Art Strikes Back: Indies, Blockbusters and Film Festivals to Catch This Fall
Leaping Into Drama: A Fall ’22 Movie Guide
Now Playing! Mill Valley Serves Up Star Directors and Local Docs
Mill Valley Film Festival Plucks Promising Titles from Festival Circuit
Bay Area Film Festivals and Premieres Worth Your While This Fall
Now Playing! Mill Valley and Drunken Fests on Tap, Radha on the Home Screen
The Do List: Listen to Our Picks for Things to Do Oct. 3-10
Now Playing! Mill Valley Film Festival Showcases Fall Harvest
On the Air: Cy and John's Do List Picks for Oct. 6, 2017
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A shadow darkens the landscape, however: the ongoing Writers Guild and Screen Actors Guild-American Federation of Television and Radio Artists strikes for a fair contract from the streamers and studios. One immediate though small consequence is that a few releases were bumped to next year, after agreements are signed and the talent is available to hawk the merchandise.\u003c/p>\n\u003cp>You won’t miss ’em, though — in part because Hollywood isn’t the whole picture.\u003c/p>\n\u003cfigure id=\"attachment_13933876\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Photo-1-6_BU2B8689.jpg\" alt=\"\" width=\"1620\" height=\"1080\" class=\"size-full wp-image-13933876\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Photo-1-6_BU2B8689.jpg 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Photo-1-6_BU2B8689-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Photo-1-6_BU2B8689-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Photo-1-6_BU2B8689-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Photo-1-6_BU2B8689-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Photo-1-6_BU2B8689-1536x1024.jpg 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘26.2 to Life.’ \u003ccite>(Courtesy the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://roxie.com/film/26-2-to-life/\" target=\"_blank\" rel=\"noopener\">26.2 to Life\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 22\u003cbr>\nRoxie Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>Run, don’t walk, to Christine Yoo’s locally produced documentary shot on location at San Quentin. Blending intimate character study with big-picture social issue, Yoo profiles some of the marathon runners (and their volunteer coaches) in the state prison’s 1000 Mile Club. This is where the rubber(-soled shoes) meet the road, on a “track” of unforgiving gravel surrounded by high walls, under the gaze of guards. Winner of the Audience Award at SF DocFest, \u003cem>26.2 to Life\u003c/em> takes us into a circle of runners determinedly and hopefully sprinting toward a way out.\u003c/p>\n\u003cfigure id=\"attachment_13933614\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-599513516-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933614\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-599513516-800x549.jpg\" alt=\"a middle-aged Latino man, Carlos Santana, smiles while playing guitar\" width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-599513516-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-599513516-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-599513516-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-599513516-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-599513516-1536x1054.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-599513516-2048x1405.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-599513516-1920x1317.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Carlos Santana performs at AT&T Park in San Francisco on Sept. 4, 2016. (Steve Jennings/WireImage) \u003ccite>(Steve Jennings/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.carlosglobalpremiere.com/\" target=\"_blank\" rel=\"noopener\">Carlos\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Bay Area screenings Sept. 23, 24 and 27; wider release Sept. 29\u003cbr>\nAMC Metreon and Balboa Theater in S.F.; other theaters around the Bay Area\u003c/em>\u003c/p>\n\u003cp>The San Francisco sound wasn’t birthed entirely in the Haight by the Grateful Dead and Jefferson Airplane. Carlos Santana exploded out of the Mission (after learning his chops in his native Mexico) in August 1969, his eponymous band’s debut album hitting stores the week after their electrifying performance at Woodstock. Rudy Valdez’s documentary depicts a seeker and an experimenter, an artist whose ’70s forays into jazz fusion and beyond flummoxed record company execs wanting the guitarist to repeat his Latin rock (star) riffs.\u003c/p>\n\u003cp>Pre-opening screenings are slated for theaters all over the Bay Area Sept. 23, 24 and 27, with onscreen appearances by Santana and Valdez. There won’t be a big S.F. premiere, regrettably — not even in conjunction with the \u003ca href=\"https://www.cinemassf.org/\" target=\"_blank\" rel=\"noopener\">S.F. Latino Film Festival\u003c/a> (Sept. 28–Oct. 14), marking a missed opportunity for former \u003cem>Rolling Stone\u003c/em> journalist and interviewer par excellence Ben Fong Torres to play master of ceremonies.\u003c/p>\n\u003cfigure id=\"attachment_13933641\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/2_Barbara-Dane-_-the-Chambers-Brothers-%C2%A9-Diana-Davies.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933641\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/2_Barbara-Dane-_-the-Chambers-Brothers-%C2%A9-Diana-Davies-800x599.jpg\" alt=\"a group of singers around a microphone, four Black men and one white woman, in a black and white photo\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2_Barbara-Dane-_-the-Chambers-Brothers-©-Diana-Davies-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2_Barbara-Dane-_-the-Chambers-Brothers-©-Diana-Davies-1020x763.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2_Barbara-Dane-_-the-Chambers-Brothers-©-Diana-Davies-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2_Barbara-Dane-_-the-Chambers-Brothers-©-Diana-Davies-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2_Barbara-Dane-_-the-Chambers-Brothers-©-Diana-Davies-1536x1149.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2_Barbara-Dane-_-the-Chambers-Brothers-©-Diana-Davies-2048x1532.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2_Barbara-Dane-_-the-Chambers-Brothers-©-Diana-Davies-1920x1437.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Oakland singer-activist Barbara Dane sings with the Chambers Brothers at the Newport Folk Festival 1965. Maureen Gosling’s new documentary about Dane will premiere at the 46th annual Mill Valley Film Festival. \u003ccite>(Courtesy Diana Davies)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.mvff.com/\" target=\"_blank\" rel=\"noopener\">46th Annual Mill Valley Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 5–15\u003c/em>\u003cbr>\n\u003cem>Theaters throughout Marin County, additional screenings at the Roxie in San Francisco and BAMPFA, Berkeley\u003c/em>\u003c/p>\n\u003cp>For the last 20 or so autumns, the stars have come out to Marin County to launch their dramas on the path to (they hope) Academy Awards. But actors aren’t promoting their films during the strikes, so MVFF director Mark Fishkin gets up every day nervously rooting for a resolution. It may turn out that Bay Area documentary filmmakers — another pillar of the festival program — soak up more of the spotlight this year. Cue East Bay director and editor extraordinaire Maureen Gosling, whose brand new \u003cem>The 9 Lives of Barbara Dane\u003c/em> pays tribute to the Oakland nonagenarian singer-activist who (among her many, many accomplishments) opened a blues club in North Beach in 1961. Lynn Hershman Leeson, the visionary local artist and filmmaker (\u003cem>Conceiving Ada\u003c/em>, \u003cem>Teknolust\u003c/em>, \u003cem>Strange Culture\u003c/em>) and early explorer of the effects of new technology on our perceptions, privacy and humanity, takes the stage for a tribute. Errol Morris returns to the Bay Area (his pivotal encounter with Werner Herzog in the ’70s in Berkeley is the stuff of legend) with \u003cem>The Pigeon Tunnel\u003c/em> (Oct. 20 in theaters and Apple TV+), a deep dive into British spy-cum-novelist John Le Carré that confirms truth is slipperier than fiction.\u003c/p>\n\u003cfigure id=\"attachment_13933272\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Apple_TV_Killers_of_the_Flower_Moon_key_art-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933272\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Apple_TV_Killers_of_the_Flower_Moon_key_art-800x533.jpg\" alt=\"a still of a dark haired actress and a blond actor at a brown table\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Apple_TV_Killers_of_the_Flower_Moon_key_art-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Apple_TV_Killers_of_the_Flower_Moon_key_art-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Apple_TV_Killers_of_the_Flower_Moon_key_art-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Apple_TV_Killers_of_the_Flower_Moon_key_art-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Apple_TV_Killers_of_the_Flower_Moon_key_art-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Apple_TV_Killers_of_the_Flower_Moon_key_art-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Apple_TV_Killers_of_the_Flower_Moon_key_art-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lily Gladstone and Leonardo DiCaprio in ‘Killers of the Flower Moon.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.apple.com/tv-pr/originals/killers-of-the-flower-moon/\" target=\"_blank\" rel=\"noopener\">Killers of the Flower Moon\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oct. 20\u003cbr>\nTheaters around the Bay Area, subsequently streaming on Apple TV+\u003c/em>\u003c/p>\n\u003cp>Martin Scorsese drops another self-important, three-and-a-half-hour true-crime saga that his devotees will devour in theaters and the rest of us will watch over a couple nights on our couches. Adapted from David Grann’s 2017 nonfiction book \u003cem>Killers of the Flower Moon: The Osage Murders and The Birth of The FBI\u003c/em>, the movie depicts a 20th century smash-and-grab of Native American property by white people. In the 1920s, after the Osage people were awarded rights to the oil found on their Oklahoma land, they were bedeviled by swindlers, extortionists and murderers. (Are you shocked that there will be blood in a Scorsese film?) Here’s hoping the quintessential New Yorker’s neo-Western piques an interest in hearing contemporary Indigenous voices — like those centered every year in the American Indian Film Festival (Nov. 3–11 at the SFPL and other venues).\u003c/p>\n\u003cfigure id=\"attachment_13933275\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/A24_Priscilla_VeniceFinal-1-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933275\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/A24_Priscilla_VeniceFinal-1-800x533.jpg\" alt=\"a woman with black hair looks out the window of a limo in a crowd of people\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A24_Priscilla_VeniceFinal-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A24_Priscilla_VeniceFinal-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A24_Priscilla_VeniceFinal-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A24_Priscilla_VeniceFinal-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A24_Priscilla_VeniceFinal-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A24_Priscilla_VeniceFinal-1-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A24_Priscilla_VeniceFinal-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cailee Spaeny is Priscilla Presley in ‘Priscilla.’ \u003ccite>( Sabrina Lantos/A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://a24films.com/films/priscilla\" target=\"_blank\" rel=\"noopener\">Priscilla\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oct. 27\u003cbr>\nTheaters everywhere\u003c/em>\u003c/p>\n\u003cp>Sofia Coppola (\u003cem>Marie Antoinette\u003c/em>) revisits and revises the legendary life(style) of another King from the female perspective. Priscilla Presley’s best-selling 1985 memoir \u003cem>Elvis and Me\u003c/em> provides the perfect vehicle for the filmmaker’s fascination with the interior lives of famous (and famously underrated) women with spare-no-expense interior decorators. Priscilla (played here by Cailee Spaeny) was only 14 when she met the star (he was 24), so expect plenty of psychosexual melodrama and heartbreak hotel before Priscilla establishes her own identity and prevails despite the tabloid press. Jacob Elordi as Elvis does double duty as troubled villain and eye candy.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1hkspAW-r-0\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://apeconcerts.com/events/claudio-simonettis-goblin-231027/\" target=\"_blank\" rel=\"noopener\">Demons\u003c/a>’ with live score by Goblin\u003c/h2>\n\u003cp>\u003cem>Oct. 27\u003c/em>\u003cbr>\n\u003cem>The Castro Theatre, San Francisco\u003c/em>\u003c/p>\n\u003cp>It may be a tad early to start making your adult Halloween plans. Unless, that is, horror is your home, your haven, your happy place. It certainly is for composer and keyboard player Claudio Simonetti, who got his start working with giallo master Dario Argento back in the day as part of the Italian prog-rock band Goblin. The group has evolved over the years while Simonetti established himself as a prolific composer for scary movies and TV shows. The band’s back together and primed to perform Simonetti’s score to the gory, nonsensical and fun \u003cem>Demons\u003c/em> (1985). Co-written and produced by Argento and starring the immortal Urbano Barberini, Natasha Hovey and Karl Zinny as horror moviegoers trapped in a demon-infested theater, it’s a meta experience nicely suited to the Castro. Goblin returns to the stage after the film and intermission to play their hits and passages from other movie scores.\u003c/p>\n\u003cfigure id=\"attachment_13933721\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933721\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Vogue_byTommyLau_03_2000.jpg\" alt=\"Dark movie theater with view over heads of audience looking at screen\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Vogue_byTommyLau_03_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Vogue_byTommyLau_03_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Vogue_byTommyLau_03_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Vogue_byTommyLau_03_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Vogue_byTommyLau_03_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Vogue_byTommyLau_03_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Vogue_byTommyLau_03_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A Doc Stories screening at the Vogue in 2022. \u003ccite>(Photo by Tommy Lau; Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sffilm.org/year-round-programming/doc-stories/?gad=1&gclid=CjwKCAjw5_GmBhBIEiwA5QSMxFujO_GnZOpRidBMAwim6601G7nwpBWUf_xxHpF3LFV2Ue6OefvFoBoCDNAQAvD_BwE\" target=\"_blank\" rel=\"noopener\">Doc Stories\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 2–9\u003cbr>\nVogue Theatre, San Francisco\u003c/em>\u003c/p>\n\u003cp>Noting the Mill Valley Film Festival’s emergence as an important stop for prestige narratives, SFFILM is positioning Doc Stories to be a magnet for nonfiction films with awards ambitions. (How come we’re so fortunate? The Bay Area boasts the most Academy and guild voters after Los Angeles, New York and London.) Titles of particular local interest premiering at the Toronto International Film Festival that could make their way here include \u003cem>Menus-Plaisirs Les Troisgros\u003c/em>, Frederick Wiseman’s four-hour feast for gastronomes, and \u003cem>Summer Qamp\u003c/em>, Jen Markowitz’s portrait of a rural Canadian outpost for queer, nonbinary and trans kids. Karim Amer’s (\u003cem>The Square\u003c/em>) latest urgent verité missive from a global hotspot, \u003cem>Defiant\u003c/em>, puts us in the room with Ukraine Foreign Minister Dmytro Kuleba.\u003c/p>\n\u003cp>https://youtu.be/4lBqMhZ3NBg?feature=shared\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003c/p>\n\u003ch2>‘Rustin’\u003c/h2>\n\u003cp>\u003ci>Nov. 3 in theaters, Nov. 17 on Netflix\u003c/i>\u003c/p>\n\u003cp>East Bay filmmaker Nancy Kates and Bennett Singer’s 2003 documentary, \u003cem>Brother Outsider: The Life of Bayard Rustin\u003c/em> (streaming for free on \u003ca href=\"https://www.kanopy.com/en/product/139631?vp=calstatela\">Kanopy\u003c/a>), remains a revelatory portrait of Dr. Martin Luther King Jr.’s confidant and the organizer of the 1963 March on Washington. Rustin never received his due — he largely had to remain behind the scenes — because depraved G-man J. Edgar Hoover would have used Rustin’s homosexuality to undermine public support for the Civil Rights Movement (which he deemed a domestic threat). \u003cem>Brother Outsider\u003c/em> debuted at Sundance and aired on PBS, yet history suggests George C. Wolfe’s biopic (produced by Netflix, starring Colman Domingo and co-written by Julian Breece and Dustin Lance Black, who wrote \u003cem>Milk\u003c/em> and, ahem, Clint Eastwood’s \u003cem>J. Edgar\u003c/em>) will reach even wider audiences.\u003c/p>\n\u003cfigure id=\"attachment_13933595\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-953151484-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933595\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-953151484-800x569.jpg\" alt=\"an older white man, filmmaker Werner Herzog, gestures in front of a microphone on stage\" width=\"800\" height=\"569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-953151484-800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-953151484-1020x725.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-953151484-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-953151484-768x546.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-953151484-1536x1092.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-953151484-2048x1456.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-953151484-1920x1365.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Werner Herzog gestures during a 2018 press conference in Peru, where his 1982 drama ‘Fitzcarraldo,’ was set. The acclaimed filmmaker will appear at the Berkeley Art Museum and Pacific Film Archive to kick off a nearly four month-long retrospective of his work. \u003ccite>(RIS BOURONCLE/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://bampfa.org/program/infinite-horizons-films-werner-herzog\" target=\"_blank\" rel=\"noopener\">Infinite Horizons: The Films of Werner Herzog\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 9 through Feb. 28\u003cbr>\nBAMPFA, Berkeley\u003c/em>\u003c/p>\n\u003cp>Who would have predicted that the oddest oddball of the New German Cinema would become the most beloved filmmaker on the planet, the great demolisher of “objective” documentary and a patron saint of American independent film? Indefatigable, endlessly curious and larger than life, Herzog made the arthouse masterpieces \u003cem>Aguirre, the Wrath of God\u003c/em> and \u003cem>Fitzcarraldo,\u003c/em> and the nonfiction classics \u003cem>Grizzly Man\u003c/em> and \u003cem>Encounters at the End of the World\u003c/em> (among the many, many films included in this retrospective). An iconoclast’s iconoclast, Herzog crashed the barricades between narrative and documentary and changed the movies forever. His appearances at the Nov. 9\u003cem>–\u003c/em>12 screenings are essentially sold out.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AhKLpJmHhIg\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003c/p>\n\u003ch2>‘The Holdovers’\u003c/h2>\n\u003cp>\u003cem>Nov. 10\u003cbr>\nTheaters everywhere\u003c/em>\u003c/p>\n\u003cp>Alexander Payne and Paul Giamatti pop a cork some two decades after \u003cem>Sideways\u003c/em> with a period film that aims to ace the holiday heart-warmer sweepstakes. Giamatti plays a cynical East Coast prep school teacher (Scrooge Lite?) given the less-than-cheerful Christmas assignment of tending those students with nowhere to go on break. The tried-and-true tropes of bonding, mutual respect and transformation are on the menu, though Payne and Giamatti’s talents for tiptoeing through schmaltz should keep the sentimentality at bay. The trailer, interestingly, gives off serious ‘70s vibes, from the Traffic and Badfinger songs to the typeface of the title. If Payne was visited by the spirits of Robert Altman, Alan J. Pakula and Hal Ashby, I’ll welcome a little grit in the fruitcake.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OAZWXUkrjPc\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003c/p>\n\u003ch2>‘Napoleon’\u003c/h2>\n\u003cp>\u003cem>Nov. 22\u003c/em>\u003cbr>\n\u003cem>Theaters everywhere\u003c/em>\u003c/p>\n\u003cp>Oscar season invades for real with the thunderous arrival of another Ridley Scott horse opera about a Great Man. Or maybe I’ve got it all wrong and we’re not in for the spectacle of a Method actor (Joaquin Phoenix) in a tri-corner hat stomping through Russian mud in a maelstrom of bluster and angst. The logline, you see, suggests that Napoleon’s relationship with Empress Josephine (Vanessa Kirby) is the focus of the movie, but no biographical study would be complete without the volcano of ambition, success and failure. It seems unlikely, though, that Scott is going to reinvent Josephine as history’s first career coach, not when he’s choreographing CGI-enhanced battle scenes to “rival” Abel Gance’s silent masterpiece \u003cem>Napoleon\u003c/em>.\u003c/p>\n\u003cp>\u003ci>Aug. 28: This guide was updated to replace the listing for ‘Dune: Part Two,’ which will now be released March 15, with a recommendation for ‘Rustin.’\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Escape from reality with a little help from Carlos Santana, Martin Scorsese, Sofia Coppola and Werner Herzog.","status":"publish","parent":0,"modified":1705005111,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":34,"wordCount":2051},"headData":{"title":"Art Strikes Back: Indies, Blockbusters and Film Festivals to Catch This Fall | KQED","description":"Escape from reality with a little help from Carlos Santana, Martin Scorsese, Sofia Coppola and Werner Herzog.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Art Strikes Back: Indies, Blockbusters and Film Festivals to Catch This Fall","datePublished":"2023-08-23T22:00:21.000Z","dateModified":"2024-01-11T20:31:51.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Fall Guide 2023","sourceUrl":"/fallguide2023","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13933239/art-strikes-back-indies-blockbusters-and-film-festivals-to-catch-this-fall","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Find more of KQED’s picks for the best \u003ca href=\"https://www.kqed.org/fallguide2023\">fall 2023 events here\u003c/a>.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cem>This guide contains an update.\u003c/em>\u003c/p>\n\u003cp>The fall movie schedule is rife with behemoths that, Hollywood hopes, will continue the theatergoing boom driven by \u003cem>Barbie\u003c/em>, \u003cem>Oppenheimer\u003c/em> and a few aging action franchises. A shadow darkens the landscape, however: the ongoing Writers Guild and Screen Actors Guild-American Federation of Television and Radio Artists strikes for a fair contract from the streamers and studios. One immediate though small consequence is that a few releases were bumped to next year, after agreements are signed and the talent is available to hawk the merchandise.\u003c/p>\n\u003cp>You won’t miss ’em, though — in part because Hollywood isn’t the whole picture.\u003c/p>\n\u003cfigure id=\"attachment_13933876\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Photo-1-6_BU2B8689.jpg\" alt=\"\" width=\"1620\" height=\"1080\" class=\"size-full wp-image-13933876\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Photo-1-6_BU2B8689.jpg 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Photo-1-6_BU2B8689-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Photo-1-6_BU2B8689-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Photo-1-6_BU2B8689-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Photo-1-6_BU2B8689-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Photo-1-6_BU2B8689-1536x1024.jpg 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘26.2 to Life.’ \u003ccite>(Courtesy the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://roxie.com/film/26-2-to-life/\" target=\"_blank\" rel=\"noopener\">26.2 to Life\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 22\u003cbr>\nRoxie Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>Run, don’t walk, to Christine Yoo’s locally produced documentary shot on location at San Quentin. Blending intimate character study with big-picture social issue, Yoo profiles some of the marathon runners (and their volunteer coaches) in the state prison’s 1000 Mile Club. This is where the rubber(-soled shoes) meet the road, on a “track” of unforgiving gravel surrounded by high walls, under the gaze of guards. Winner of the Audience Award at SF DocFest, \u003cem>26.2 to Life\u003c/em> takes us into a circle of runners determinedly and hopefully sprinting toward a way out.\u003c/p>\n\u003cfigure id=\"attachment_13933614\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-599513516-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933614\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-599513516-800x549.jpg\" alt=\"a middle-aged Latino man, Carlos Santana, smiles while playing guitar\" width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-599513516-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-599513516-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-599513516-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-599513516-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-599513516-1536x1054.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-599513516-2048x1405.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-599513516-1920x1317.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Carlos Santana performs at AT&T Park in San Francisco on Sept. 4, 2016. (Steve Jennings/WireImage) \u003ccite>(Steve Jennings/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.carlosglobalpremiere.com/\" target=\"_blank\" rel=\"noopener\">Carlos\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Bay Area screenings Sept. 23, 24 and 27; wider release Sept. 29\u003cbr>\nAMC Metreon and Balboa Theater in S.F.; other theaters around the Bay Area\u003c/em>\u003c/p>\n\u003cp>The San Francisco sound wasn’t birthed entirely in the Haight by the Grateful Dead and Jefferson Airplane. Carlos Santana exploded out of the Mission (after learning his chops in his native Mexico) in August 1969, his eponymous band’s debut album hitting stores the week after their electrifying performance at Woodstock. Rudy Valdez’s documentary depicts a seeker and an experimenter, an artist whose ’70s forays into jazz fusion and beyond flummoxed record company execs wanting the guitarist to repeat his Latin rock (star) riffs.\u003c/p>\n\u003cp>Pre-opening screenings are slated for theaters all over the Bay Area Sept. 23, 24 and 27, with onscreen appearances by Santana and Valdez. There won’t be a big S.F. premiere, regrettably — not even in conjunction with the \u003ca href=\"https://www.cinemassf.org/\" target=\"_blank\" rel=\"noopener\">S.F. Latino Film Festival\u003c/a> (Sept. 28–Oct. 14), marking a missed opportunity for former \u003cem>Rolling Stone\u003c/em> journalist and interviewer par excellence Ben Fong Torres to play master of ceremonies.\u003c/p>\n\u003cfigure id=\"attachment_13933641\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/2_Barbara-Dane-_-the-Chambers-Brothers-%C2%A9-Diana-Davies.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933641\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/2_Barbara-Dane-_-the-Chambers-Brothers-%C2%A9-Diana-Davies-800x599.jpg\" alt=\"a group of singers around a microphone, four Black men and one white woman, in a black and white photo\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2_Barbara-Dane-_-the-Chambers-Brothers-©-Diana-Davies-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2_Barbara-Dane-_-the-Chambers-Brothers-©-Diana-Davies-1020x763.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2_Barbara-Dane-_-the-Chambers-Brothers-©-Diana-Davies-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2_Barbara-Dane-_-the-Chambers-Brothers-©-Diana-Davies-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2_Barbara-Dane-_-the-Chambers-Brothers-©-Diana-Davies-1536x1149.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2_Barbara-Dane-_-the-Chambers-Brothers-©-Diana-Davies-2048x1532.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2_Barbara-Dane-_-the-Chambers-Brothers-©-Diana-Davies-1920x1437.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Oakland singer-activist Barbara Dane sings with the Chambers Brothers at the Newport Folk Festival 1965. Maureen Gosling’s new documentary about Dane will premiere at the 46th annual Mill Valley Film Festival. \u003ccite>(Courtesy Diana Davies)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.mvff.com/\" target=\"_blank\" rel=\"noopener\">46th Annual Mill Valley Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 5–15\u003c/em>\u003cbr>\n\u003cem>Theaters throughout Marin County, additional screenings at the Roxie in San Francisco and BAMPFA, Berkeley\u003c/em>\u003c/p>\n\u003cp>For the last 20 or so autumns, the stars have come out to Marin County to launch their dramas on the path to (they hope) Academy Awards. But actors aren’t promoting their films during the strikes, so MVFF director Mark Fishkin gets up every day nervously rooting for a resolution. It may turn out that Bay Area documentary filmmakers — another pillar of the festival program — soak up more of the spotlight this year. Cue East Bay director and editor extraordinaire Maureen Gosling, whose brand new \u003cem>The 9 Lives of Barbara Dane\u003c/em> pays tribute to the Oakland nonagenarian singer-activist who (among her many, many accomplishments) opened a blues club in North Beach in 1961. Lynn Hershman Leeson, the visionary local artist and filmmaker (\u003cem>Conceiving Ada\u003c/em>, \u003cem>Teknolust\u003c/em>, \u003cem>Strange Culture\u003c/em>) and early explorer of the effects of new technology on our perceptions, privacy and humanity, takes the stage for a tribute. Errol Morris returns to the Bay Area (his pivotal encounter with Werner Herzog in the ’70s in Berkeley is the stuff of legend) with \u003cem>The Pigeon Tunnel\u003c/em> (Oct. 20 in theaters and Apple TV+), a deep dive into British spy-cum-novelist John Le Carré that confirms truth is slipperier than fiction.\u003c/p>\n\u003cfigure id=\"attachment_13933272\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Apple_TV_Killers_of_the_Flower_Moon_key_art-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933272\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Apple_TV_Killers_of_the_Flower_Moon_key_art-800x533.jpg\" alt=\"a still of a dark haired actress and a blond actor at a brown table\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Apple_TV_Killers_of_the_Flower_Moon_key_art-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Apple_TV_Killers_of_the_Flower_Moon_key_art-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Apple_TV_Killers_of_the_Flower_Moon_key_art-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Apple_TV_Killers_of_the_Flower_Moon_key_art-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Apple_TV_Killers_of_the_Flower_Moon_key_art-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Apple_TV_Killers_of_the_Flower_Moon_key_art-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Apple_TV_Killers_of_the_Flower_Moon_key_art-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lily Gladstone and Leonardo DiCaprio in ‘Killers of the Flower Moon.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.apple.com/tv-pr/originals/killers-of-the-flower-moon/\" target=\"_blank\" rel=\"noopener\">Killers of the Flower Moon\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oct. 20\u003cbr>\nTheaters around the Bay Area, subsequently streaming on Apple TV+\u003c/em>\u003c/p>\n\u003cp>Martin Scorsese drops another self-important, three-and-a-half-hour true-crime saga that his devotees will devour in theaters and the rest of us will watch over a couple nights on our couches. Adapted from David Grann’s 2017 nonfiction book \u003cem>Killers of the Flower Moon: The Osage Murders and The Birth of The FBI\u003c/em>, the movie depicts a 20th century smash-and-grab of Native American property by white people. In the 1920s, after the Osage people were awarded rights to the oil found on their Oklahoma land, they were bedeviled by swindlers, extortionists and murderers. (Are you shocked that there will be blood in a Scorsese film?) Here’s hoping the quintessential New Yorker’s neo-Western piques an interest in hearing contemporary Indigenous voices — like those centered every year in the American Indian Film Festival (Nov. 3–11 at the SFPL and other venues).\u003c/p>\n\u003cfigure id=\"attachment_13933275\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/A24_Priscilla_VeniceFinal-1-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933275\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/A24_Priscilla_VeniceFinal-1-800x533.jpg\" alt=\"a woman with black hair looks out the window of a limo in a crowd of people\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A24_Priscilla_VeniceFinal-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A24_Priscilla_VeniceFinal-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A24_Priscilla_VeniceFinal-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A24_Priscilla_VeniceFinal-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A24_Priscilla_VeniceFinal-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A24_Priscilla_VeniceFinal-1-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A24_Priscilla_VeniceFinal-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cailee Spaeny is Priscilla Presley in ‘Priscilla.’ \u003ccite>( Sabrina Lantos/A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://a24films.com/films/priscilla\" target=\"_blank\" rel=\"noopener\">Priscilla\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oct. 27\u003cbr>\nTheaters everywhere\u003c/em>\u003c/p>\n\u003cp>Sofia Coppola (\u003cem>Marie Antoinette\u003c/em>) revisits and revises the legendary life(style) of another King from the female perspective. Priscilla Presley’s best-selling 1985 memoir \u003cem>Elvis and Me\u003c/em> provides the perfect vehicle for the filmmaker’s fascination with the interior lives of famous (and famously underrated) women with spare-no-expense interior decorators. Priscilla (played here by Cailee Spaeny) was only 14 when she met the star (he was 24), so expect plenty of psychosexual melodrama and heartbreak hotel before Priscilla establishes her own identity and prevails despite the tabloid press. Jacob Elordi as Elvis does double duty as troubled villain and eye candy.\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/1hkspAW-r-0'\n title='//www.youtube.com/embed/1hkspAW-r-0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://apeconcerts.com/events/claudio-simonettis-goblin-231027/\" target=\"_blank\" rel=\"noopener\">Demons\u003c/a>’ with live score by Goblin\u003c/h2>\n\u003cp>\u003cem>Oct. 27\u003c/em>\u003cbr>\n\u003cem>The Castro Theatre, San Francisco\u003c/em>\u003c/p>\n\u003cp>It may be a tad early to start making your adult Halloween plans. Unless, that is, horror is your home, your haven, your happy place. It certainly is for composer and keyboard player Claudio Simonetti, who got his start working with giallo master Dario Argento back in the day as part of the Italian prog-rock band Goblin. The group has evolved over the years while Simonetti established himself as a prolific composer for scary movies and TV shows. The band’s back together and primed to perform Simonetti’s score to the gory, nonsensical and fun \u003cem>Demons\u003c/em> (1985). Co-written and produced by Argento and starring the immortal Urbano Barberini, Natasha Hovey and Karl Zinny as horror moviegoers trapped in a demon-infested theater, it’s a meta experience nicely suited to the Castro. Goblin returns to the stage after the film and intermission to play their hits and passages from other movie scores.\u003c/p>\n\u003cfigure id=\"attachment_13933721\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933721\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Vogue_byTommyLau_03_2000.jpg\" alt=\"Dark movie theater with view over heads of audience looking at screen\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Vogue_byTommyLau_03_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Vogue_byTommyLau_03_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Vogue_byTommyLau_03_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Vogue_byTommyLau_03_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Vogue_byTommyLau_03_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Vogue_byTommyLau_03_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Vogue_byTommyLau_03_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A Doc Stories screening at the Vogue in 2022. \u003ccite>(Photo by Tommy Lau; Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sffilm.org/year-round-programming/doc-stories/?gad=1&gclid=CjwKCAjw5_GmBhBIEiwA5QSMxFujO_GnZOpRidBMAwim6601G7nwpBWUf_xxHpF3LFV2Ue6OefvFoBoCDNAQAvD_BwE\" target=\"_blank\" rel=\"noopener\">Doc Stories\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 2–9\u003cbr>\nVogue Theatre, San Francisco\u003c/em>\u003c/p>\n\u003cp>Noting the Mill Valley Film Festival’s emergence as an important stop for prestige narratives, SFFILM is positioning Doc Stories to be a magnet for nonfiction films with awards ambitions. (How come we’re so fortunate? The Bay Area boasts the most Academy and guild voters after Los Angeles, New York and London.) Titles of particular local interest premiering at the Toronto International Film Festival that could make their way here include \u003cem>Menus-Plaisirs Les Troisgros\u003c/em>, Frederick Wiseman’s four-hour feast for gastronomes, and \u003cem>Summer Qamp\u003c/em>, Jen Markowitz’s portrait of a rural Canadian outpost for queer, nonbinary and trans kids. Karim Amer’s (\u003cem>The Square\u003c/em>) latest urgent verité missive from a global hotspot, \u003cem>Defiant\u003c/em>, puts us in the room with Ukraine Foreign Minister Dmytro Kuleba.\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/4lBqMhZ3NBg'\n title='//www.youtube.com/embed/4lBqMhZ3NBg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003c/p>\n\u003ch2>‘Rustin’\u003c/h2>\n\u003cp>\u003ci>Nov. 3 in theaters, Nov. 17 on Netflix\u003c/i>\u003c/p>\n\u003cp>East Bay filmmaker Nancy Kates and Bennett Singer’s 2003 documentary, \u003cem>Brother Outsider: The Life of Bayard Rustin\u003c/em> (streaming for free on \u003ca href=\"https://www.kanopy.com/en/product/139631?vp=calstatela\">Kanopy\u003c/a>), remains a revelatory portrait of Dr. Martin Luther King Jr.’s confidant and the organizer of the 1963 March on Washington. Rustin never received his due — he largely had to remain behind the scenes — because depraved G-man J. Edgar Hoover would have used Rustin’s homosexuality to undermine public support for the Civil Rights Movement (which he deemed a domestic threat). \u003cem>Brother Outsider\u003c/em> debuted at Sundance and aired on PBS, yet history suggests George C. Wolfe’s biopic (produced by Netflix, starring Colman Domingo and co-written by Julian Breece and Dustin Lance Black, who wrote \u003cem>Milk\u003c/em> and, ahem, Clint Eastwood’s \u003cem>J. Edgar\u003c/em>) will reach even wider audiences.\u003c/p>\n\u003cfigure id=\"attachment_13933595\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-953151484-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933595\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-953151484-800x569.jpg\" alt=\"an older white man, filmmaker Werner Herzog, gestures in front of a microphone on stage\" width=\"800\" height=\"569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-953151484-800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-953151484-1020x725.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-953151484-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-953151484-768x546.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-953151484-1536x1092.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-953151484-2048x1456.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-953151484-1920x1365.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Werner Herzog gestures during a 2018 press conference in Peru, where his 1982 drama ‘Fitzcarraldo,’ was set. The acclaimed filmmaker will appear at the Berkeley Art Museum and Pacific Film Archive to kick off a nearly four month-long retrospective of his work. \u003ccite>(RIS BOURONCLE/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://bampfa.org/program/infinite-horizons-films-werner-herzog\" target=\"_blank\" rel=\"noopener\">Infinite Horizons: The Films of Werner Herzog\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 9 through Feb. 28\u003cbr>\nBAMPFA, Berkeley\u003c/em>\u003c/p>\n\u003cp>Who would have predicted that the oddest oddball of the New German Cinema would become the most beloved filmmaker on the planet, the great demolisher of “objective” documentary and a patron saint of American independent film? Indefatigable, endlessly curious and larger than life, Herzog made the arthouse masterpieces \u003cem>Aguirre, the Wrath of God\u003c/em> and \u003cem>Fitzcarraldo,\u003c/em> and the nonfiction classics \u003cem>Grizzly Man\u003c/em> and \u003cem>Encounters at the End of the World\u003c/em> (among the many, many films included in this retrospective). An iconoclast’s iconoclast, Herzog crashed the barricades between narrative and documentary and changed the movies forever. His appearances at the Nov. 9\u003cem>–\u003c/em>12 screenings are essentially sold out.\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/AhKLpJmHhIg'\n title='//www.youtube.com/embed/AhKLpJmHhIg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003c/p>\n\u003ch2>‘The Holdovers’\u003c/h2>\n\u003cp>\u003cem>Nov. 10\u003cbr>\nTheaters everywhere\u003c/em>\u003c/p>\n\u003cp>Alexander Payne and Paul Giamatti pop a cork some two decades after \u003cem>Sideways\u003c/em> with a period film that aims to ace the holiday heart-warmer sweepstakes. Giamatti plays a cynical East Coast prep school teacher (Scrooge Lite?) given the less-than-cheerful Christmas assignment of tending those students with nowhere to go on break. The tried-and-true tropes of bonding, mutual respect and transformation are on the menu, though Payne and Giamatti’s talents for tiptoeing through schmaltz should keep the sentimentality at bay. The trailer, interestingly, gives off serious ‘70s vibes, from the Traffic and Badfinger songs to the typeface of the title. If Payne was visited by the spirits of Robert Altman, Alan J. Pakula and Hal Ashby, I’ll welcome a little grit in the fruitcake.\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/OAZWXUkrjPc'\n title='//www.youtube.com/embed/OAZWXUkrjPc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003c/p>\n\u003ch2>‘Napoleon’\u003c/h2>\n\u003cp>\u003cem>Nov. 22\u003c/em>\u003cbr>\n\u003cem>Theaters everywhere\u003c/em>\u003c/p>\n\u003cp>Oscar season invades for real with the thunderous arrival of another Ridley Scott horse opera about a Great Man. Or maybe I’ve got it all wrong and we’re not in for the spectacle of a Method actor (Joaquin Phoenix) in a tri-corner hat stomping through Russian mud in a maelstrom of bluster and angst. The logline, you see, suggests that Napoleon’s relationship with Empress Josephine (Vanessa Kirby) is the focus of the movie, but no biographical study would be complete without the volcano of ambition, success and failure. It seems unlikely, though, that Scott is going to reinvent Josephine as history’s first career coach, not when he’s choreographing CGI-enhanced battle scenes to “rival” Abel Gance’s silent masterpiece \u003cem>Napoleon\u003c/em>.\u003c/p>\n\u003cp>\u003ci>Aug. 28: This guide was updated to replace the listing for ‘Dune: Part Two,’ which will now be released March 15, with a recommendation for ‘Rustin.’\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13933239/art-strikes-back-indies-blockbusters-and-film-festivals-to-catch-this-fall","authors":["22"],"programs":["arts_140"],"categories":["arts_1","arts_74"],"tags":["arts_21522","arts_2701","arts_3465","arts_585"],"featImg":"arts_13933638","label":"source_arts_13933239"},"arts_13917642":{"type":"posts","id":"arts_13917642","meta":{"index":"posts_1591205157","site":"arts","id":"13917642","score":null,"sort":[1661875247000]},"guestAuthors":[],"slug":"fall-2022-movie-guide","title":"Leaping Into Drama: A Fall ’22 Movie Guide","publishDate":1661875247,"format":"standard","headTitle":"Leaping Into Drama: A Fall ’22 Movie Guide | KQED","labelTerm":{},"content":"\u003cp>\u003ca href=\"https://www.kqed.org/fallarts2022\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cem>\u003cstrong>Find more of KQED’s picks for the best Fall 2022 events here\u003c/strong>\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>While blockbuster season in the movie business is year-round these days, studios increasingly reserve their adult-oriented character-driven films for fall and winter, when serious moviegoers celebrate the cooling temperatures as a herald of quality cinema.\u003c/p>\n\u003cp>But older audiences are proving reluctant to return to theaters so long as COVID variants circulate, while streaming has become the preferred platform for a portion of the public. So the state of movies and the health of theaters are open questions, even as those in the industry—not to mention film lovers—crave a return to normalcy.\u003c/p>\n\u003cp>Tempered optimism is the watchword, so my fall forecast is gripping drama with a chance of excitement.\u003c/p>\n\u003cfigure id=\"attachment_13918105\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918105\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-800x573.jpg\" alt=\"a still from a black and white movie of a woman and man, looking away from each other\" width=\"800\" height=\"573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-768x551.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-1536x1101.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001.jpg 1879w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from ‘Mamma Roma’ by Pier Paolo Pasolini. \u003ccite>(Courtesy Berkeley Art Museum and Pacific Film Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://apeconcerts.com/events/pasolini-100-220910/\">Pasolini 100\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10, Castro Theatre\u003c/em>\u003cbr>\nPier Paolo Pasolini was known in the U.S. merely as a provocative filmmaker; in his native Italy, he was an eminent (and devoutly controversial) public intellectual and social critic. A poet, essayist, novelist, playwright, actor, screenwriter and director, Pasolini remains a complicated, challenging figure 45 years after his unsolved death at the hands of a male prostitute. Cinema Italia SF commemorates his centennial with an all-day marathon spotlighting Pasolini’s early ’60s black-and-white dramas of Rome’s underclass, \u003cem>Mamma Roma\u003c/em> (Anna Magnani’s signature role) and \u003cem>Accatone\u003c/em>, and capped by the unflinching, notorious \u003cem>Saló, or the 100 Days of Sodom\u003c/em> (1976). \u003ca href=\"https://bampfa.org/program/pier-paolo-pasolini\">A BAMPFA retrospective\u003c/a> (Oct. 22-Nov. 27) offers even more chances to immerse yourself in Pasolini’s fascination with sex, violence, faith and power.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZIt0bGwe1rY\u003c/p>\n\u003ch2>\u003ca href=\"https://www.apple.com/tv-pr/originals/sidney/\">‘Sidney’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 23, Apple TV+\u003c/em>\u003cbr>\nOur personal reactions to movie stars reveal more about us—our fantasies, our prejudices—than them. Sidney Poitier’s career spanned the entirety of the second half of the 20th century and the enormous evolution in how Black people were portrayed, played and viewed onscreen. It’s impossible to conceive the tightrope Poitier walked in the ’50s and ’60s, playing dignified characters (Virgil Tibbs in \u003cem>In the Heat of the Night\u003c/em>, notably) who had to restrain their response to a diet of insults lest they scare white moviegoers—without losing his credibility with Black audiences. A successful director (\u003cem>Stir Crazy\u003c/em>) and a prominent civil rights activist, Poitier, who died in January, possessed an unshakable moral compass. Reginald Hudlin’s documentary introduces Poitier to a new audience, filtered through the voices of his contemporaries (Robert Redford, Barbra Streisand) and heirs (Denzel Washington, Spike Lee).\u003c/p>\n\u003cfigure id=\"attachment_13918106\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Whale_Final-Image-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918106\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Whale_Final-Image-800x601.jpg\" alt=\"a white man, Brendan Fraser, looks concerned\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-1536x1154.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-2048x1538.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-1920x1442.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brendan Fraser in Darren Aronofsky’s ‘The Whale.’ \u003ccite>(Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.mvff.com/\">Mill Valley Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 6-16, in theaters and online\u003c/em>\u003cbr>\nMarin County’s venerable fall blowout boasts several strong strands: female directors, local documentaries, music films, foreign-language sleepers. In addition, as fall marks the kickoff to awards season, MVFF has positioned itself over the last 15 years as the Bay Area venue of choice to premiere thoughtful, actor-powered dramas. This year’s star sightings could include Michelle Williams in Kelly Reichardt’s \u003cem>Showing Up\u003c/em>, Tilda Swinton in Joanna Hogg’s \u003cem>The Eternal Daughter\u003c/em>, Olivia Colman and/or Colin Firth in Sam Mendes’ \u003cem>Empire of Light\u003c/em> and Brendan Fraser in Darren Aronofsky’s \u003cem>The Whale\u003c/em>. Of note, MVFF is expanding its in-person events this year to BAMPFA in Berkeley and the Roxie Theater in San Francisco.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1QCa25CmONI\u003c/p>\n\u003ch2>‘The Lost King’\u003c/h2>\n\u003cp>\u003cem>TBD\u003c/em>\u003cbr>\nA potential candidate for MVFF’s opening or closing night slot, the new film from the underappreciated British director Stephen Frears is an expertly calibrated, comic yet touching portrait of female perseverance. Frears and his \u003cem>Philomena\u003c/em> collaborators, screenwriter Jeff Pope and co-writer and actor Steve Coogan, recreate contemporary writer Philippa Langley’s real-life obstacles and travails on her journey to uncovering the burial site of King Richard III (1452-85). Sally Hawkins (\u003cem>The Shape of Water\u003c/em>) plays the determined protagonist, aided by her husband (Coogan). Frears has a dry sense of humor, giving me hope that Sir Ian McKellen, who played Richard so brilliantly on stage and screen, makes an unbilled cameo as, say, a librarian or cab driver. (The audience for \u003cem>The Lost King\u003c/em> overlaps with the demographic that’s been the slowest to return to theaters, so the film may score more success on PVOD.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rkQi6GBwmSA\u003c/p>\n\u003ch2>‘Till’\u003c/h2>\n\u003cp>\u003cem>Oct. 14\u003c/em>\u003cbr>\nEmmett Till was just 14 when he was kidnapped, tortured and shot to death while visiting family in Mississippi on his summer vacation in 1955. One of the most heinous crimes in the endlessly brutal history of American racism, Emmett’s murder became a flashpoint for the entire country when his mother gave him a public funeral with an open casket back home in Chicago. Writer-producer-director Chinonye Chukwu’s follow-up to \u003cem>Clemency\u003c/em> (which starred Alfre Woodard as a prison warden) recounts the saga of another Black woman under unfathomable pressure, Mamie Till-Mobley (played by the estimable Danielle Deadwyler). The terrible events of 1955 continue to reverberate in the present day, and \u003cem>Till\u003c/em> will likely extend the conversation: Keith Beauchamp, who alleged in his 2005 documentary \u003cem>The Untold Story of Emmett Louis Till\u003c/em> that no fewer than 14 people were involved in the boy’s death, has a writing and producing credit.\u003c/p>\n\u003cfigure id=\"attachment_13918110\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918110\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-800x432.jpeg\" alt=\"a young white man and woman look at each other while leaning over the side of a swimming pool\" width=\"800\" height=\"432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-800x432.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-1020x551.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-160x86.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-768x415.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-1536x830.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-2048x1107.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-1920x1038.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Harry Styles and Emma Corrin in ‘My Policeman.’ \u003ccite>(Courtesy of Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘My Policeman’\u003c/h2>\n\u003cp>\u003cem>Oct. 21 in theaters, Nov. 4 on Amazon Prime Video\u003c/em>\u003cbr>\nThe esteemed British theater director Michael Grandage directs Ron Nyswaner’s adaptation of Bethan Roberts’ 2012 novel, though Harry Styles is the only name trending on Twitter. The Evesham heartthrob plays the title character—a married, closeted cop in 1950s Brighton who’s having an affair with a museum curator. Forty years after making a hash of things, the characters (now played by Linus Roache, Gina McKee and Rupert Everett) strain to alchemize regret into redemption. Regardless of the artfulness of the film’s structure, the performances are the key to its emotional punch. By the time Oscar nominations are announced, Styles may be trending everywhere.\u003c/p>\n\u003cfigure id=\"attachment_13917942\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917942\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/AllThatBreathes-800x449.jpg\" alt=\"A man in glasses stares at a bird known as a black kite.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes-1536x862.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘All That Breathes’ follows two brothers who operate a bird sanctuary in New Delhi, India. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sffilm.org/year-round-programming/doc-stories/\">Doc Stories\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 3-6\u003c/em>\u003cbr>\nDevotees of nonfiction film will have ample opportunities to partake of real-world sagas this fall, between the \u003ca href=\"https://sfgreen2022.eventive.org/welcome\">Green Film Festival of San Francisco\u003c/a>’s (Oct. 6-16) globe-hopping array of environmental documentaries and the \u003ca href=\"https://sfdancefilmfest.org/\">San Francisco Dance Film Festival\u003c/a>’s (Oct. 28-Nov. 7) scintillating mix of portraits and performances. SFFILM’s Doc Stories casts its net beyond any specific niche to snare the latest high-profile works on any subject by well-known filmmakers and buzz-catching newcomers. This compact series avidly positions itself as a stop on the road to the Academy Awards due to the many Bay Area members of the Documentary branch. Regular folks benefit, too, from the unusually sophisticated post-film conversations on documentary practice and ethics. Keep your eyes on the skies for the possible inclusion, synced to its HBO premiere, of the Sundance World Cinema Grand Jury Prizewinner \u003cem>All That Breathes\u003c/em>, Shaunak Sen’s touching, poetic portrait of New Delhi brothers who save injured black kites.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RlOB3UALvrQ\u003c/p>\n\u003ch2>‘Black Panther: Wakanda Forever’\u003c/h2>\n\u003cp>\u003cem>Nov. 11\u003c/em>\u003cbr>\nSurely there’s room to include one blockbuster on our list. Yes, Oakland native Ryan Coogler’s hotly anticipated new film is a sequel, a superhero movie and a Marvel production. Yes, the death of Chadwick Boseman leaves a void in the Wakanda universe. Consequently, and thrillingly, the sequel foregrounds and centers the characters played by forces of nature Letitia Wright and Lupita Nyong’o. There’s every reason to anticipate that \u003cem>Black Panther: Wakanda Forever\u003c/em> (scripted by Coogler and Joe Robert Cole, who co-wrote the original) will be even more audacious, outspoken and galvanizing than the original. Yes, I know that runs counter to the Hollywood mode of business, but selling out isn’t in Coogler’s DNA.\u003c/p>\n\u003ch2>‘The Fabelmans’\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Nov. 23\u003c/em>\u003cbr>\nSteven Spielberg isn’t known as a writer—he last took pen to paper to adapt the \u003cem>A.I. Artificial Intelligence\u003c/em> screenplay 20 years ago—but who else could tell his semi-autobiographical tale of a Jewish boy growing up in wild and woolly Phoenix in the ’50s and ’60s? Thankfully, his longtime collaborator, Louisiana-raised Tony Award and Pulitzer Prize-winner Tony Kushner. Consequently, Spielberg’s contribution to the precious (in both senses of the word) genre of the formative years of film directors has potential to be much more than a lavish golden-hour ode to the ups and downs of the nuclear (age) family. Michelle Williams and Paul Dano play Sammy’s parents, with Seth Rogen in the key role of lad’s uncle. You’ll laugh, you’ll cry, you’ll remember a time when air conditioning was proof of God’s existence.\u003c/p>\n\n","blocks":[],"excerpt":"'Black Panther: Wakanda Forever,' 'Till,' a Sidney Poitier documentary and a Pasolini marathon are among this fall's Bay Area film highlights.","status":"publish","parent":0,"modified":1705006441,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":1581},"headData":{"title":"Leaping Into Drama: A Fall ’22 Movie Guide | KQED","description":"'Black Panther: Wakanda Forever,' 'Till,' a Sidney Poitier documentary and a Pasolini marathon are among this fall's Bay Area film highlights.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Leaping Into Drama: A Fall ’22 Movie Guide","datePublished":"2022-08-30T16:00:47.000Z","dateModified":"2024-01-11T20:54:01.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Fall Arts Guide 2022","sourceUrl":"https://www.kqed.org/fallarts2022","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13917642/fall-2022-movie-guide","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/fallarts2022\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cem>\u003cstrong>Find more of KQED’s picks for the best Fall 2022 events here\u003c/strong>\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>While blockbuster season in the movie business is year-round these days, studios increasingly reserve their adult-oriented character-driven films for fall and winter, when serious moviegoers celebrate the cooling temperatures as a herald of quality cinema.\u003c/p>\n\u003cp>But older audiences are proving reluctant to return to theaters so long as COVID variants circulate, while streaming has become the preferred platform for a portion of the public. So the state of movies and the health of theaters are open questions, even as those in the industry—not to mention film lovers—crave a return to normalcy.\u003c/p>\n\u003cp>Tempered optimism is the watchword, so my fall forecast is gripping drama with a chance of excitement.\u003c/p>\n\u003cfigure id=\"attachment_13918105\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918105\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-800x573.jpg\" alt=\"a still from a black and white movie of a woman and man, looking away from each other\" width=\"800\" height=\"573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-768x551.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-1536x1101.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001.jpg 1879w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from ‘Mamma Roma’ by Pier Paolo Pasolini. \u003ccite>(Courtesy Berkeley Art Museum and Pacific Film Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://apeconcerts.com/events/pasolini-100-220910/\">Pasolini 100\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10, Castro Theatre\u003c/em>\u003cbr>\nPier Paolo Pasolini was known in the U.S. merely as a provocative filmmaker; in his native Italy, he was an eminent (and devoutly controversial) public intellectual and social critic. A poet, essayist, novelist, playwright, actor, screenwriter and director, Pasolini remains a complicated, challenging figure 45 years after his unsolved death at the hands of a male prostitute. Cinema Italia SF commemorates his centennial with an all-day marathon spotlighting Pasolini’s early ’60s black-and-white dramas of Rome’s underclass, \u003cem>Mamma Roma\u003c/em> (Anna Magnani’s signature role) and \u003cem>Accatone\u003c/em>, and capped by the unflinching, notorious \u003cem>Saló, or the 100 Days of Sodom\u003c/em> (1976). \u003ca href=\"https://bampfa.org/program/pier-paolo-pasolini\">A BAMPFA retrospective\u003c/a> (Oct. 22-Nov. 27) offers even more chances to immerse yourself in Pasolini’s fascination with sex, violence, faith and power.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","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/ZIt0bGwe1rY'\n title='//www.youtube.com/embed/ZIt0bGwe1rY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.apple.com/tv-pr/originals/sidney/\">‘Sidney’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 23, Apple TV+\u003c/em>\u003cbr>\nOur personal reactions to movie stars reveal more about us—our fantasies, our prejudices—than them. Sidney Poitier’s career spanned the entirety of the second half of the 20th century and the enormous evolution in how Black people were portrayed, played and viewed onscreen. It’s impossible to conceive the tightrope Poitier walked in the ’50s and ’60s, playing dignified characters (Virgil Tibbs in \u003cem>In the Heat of the Night\u003c/em>, notably) who had to restrain their response to a diet of insults lest they scare white moviegoers—without losing his credibility with Black audiences. A successful director (\u003cem>Stir Crazy\u003c/em>) and a prominent civil rights activist, Poitier, who died in January, possessed an unshakable moral compass. Reginald Hudlin’s documentary introduces Poitier to a new audience, filtered through the voices of his contemporaries (Robert Redford, Barbra Streisand) and heirs (Denzel Washington, Spike Lee).\u003c/p>\n\u003cfigure id=\"attachment_13918106\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Whale_Final-Image-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918106\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Whale_Final-Image-800x601.jpg\" alt=\"a white man, Brendan Fraser, looks concerned\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-1536x1154.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-2048x1538.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-1920x1442.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brendan Fraser in Darren Aronofsky’s ‘The Whale.’ \u003ccite>(Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.mvff.com/\">Mill Valley Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 6-16, in theaters and online\u003c/em>\u003cbr>\nMarin County’s venerable fall blowout boasts several strong strands: female directors, local documentaries, music films, foreign-language sleepers. In addition, as fall marks the kickoff to awards season, MVFF has positioned itself over the last 15 years as the Bay Area venue of choice to premiere thoughtful, actor-powered dramas. This year’s star sightings could include Michelle Williams in Kelly Reichardt’s \u003cem>Showing Up\u003c/em>, Tilda Swinton in Joanna Hogg’s \u003cem>The Eternal Daughter\u003c/em>, Olivia Colman and/or Colin Firth in Sam Mendes’ \u003cem>Empire of Light\u003c/em> and Brendan Fraser in Darren Aronofsky’s \u003cem>The Whale\u003c/em>. Of note, MVFF is expanding its in-person events this year to BAMPFA in Berkeley and the Roxie Theater in San Francisco.\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/1QCa25CmONI'\n title='//www.youtube.com/embed/1QCa25CmONI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘The Lost King’\u003c/h2>\n\u003cp>\u003cem>TBD\u003c/em>\u003cbr>\nA potential candidate for MVFF’s opening or closing night slot, the new film from the underappreciated British director Stephen Frears is an expertly calibrated, comic yet touching portrait of female perseverance. Frears and his \u003cem>Philomena\u003c/em> collaborators, screenwriter Jeff Pope and co-writer and actor Steve Coogan, recreate contemporary writer Philippa Langley’s real-life obstacles and travails on her journey to uncovering the burial site of King Richard III (1452-85). Sally Hawkins (\u003cem>The Shape of Water\u003c/em>) plays the determined protagonist, aided by her husband (Coogan). Frears has a dry sense of humor, giving me hope that Sir Ian McKellen, who played Richard so brilliantly on stage and screen, makes an unbilled cameo as, say, a librarian or cab driver. (The audience for \u003cem>The Lost King\u003c/em> overlaps with the demographic that’s been the slowest to return to theaters, so the film may score more success on PVOD.)\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/rkQi6GBwmSA'\n title='//www.youtube.com/embed/rkQi6GBwmSA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Till’\u003c/h2>\n\u003cp>\u003cem>Oct. 14\u003c/em>\u003cbr>\nEmmett Till was just 14 when he was kidnapped, tortured and shot to death while visiting family in Mississippi on his summer vacation in 1955. One of the most heinous crimes in the endlessly brutal history of American racism, Emmett’s murder became a flashpoint for the entire country when his mother gave him a public funeral with an open casket back home in Chicago. Writer-producer-director Chinonye Chukwu’s follow-up to \u003cem>Clemency\u003c/em> (which starred Alfre Woodard as a prison warden) recounts the saga of another Black woman under unfathomable pressure, Mamie Till-Mobley (played by the estimable Danielle Deadwyler). The terrible events of 1955 continue to reverberate in the present day, and \u003cem>Till\u003c/em> will likely extend the conversation: Keith Beauchamp, who alleged in his 2005 documentary \u003cem>The Untold Story of Emmett Louis Till\u003c/em> that no fewer than 14 people were involved in the boy’s death, has a writing and producing credit.\u003c/p>\n\u003cfigure id=\"attachment_13918110\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918110\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-800x432.jpeg\" alt=\"a young white man and woman look at each other while leaning over the side of a swimming pool\" width=\"800\" height=\"432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-800x432.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-1020x551.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-160x86.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-768x415.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-1536x830.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-2048x1107.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-1920x1038.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Harry Styles and Emma Corrin in ‘My Policeman.’ \u003ccite>(Courtesy of Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘My Policeman’\u003c/h2>\n\u003cp>\u003cem>Oct. 21 in theaters, Nov. 4 on Amazon Prime Video\u003c/em>\u003cbr>\nThe esteemed British theater director Michael Grandage directs Ron Nyswaner’s adaptation of Bethan Roberts’ 2012 novel, though Harry Styles is the only name trending on Twitter. The Evesham heartthrob plays the title character—a married, closeted cop in 1950s Brighton who’s having an affair with a museum curator. Forty years after making a hash of things, the characters (now played by Linus Roache, Gina McKee and Rupert Everett) strain to alchemize regret into redemption. Regardless of the artfulness of the film’s structure, the performances are the key to its emotional punch. By the time Oscar nominations are announced, Styles may be trending everywhere.\u003c/p>\n\u003cfigure id=\"attachment_13917942\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917942\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/AllThatBreathes-800x449.jpg\" alt=\"A man in glasses stares at a bird known as a black kite.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes-1536x862.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘All That Breathes’ follows two brothers who operate a bird sanctuary in New Delhi, India. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sffilm.org/year-round-programming/doc-stories/\">Doc Stories\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 3-6\u003c/em>\u003cbr>\nDevotees of nonfiction film will have ample opportunities to partake of real-world sagas this fall, between the \u003ca href=\"https://sfgreen2022.eventive.org/welcome\">Green Film Festival of San Francisco\u003c/a>’s (Oct. 6-16) globe-hopping array of environmental documentaries and the \u003ca href=\"https://sfdancefilmfest.org/\">San Francisco Dance Film Festival\u003c/a>’s (Oct. 28-Nov. 7) scintillating mix of portraits and performances. SFFILM’s Doc Stories casts its net beyond any specific niche to snare the latest high-profile works on any subject by well-known filmmakers and buzz-catching newcomers. This compact series avidly positions itself as a stop on the road to the Academy Awards due to the many Bay Area members of the Documentary branch. Regular folks benefit, too, from the unusually sophisticated post-film conversations on documentary practice and ethics. Keep your eyes on the skies for the possible inclusion, synced to its HBO premiere, of the Sundance World Cinema Grand Jury Prizewinner \u003cem>All That Breathes\u003c/em>, Shaunak Sen’s touching, poetic portrait of New Delhi brothers who save injured black kites.\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/RlOB3UALvrQ'\n title='//www.youtube.com/embed/RlOB3UALvrQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Black Panther: Wakanda Forever’\u003c/h2>\n\u003cp>\u003cem>Nov. 11\u003c/em>\u003cbr>\nSurely there’s room to include one blockbuster on our list. Yes, Oakland native Ryan Coogler’s hotly anticipated new film is a sequel, a superhero movie and a Marvel production. Yes, the death of Chadwick Boseman leaves a void in the Wakanda universe. Consequently, and thrillingly, the sequel foregrounds and centers the characters played by forces of nature Letitia Wright and Lupita Nyong’o. There’s every reason to anticipate that \u003cem>Black Panther: Wakanda Forever\u003c/em> (scripted by Coogler and Joe Robert Cole, who co-wrote the original) will be even more audacious, outspoken and galvanizing than the original. Yes, I know that runs counter to the Hollywood mode of business, but selling out isn’t in Coogler’s DNA.\u003c/p>\n\u003ch2>‘The Fabelmans’\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Nov. 23\u003c/em>\u003cbr>\nSteven Spielberg isn’t known as a writer—he last took pen to paper to adapt the \u003cem>A.I. Artificial Intelligence\u003c/em> screenplay 20 years ago—but who else could tell his semi-autobiographical tale of a Jewish boy growing up in wild and woolly Phoenix in the ’50s and ’60s? Thankfully, his longtime collaborator, Louisiana-raised Tony Award and Pulitzer Prize-winner Tony Kushner. Consequently, Spielberg’s contribution to the precious (in both senses of the word) genre of the formative years of film directors has potential to be much more than a lavish golden-hour ode to the ups and downs of the nuclear (age) family. Michelle Williams and Paul Dano play Sammy’s parents, with Seth Rogen in the key role of lad’s uncle. You’ll laugh, you’ll cry, you’ll remember a time when air conditioning was proof of God’s existence.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13917642/fall-2022-movie-guide","authors":["22"],"categories":["arts_1","arts_74"],"tags":["arts_3563","arts_3670","arts_18294","arts_18457","arts_10278","arts_9669","arts_2701","arts_5544","arts_3465","arts_585"],"featImg":"arts_13918284","label":"source_arts_13917642"},"arts_13904323":{"type":"posts","id":"arts_13904323","meta":{"index":"posts_1591205157","site":"arts","id":"13904323","score":null,"sort":[1633647816000]},"guestAuthors":[],"slug":"mill-valley-film-festival-2021","title":"Now Playing! Mill Valley Serves Up Star Directors and Local Docs","publishDate":1633647816,"format":"standard","headTitle":"Now Playing! Mill Valley Serves Up Star Directors and Local Docs | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The \u003ca href=\"https://www.mvff.com\" rel=\"noopener noreferrer\" target=\"_blank\">Mill Valley Film Festival\u003c/a>, which opens today with its usual array of prestige pictures and starry artists, is typically a harbinger of the fall/winter conversation about Oscar front-runners. But the movie business is still slightly off its axis from the pandemic, with most eyes instead glued to the multiplex fates of James Bond and Marvel heroes.\u003c/p>\n\u003cp>[aside postID='arts_13901612']The Academy won’t even announce its nominations until Feb. 8 (five days before the next Super Bowl), with the awards ceremony March 27 (four days before baseball’s opening day). So we can expect the launch and orbit of serious movies to be protracted and prolonged. But that doesn’t mean you have to wait if you’re starved for meaty movies. \u003c/p>\n\u003cp>MVFF has nabbed over a dozen of the buzzier titles, in-person and online. Sandwiched between opening night’s \u003cem>\u003ca href=\"https://www.mvff.com/cyrano/\" rel=\"noopener noreferrer\" target=\"_blank\">Cyrano\u003c/a>\u003c/em> (starring Peter Dinklage) and closing night’s \u003cem>\u003ca href=\"https://www.mvff.com/the-french-dispatch/\" rel=\"noopener noreferrer\" target=\"_blank\">The French Dispatch\u003c/a>\u003c/em> (Oct. 17, just days before it opens in theaters) are these temptations: Jane Campion’s simmering Western \u003cem>\u003ca href=\"https://www.mvff.com/the-power-of-the-dog/\" rel=\"noopener noreferrer\" target=\"_blank\">The Power of the Dog\u003c/a>\u003c/em> (with Benedict Cumberbatch and Kirsten Dunst), Kenneth Branagh’s \u003cem>\u003ca href=\"https://www.mvff.com/belfast/\" rel=\"noopener noreferrer\" target=\"_blank\">Belfast\u003c/a>\u003c/em>, Paolo Sorrentino’s \u003cem>\u003ca href=\"https://www.mvff.com/the-hand-of-god/\" rel=\"noopener noreferrer\" target=\"_blank\">The Hand of God\u003c/a>\u003c/em>, Rebecca Hall’s Harlem Renaissance drama \u003cem>\u003ca href=\"https://www.mvff.com/passing/\" rel=\"noopener noreferrer\" target=\"_blank\">Passing\u003c/a>\u003c/em>, Maggie Gyllenhaal’s directorial debut \u003cem>\u003ca href=\"https://www.mvff.com/the-lost-daughter/\" rel=\"noopener noreferrer\" target=\"_blank\">The Lost Daughter\u003c/a>\u003c/em>, Sean Baker’s \u003cem>\u003ca href=\"https://www.mvff.com/red-rocket/\" rel=\"noopener noreferrer\" target=\"_blank\">Red Rocket\u003c/a>\u003c/em>, \u003cem>\u003ca href=\"https://www.mvff.com/the-electrical-life-of-louis-wain/\" rel=\"noopener noreferrer\" target=\"_blank\">The Electrical Life of Louis Wain\u003c/a>\u003c/em> (starring Cumberbatch and Claire Foy) and Kristen Stewart’s star turn in Pablo Larraín’s \u003cem>\u003ca href=\"https://www.mvff.com/spencer/\" rel=\"noopener noreferrer\" target=\"_blank\">Spencer\u003c/a>\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13904380\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Rusty-Murphy-as-Travis_1200.jpg\" alt=\"Black-and-white image of a man on the ground.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13904380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Rusty-Murphy-as-Travis_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Rusty-Murphy-as-Travis_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Rusty-Murphy-as-Travis_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Rusty-Murphy-as-Travis_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Rusty-Murphy-as-Travis_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rusty Murphy as Travis in Rob Nilsson’s ‘Center Divide.’ \u003ccite>(Courtesy MVFF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Every one of those films will get a theatrical release (not to mention a streaming slot), so you could seek out a few of the local films the festival devotes a chunk of its program to. \u003cem>\u003ca href=\"https://www.mvff.com/center-divide/\" rel=\"noopener noreferrer\" target=\"_blank\">Center Divide\u003c/a>\u003c/em>, the latest hand-wrapped parcel of poetry and grit from Rob Nilsson, launches its characters out on the open road looking for redemption and whatever comes their way. This stunningly shot film marks a kind of apotheosis in the untamed maverick’s long career in that it is simultaneously a portrait of wounded, damaged people stumbling around the Garden of Eden and heroic survivors traversing a post-apocalyptic landscape. \u003c/p>\n\u003cp>Unconventional local heroes are everywhere on the nonfiction side. \u003cem>\u003ca href=\"https://www.mvff.com/bad-attitude\" rel=\"noopener noreferrer\" target=\"_blank\">Bad Attitude: The Art of Spain Rodriguez\u003c/a>\u003c/em>, Susan Stern’s candid-to-a-point biography of her late husband, traces the iconoclastic creator of Trashman and Big Bitch from biker bars in his native Buffalo to underground papers in Manhattan to mural-painting in the Mission. Suzanne Joe Kai’s \u003cem>\u003ca href=\"https://www.mvff.com/like-a-rolling-stone/\" rel=\"noopener noreferrer\" target=\"_blank\">Like a Rolling Stone: The Life and Times of Ben Fong-Torres\u003c/a>\u003c/em> profiles the San Francisco journalist via a balanced blend of stardom and humility. \u003c/p>\n\u003cfigure id=\"attachment_13904379\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Bad-Attitude-PHOTO-Spain-painting-mural-by-Joe-Ramos_1200.jpg\" alt=\"\" width=\"1200\" height=\"830\" class=\"size-full wp-image-13904379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Bad-Attitude-PHOTO-Spain-painting-mural-by-Joe-Ramos_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Bad-Attitude-PHOTO-Spain-painting-mural-by-Joe-Ramos_1200-800x553.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Bad-Attitude-PHOTO-Spain-painting-mural-by-Joe-Ramos_1200-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Bad-Attitude-PHOTO-Spain-painting-mural-by-Joe-Ramos_1200-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Bad-Attitude-PHOTO-Spain-painting-mural-by-Joe-Ramos_1200-768x531.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Spain Rodriguez painting a mural in ‘Bad Attitude.’ \u003ccite>(Photo by Joe Ramos)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Every festival knows its audience, and the range of subject matter reminds us that the Mill Valley Film Festival takes place in Marin County. That’s not meant to be snide; name another place where there’s such passionate interest in spirituality (\u003cem>\u003ca href=\"https://www.mvff.com/mission-joy/\" rel=\"noopener noreferrer\" target=\"_blank\">Mission: Joy—Finding Happiness Hope in Troubled Times\u003c/a>\u003c/em>, featuring the Dalai Lama and Bishop Desmond Tutu), food (\u003cem>\u003ca href=\"https://www.mvff.com/julia/\" rel=\"noopener noreferrer\" target=\"_blank\">Julia\u003c/a>\u003c/em>), marijuana (\u003cem>\u003ca href=\"https://www.mvff.com/lady-buds/\" rel=\"noopener noreferrer\" target=\"_blank\">Lady Buds\u003c/a>\u003c/em>), the environment (\u003cem>\u003ca href=\"https://www.mvff.com/coextinction/\" rel=\"noopener noreferrer\" target=\"_blank\">Coextinction\u003c/a>\u003c/em>) \u003cem>and\u003c/em> music (Bob Sarles’ blues history \u003cem>\u003ca href=\"https://www.mvff.com/born-in-chicago/\" rel=\"noopener noreferrer\" target=\"_blank\">Born in Chicago\u003c/a>\u003c/em>).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Which of these movies will factor in the Academy Awards? That question seems less and less important every year, doesn’t it?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Mill Valley Film Festival takes place in person and online Oct. 7–17. \u003ca href=\"https://www.mvff.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"This year’s festival is full of meaty movies, including a slate of docs about unconventional local heroes.","status":"publish","parent":0,"modified":1705007640,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":596},"headData":{"title":"Guide to 2021 Mill Valley Film Festival | KQED","description":"This year’s festival is full of meaty movies, including a slate of docs about unconventional local heroes.","ogTitle":"Mill Valley Film Festival Serves Up Star Directors and Local Docs","ogDescription":"","ogImgId":"","twTitle":"Mill Valley Film Festival Serves Up Star Directors and Local Docs","twDescription":"","twImgId":"","socialTitle":"Guide to 2021 Mill Valley Film Festival %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Now Playing! Mill Valley Serves Up Star Directors and Local Docs","datePublished":"2021-10-07T23:03:36.000Z","dateModified":"2024-01-11T21:14:00.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13904323/mill-valley-film-festival-2021","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.mvff.com\" rel=\"noopener noreferrer\" target=\"_blank\">Mill Valley Film Festival\u003c/a>, which opens today with its usual array of prestige pictures and starry artists, is typically a harbinger of the fall/winter conversation about Oscar front-runners. But the movie business is still slightly off its axis from the pandemic, with most eyes instead glued to the multiplex fates of James Bond and Marvel heroes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13901612","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The Academy won’t even announce its nominations until Feb. 8 (five days before the next Super Bowl), with the awards ceremony March 27 (four days before baseball’s opening day). So we can expect the launch and orbit of serious movies to be protracted and prolonged. But that doesn’t mean you have to wait if you’re starved for meaty movies. \u003c/p>\n\u003cp>MVFF has nabbed over a dozen of the buzzier titles, in-person and online. Sandwiched between opening night’s \u003cem>\u003ca href=\"https://www.mvff.com/cyrano/\" rel=\"noopener noreferrer\" target=\"_blank\">Cyrano\u003c/a>\u003c/em> (starring Peter Dinklage) and closing night’s \u003cem>\u003ca href=\"https://www.mvff.com/the-french-dispatch/\" rel=\"noopener noreferrer\" target=\"_blank\">The French Dispatch\u003c/a>\u003c/em> (Oct. 17, just days before it opens in theaters) are these temptations: Jane Campion’s simmering Western \u003cem>\u003ca href=\"https://www.mvff.com/the-power-of-the-dog/\" rel=\"noopener noreferrer\" target=\"_blank\">The Power of the Dog\u003c/a>\u003c/em> (with Benedict Cumberbatch and Kirsten Dunst), Kenneth Branagh’s \u003cem>\u003ca href=\"https://www.mvff.com/belfast/\" rel=\"noopener noreferrer\" target=\"_blank\">Belfast\u003c/a>\u003c/em>, Paolo Sorrentino’s \u003cem>\u003ca href=\"https://www.mvff.com/the-hand-of-god/\" rel=\"noopener noreferrer\" target=\"_blank\">The Hand of God\u003c/a>\u003c/em>, Rebecca Hall’s Harlem Renaissance drama \u003cem>\u003ca href=\"https://www.mvff.com/passing/\" rel=\"noopener noreferrer\" target=\"_blank\">Passing\u003c/a>\u003c/em>, Maggie Gyllenhaal’s directorial debut \u003cem>\u003ca href=\"https://www.mvff.com/the-lost-daughter/\" rel=\"noopener noreferrer\" target=\"_blank\">The Lost Daughter\u003c/a>\u003c/em>, Sean Baker’s \u003cem>\u003ca href=\"https://www.mvff.com/red-rocket/\" rel=\"noopener noreferrer\" target=\"_blank\">Red Rocket\u003c/a>\u003c/em>, \u003cem>\u003ca href=\"https://www.mvff.com/the-electrical-life-of-louis-wain/\" rel=\"noopener noreferrer\" target=\"_blank\">The Electrical Life of Louis Wain\u003c/a>\u003c/em> (starring Cumberbatch and Claire Foy) and Kristen Stewart’s star turn in Pablo Larraín’s \u003cem>\u003ca href=\"https://www.mvff.com/spencer/\" rel=\"noopener noreferrer\" target=\"_blank\">Spencer\u003c/a>\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13904380\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Rusty-Murphy-as-Travis_1200.jpg\" alt=\"Black-and-white image of a man on the ground.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13904380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Rusty-Murphy-as-Travis_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Rusty-Murphy-as-Travis_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Rusty-Murphy-as-Travis_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Rusty-Murphy-as-Travis_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Rusty-Murphy-as-Travis_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rusty Murphy as Travis in Rob Nilsson’s ‘Center Divide.’ \u003ccite>(Courtesy MVFF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Every one of those films will get a theatrical release (not to mention a streaming slot), so you could seek out a few of the local films the festival devotes a chunk of its program to. \u003cem>\u003ca href=\"https://www.mvff.com/center-divide/\" rel=\"noopener noreferrer\" target=\"_blank\">Center Divide\u003c/a>\u003c/em>, the latest hand-wrapped parcel of poetry and grit from Rob Nilsson, launches its characters out on the open road looking for redemption and whatever comes their way. This stunningly shot film marks a kind of apotheosis in the untamed maverick’s long career in that it is simultaneously a portrait of wounded, damaged people stumbling around the Garden of Eden and heroic survivors traversing a post-apocalyptic landscape. \u003c/p>\n\u003cp>Unconventional local heroes are everywhere on the nonfiction side. \u003cem>\u003ca href=\"https://www.mvff.com/bad-attitude\" rel=\"noopener noreferrer\" target=\"_blank\">Bad Attitude: The Art of Spain Rodriguez\u003c/a>\u003c/em>, Susan Stern’s candid-to-a-point biography of her late husband, traces the iconoclastic creator of Trashman and Big Bitch from biker bars in his native Buffalo to underground papers in Manhattan to mural-painting in the Mission. Suzanne Joe Kai’s \u003cem>\u003ca href=\"https://www.mvff.com/like-a-rolling-stone/\" rel=\"noopener noreferrer\" target=\"_blank\">Like a Rolling Stone: The Life and Times of Ben Fong-Torres\u003c/a>\u003c/em> profiles the San Francisco journalist via a balanced blend of stardom and humility. \u003c/p>\n\u003cfigure id=\"attachment_13904379\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Bad-Attitude-PHOTO-Spain-painting-mural-by-Joe-Ramos_1200.jpg\" alt=\"\" width=\"1200\" height=\"830\" class=\"size-full wp-image-13904379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Bad-Attitude-PHOTO-Spain-painting-mural-by-Joe-Ramos_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Bad-Attitude-PHOTO-Spain-painting-mural-by-Joe-Ramos_1200-800x553.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Bad-Attitude-PHOTO-Spain-painting-mural-by-Joe-Ramos_1200-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Bad-Attitude-PHOTO-Spain-painting-mural-by-Joe-Ramos_1200-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Bad-Attitude-PHOTO-Spain-painting-mural-by-Joe-Ramos_1200-768x531.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Spain Rodriguez painting a mural in ‘Bad Attitude.’ \u003ccite>(Photo by Joe Ramos)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Every festival knows its audience, and the range of subject matter reminds us that the Mill Valley Film Festival takes place in Marin County. That’s not meant to be snide; name another place where there’s such passionate interest in spirituality (\u003cem>\u003ca href=\"https://www.mvff.com/mission-joy/\" rel=\"noopener noreferrer\" target=\"_blank\">Mission: Joy—Finding Happiness Hope in Troubled Times\u003c/a>\u003c/em>, featuring the Dalai Lama and Bishop Desmond Tutu), food (\u003cem>\u003ca href=\"https://www.mvff.com/julia/\" rel=\"noopener noreferrer\" target=\"_blank\">Julia\u003c/a>\u003c/em>), marijuana (\u003cem>\u003ca href=\"https://www.mvff.com/lady-buds/\" rel=\"noopener noreferrer\" target=\"_blank\">Lady Buds\u003c/a>\u003c/em>), the environment (\u003cem>\u003ca href=\"https://www.mvff.com/coextinction/\" rel=\"noopener noreferrer\" target=\"_blank\">Coextinction\u003c/a>\u003c/em>) \u003cem>and\u003c/em> music (Bob Sarles’ blues history \u003cem>\u003ca href=\"https://www.mvff.com/born-in-chicago/\" rel=\"noopener noreferrer\" target=\"_blank\">Born in Chicago\u003c/a>\u003c/em>).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Which of these movies will factor in the Academy Awards? That question seems less and less important every year, doesn’t it?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Mill Valley Film Festival takes place in person and online Oct. 7–17. \u003ca href=\"https://www.mvff.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13904323/mill-valley-film-festival-2021","authors":["22"],"programs":["arts_140"],"categories":["arts_1","arts_74"],"tags":["arts_10278","arts_2701","arts_585"],"featImg":"arts_13904378","label":"arts_140"},"arts_13903101":{"type":"posts","id":"arts_13903101","meta":{"index":"posts_1591205157","site":"arts","id":"13903101","score":null,"sort":[1630533026000]},"guestAuthors":[],"slug":"mill-valley-film-festival-plucks-promising-titles-from-festival-circuit","title":"Mill Valley Film Festival Plucks Promising Titles from Festival Circuit","publishDate":1630533026,"format":"standard","headTitle":"Mill Valley Film Festival Plucks Promising Titles from Festival Circuit | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Marin County’s long-running soirée is a supreme apple-picker, plucking the most promising titles from the Telluride, Venice, Toronto and New York festivals (which all take place in September) on their way to theatrical releases and end-of-year awards. The juicy offerings include Todd Haynes’ documentary \u003cem>The Velvet Underground\u003c/em> (opening Oct. 15 before streaming on Apple+), Denis Villeneuve’s take on Frank Herbert’s \u003cem>Dune\u003c/em> (Oct. 22) and Eve Husson’s adaptation of Graham Swift’s \u003cem>Mothering Sunday\u003c/em> (Nov. 19).\u003c/p>\n\u003cp>The dazzling list of women directors also includes Maggie Gyllenhaal (\u003cem>The Lost Daughter\u003c/em>), Rebecca Hall (\u003cem>Passing\u003c/em>, adapted from Harlem Renaissance author Nella Larsen’s 1929 novel) and Jane Campion (\u003cem>The Power of the Dog\u003c/em>). Release dates are forthcoming for all three films, with the latter two coming to Netflix.\u003c/p>\n\u003cp>MVFF also has the local premieres of a slew of Bay Area documentaries, including Susan Stern’s \u003cem>Bad Attitude: The Art of Spain Rodriguez\u003c/em>, Suzanne Joe Kai’s \u003cem>Like a Rolling Stone: The Life & Times of Ben Fong-Torres\u003c/em> and Andres Alegria and Abel Sanchez’s \u003cem>Song for Cesar\u003c/em>. Local filmmakers have been busy during the pandemic, and we’re about to reap the benefits.\u003c/p>\n\u003cp>\u003ci>The \u003ca href=\"https://www.mvff.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Mill Valley Film Festival\u003c/a> takes place Oct. 7–17 online and in-person.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The annual festival includes a the local premieres of a slew of Bay Area documentaries.","status":"publish","parent":0,"modified":1705007818,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":228},"headData":{"title":"Mill Valley Film Festival Plucks Promising Titles from Festival Circuit | KQED","description":"The annual festival includes a the local premieres of a slew of Bay Area documentaries.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Mill Valley Film Festival Plucks Promising Titles from Festival Circuit","datePublished":"2021-09-01T21:50:26.000Z","dateModified":"2024-01-11T21:16:58.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13903101/mill-valley-film-festival-plucks-promising-titles-from-festival-circuit","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Marin County’s long-running soirée is a supreme apple-picker, plucking the most promising titles from the Telluride, Venice, Toronto and New York festivals (which all take place in September) on their way to theatrical releases and end-of-year awards. The juicy offerings include Todd Haynes’ documentary \u003cem>The Velvet Underground\u003c/em> (opening Oct. 15 before streaming on Apple+), Denis Villeneuve’s take on Frank Herbert’s \u003cem>Dune\u003c/em> (Oct. 22) and Eve Husson’s adaptation of Graham Swift’s \u003cem>Mothering Sunday\u003c/em> (Nov. 19).\u003c/p>\n\u003cp>The dazzling list of women directors also includes Maggie Gyllenhaal (\u003cem>The Lost Daughter\u003c/em>), Rebecca Hall (\u003cem>Passing\u003c/em>, adapted from Harlem Renaissance author Nella Larsen’s 1929 novel) and Jane Campion (\u003cem>The Power of the Dog\u003c/em>). Release dates are forthcoming for all three films, with the latter two coming to Netflix.\u003c/p>\n\u003cp>MVFF also has the local premieres of a slew of Bay Area documentaries, including Susan Stern’s \u003cem>Bad Attitude: The Art of Spain Rodriguez\u003c/em>, Suzanne Joe Kai’s \u003cem>Like a Rolling Stone: The Life & Times of Ben Fong-Torres\u003c/em> and Andres Alegria and Abel Sanchez’s \u003cem>Song for Cesar\u003c/em>. Local filmmakers have been busy during the pandemic, and we’re about to reap the benefits.\u003c/p>\n\u003cp>\u003ci>The \u003ca href=\"https://www.mvff.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Mill Valley Film Festival\u003c/a> takes place Oct. 7–17 online and in-person.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13903101/mill-valley-film-festival-plucks-promising-titles-from-festival-circuit","authors":["22"],"programs":["arts_140"],"categories":["arts_1"],"tags":["arts_2701","arts_585"],"featImg":"arts_13902208","label":"arts_140"},"arts_13901612":{"type":"posts","id":"arts_13901612","meta":{"index":"posts_1591205157","site":"arts","id":"13901612","score":null,"sort":[1630522824000]},"guestAuthors":[],"slug":"festivals-premieres-and-highlights-of-bay-area-film-to-see-this-fall","title":"Bay Area Film Festivals and Premieres Worth Your While This Fall","publishDate":1630522824,"format":"standard","headTitle":"Bay Area Film Festivals and Premieres Worth Your While This Fall | KQED","labelTerm":{},"content":"\u003cp>Just a few months ago, theater chains and distributors (especially the rapacious studios) were salivating about the turnstile-spinning, popcorn-chomping return of the masses to the multiplex. A few summer superheroes were primed to light up the box office, setting the stage for a steady parade of fall moneymakers, holiday hits and executive Christmas bonuses.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/fallarts2021\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13901773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>\u003c/p>\n\u003cp>Then came the delta variant, possibly postponing the storybook ending yet again. Film festivals have devised a dual-platform approach, with some in-person screenings and a ramped-up online program. The studios, meanwhile, are agonizing over the big, expensive movies (like the latest James Bond adventure, gathering dust on a shelf for the last year and a half) they’re counting on to mint millions in October—if, and only if, theatergoers feel safe crowded together (with or without masks).\u003c/p>\n\u003cp>This is not to overlook streaming, which is a permanent part of the landscape now. But it can never replace the big-screen experience of sitting in the dark with strangers. Here are the highlights of what’s headed our way in the next couple months, that is, if the schedule holds.\u003c/p>\n\u003cp>\u003ci>\u003cb>Reminder:\u003c/b> COVID precautions remain in flux. Proof of vaccination is a requirement for many indoor events. Before making plans, and again before arrival, be sure to check event websites for the latest protocols.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/AXhpTZeG4eg\u003c/p>\n\u003ch2>\u003ca href=\"https://www.20thcenturystudios.com/movies/everybodys-talking-about-jamie\" rel=\"noopener noreferrer\" target=\"_blank\">‘Everybody’s Talking About Jamie’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Limited theatrical release Sept. 10; streaming on Amazon Prime Sept. 17\u003c/i>\u003c/p>\n\u003cp>Jamie Campbell knew who he was in high school in the English town of Bishop Auckland, and he resolved to express it. Supported by his mum (though not his dad) and accompanied by a film crew—a protective strategy Jamie devised, and arranged by pitching a documentary to a production company—he wore a dress to prom and made his drag debut as Fifi la True. \u003cem>\u003ca href=\"https://www.amazon.com/Jamie-Drag-Queen-at-16/dp/B07RX3H932\" rel=\"noopener noreferrer\" target=\"_blank\">Jamie: Drag Queen at 16\u003c/a>\u003c/em> aired on British TV in 2011, inspiring Sheffield theater director Jonathan Butterell to create the exuberant, affirming 2017 musical that went on to become a West End hit. Butterell’s screen adaptation of the same name, starring newcomer Max Harwood and featuring Richard E. Grant as the confident queen who takes Jamie under his wing, precedes the musical’s North American premiere, slated for L.A.’s Ahmanson Theatre in January. \u003c/p>\n\u003cfigure id=\"attachment_13902155\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/4-USE-RL-Marti%CC%81nez1_1200.jpg\" alt=\"View of forest with colorful, smoky overlay.\" width=\"1200\" height=\"724\" class=\"size-full wp-image-13902155\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200-1020x615.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200-768x463.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">J.M. Martínez, ‘Recursive Lattice.’ \u003ccite>(SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfcinematheque.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Crossroads\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Livestreamed Sept. 17–23\u003cbr>\nIn-person shows Oct. 16–17 at the Roxie Theater, San Francisco\u003cbr>\nMost programs online through Oct. 21\u003c/i>\u003c/p>\n\u003cp>Sixty years young, San Francisco Cinematheque keeps the flame of avant-garde film and video alive and aloft. It’s more of a beacon, really, as the long-running Crossroads festival attracts a remarkable range of new short works from established and young filmmakers around the world. The lineup features world premieres by Takahiro Suzuki, Jennie MaryTai Liu, Julia Dogra-Brazell and J.M. Martínez, among others. Experimental film is the least-commercial form of moviemaking—although its stylistic and technical innovations are routinely co-opted by ad agencies—and arguably the purest. \u003c/p>\n\u003cp>https://youtu.be/eMMLRnXPPJk\u003c/p>\n\u003ch2>\u003ca href=\"https://www.searchlightpictures.com/theeyesoftammyfaye/\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Eyes of Tammy Faye’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>In theaters Sept. 17\u003c/i>\u003c/p>\n\u003cp>It’s anybody’s guess, at this late date, if the late evangelist and eyelash fashionista Tammy Faye Bakker is more revered in queer or Evangelical circles. Jessica Chastain channels our heroine, with Andrew Garfield playing hubby Jim and Vincent D’Onofrio inhabiting the snake skin of Jerry Falwell, in Michael Showalter’s moving saga of a crisis of prosperity gospel—I mean, faith.\u003c/p>\n\u003cfigure id=\"attachment_13902249\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200.jpg\" alt=\"Three teenagers on a suburban street, one in a cheerleading uniform.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13902249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Inde Navarrette in the short film ‘#WHITINA,’ directed by J. Sean Smith. \u003ccite>(Courtesy SF Latino Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.cinemassf.org/\" rel=\"noopener noreferrer\" target=\"_blank\">SF Latino Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 1–17 online and in-person\u003c/i>\u003c/p>\n\u003cp>There’s an astonishing depth and breadth of narrative filmmaking in Latin and South America that people in this country are often oblivious to. That’s especially regrettable given 1) the simplistic headlines that drive our shallow understanding of life in the southern hemisphere and 2) its geographic proximity. Cine+Mas’ annual festival compiles a cornucopia of small treasures for local audiences, sprinkled with fiction and documentary portraits of Latinx life in the U.S. The 13th edition promises to be, as always, vibrant and tough-minded.\u003c/p>\n\u003cfigure id=\"attachment_13902161\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/SeriousMoviesCombo_1800.jpg\" alt=\"\" width=\"1800\" height=\"450\" class=\"size-full wp-image-13902161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-800x200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-1020x255.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-160x40.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-768x192.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-1536x384.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Stills (L–R) from ‘The Many Saints of Newark,’ ‘No Time to Die’ and ‘The Last Duel’ prove all films with a blue tinge should be taken seriously. \u003ccite>(Warner Bros. / Universal Pictures / 20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.warnerbros.com/movies/many-saints-newark\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Many Saints of Newark,’\u003c/a> \u003ca href=\"https://www.007.com/no-time-to-die/\" rel=\"noopener noreferrer\" target=\"_blank\">‘No Time to Die’\u003c/a> & \u003ca href=\"https://www.20thcenturystudios.com/movies/the-last-duel\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Last Duel’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 1; Oct. 8; Oct. 15, respectively\u003ci>\u003c/i>\u003c/i>\u003c/p>\n\u003cp>October brings what passes for mainstream adult entertainment: Violent action with a thin veneer of serious, deep themes. First up is the Sopranos prequel that nobody asked for, with Alessandro Nivola, Vera Farmiga and Corey Stoll doing the heavy lifting and Michael Gandolfini as Young Tony. \u003cem>No Time to Die\u003c/em> is the aforementioned Bond flick, with Daniel Craig playing 007 for the last time and Oakland-born Cary Joji Fukunaga at the helm for the first time. The trifecta is completed by Ridley Scott’s \u003cem>The Last Duel\u003c/em>, which unfolds in 14th-century France and involves honor, betrayal, a woman asserting her free will and a duel. So of course Matt Damon, Adam Driver and Ben Affleck play the leads (alongside Jodie Comer). Nothing to do with Affleck and Damon penning the script, with the help of Nicole Holofcener. I don’t suppose France would ever recall their ambassador over a movie, but it’s an amusing fantasy.\u003c/p>\n\u003cfigure id=\"attachment_13902208\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13902208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Rebecca Hall’s ‘Passing,’ featuring Clare (Ruth Negga) and Irene (Tessa Thompson). \u003ccite>(Courtesy Mill Valley Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.mvff.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Mill Valley Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 7–17 online and in-person\u003c/i>\u003c/p>\n\u003cp>Marin County’s long-running soirée is a supreme apple-picker, plucking the most promising titles from the Telluride, Venice, Toronto and New York festivals (which all take place in September) on their way to theatrical releases and end-of-year awards. The juicy offerings include Todd Haynes’ documentary \u003cem>The Velvet Underground\u003c/em> (opening Oct. 15 before streaming on Apple+), Denis Villeneuve’s take on Frank Herbert’s \u003cem>Dune\u003c/em> (Oct. 22) and Eve Husson’s adaptation of Graham Swift’s \u003cem>Mothering Sunday\u003c/em> (Nov. 19).\u003c/p>\n\u003cp>The dazzling list of women directors also includes Maggie Gyllenhaal (\u003cem>The Lost Daughter\u003c/em>), Rebecca Hall (\u003cem>Passing\u003c/em>, adapted from Harlem Renaissance author Nella Larsen’s 1929 novel) and Jane Campion (\u003cem>The Power of the Dog\u003c/em>). Release dates are forthcoming for all three films, with the latter two coming to Netflix.\u003c/p>\n\u003cp>MVFF also has the local premieres of a slew of Bay Area documentaries, including Susan Stern’s \u003cem>Bad Attitude: The Art of Spain Rodriguez\u003c/em>, Suzanne Joe Kai’s \u003cem>Like a Rolling Stone: The Life & Times of Ben Fong-Torres\u003c/em> and Andres Alegria and Abel Sanchez’s \u003cem>Song for Cesar\u003c/em>. Local filmmakers have been busy during the pandemic, and we’re about to reap the benefits.\u003c/p>\n\u003cfigure id=\"attachment_13902189\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13902189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Bangarra Dance Ensemble performing ‘Whistler’ from ‘Ones Country.’ \u003ccite>(Daniel Boud)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfdancefilmfest.org/\" rel=\"noopener noreferrer\" target=\"_blank\">SF Dance Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 15–24 in-theater screenings and online through Marquee TV\u003c/i>\u003c/p>\n\u003cp>The growth of the SFDFF’s programming, in good times and pandemic times, is one of the more impressive developments on the local film scene. Yes, the vast majority of the 123 pieces (from 25 countries) are shorts, but the variety of approaches (both choreographic and cinematic) in a single program is an enticement for audiences (although no less of a challenge for programmers). Feature-length offerings include the captivating Bollywood fable \u003cem>Natyam\u003c/em> and the Australian documentary \u003cem>Firestarter: The Story of Bangarra\u003c/em>, which salutes the dance company forever changed by three Aboriginal brothers over 30 years ago. The SFDFF also screens the recent docs \u003cem>Ailey\u003c/em> and \u003cem>Can You Bring It? Bill T. Jones and D-Man in the Waters\u003c/em> for those who missed them the first time around.\u003c/p>\n\u003cp>https://youtu.be/TcPk2p0Zaw4\u003c/p>\n\u003ch2>\u003ca href=\"https://www.searchlightpictures.com/thefrenchdispatch/\" rel=\"noopener noreferrer\" target=\"_blank\">‘The French Dispatch’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Opens Oct. 22\u003c/i>\u003c/p>\n\u003cp>Wes Anderson’s latest obsessively designed gingerbread house of a movie revolves around a fictional literary magazine published in the last century by American expatriates in a French town. His regular retinue of stars playing oddballs (Bill Murray, Jason Schwartzman, Elisabeth Moss, Owen Wilson, Anjelica Huston) is abetted by Frances McDormand, Benicio del Toro, Jeffery Wright, Timothée Chalemet and Gallic stars Mathieu Amalric and Léa Seydoux. Whether they infuse the twee proceedings with life and emotion is both the key question and beside the point: Anderson’s movies are an inside joke, and you know if you get them (and like them) or not.\u003c/p>\n\u003cp>https://youtu.be/Lagauhb5GyY\u003c/p>\n\u003ch2>\u003ca href=\"https://neonrated.com/films/spencer\" rel=\"noopener noreferrer\" target=\"_blank\">‘Spencer’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Opens Nov. 5\u003c/i>\u003c/p>\n\u003cp>A decade or so ago, when she was winsomely emoting in the \u003cem>Twilight\u003c/em> movies, nobody could have imagined Kristen Stewart would someday be an Oscar candidate. Especially in one of those emotionally fraught, home-for-the-holidays movies. Ah, but what if the home is, uh, a palace? (Sandringham Estate, actually.) Stewart plays Princess Diana at a low point in her marriage to Prince Charles (Jack Farthing) in this speculative drama penned by Steven Knight (\u003cstrong>Peaky Blinders\u003c/strong>). The Chilean director Pablo Larraín (\u003cem>Jackie\u003c/em>, \u003cem>Ema\u003c/em>) continues his recent exploration of women in desperate circumstances asserting their power and claiming their independence.\u003c/p>\n\u003cp>https://youtu.be/kAJXFRshQfw\u003c/p>\n\u003ch2>\u003ca href=\"https://www.netflix.com/title/81149184\" rel=\"noopener noreferrer\" target=\"_blank\">‘tick, tick…BOOM!’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Limited theatrical release Nov. 12\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Netflix drops Lin-Manuel Miranda’s directorial debut, adapted from Jonathan Larson’s early-’90s autobiographical musical, into theaters for a qualifying run for little gold statues before streaming it far and wide Nov. 19. Larson wrote \u003cem>tick, tick…BOOM!\u003c/em> to expunge his disappointment and frustration after his previous musical didn’t receive a New York production. He did go on to have the success he wanted with \u003cem>Rent\u003c/em>, but couldn’t enjoy it. The day of its first off-Broadway preview, Larsen died of a misdiagnosed heart condition. Don’t let it bring you down: Andrew Garfield (as Jon) and Bradley Whitford (as Stephen Sondheim) lead the cast of Miranda’s homage to creativity, ambition and the vagaries of love.\u003c/p>\n\n","blocks":[],"excerpt":"Our fall film guide is full of local fests, long-delayed big-screen premieres and plenty of streaming options.","status":"publish","parent":0,"modified":1705007824,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":29,"wordCount":1750},"headData":{"title":"Bay Area Film Festivals and Premieres Worth Your While This Fall | KQED","description":"Our fall film guide is full of local fests, long-delayed big-screen premieres and plenty of streaming options.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bay Area Film Festivals and Premieres Worth Your While This Fall","datePublished":"2021-09-01T19:00:24.000Z","dateModified":"2024-01-11T21:17:04.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Fall Arts Guide 2021","sourceUrl":"https://www.kqed.org/arts/tag/fallarts2021","sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13901612/festivals-premieres-and-highlights-of-bay-area-film-to-see-this-fall","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just a few months ago, theater chains and distributors (especially the rapacious studios) were salivating about the turnstile-spinning, popcorn-chomping return of the masses to the multiplex. A few summer superheroes were primed to light up the box office, setting the stage for a steady parade of fall moneymakers, holiday hits and executive Christmas bonuses.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/fallarts2021\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13901773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>\u003c/p>\n\u003cp>Then came the delta variant, possibly postponing the storybook ending yet again. Film festivals have devised a dual-platform approach, with some in-person screenings and a ramped-up online program. The studios, meanwhile, are agonizing over the big, expensive movies (like the latest James Bond adventure, gathering dust on a shelf for the last year and a half) they’re counting on to mint millions in October—if, and only if, theatergoers feel safe crowded together (with or without masks).\u003c/p>\n\u003cp>This is not to overlook streaming, which is a permanent part of the landscape now. But it can never replace the big-screen experience of sitting in the dark with strangers. Here are the highlights of what’s headed our way in the next couple months, that is, if the schedule holds.\u003c/p>\n\u003cp>\u003ci>\u003cb>Reminder:\u003c/b> COVID precautions remain in flux. Proof of vaccination is a requirement for many indoor events. Before making plans, and again before arrival, be sure to check event websites for the latest protocols.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","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/AXhpTZeG4eg'\n title='//www.youtube.com/embed/AXhpTZeG4eg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.20thcenturystudios.com/movies/everybodys-talking-about-jamie\" rel=\"noopener noreferrer\" target=\"_blank\">‘Everybody’s Talking About Jamie’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Limited theatrical release Sept. 10; streaming on Amazon Prime Sept. 17\u003c/i>\u003c/p>\n\u003cp>Jamie Campbell knew who he was in high school in the English town of Bishop Auckland, and he resolved to express it. Supported by his mum (though not his dad) and accompanied by a film crew—a protective strategy Jamie devised, and arranged by pitching a documentary to a production company—he wore a dress to prom and made his drag debut as Fifi la True. \u003cem>\u003ca href=\"https://www.amazon.com/Jamie-Drag-Queen-at-16/dp/B07RX3H932\" rel=\"noopener noreferrer\" target=\"_blank\">Jamie: Drag Queen at 16\u003c/a>\u003c/em> aired on British TV in 2011, inspiring Sheffield theater director Jonathan Butterell to create the exuberant, affirming 2017 musical that went on to become a West End hit. Butterell’s screen adaptation of the same name, starring newcomer Max Harwood and featuring Richard E. Grant as the confident queen who takes Jamie under his wing, precedes the musical’s North American premiere, slated for L.A.’s Ahmanson Theatre in January. \u003c/p>\n\u003cfigure id=\"attachment_13902155\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/4-USE-RL-Marti%CC%81nez1_1200.jpg\" alt=\"View of forest with colorful, smoky overlay.\" width=\"1200\" height=\"724\" class=\"size-full wp-image-13902155\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200-1020x615.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200-768x463.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">J.M. Martínez, ‘Recursive Lattice.’ \u003ccite>(SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfcinematheque.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Crossroads\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Livestreamed Sept. 17–23\u003cbr>\nIn-person shows Oct. 16–17 at the Roxie Theater, San Francisco\u003cbr>\nMost programs online through Oct. 21\u003c/i>\u003c/p>\n\u003cp>Sixty years young, San Francisco Cinematheque keeps the flame of avant-garde film and video alive and aloft. It’s more of a beacon, really, as the long-running Crossroads festival attracts a remarkable range of new short works from established and young filmmakers around the world. The lineup features world premieres by Takahiro Suzuki, Jennie MaryTai Liu, Julia Dogra-Brazell and J.M. Martínez, among others. Experimental film is the least-commercial form of moviemaking—although its stylistic and technical innovations are routinely co-opted by ad agencies—and arguably the purest. \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/eMMLRnXPPJk'\n title='//www.youtube.com/embed/eMMLRnXPPJk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.searchlightpictures.com/theeyesoftammyfaye/\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Eyes of Tammy Faye’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>In theaters Sept. 17\u003c/i>\u003c/p>\n\u003cp>It’s anybody’s guess, at this late date, if the late evangelist and eyelash fashionista Tammy Faye Bakker is more revered in queer or Evangelical circles. Jessica Chastain channels our heroine, with Andrew Garfield playing hubby Jim and Vincent D’Onofrio inhabiting the snake skin of Jerry Falwell, in Michael Showalter’s moving saga of a crisis of prosperity gospel—I mean, faith.\u003c/p>\n\u003cfigure id=\"attachment_13902249\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200.jpg\" alt=\"Three teenagers on a suburban street, one in a cheerleading uniform.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13902249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Inde Navarrette in the short film ‘#WHITINA,’ directed by J. Sean Smith. \u003ccite>(Courtesy SF Latino Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.cinemassf.org/\" rel=\"noopener noreferrer\" target=\"_blank\">SF Latino Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 1–17 online and in-person\u003c/i>\u003c/p>\n\u003cp>There’s an astonishing depth and breadth of narrative filmmaking in Latin and South America that people in this country are often oblivious to. That’s especially regrettable given 1) the simplistic headlines that drive our shallow understanding of life in the southern hemisphere and 2) its geographic proximity. Cine+Mas’ annual festival compiles a cornucopia of small treasures for local audiences, sprinkled with fiction and documentary portraits of Latinx life in the U.S. The 13th edition promises to be, as always, vibrant and tough-minded.\u003c/p>\n\u003cfigure id=\"attachment_13902161\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/SeriousMoviesCombo_1800.jpg\" alt=\"\" width=\"1800\" height=\"450\" class=\"size-full wp-image-13902161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-800x200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-1020x255.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-160x40.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-768x192.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-1536x384.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Stills (L–R) from ‘The Many Saints of Newark,’ ‘No Time to Die’ and ‘The Last Duel’ prove all films with a blue tinge should be taken seriously. \u003ccite>(Warner Bros. / Universal Pictures / 20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.warnerbros.com/movies/many-saints-newark\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Many Saints of Newark,’\u003c/a> \u003ca href=\"https://www.007.com/no-time-to-die/\" rel=\"noopener noreferrer\" target=\"_blank\">‘No Time to Die’\u003c/a> & \u003ca href=\"https://www.20thcenturystudios.com/movies/the-last-duel\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Last Duel’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 1; Oct. 8; Oct. 15, respectively\u003ci>\u003c/i>\u003c/i>\u003c/p>\n\u003cp>October brings what passes for mainstream adult entertainment: Violent action with a thin veneer of serious, deep themes. First up is the Sopranos prequel that nobody asked for, with Alessandro Nivola, Vera Farmiga and Corey Stoll doing the heavy lifting and Michael Gandolfini as Young Tony. \u003cem>No Time to Die\u003c/em> is the aforementioned Bond flick, with Daniel Craig playing 007 for the last time and Oakland-born Cary Joji Fukunaga at the helm for the first time. The trifecta is completed by Ridley Scott’s \u003cem>The Last Duel\u003c/em>, which unfolds in 14th-century France and involves honor, betrayal, a woman asserting her free will and a duel. So of course Matt Damon, Adam Driver and Ben Affleck play the leads (alongside Jodie Comer). Nothing to do with Affleck and Damon penning the script, with the help of Nicole Holofcener. I don’t suppose France would ever recall their ambassador over a movie, but it’s an amusing fantasy.\u003c/p>\n\u003cfigure id=\"attachment_13902208\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13902208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Rebecca Hall’s ‘Passing,’ featuring Clare (Ruth Negga) and Irene (Tessa Thompson). \u003ccite>(Courtesy Mill Valley Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.mvff.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Mill Valley Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 7–17 online and in-person\u003c/i>\u003c/p>\n\u003cp>Marin County’s long-running soirée is a supreme apple-picker, plucking the most promising titles from the Telluride, Venice, Toronto and New York festivals (which all take place in September) on their way to theatrical releases and end-of-year awards. The juicy offerings include Todd Haynes’ documentary \u003cem>The Velvet Underground\u003c/em> (opening Oct. 15 before streaming on Apple+), Denis Villeneuve’s take on Frank Herbert’s \u003cem>Dune\u003c/em> (Oct. 22) and Eve Husson’s adaptation of Graham Swift’s \u003cem>Mothering Sunday\u003c/em> (Nov. 19).\u003c/p>\n\u003cp>The dazzling list of women directors also includes Maggie Gyllenhaal (\u003cem>The Lost Daughter\u003c/em>), Rebecca Hall (\u003cem>Passing\u003c/em>, adapted from Harlem Renaissance author Nella Larsen’s 1929 novel) and Jane Campion (\u003cem>The Power of the Dog\u003c/em>). Release dates are forthcoming for all three films, with the latter two coming to Netflix.\u003c/p>\n\u003cp>MVFF also has the local premieres of a slew of Bay Area documentaries, including Susan Stern’s \u003cem>Bad Attitude: The Art of Spain Rodriguez\u003c/em>, Suzanne Joe Kai’s \u003cem>Like a Rolling Stone: The Life & Times of Ben Fong-Torres\u003c/em> and Andres Alegria and Abel Sanchez’s \u003cem>Song for Cesar\u003c/em>. Local filmmakers have been busy during the pandemic, and we’re about to reap the benefits.\u003c/p>\n\u003cfigure id=\"attachment_13902189\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13902189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Bangarra Dance Ensemble performing ‘Whistler’ from ‘Ones Country.’ \u003ccite>(Daniel Boud)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfdancefilmfest.org/\" rel=\"noopener noreferrer\" target=\"_blank\">SF Dance Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 15–24 in-theater screenings and online through Marquee TV\u003c/i>\u003c/p>\n\u003cp>The growth of the SFDFF’s programming, in good times and pandemic times, is one of the more impressive developments on the local film scene. Yes, the vast majority of the 123 pieces (from 25 countries) are shorts, but the variety of approaches (both choreographic and cinematic) in a single program is an enticement for audiences (although no less of a challenge for programmers). Feature-length offerings include the captivating Bollywood fable \u003cem>Natyam\u003c/em> and the Australian documentary \u003cem>Firestarter: The Story of Bangarra\u003c/em>, which salutes the dance company forever changed by three Aboriginal brothers over 30 years ago. The SFDFF also screens the recent docs \u003cem>Ailey\u003c/em> and \u003cem>Can You Bring It? Bill T. Jones and D-Man in the Waters\u003c/em> for those who missed them the first time around.\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/TcPk2p0Zaw4'\n title='//www.youtube.com/embed/TcPk2p0Zaw4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.searchlightpictures.com/thefrenchdispatch/\" rel=\"noopener noreferrer\" target=\"_blank\">‘The French Dispatch’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Opens Oct. 22\u003c/i>\u003c/p>\n\u003cp>Wes Anderson’s latest obsessively designed gingerbread house of a movie revolves around a fictional literary magazine published in the last century by American expatriates in a French town. His regular retinue of stars playing oddballs (Bill Murray, Jason Schwartzman, Elisabeth Moss, Owen Wilson, Anjelica Huston) is abetted by Frances McDormand, Benicio del Toro, Jeffery Wright, Timothée Chalemet and Gallic stars Mathieu Amalric and Léa Seydoux. Whether they infuse the twee proceedings with life and emotion is both the key question and beside the point: Anderson’s movies are an inside joke, and you know if you get them (and like them) or not.\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/Lagauhb5GyY'\n title='//www.youtube.com/embed/Lagauhb5GyY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://neonrated.com/films/spencer\" rel=\"noopener noreferrer\" target=\"_blank\">‘Spencer’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Opens Nov. 5\u003c/i>\u003c/p>\n\u003cp>A decade or so ago, when she was winsomely emoting in the \u003cem>Twilight\u003c/em> movies, nobody could have imagined Kristen Stewart would someday be an Oscar candidate. Especially in one of those emotionally fraught, home-for-the-holidays movies. Ah, but what if the home is, uh, a palace? (Sandringham Estate, actually.) Stewart plays Princess Diana at a low point in her marriage to Prince Charles (Jack Farthing) in this speculative drama penned by Steven Knight (\u003cstrong>Peaky Blinders\u003c/strong>). The Chilean director Pablo Larraín (\u003cem>Jackie\u003c/em>, \u003cem>Ema\u003c/em>) continues his recent exploration of women in desperate circumstances asserting their power and claiming their independence.\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/kAJXFRshQfw'\n title='//www.youtube.com/embed/kAJXFRshQfw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.netflix.com/title/81149184\" rel=\"noopener noreferrer\" target=\"_blank\">‘tick, tick…BOOM!’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Limited theatrical release Nov. 12\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Netflix drops Lin-Manuel Miranda’s directorial debut, adapted from Jonathan Larson’s early-’90s autobiographical musical, into theaters for a qualifying run for little gold statues before streaming it far and wide Nov. 19. Larson wrote \u003cem>tick, tick…BOOM!\u003c/em> to expunge his disappointment and frustration after his previous musical didn’t receive a New York production. He did go on to have the success he wanted with \u003cem>Rent\u003c/em>, but couldn’t enjoy it. The day of its first off-Broadway preview, Larsen died of a misdiagnosed heart condition. Don’t let it bring you down: Andrew Garfield (as Jon) and Bradley Whitford (as Stephen Sondheim) lead the cast of Miranda’s homage to creativity, ambition and the vagaries of love.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13901612/festivals-premieres-and-highlights-of-bay-area-film-to-see-this-fall","authors":["22"],"categories":["arts_1","arts_74"],"tags":["arts_5051","arts_15307","arts_10278","arts_977","arts_1006","arts_2701","arts_3465","arts_5710","arts_585"],"featImg":"arts_13902209","label":"source_arts_13901612"},"arts_13887592":{"type":"posts","id":"arts_13887592","meta":{"index":"posts_1591205157","site":"arts","id":"13887592","score":null,"sort":[1602112586000]},"guestAuthors":[],"slug":"now-playing-mill-valley-and-drunken-fests-on-tap-radha-on-the-home-screen","title":"Now Playing! Mill Valley and Drunken Fests on Tap, Radha on the Home Screen","publishDate":1602112586,"format":"standard","headTitle":"Now Playing! Mill Valley and Drunken Fests on Tap, Radha on the Home Screen | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Rescheduled, rejiggered and reimagined, the fall movie calendar nonetheless looks a lot like it does in a normal year: Festivals lined up like planes on a tarmac, with new releases dotting the horizon. It’s getting to be desperate days for theaters, but film fans are still well supplied.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.mvff.com\" rel=\"noopener noreferrer\" target=\"_blank\">Mill Valley Film Festival\u003c/a>\u003c/b>\u003cbr>\nOct. 8–18\u003cbr>\nStreaming and drive-in\u003c/p>\n\u003cp>The pandemic has torpedoed two signature elements of Marin County’s laidback extravaganza: the live concerts at Sweetwater linked to music-based films and the red-carpet parade of Oscar-hopeful stars. The latter, at least, has been safely transposed online, which means you can take in interviews with genuine giants from your couch.\u003c/p>\n\u003cp>The stargazer alert includes tributees Dame Judi Dench (\u003cem>Blithe Spirit\u003c/em>), Italian immortal Sophia Loren, Viola Davis, Anthony Hopkins (\u003cem>The Father\u003c/em>) and Kate Winslet (\u003cem>Ammonite\u003c/em>). The other honorees are Regina King (\u003cem>One Night in Miami\u003c/em>), local thespian Delroy Lindo, Irish actress and writer Clare Dunne (\u003cem>Herself\u003c/em>) Aaron Sorkin and Frieda Lee Mock (\u003cem>Ruth: Justice Ginsburg in Her Own Words\u003c/em>).\u003c/p>\n\u003cfigure id=\"attachment_13887615\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/01anomadland_rec709_100nits_239FF_still_01_20200723_R2_rgb_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13887615\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/01anomadland_rec709_100nits_239FF_still_01_20200723_R2_rgb_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/01anomadland_rec709_100nits_239FF_still_01_20200723_R2_rgb_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/01anomadland_rec709_100nits_239FF_still_01_20200723_R2_rgb_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/01anomadland_rec709_100nits_239FF_still_01_20200723_R2_rgb_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/01anomadland_rec709_100nits_239FF_still_01_20200723_R2_rgb_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Frances McDormand in Chloé Zhao’s ‘Nomadland.’ \u003ccite>(Courtesy MVFF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>MVFF is embracing the in-person, drive-in model to a far greater degree than any other local festival since COVID-19 hit. The 52-foot screen at Lagoon Park in Marin Center will host the world premiere of \u003cem>Blithe Spirit\u003c/em> on opening night, the North American premiere of Gia Coppola’s \u003cem>Mainstream\u003c/em>, Chloé Zhao’s highly touted \u003cem>Nomadland\u003c/em>, Braden King’s \u003cem>The Evening Hour\u003c/em>, Francis Lee’s \u003cem>Ammonite\u003c/em> and \u003cem>The Bee Gees: How Can You Mend a Broken Heart\u003c/em> on closing night. And a \u003cem>Star Wars\u003c/em> movie from 1980, if you missed it the first—or ninth—time around.\u003c/p>\n\u003cp>One MVFF staple unaffected by the pandemic is the presence of several notable local documentary filmmakers. Erika Cohn (\u003cem>The Judge\u003c/em>) constructs \u003cem>Belly of the Beast\u003c/em> around stalwart survivor-turned-activist Kelli Dixon and Cynthia Chandler of the Oakland-based human rights organization Justice Now. Their persistence and courage leads to legislation outlawing the despicable practice of California Department of Corrections-sanctioned surgical sterilization. \u003cem>Belly of the Beast\u003c/em> also opens Oct. 14 at the Roxie virtual cinema.\u003c/p>\n\u003cp>On a lighter, brighter note, Marcia Jarmel and Ken Schneider (\u003cem>Havana Curveball\u003c/em>) deliver a double album of Cuba libre with \u003cem>Los Hermanos\u003c/em>/\u003cem>The Brothers\u003c/em>. Violinist Ilmar Gavilán has lived in the States and performed around the globe for years, while his younger brother, pianist Aldo López Gavilán Junco, thrived in Havana. President Obama’s enlightened cultural-exchange policies set the stage for a joyful U.S. tour featuring Aldo’s blood-pumping compositions that meld jazz, classical and Latin music.\u003c/p>\n\u003cfigure id=\"attachment_13887616\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/THE-BOYS-WHO-SAID-NO-Still-2_web.jpg\" alt=\"\" width=\"640\" height=\"415\" class=\"size-full wp-image-13887616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/THE-BOYS-WHO-SAID-NO-Still-2_web.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/THE-BOYS-WHO-SAID-NO-Still-2_web-160x104.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jesse Jackson, Joan Baez, Ira Sandperl, Dr. King and Dora McDonald in South Carolina, 1966, from ‘The Boys Who Said No!’ \u003ccite>(Courtesy MVFF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Judith Ehrlich’s 2000 doc, \u003cem>The Good War and Those Who Refused to Fight It\u003c/em>, was a revelatory account of conscientious objectors to World War II. \u003cem>The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers\u003c/em> (2009), the riveting whistle-blower saga she made with Rick Goldsmith, revisited one of the highest-profile examples of civil disobedience in U.S. history. Ehrlich’s impassioned capstone, \u003cem>The Boys Who Said No! Draft Resistance and the Vietnam War\u003c/em>, features organizer David Harris and singer-activist Joan Baez then and now. The doc has its world premiere at MVFF accompanied by a Q&A.\u003c/p>\n\u003cp>Of special note to local filmmakers and film buffs, MVFF’s starry lineup of panel discussions, dubbed Behind the Screen, is free to anyone with an RSVP. The tempting topics include the evolution of Black women’s roles onscreen, rethinking classics (towards a more democratic global canon) and the ever-popular state of the film industry.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>\u003cem>The Forty-Year-Old Version\u003c/em>\u003c/b>\u003cbr>\nPremieres Oct 9\u003cbr>\n\u003ca href=\"https://www.netflix.com/title/80231356\" rel=\"noopener noreferrer\" target=\"_blank\">Netflix\u003c/a>\u003c/p>\n\u003cp>In case it’s unclear from the title, Radha is having a midlife crisis. Once an up-and-coming Black playwright who maybe, possibly, could have been The Voice of Her Generation, now she’s just another scuffling New York writer with a day job as a teacher, middling contacts, no partner and no path forward. Worse, she’s lost her voice as an artist.\u003c/p>\n\u003cp>The most surprising and endearing thing about the protagonist of Radha Blank’s semi-autobiographical indie comedy, played by the writer-director, is how square she is. Blank hasn’t made herself a cooler-than-thou rebel doling out putdowns to lesser beings. She’s on the wrong side of hipdom, as everyone points out, including her blunt high school students and the unhoused dude on her Harlem block.\u003c/p>\n\u003cp>https://youtu.be/RRpGNnaDzeE\u003c/p>\n\u003cp>But Radha is a big-city Black woman, so neither self-pity nor self-delusion survive very long in her vicinity. She pushes ahead on a new track, reinventing herself as a rapper with, ahem, mixed results. Meanwhile, Archie (Peter Kim), her gay Korean BFF from high school and current agent, pulls strings and, ahem, juggles balls to launch a workshop production of one of Radha’s old scripts.\u003c/p>\n\u003cp>Shot in black and white all over NYC, \u003cem>The Forty-Year-Old Version\u003c/em> evokes, yet is miles from, the tradition of blistering, uncompromising films by Black filmmakers. Blank’s critiques of the white establishment behind “daring” theater are amusing, but don’t draw much blood. More edge—or less of the conventional ups-and-downs with the designated (and underdeveloped) love interest—would be welcome, given that the film clocks in at over two hours.\u003c/p>\n\u003cp>And yet, \u003cem>The Forty-Year-Old Version\u003c/em>, which earned Blank the directing award in the dramatic competition at Sundance, isn’t satire, but a wry, open-hearted gambol through the self-aware psyche of a talented lady who’s unwilling to settle for obscurity or, worse, complicity.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.drunkenfilmfest.com/oakland\" rel=\"noopener noreferrer\" target=\"_blank\">Drunken Film Festival\u003c/a>\u003c/b>\u003cbr>\nOct. 11–13 and 15–17 at Tribune Tower, Oakland\u003cbr>\nStreaming on Twitch Oct. 14 and 18\u003c/p>\n\u003cp>The gestalt, the vibe and the raison d’être of the Drunken Film Festival is very simple: Movies in bars. So what’s an approximate substitute in the year of the pandemic? Ripping a page from football tailgate playbooks, the DFF convenes six nights in the outdoor parking lot of Tribune Tower in downtown Oakland. On the off nights, the festival of short films unspools online via Twitch. The whole shebang is free, which eliminates the barriers to entry. Hoist a pint, wherever you watch, and toast the filmmakers. Vive cinema!\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Options for drive-in movies, parking lot screenings and online streaming abound—almost like a regular festival season.","status":"publish","parent":0,"modified":1705020018,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1121},"headData":{"title":"Now Playing! Mill Valley and Drunken Fests on Tap, Radha on the Home Screen | KQED","description":"Options for drive-in movies, parking lot screenings and online streaming abound—almost like a regular festival season.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Now Playing! Mill Valley and Drunken Fests on Tap, Radha on the Home Screen","datePublished":"2020-10-07T23:16:26.000Z","dateModified":"2024-01-12T00:40:18.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13887592/now-playing-mill-valley-and-drunken-fests-on-tap-radha-on-the-home-screen","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rescheduled, rejiggered and reimagined, the fall movie calendar nonetheless looks a lot like it does in a normal year: Festivals lined up like planes on a tarmac, with new releases dotting the horizon. It’s getting to be desperate days for theaters, but film fans are still well supplied.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.mvff.com\" rel=\"noopener noreferrer\" target=\"_blank\">Mill Valley Film Festival\u003c/a>\u003c/b>\u003cbr>\nOct. 8–18\u003cbr>\nStreaming and drive-in\u003c/p>\n\u003cp>The pandemic has torpedoed two signature elements of Marin County’s laidback extravaganza: the live concerts at Sweetwater linked to music-based films and the red-carpet parade of Oscar-hopeful stars. The latter, at least, has been safely transposed online, which means you can take in interviews with genuine giants from your couch.\u003c/p>\n\u003cp>The stargazer alert includes tributees Dame Judi Dench (\u003cem>Blithe Spirit\u003c/em>), Italian immortal Sophia Loren, Viola Davis, Anthony Hopkins (\u003cem>The Father\u003c/em>) and Kate Winslet (\u003cem>Ammonite\u003c/em>). The other honorees are Regina King (\u003cem>One Night in Miami\u003c/em>), local thespian Delroy Lindo, Irish actress and writer Clare Dunne (\u003cem>Herself\u003c/em>) Aaron Sorkin and Frieda Lee Mock (\u003cem>Ruth: Justice Ginsburg in Her Own Words\u003c/em>).\u003c/p>\n\u003cfigure id=\"attachment_13887615\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/01anomadland_rec709_100nits_239FF_still_01_20200723_R2_rgb_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13887615\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/01anomadland_rec709_100nits_239FF_still_01_20200723_R2_rgb_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/01anomadland_rec709_100nits_239FF_still_01_20200723_R2_rgb_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/01anomadland_rec709_100nits_239FF_still_01_20200723_R2_rgb_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/01anomadland_rec709_100nits_239FF_still_01_20200723_R2_rgb_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/01anomadland_rec709_100nits_239FF_still_01_20200723_R2_rgb_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Frances McDormand in Chloé Zhao’s ‘Nomadland.’ \u003ccite>(Courtesy MVFF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>MVFF is embracing the in-person, drive-in model to a far greater degree than any other local festival since COVID-19 hit. The 52-foot screen at Lagoon Park in Marin Center will host the world premiere of \u003cem>Blithe Spirit\u003c/em> on opening night, the North American premiere of Gia Coppola’s \u003cem>Mainstream\u003c/em>, Chloé Zhao’s highly touted \u003cem>Nomadland\u003c/em>, Braden King’s \u003cem>The Evening Hour\u003c/em>, Francis Lee’s \u003cem>Ammonite\u003c/em> and \u003cem>The Bee Gees: How Can You Mend a Broken Heart\u003c/em> on closing night. And a \u003cem>Star Wars\u003c/em> movie from 1980, if you missed it the first—or ninth—time around.\u003c/p>\n\u003cp>One MVFF staple unaffected by the pandemic is the presence of several notable local documentary filmmakers. Erika Cohn (\u003cem>The Judge\u003c/em>) constructs \u003cem>Belly of the Beast\u003c/em> around stalwart survivor-turned-activist Kelli Dixon and Cynthia Chandler of the Oakland-based human rights organization Justice Now. Their persistence and courage leads to legislation outlawing the despicable practice of California Department of Corrections-sanctioned surgical sterilization. \u003cem>Belly of the Beast\u003c/em> also opens Oct. 14 at the Roxie virtual cinema.\u003c/p>\n\u003cp>On a lighter, brighter note, Marcia Jarmel and Ken Schneider (\u003cem>Havana Curveball\u003c/em>) deliver a double album of Cuba libre with \u003cem>Los Hermanos\u003c/em>/\u003cem>The Brothers\u003c/em>. Violinist Ilmar Gavilán has lived in the States and performed around the globe for years, while his younger brother, pianist Aldo López Gavilán Junco, thrived in Havana. President Obama’s enlightened cultural-exchange policies set the stage for a joyful U.S. tour featuring Aldo’s blood-pumping compositions that meld jazz, classical and Latin music.\u003c/p>\n\u003cfigure id=\"attachment_13887616\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/THE-BOYS-WHO-SAID-NO-Still-2_web.jpg\" alt=\"\" width=\"640\" height=\"415\" class=\"size-full wp-image-13887616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/THE-BOYS-WHO-SAID-NO-Still-2_web.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/THE-BOYS-WHO-SAID-NO-Still-2_web-160x104.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jesse Jackson, Joan Baez, Ira Sandperl, Dr. King and Dora McDonald in South Carolina, 1966, from ‘The Boys Who Said No!’ \u003ccite>(Courtesy MVFF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Judith Ehrlich’s 2000 doc, \u003cem>The Good War and Those Who Refused to Fight It\u003c/em>, was a revelatory account of conscientious objectors to World War II. \u003cem>The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers\u003c/em> (2009), the riveting whistle-blower saga she made with Rick Goldsmith, revisited one of the highest-profile examples of civil disobedience in U.S. history. Ehrlich’s impassioned capstone, \u003cem>The Boys Who Said No! Draft Resistance and the Vietnam War\u003c/em>, features organizer David Harris and singer-activist Joan Baez then and now. The doc has its world premiere at MVFF accompanied by a Q&A.\u003c/p>\n\u003cp>Of special note to local filmmakers and film buffs, MVFF’s starry lineup of panel discussions, dubbed Behind the Screen, is free to anyone with an RSVP. The tempting topics include the evolution of Black women’s roles onscreen, rethinking classics (towards a more democratic global canon) and the ever-popular state of the film industry.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>\u003cem>The Forty-Year-Old Version\u003c/em>\u003c/b>\u003cbr>\nPremieres Oct 9\u003cbr>\n\u003ca href=\"https://www.netflix.com/title/80231356\" rel=\"noopener noreferrer\" target=\"_blank\">Netflix\u003c/a>\u003c/p>\n\u003cp>In case it’s unclear from the title, Radha is having a midlife crisis. Once an up-and-coming Black playwright who maybe, possibly, could have been The Voice of Her Generation, now she’s just another scuffling New York writer with a day job as a teacher, middling contacts, no partner and no path forward. Worse, she’s lost her voice as an artist.\u003c/p>\n\u003cp>The most surprising and endearing thing about the protagonist of Radha Blank’s semi-autobiographical indie comedy, played by the writer-director, is how square she is. Blank hasn’t made herself a cooler-than-thou rebel doling out putdowns to lesser beings. She’s on the wrong side of hipdom, as everyone points out, including her blunt high school students and the unhoused dude on her Harlem block.\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/RRpGNnaDzeE'\n title='//www.youtube.com/embed/RRpGNnaDzeE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But Radha is a big-city Black woman, so neither self-pity nor self-delusion survive very long in her vicinity. She pushes ahead on a new track, reinventing herself as a rapper with, ahem, mixed results. Meanwhile, Archie (Peter Kim), her gay Korean BFF from high school and current agent, pulls strings and, ahem, juggles balls to launch a workshop production of one of Radha’s old scripts.\u003c/p>\n\u003cp>Shot in black and white all over NYC, \u003cem>The Forty-Year-Old Version\u003c/em> evokes, yet is miles from, the tradition of blistering, uncompromising films by Black filmmakers. Blank’s critiques of the white establishment behind “daring” theater are amusing, but don’t draw much blood. More edge—or less of the conventional ups-and-downs with the designated (and underdeveloped) love interest—would be welcome, given that the film clocks in at over two hours.\u003c/p>\n\u003cp>And yet, \u003cem>The Forty-Year-Old Version\u003c/em>, which earned Blank the directing award in the dramatic competition at Sundance, isn’t satire, but a wry, open-hearted gambol through the self-aware psyche of a talented lady who’s unwilling to settle for obscurity or, worse, complicity.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.drunkenfilmfest.com/oakland\" rel=\"noopener noreferrer\" target=\"_blank\">Drunken Film Festival\u003c/a>\u003c/b>\u003cbr>\nOct. 11–13 and 15–17 at Tribune Tower, Oakland\u003cbr>\nStreaming on Twitch Oct. 14 and 18\u003c/p>\n\u003cp>The gestalt, the vibe and the raison d’être of the Drunken Film Festival is very simple: Movies in bars. So what’s an approximate substitute in the year of the pandemic? Ripping a page from football tailgate playbooks, the DFF convenes six nights in the outdoor parking lot of Tribune Tower in downtown Oakland. On the off nights, the festival of short films unspools online via Twitch. The whole shebang is free, which eliminates the barriers to entry. Hoist a pint, wherever you watch, and toast the filmmakers. Vive cinema!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13887592/now-playing-mill-valley-and-drunken-fests-on-tap-radha-on-the-home-screen","authors":["22"],"programs":["arts_140"],"categories":["arts_1","arts_74"],"tags":["arts_10278","arts_977","arts_1006","arts_2701","arts_6427","arts_585"],"featImg":"arts_13887614","label":"arts_140"},"arts_13867627":{"type":"posts","id":"arts_13867627","meta":{"index":"posts_1591205157","site":"arts","id":"13867627","score":null,"sort":[1570132644000]},"guestAuthors":[],"slug":"the-do-list-listen-to-our-picks-for-things-to-do-oct-3-10","title":"The Do List: Listen to Our Picks for Things to Do Oct. 3-10","publishDate":1570132644,"format":"audio","headTitle":"The Do List: Listen to Our Picks for Things to Do Oct. 3-10 | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with Gabe Meline and Sarah Hotchkiss above, or read about our picks below.\u003c/p>\n\u003cp>\u003cb>Hardly Strictly Bluegrass\u003c/b>: It’s the first weekend of October, which in San Francisco, means the air is filled with music at the annual free Hardly Strictly Bluegrass Festival in Golden Gate Park. As the years go on, this festival is getting more and more diverse, genre-wise: this weekend’s lineup has funk with acts like the Budos Band, soul with singers like Bettye Lavette, indie rock with Kurt Vile, classic rock royalty with Robert Plant, classic country with Tanya Tucker, and even a Saharan guitarist from Africa, Mdou Moctar, who once recorded an entire reimagining of Prince’s \u003ci>Purple Rain\u003c/i> album.\u003c/p>\n\u003cp>Hardly Strictly does get crowded, and this year, there are some security changes you’ll \u003ca href=\"https://www.kqed.org/arts/13867004/10-acts-not-to-miss-at-hardly-strictly-2019\" target=\"_blank\" rel=\"noopener\">want to read up on\u003c/a>. But with free admission, stellar acts and no corporate sponsors or advertising, it’s one of our favorites. It runs Friday–Sunday, Oct. 4–6, in Golden Gate Park. \u003ca href=\"http://www.hardlystrictlybluegrass.com/2019/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cb>Mill Valley Film Festival\u003c/b>: Hardly Strictly fans wait for the first weekend in October all year long, but local film buffs have also been counting down the days: The Mill Valley Film Festival opens on Thursday, Oct. 3, with a slate of Oscar-worthy films and appearances by plenty of established stars: Laura Dern, Robert Pattinson, Kristen Stewart, Danny Trejo and more. But there’s an equal measure of Bay Area indies making their debut, including Jeanne C. Finley’s nonfiction film \u003cem>Journeys Behind the Cosmodrome\u003c/em>, which depicts the sometimes trippy dreams of 16-year-old orphans in Kazakhstan who grew up next to the world’s first and largest operational space launch facility. That’s all happening at the Mill Valley Film Festival, which runs Oct. 3–13. \u003ca href=\"//www.mvff.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Julian Lage Trio\u003c/b>: If you keep driving north from Mill Valley, you’ll eventually hit a town called Healdsburg, where a kid named Julian Lage grew up playing guitar from a very early age. Now, from his base in New York, he’s \u003ci>the\u003c/i> jazz guitar phenomenon to be reckoned with. His latest album, \u003ci>Love Hurts\u003c/i>, is less of the exploratory jazz he’s been known for, and more delicate; you can hear his fingers sliding across the ridges of the roundwound strings. Don’t even get me started on \u003ca href=\"https://www.youtube.com/watch?v=1DN5wKT-jwM\" target=\"_blank\" rel=\"noopener\">his version of Roy Orbison’s “Crying”\u003c/a>—it’s the song I’ve played the most in 2019, over and over, I just can’t get it out of my head. Julian Lage plays Saturday, Oct. 5, at the Raven Theater in Healdsburg and Sunday, Oct. 6, at the SFJAZZ center in San Francisco. Details \u003ca href=\"//www.eventbrite.com/e/an-evening-with-the-julian-lage-trio-tickets-57538117057\" target=\"_blank\" rel=\"noopener\">here\u003c/a> and \u003ca href=\"//www.sfjazz.org/tickets/productions/julian-lage-trio/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Michael Jang’s California’\u003c/strong>: This show in San Francisco’s Dogpatch neighborhood opened last week: it’s the first retrospective local photographer Michael Jang. A lot of this work is from the ’70s, when Jang was a student, taking pictures of his extended family in the suburbs and people on the street. For a great series from the Beverly Hills Hilton, Jang made himself a fake press pass so he could get into events at the hotel, and his photos capture celebrities signing autographs alongside anonymous people draped in pearls and furs. They’re really candid and just a wonderful document of that era. That’s at the McEvoy Foundation for the Arts and it’s on view through Jan. 18. \u003ca href=\"//www.mcevoyarts.org/exhibition/michael-jangs-california/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>‘Free for All’\u003c/b>: A super quick theater pick before we go: Megan Cohen is a San Francisco playwright and librettist whose latest work, \u003ci>Free For All\u003c/i>, is at Cutting Ball theater, and it’s been getting great reviews. She takes August Strindberg’s \u003ci>Miss Julie\u003c/i> and reimagines it completely in a wild vision of the future. \u003ca href=\"https://www.kqed.org/arts/13867205/partying-like-its-2099-at-cutting-balls-free-for-all\" target=\"_blank\" rel=\"noopener\">Our theater reviewer\u003c/a> likened it to a great cocktail party, where the dialogue is crackling and everyone’s bouncing their hopes off of each other. It runs through Oct. 20 at Cutting Ball Theater in San Francisco. \u003ca href=\"//cuttingball.com/productions/free-for-all\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n","blocks":[],"excerpt":"On the Do List this week, we're talking Hardly Strictly, Michael Jang, the Mill Valley Film Festival, Julian Lage and more.","status":"publish","parent":0,"modified":1705022044,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":737},"headData":{"title":"The Do List: Listen to Our Picks for Things to Do Oct. 3-10 | KQED","description":"On the Do List this week, we're talking Hardly Strictly, Michael Jang, the Mill Valley Film Festival, Julian Lage and more.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Do List: Listen to Our Picks for Things to Do Oct. 3-10","datePublished":"2019-10-03T19:57:24.000Z","dateModified":"2024-01-12T01:14:04.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://ww2.kqed.org/podcasts/wp-content/uploads/sites/77/2019/10/TheDoListforThursdayOct_3-SundayOct_6.mp3","sticky":false,"audioTrackLength":292,"templateType":"standard","featuredImageType":"standard","startTime":1570086000,"endTime":1570777200,"path":"/arts/13867627/the-do-list-listen-to-our-picks-for-things-to-do-oct-3-10","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with Gabe Meline and Sarah Hotchkiss above, or read about our picks below.\u003c/p>\n\u003cp>\u003cb>Hardly Strictly Bluegrass\u003c/b>: It’s the first weekend of October, which in San Francisco, means the air is filled with music at the annual free Hardly Strictly Bluegrass Festival in Golden Gate Park. As the years go on, this festival is getting more and more diverse, genre-wise: this weekend’s lineup has funk with acts like the Budos Band, soul with singers like Bettye Lavette, indie rock with Kurt Vile, classic rock royalty with Robert Plant, classic country with Tanya Tucker, and even a Saharan guitarist from Africa, Mdou Moctar, who once recorded an entire reimagining of Prince’s \u003ci>Purple Rain\u003c/i> album.\u003c/p>\n\u003cp>Hardly Strictly does get crowded, and this year, there are some security changes you’ll \u003ca href=\"https://www.kqed.org/arts/13867004/10-acts-not-to-miss-at-hardly-strictly-2019\" target=\"_blank\" rel=\"noopener\">want to read up on\u003c/a>. But with free admission, stellar acts and no corporate sponsors or advertising, it’s one of our favorites. It runs Friday–Sunday, Oct. 4–6, in Golden Gate Park. \u003ca href=\"http://www.hardlystrictlybluegrass.com/2019/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cb>Mill Valley Film Festival\u003c/b>: Hardly Strictly fans wait for the first weekend in October all year long, but local film buffs have also been counting down the days: The Mill Valley Film Festival opens on Thursday, Oct. 3, with a slate of Oscar-worthy films and appearances by plenty of established stars: Laura Dern, Robert Pattinson, Kristen Stewart, Danny Trejo and more. But there’s an equal measure of Bay Area indies making their debut, including Jeanne C. Finley’s nonfiction film \u003cem>Journeys Behind the Cosmodrome\u003c/em>, which depicts the sometimes trippy dreams of 16-year-old orphans in Kazakhstan who grew up next to the world’s first and largest operational space launch facility. That’s all happening at the Mill Valley Film Festival, which runs Oct. 3–13. \u003ca href=\"//www.mvff.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Julian Lage Trio\u003c/b>: If you keep driving north from Mill Valley, you’ll eventually hit a town called Healdsburg, where a kid named Julian Lage grew up playing guitar from a very early age. Now, from his base in New York, he’s \u003ci>the\u003c/i> jazz guitar phenomenon to be reckoned with. His latest album, \u003ci>Love Hurts\u003c/i>, is less of the exploratory jazz he’s been known for, and more delicate; you can hear his fingers sliding across the ridges of the roundwound strings. Don’t even get me started on \u003ca href=\"https://www.youtube.com/watch?v=1DN5wKT-jwM\" target=\"_blank\" rel=\"noopener\">his version of Roy Orbison’s “Crying”\u003c/a>—it’s the song I’ve played the most in 2019, over and over, I just can’t get it out of my head. Julian Lage plays Saturday, Oct. 5, at the Raven Theater in Healdsburg and Sunday, Oct. 6, at the SFJAZZ center in San Francisco. Details \u003ca href=\"//www.eventbrite.com/e/an-evening-with-the-julian-lage-trio-tickets-57538117057\" target=\"_blank\" rel=\"noopener\">here\u003c/a> and \u003ca href=\"//www.sfjazz.org/tickets/productions/julian-lage-trio/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Michael Jang’s California’\u003c/strong>: This show in San Francisco’s Dogpatch neighborhood opened last week: it’s the first retrospective local photographer Michael Jang. A lot of this work is from the ’70s, when Jang was a student, taking pictures of his extended family in the suburbs and people on the street. For a great series from the Beverly Hills Hilton, Jang made himself a fake press pass so he could get into events at the hotel, and his photos capture celebrities signing autographs alongside anonymous people draped in pearls and furs. They’re really candid and just a wonderful document of that era. That’s at the McEvoy Foundation for the Arts and it’s on view through Jan. 18. \u003ca href=\"//www.mcevoyarts.org/exhibition/michael-jangs-california/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>‘Free for All’\u003c/b>: A super quick theater pick before we go: Megan Cohen is a San Francisco playwright and librettist whose latest work, \u003ci>Free For All\u003c/i>, is at Cutting Ball theater, and it’s been getting great reviews. She takes August Strindberg’s \u003ci>Miss Julie\u003c/i> and reimagines it completely in a wild vision of the future. \u003ca href=\"https://www.kqed.org/arts/13867205/partying-like-its-2099-at-cutting-balls-free-for-all\" target=\"_blank\" rel=\"noopener\">Our theater reviewer\u003c/a> likened it to a great cocktail party, where the dialogue is crackling and everyone’s bouncing their hopes off of each other. It runs through Oct. 20 at Cutting Ball Theater in San Francisco. \u003ca href=\"//cuttingball.com/productions/free-for-all\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13867627/the-do-list-listen-to-our-picks-for-things-to-do-oct-3-10","authors":["185"],"programs":["arts_140"],"categories":["arts_71"],"tags":["arts_1118","arts_6376","arts_2701","arts_2048","arts_1334","arts_1072","arts_901"],"featImg":"arts_13867630","label":"arts_140"},"arts_13867345":{"type":"posts","id":"arts_13867345","meta":{"index":"posts_1591205157","site":"arts","id":"13867345","score":null,"sort":[1569875637000]},"guestAuthors":[],"slug":"now-playing-mill-valley-film-festival-showcases-fall-harvest","title":"Now Playing! Mill Valley Film Festival Showcases Fall Harvest","publishDate":1569875637,"format":"standard","headTitle":"Now Playing! Mill Valley Film Festival Showcases Fall Harvest | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The \u003ca href=\"https://www.mvff.com\" rel=\"noopener\" target=\"_blank\">Mill Valley Film Festival\u003c/a>, which opens Thursday, Oct. 3 with the fact-based, racial injustice drama \u003cem>Just Mercy\u003c/em>, smoothly integrates (no pun intended) several paradoxes. For starters, the litany of star-fueled Oscar hopefuls—\u003cem>The Two Popes\u003c/em>, \u003cem>A Hidden Life\u003c/em>, \u003cem>Waves\u003c/em>, \u003cem>Harriet\u003c/em>, \u003cem>Marriage Story\u003c/em>, \u003cem>Dolemite Is My Name\u003c/em>, \u003cem>Frankie\u003c/em>, \u003cem>The Irishman\u003c/em>, \u003cem>The Aeronauts\u003c/em>, \u003cem>The Report\u003c/em> and the closing night films \u003cem>Ford v Ferrari\u003c/em> and \u003cem>Motherless Brooklyn\u003c/em>) comfortably coexists with an even longer list of Bay Area indies (including the world premieres of Rob Nilsson’s \u003cem>Arid Cut\u003c/em> and Jeanne C. Finley’s nonfiction \u003cem>Journeys Behind the Cosmodrome\u003c/em>).\u003c/p>\n\u003cp>Meanwhile, the flash-bulb visits of global stars Laura Dern, Kristin Stewart, Shia LaBeouf, Barbara Rush, Stellan Skarsgard, Olivia Wilde, Robert Pattinson, Lena Olin and Edward Norton somehow won’t overshadow the “Behind the Screens” panels and workshops designed to advise and support aspiring filmmakers. Nor will that glamorous array of couture-clad thespians diminish the impact of the shocking social-justice documentaries that dot the MVFF program.\u003c/p>\n\u003cp>The greatest paradox (or irony?) of MVFF, and pretty much every festival, is that the most provocative and meaningful movies seem to fly under the radar. Israeli filmmaker Nadav Lapid’s Berlinale prizewinner \u003cem>Synonyms\u003c/em> and Bosnian director Ena Sendijarevic’s Rotterdam triumph \u003cem>Take Me Somewhere Nice\u003c/em> highlight this “category,” along with Russian director Kantemir Balagov’s Cannes breakthrough \u003cem>Beanpole\u003c/em> and Iranian director Taghi Amirani’s obsessively researched documentary \u003cem>Coup 53\u003c/em> (co-written and edited by the peerless Walter Murch).\u003c/p>\n\u003cp>One final paradox that MVFF, or should we say Mill Valley, somehow reconciles is the tug-of-war between summer and fall. The early October sun still burns with force, while the air nips with autumn’s teeth. It’s perfect movie-going weather.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Oscar hopefuls and couture-clad stars coexist with Bay Area indies and under-the-radar gems.","status":"publish","parent":0,"modified":1705022068,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":305},"headData":{"title":"Now Playing! Mill Valley Film Festival Showcases Fall Harvest | KQED","description":"Oscar hopefuls and couture-clad stars coexist with Bay Area indies and under-the-radar gems.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Now Playing! Mill Valley Film Festival Showcases Fall Harvest","datePublished":"2019-09-30T20:33:57.000Z","dateModified":"2024-01-12T01:14:28.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","startTime":1570089600,"endTime":1571032800,"startTimeString":"Oct. 3–13","venueName":"Various Bay Area theaters","eventLink":"https://www.mvff.com/","path":"/arts/13867345/now-playing-mill-valley-film-festival-showcases-fall-harvest","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.mvff.com\" rel=\"noopener\" target=\"_blank\">Mill Valley Film Festival\u003c/a>, which opens Thursday, Oct. 3 with the fact-based, racial injustice drama \u003cem>Just Mercy\u003c/em>, smoothly integrates (no pun intended) several paradoxes. For starters, the litany of star-fueled Oscar hopefuls—\u003cem>The Two Popes\u003c/em>, \u003cem>A Hidden Life\u003c/em>, \u003cem>Waves\u003c/em>, \u003cem>Harriet\u003c/em>, \u003cem>Marriage Story\u003c/em>, \u003cem>Dolemite Is My Name\u003c/em>, \u003cem>Frankie\u003c/em>, \u003cem>The Irishman\u003c/em>, \u003cem>The Aeronauts\u003c/em>, \u003cem>The Report\u003c/em> and the closing night films \u003cem>Ford v Ferrari\u003c/em> and \u003cem>Motherless Brooklyn\u003c/em>) comfortably coexists with an even longer list of Bay Area indies (including the world premieres of Rob Nilsson’s \u003cem>Arid Cut\u003c/em> and Jeanne C. Finley’s nonfiction \u003cem>Journeys Behind the Cosmodrome\u003c/em>).\u003c/p>\n\u003cp>Meanwhile, the flash-bulb visits of global stars Laura Dern, Kristin Stewart, Shia LaBeouf, Barbara Rush, Stellan Skarsgard, Olivia Wilde, Robert Pattinson, Lena Olin and Edward Norton somehow won’t overshadow the “Behind the Screens” panels and workshops designed to advise and support aspiring filmmakers. Nor will that glamorous array of couture-clad thespians diminish the impact of the shocking social-justice documentaries that dot the MVFF program.\u003c/p>\n\u003cp>The greatest paradox (or irony?) of MVFF, and pretty much every festival, is that the most provocative and meaningful movies seem to fly under the radar. Israeli filmmaker Nadav Lapid’s Berlinale prizewinner \u003cem>Synonyms\u003c/em> and Bosnian director Ena Sendijarevic’s Rotterdam triumph \u003cem>Take Me Somewhere Nice\u003c/em> highlight this “category,” along with Russian director Kantemir Balagov’s Cannes breakthrough \u003cem>Beanpole\u003c/em> and Iranian director Taghi Amirani’s obsessively researched documentary \u003cem>Coup 53\u003c/em> (co-written and edited by the peerless Walter Murch).\u003c/p>\n\u003cp>One final paradox that MVFF, or should we say Mill Valley, somehow reconciles is the tug-of-war between summer and fall. The early October sun still burns with force, while the air nips with autumn’s teeth. It’s perfect movie-going weather.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13867345/now-playing-mill-valley-film-festival-showcases-fall-harvest","authors":["22"],"programs":["arts_140"],"categories":["arts_74"],"tags":["arts_1118","arts_2701","arts_596","arts_1334"],"featImg":"arts_13867357","label":"arts_140"},"arts_13810400":{"type":"posts","id":"arts_13810400","meta":{"index":"posts_1591205157","site":"arts","id":"13810400","score":null,"sort":[1507167696000]},"guestAuthors":[],"slug":"on-the-air-cy-and-johns-do-list-picks-for-oct-6-2017","title":"On the Air: Cy and John's Do List Picks for Oct. 6, 2017","publishDate":1507167696,"format":"audio","headTitle":"On the Air: Cy and John’s Do List Picks for Oct. 6, 2017 | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Singer-songwriter and music producer (\u003ca href=\"http://www.tinytelephone.com/\" target=\"_blank\" rel=\"noopener\">Tiny Telephone\u003c/a>) John Vanderslice returns to the show this week as co-host; he’s such a warm presence on the air, and he knows the local music scene cold. And don’t miss an event we didn’t get to — John’s hosting a party to celebrate Tiny Telephone’s 20th anniversary, with food, beer and music by Toro y Moi, Astronauts Etc. and others. \u003ca href=\"https://www.facebook.com/johnvanderslicemusic/photos/a.456020247811602.1073741826.115335001880130/1490638474349769/?type=1&theater\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>Now here’s the Do List:\u003c/p>\n\u003cp>\u003cstrong>Oct. 8–13:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWIy\" target=\"_blank\" rel=\"noopener\">Panamanian pianist Danilo Perez pays tribute to the genius of Thelonious Monk on the composer’s 100th birthday\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 5–15:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWII\" target=\"_blank\" rel=\"noopener\"> Oscar contenders aplenty at the Mill Valley Film Fest\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 7\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VWJb\" target=\"_blank\" rel=\"noopener\">Poetry and chamber music tell a story about gentrification in San Francisco\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Oct. 5–14:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWK0\" target=\"_blank\" rel=\"noopener\">Where poetry, fiction, non-fiction, authors and drinking all mix beautifully\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct. 6–8: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWKt\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass returns with its much needed spirit of generosity and plenty of banjos\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13810407\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810407\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-800x450.jpg\" alt=\"Indie music producer John Vanderslice cohosts the Do List for Oct. 6, 2017 with KQED‘s Cy Musiker\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Indie music producer John Vanderslice cohosts the Do List for Oct. 6, 2017 with KQED‘s Cy Musiker. \u003ccite>(Photo: Howard Gelman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n","blocks":[],"excerpt":"On the Do List this week, Cy Musiker and John Vanderslice talk Hardly Strictly, Litquake, the Kronos Quartet, the Mill Valley Film Festival and more.","status":"publish","parent":0,"modified":1705029399,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":198},"headData":{"title":"On the Air: Cy and John's Do List Picks for Oct. 6, 2017 | KQED","description":"On the Do List this week, Cy Musiker and John Vanderslice talk Hardly Strictly, Litquake, the Kronos Quartet, the Mill Valley Film Festival and more.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"On the Air: Cy and John's Do List Picks for Oct. 6, 2017","datePublished":"2017-10-05T01:41:36.000Z","dateModified":"2024-01-12T03:16:39.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio//2017/10/TheDoListforOctober62017.mp3","sticky":false,"path":"/arts/13810400/on-the-air-cy-and-johns-do-list-picks-for-oct-6-2017","audioDuration":576000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Singer-songwriter and music producer (\u003ca href=\"http://www.tinytelephone.com/\" target=\"_blank\" rel=\"noopener\">Tiny Telephone\u003c/a>) John Vanderslice returns to the show this week as co-host; he’s such a warm presence on the air, and he knows the local music scene cold. And don’t miss an event we didn’t get to — John’s hosting a party to celebrate Tiny Telephone’s 20th anniversary, with food, beer and music by Toro y Moi, Astronauts Etc. and others. \u003ca href=\"https://www.facebook.com/johnvanderslicemusic/photos/a.456020247811602.1073741826.115335001880130/1490638474349769/?type=1&theater\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>Now here’s the Do List:\u003c/p>\n\u003cp>\u003cstrong>Oct. 8–13:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWIy\" target=\"_blank\" rel=\"noopener\">Panamanian pianist Danilo Perez pays tribute to the genius of Thelonious Monk on the composer’s 100th birthday\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 5–15:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWII\" target=\"_blank\" rel=\"noopener\"> Oscar contenders aplenty at the Mill Valley Film Fest\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 7\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VWJb\" target=\"_blank\" rel=\"noopener\">Poetry and chamber music tell a story about gentrification in San Francisco\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct. 5–14:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWK0\" target=\"_blank\" rel=\"noopener\">Where poetry, fiction, non-fiction, authors and drinking all mix beautifully\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct. 6–8: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWKt\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass returns with its much needed spirit of generosity and plenty of banjos\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13810407\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810407\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-800x450.jpg\" alt=\"Indie music producer John Vanderslice cohosts the Do List for Oct. 6, 2017 with KQED‘s Cy Musiker\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Indie music producer John Vanderslice cohosts the Do List for Oct. 6, 2017 with KQED‘s Cy Musiker. \u003ccite>(Photo: Howard Gelman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13810400/on-the-air-cy-and-johns-do-list-picks-for-oct-6-2017","authors":["32"],"programs":["arts_140"],"categories":["arts_73","arts_835","arts_74","arts_69","arts_235"],"tags":["arts_1118","arts_1006","arts_2688","arts_1420","arts_2244","arts_2701","arts_596","arts_1334","arts_626"],"featImg":"arts_12132280","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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