waiting list for admission, due in part to its state-of-the-art facilities and low costs for patients. However, as demand for its services dropped over the years due to medical advancements in the fight against TB, Elizabeth found new ways to use the space. In 1948, she gave a building to the San Francisco Girl Scouts for troop camping and, by 1959, the organization had taken over the entire property and added a swimming pool. The center was officially renamed the Henry E. Bothin Youth Center in 1963, and \u003ca href=\"https://camp.gsnorcal.org/summer-camp/camp-locations/bothin\" target=\"_blank\" rel=\"noopener noreferrer\">Camp Bothin\u003c/a>—which offers programs for kids of all ages—continues to operate there to this day.\u003c/p>\n\u003cp>Elizabeth Ashe died in 1954, but her legacy of community service remains scattered across San Francisco and the North Bay, with the continued existence of organizations she worked tirelessly to establish. There can be no doubt that this most generous woman would be thrilled to see the longterm impact she made.\u003c/p>\n\u003cp>In one letter dated Sunday July 22, 1917, Elizabeth—known to her closest friends as Betty—humbly wrote:\u003c/p>\n\u003cblockquote>\u003cp>Did I tell you that Miss Maxwell, in introducing me to a group of nurses, told them that I had humanized her training school, had showed them that all nurses did not have to be made after the same pattern?\u003c/p>\n\u003cp>I felt that I had not lived in vain.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For stories on other Rebel Girls from Bay Area History, click \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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. ",
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"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. ",
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"marketplace": {
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"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",
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"mindshift": {
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"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>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"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.",
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"onourwatch": {
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"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?",
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"perspectives": {
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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