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At DocLands, Creativity of Artists and Ordinary Folks Shines","publishDate":1620338927,"format":"standard","headTitle":"Now Playing! At DocLands, Creativity of Artists and Ordinary Folks Shines | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>I’m tempted to say that the pandemic has been crueler to narrative filmmakers than to documentarians, for the obvious reason that it slammed the door on rehearsals and shoots. But my only real evidence is anecdotal, namely the preponderance of new docs on display locally at last month’s International Ocean and Livable Planet Film Festivals, next month’s DocFest and the front-and-center \u003ca href=\"https://www.doclands.com\" rel=\"noopener noreferrer\" target=\"_blank\">DocLands\u003c/a>, running May 7–16 online and at the Smith Rafael Film Center in San Rafael.\u003c/p>\n\u003cp>To be sure, some of the selections of the Mill Valley Film Festival’s nonfiction offshoot have already screened hereabouts via the online/drive-in Sundance and/or SFFILM Festivals. Here’s another chance to see Debbie Lum’s verité portrait of a year at Lowell High, \u003cem>Try Harder!\u003c/em> (streaming May 14-16 only), Mariem Pérez Riera’s \u003cem>Rita Moreno: Just a Girl Who Decided to Go For It\u003c/em> (May 9-11, ahead of its June theatrical release) and \u003cem>Amy Tan: Unintended Memoir\u003c/em> (at the Rafael May 9 with the author in person, and May 11; also \u003ca href=\"https://www.pbs.org/wnet/americanmasters/stream-amy-tan-unintended-memoir-documentary/17722/\" rel=\"noopener noreferrer\" target=\"_blank\">streaming for free\u003c/a> on the PBS website until May 17).\u003c/p>\n\u003cp>A couple other energetic cultural explorations make the Bay Area scene between their Sundance debuts and upcoming theatrical runs. Edgar Wright’s ear- and eye-opening \u003cem>The Sparks Brothers\u003c/em> reflects and remixes the long-running musical creativity of L.A. siblings Russell and Ron Mael, while Questlove’s crowd-rousing \u003cem>Summer of Soul (…Or, When the Revolution Could Not Be Televised)\u003c/em> excavates the rhythmic and bluesy tapes of the summer-long 1969 Harlem Cultural Festival featuring Sly & the Family Stone, Nina Simone and other showstoppers.\u003c/p>\n\u003cfigure id=\"attachment_13896836\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200.jpg\" alt=\"\" width=\"1200\" height=\"610\" class=\"size-full wp-image-13896836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200-800x407.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200-1020x519.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200-160x81.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200-768x390.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The New Corporation: The Unfortunately Necessary Sequel.’ \u003ccite>(DocLands)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Local filmmaker Sachi Cunningham pairs with Vayabobo to profile multimedia artist and performer Bill Shannon, who transformed his childhood illness (Perthes disease, a degenerative hip condition) into the foundation of his movement-oriented work, in \u003cem>Crutch\u003c/em>. Life and art also intersect with thunderous force in Rosalynde LeBlanc and Tom Hurwitz’s \u003cem>Can You Bring It: Bill T. Jones and D-Man in the Waters\u003c/em>, which entwines the history of the choreographer’s 1989 ballet with a contemporary staging by dancers born after the AIDS pandemic.\u003c/p>\n\u003cp>Making art is a life’s work, and we frequently discount that aspect of an artist’s career. At the same time, we often invest artmaking with more status (and glamour) than other forms of work. The labor-focused filmmakers Julia Reichert and Steven Bognar, who won the Best Documentary Feature Oscar a year ago for \u003cem>American Factory\u003c/em> (Netflix), have long recognized the dignity of blue-collar jobs and are rightfully recognized with this year’s DocLands Honors Award.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Reichert and Bognar’s latest film, the historical doc \u003cem>9to5: Story of a Movement\u003c/em>, played the Mill Valley Film Festival last fall and returns to stream at DocLands with three of their recent short films. For those on the budget (like aspiring filmmakers), the festival streams an interview with the filmmakers plus a virtual screening of their 2009 featurette, \u003cem>The Last Truck: Closing of a GM Plant\u003c/em>, for free.\u003c/p>\n\u003cp>The essay film may be my favorite documentary form, although it’s typically too challenging (not enough story) or too personal (not enough distance) to be widely appreciated. Theo Anthony’s Sundance prize-winning \u003cem>All Light, Everywhere\u003c/em> (streaming, and May 7 at the Rafael; opens in June) uses police bodycams as the lens (pun intended) through which to view big, basic building blocks of perception and technology, and the societal implications of individual decisions and biases.\u003c/p>\n\u003cfigure id=\"attachment_13896834\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/MagnitudeOfallThings_1200.jpg\" alt=\"\" width=\"1200\" height=\"503\" class=\"size-full wp-image-13896834\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/MagnitudeOfallThings_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/MagnitudeOfallThings_1200-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/MagnitudeOfallThings_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/MagnitudeOfallThings_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/MagnitudeOfallThings_1200-768x322.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Magnitude of All Things.’ \u003ccite>(DocLands)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Canadian filmmaker Jennifer Abbott is represented by two troubling opuses that take vastly different approaches to global threats. \u003cem>The New Corporation: The Unfortunately Necessary Sequel\u003c/em> (streaming May 13–15 only), co-directed with Joel Bakan, updates her 2003 film (also based on Bakan’s writings) to assess the effects of profit-centered companies on not just climate change but personal freedoms.\u003c/p>\n\u003cp>In \u003cem>The Magnitude of All Things\u003c/em> (May 8 at the Rafael, streaming May 14–16 only), Abbott poetically links her grief for the sister she lost to cancer to the traumas of indigenous people witnessing the erosion or destruction of their habitats in the Arctic, the Ecuadorian Amazon, Canada and Australia. An elegy that acknowledges we are all part of the planet’s sickness, \u003cem>The Magnitude of All Things\u003c/em> is perhaps best appreciated by those who feel alone in their despair.\u003c/p>\n\u003cp>It’s not surprising that a film about grief can prove comforting, but it doesn’t lend itself to a fizzy marketing slogan. Let’s just say that Abbott manages to find some light amid the coming devastation, in the character, creativity and determination of ordinary people. Come to think of it, that last bit pretty well sums up DocLands.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>DocLands streams online May 7–16, with several in-person screenings at the Smith Rafael Film Center. \u003ca href=\"https://www.doclands.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The hybrid festival gives evidence that nonfiction filmmakers weathered the pandemic in good shape.","status":"publish","parent":0,"modified":1705008416,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":860},"headData":{"title":"Now Playing! At DocLands, Creativity of Artists and Ordinary Folks Shines | KQED","description":"The hybrid festival gives evidence that nonfiction filmmakers weathered the pandemic in good shape.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Now Playing! At DocLands, Creativity of Artists and Ordinary Folks Shines","datePublished":"2021-05-06T22:08:47.000Z","dateModified":"2024-01-11T21:26:56.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13896807/now-playing-at-doclands-creativity-of-artists-and-ordinary-folks-shines","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’m tempted to say that the pandemic has been crueler to narrative filmmakers than to documentarians, for the obvious reason that it slammed the door on rehearsals and shoots. But my only real evidence is anecdotal, namely the preponderance of new docs on display locally at last month’s International Ocean and Livable Planet Film Festivals, next month’s DocFest and the front-and-center \u003ca href=\"https://www.doclands.com\" rel=\"noopener noreferrer\" target=\"_blank\">DocLands\u003c/a>, running May 7–16 online and at the Smith Rafael Film Center in San Rafael.\u003c/p>\n\u003cp>To be sure, some of the selections of the Mill Valley Film Festival’s nonfiction offshoot have already screened hereabouts via the online/drive-in Sundance and/or SFFILM Festivals. Here’s another chance to see Debbie Lum’s verité portrait of a year at Lowell High, \u003cem>Try Harder!\u003c/em> (streaming May 14-16 only), Mariem Pérez Riera’s \u003cem>Rita Moreno: Just a Girl Who Decided to Go For It\u003c/em> (May 9-11, ahead of its June theatrical release) and \u003cem>Amy Tan: Unintended Memoir\u003c/em> (at the Rafael May 9 with the author in person, and May 11; also \u003ca href=\"https://www.pbs.org/wnet/americanmasters/stream-amy-tan-unintended-memoir-documentary/17722/\" rel=\"noopener noreferrer\" target=\"_blank\">streaming for free\u003c/a> on the PBS website until May 17).\u003c/p>\n\u003cp>A couple other energetic cultural explorations make the Bay Area scene between their Sundance debuts and upcoming theatrical runs. Edgar Wright’s ear- and eye-opening \u003cem>The Sparks Brothers\u003c/em> reflects and remixes the long-running musical creativity of L.A. siblings Russell and Ron Mael, while Questlove’s crowd-rousing \u003cem>Summer of Soul (…Or, When the Revolution Could Not Be Televised)\u003c/em> excavates the rhythmic and bluesy tapes of the summer-long 1969 Harlem Cultural Festival featuring Sly & the Family Stone, Nina Simone and other showstoppers.\u003c/p>\n\u003cfigure id=\"attachment_13896836\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200.jpg\" alt=\"\" width=\"1200\" height=\"610\" class=\"size-full wp-image-13896836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200-800x407.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200-1020x519.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200-160x81.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200-768x390.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The New Corporation: The Unfortunately Necessary Sequel.’ \u003ccite>(DocLands)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Local filmmaker Sachi Cunningham pairs with Vayabobo to profile multimedia artist and performer Bill Shannon, who transformed his childhood illness (Perthes disease, a degenerative hip condition) into the foundation of his movement-oriented work, in \u003cem>Crutch\u003c/em>. Life and art also intersect with thunderous force in Rosalynde LeBlanc and Tom Hurwitz’s \u003cem>Can You Bring It: Bill T. Jones and D-Man in the Waters\u003c/em>, which entwines the history of the choreographer’s 1989 ballet with a contemporary staging by dancers born after the AIDS pandemic.\u003c/p>\n\u003cp>Making art is a life’s work, and we frequently discount that aspect of an artist’s career. At the same time, we often invest artmaking with more status (and glamour) than other forms of work. The labor-focused filmmakers Julia Reichert and Steven Bognar, who won the Best Documentary Feature Oscar a year ago for \u003cem>American Factory\u003c/em> (Netflix), have long recognized the dignity of blue-collar jobs and are rightfully recognized with this year’s DocLands Honors Award.\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>Reichert and Bognar’s latest film, the historical doc \u003cem>9to5: Story of a Movement\u003c/em>, played the Mill Valley Film Festival last fall and returns to stream at DocLands with three of their recent short films. For those on the budget (like aspiring filmmakers), the festival streams an interview with the filmmakers plus a virtual screening of their 2009 featurette, \u003cem>The Last Truck: Closing of a GM Plant\u003c/em>, for free.\u003c/p>\n\u003cp>The essay film may be my favorite documentary form, although it’s typically too challenging (not enough story) or too personal (not enough distance) to be widely appreciated. Theo Anthony’s Sundance prize-winning \u003cem>All Light, Everywhere\u003c/em> (streaming, and May 7 at the Rafael; opens in June) uses police bodycams as the lens (pun intended) through which to view big, basic building blocks of perception and technology, and the societal implications of individual decisions and biases.\u003c/p>\n\u003cfigure id=\"attachment_13896834\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/MagnitudeOfallThings_1200.jpg\" alt=\"\" width=\"1200\" height=\"503\" class=\"size-full wp-image-13896834\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/MagnitudeOfallThings_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/MagnitudeOfallThings_1200-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/MagnitudeOfallThings_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/MagnitudeOfallThings_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/MagnitudeOfallThings_1200-768x322.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Magnitude of All Things.’ \u003ccite>(DocLands)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Canadian filmmaker Jennifer Abbott is represented by two troubling opuses that take vastly different approaches to global threats. \u003cem>The New Corporation: The Unfortunately Necessary Sequel\u003c/em> (streaming May 13–15 only), co-directed with Joel Bakan, updates her 2003 film (also based on Bakan’s writings) to assess the effects of profit-centered companies on not just climate change but personal freedoms.\u003c/p>\n\u003cp>In \u003cem>The Magnitude of All Things\u003c/em> (May 8 at the Rafael, streaming May 14–16 only), Abbott poetically links her grief for the sister she lost to cancer to the traumas of indigenous people witnessing the erosion or destruction of their habitats in the Arctic, the Ecuadorian Amazon, Canada and Australia. An elegy that acknowledges we are all part of the planet’s sickness, \u003cem>The Magnitude of All Things\u003c/em> is perhaps best appreciated by those who feel alone in their despair.\u003c/p>\n\u003cp>It’s not surprising that a film about grief can prove comforting, but it doesn’t lend itself to a fizzy marketing slogan. Let’s just say that Abbott manages to find some light amid the coming devastation, in the character, creativity and determination of ordinary people. Come to think of it, that last bit pretty well sums up DocLands.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>DocLands streams online May 7–16, with several in-person screenings at the Smith Rafael Film Center. \u003ca href=\"https://www.doclands.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/13896807/now-playing-at-doclands-creativity-of-artists-and-ordinary-folks-shines","authors":["22"],"programs":["arts_140"],"categories":["arts_1","arts_74"],"tags":["arts_10278","arts_977","arts_1690","arts_6427","arts_585"],"featImg":"arts_13896835","label":"arts_140"},"arts_13895426":{"type":"posts","id":"arts_13895426","meta":{"index":"posts_1591205157","site":"arts","id":"13895426","score":null,"sort":[1617991568000]},"guestAuthors":[],"slug":"now-playing-sffilm-festival-returns-with-crime-futurism-sexual-revolutions-and-more","title":"Now Playing! SFFILM Festival Returns With Crime, Futurism, Sexual Revolutions and More","publishDate":1617991568,"format":"standard","headTitle":"Now Playing! SFFILM Festival Returns With Crime, Futurism, Sexual Revolutions and More | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003ca href=\"https://sffilm.org\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>SFFILM\u003c/strong>\u003c/a>\u003cbr>\n\u003cstrong>Apr. 9-18\u003c/strong>\u003cbr>\nOnline and Drive-in at Fort Mason Center\u003c/p>\n\u003cp>One tune could serve as the unofficial anthem of this year’s SFFILM Festival: “\u003ca href=\"https://www.youtube.com/watch?v=kgYFHoWrcBM\" rel=\"noopener noreferrer\" target=\"_blank\">Happy Survival\u003c/a>,” the bluesy pop song that Nigerian twin brothers Arie and Chuko Esiri picked to play over the end credits of their engrossing 2019 feature debut, \u003cem>Eyimofe\u003c/em> (\u003cem>This Is My Desire\u003c/em>). A ’70s hit for Ifeanyi Eddie Okwedy & His Maymores Dance Band, it provides a perfect coda, rueful yet upbeat, to the Esiris’ naturalistic, slice-of-lives saga of persistence and compromise—and speaks now, as the arts \u003ca href=\"https://www.kqed.org/arts/13894499/reopened-bay-area-movies-museums-music-sports-open\" rel=\"noopener noreferrer\" target=\"_blank\">slowly reopen\u003c/a>, for all of us on the verge of making it through the pandemic.\u003c/p>\n\u003cp>[aside postID='arts_13894499']In the turbulent wake of the cancellation of the 2020 SFFILM festival and arrivals of new Executive Director Anne Lai and Director of Programming Jessie Fairbanks, the festival returns in what is, necessarily, a transition year. The smaller-than-usual program of just 45 feature films (including 20 documentaries), buttressed with a slew of shorts, is available through the pandemic-era combo of a streaming platform and several physical screenings at the Fort Mason Drive-In.\u003c/p>\n\u003cp>Consequently, it’s best to view the 2021 SFFILM Festival as a welcome spring fling rather than the annual d-e-e-e-e-p dive into global cinema. The cream of Cannes, Venice, Toronto and other festivals has already trickled out to virtual cinemas or is being held by distributors until theaters fully reopen. The inclusion of 15 world premieres and 15 North American debuts (along with five U.S. premieres) suggests, however, that SFFILM found plenty of films primed to begin their post-pandemic lives.\u003c/p>\n\u003cp>One of those world premieres is the Opening Night selection, \u003cem>Naked Singularity\u003c/em> (pictured above), a crime thriller starring John Boyega as a public defender with a noir hero’s opportunistic streak. Chase Palmer adapted Sergio De La Pava’s ambitious novel for his feature directorial debut.\u003c/p>\n\u003cfigure id=\"attachment_13895495\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Homeroom_Still1_Courtesy-of-SFFILM-800x450.jpg\" alt=\"A scene from Pete Nicks' 'Homeroom.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13895495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Homeroom_Still1_Courtesy-of-SFFILM-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Homeroom_Still1_Courtesy-of-SFFILM-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Homeroom_Still1_Courtesy-of-SFFILM-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Homeroom_Still1_Courtesy-of-SFFILM-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Homeroom_Still1_Courtesy-of-SFFILM-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Homeroom_Still1_Courtesy-of-SFFILM.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Pete Nicks’ ‘Homeroom.’ \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As always, plenty of titles that debuted at Sundance make their way to the Bay. Oakland filmmaker Peter Nicks presents his engaging study of Oakland High School student activists, \u003cem>Homeroom\u003c/em>, and receives the George Gund III Craft of Cinema Award. \u003cem>Rita Moreno: Just a Girl Who Decided to Go For It\u003c/em> (screening ahead of its June theatrical release and subsequent American Masters broadcast) recasts the EGOT winner as a determined victor over racism and misogyny, with its social-justice message leavened by its subject’s irrepressible spirit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Another well-known Bay Area figure thriving into his golden years, albeit far from the showbiz heat lamp, is the pragmatic seeker Stewart Brand. David Alvarado and Jason Susskind’s fascinating and provocative portrait, \u003cem>We Are as Gods\u003c/em>, portrays the man behind \u003cem>The Whole Earth Catalog\u003c/em> as the bridge between ’60s independent thinking and Internet-age possibilities.\u003c/p>\n\u003cfigure id=\"attachment_13895496\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/We-Are-As-Gods_Still1-Courtesy-of-SFFILM-800x450.jpg\" alt=\"Stewart Brand (foreground, left) is the subject of 'We Are As Gods.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13895496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/We-Are-As-Gods_Still1-Courtesy-of-SFFILM-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/We-Are-As-Gods_Still1-Courtesy-of-SFFILM-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/We-Are-As-Gods_Still1-Courtesy-of-SFFILM-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/We-Are-As-Gods_Still1-Courtesy-of-SFFILM-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/We-Are-As-Gods_Still1-Courtesy-of-SFFILM-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/We-Are-As-Gods_Still1-Courtesy-of-SFFILM.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stewart Brand (foreground, left) is the subject of ‘We Are As Gods.’ \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For a younger man’s take on futurism, SFFILM gives us Dash Shaw’s color-drenched animated feature \u003cem>Cryptozoo\u003c/em>, a violent sex- and profanity-laced eco-fable about erstwhile savior conservationists and evil military contractors crisscrossing the country in a battle over rare cryptids (i.e., unicorn, winged horse, centaur). Acid isn’t necessary for this Garden-of-Eden-gone-wrong film trip, but a chilled glass of chartreuse with a mandarin orange segment might make a good pairing. And you’ll have a drink in hand to toast Shaw, this year’s Persistence of Vision Award recipient, as he joins recent honorees Isaac Julien, Barbara Kopple, Lynn Hershman Leeson, Nathaniel Dorsky and Kim Longinotto.\u003c/p>\n\u003cp>Another way the festival has tapped in to Generations Y and Z in recent years is by celebrating up-and-coming actors and actresses. Vanessa Kirby, the Academy Award-nominated star of Netflix’s \u003cem>Pieces of a Woman\u003c/em>, will receive the Impact Award. While the fest’s batting average at picking future household names hasn’t been great, Kirby is certainly well-positioned for stardom. \u003c/p>\n\u003cfigure id=\"attachment_13895494\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Seyran-Ates_Still3_Courtesy-of-SFFILM-800x450.jpg\" alt=\"A still from 'Seyran Ates: Sex, Revolution & Islam,' playing at SFFILM.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13895494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Seyran-Ates_Still3_Courtesy-of-SFFILM-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Seyran-Ates_Still3_Courtesy-of-SFFILM-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Seyran-Ates_Still3_Courtesy-of-SFFILM-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Seyran-Ates_Still3_Courtesy-of-SFFILM-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Seyran-Ates_Still3_Courtesy-of-SFFILM-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Seyran-Ates_Still3_Courtesy-of-SFFILM.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Seyran Ates: Sex, Revolution & Islam,’ playing at SFFILM. \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Turkish-born, German-based lawyer and imam Seyran Ates doesn’t mind the spotlight, even if she must be protected by bodyguards or police wherever she goes. (Especially at the gender-neutral LGBTQ mosque she founded in Berlin.) The author of \u003cem>Islam Needs a Sexual Revolution\u003c/em> lives with a fatwa, and a stream of online abuse, on account of her advocacy for gender equality.\u003c/p>\n\u003cp>Norwegian director Nefise Özkal Lorentzen’s sisterly profile, \u003cem>Seyran Ates: Sex, Revolution & Islam\u003c/em>, gives the impression that its dedicated subject is well-known in Europe. Her profile is about to get a boost in the U.S. thanks to SFFILM’s North American premiere and the cascade of LGBTQ festival screenings to follow. Nonetheless, the soft-spoken Ates isn’t what you’d call a galvanizing personality—that is, a riveting film subject. \u003c/p>\n\u003cp>Ates is empathetic and effective in small groups and one-on-one, speaking with lesbian Muslims in China or to worshipers at her mosque. A woman of faith and tenacity, Ates is a scholar, a counselor, a rock. But she isn’t a firebrand, so set your expectations accordingly.\u003c/p>\n\u003cfigure id=\"attachment_13895493\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/This-Is-My-Desire_Still3-Courtesy-of-SFFILM-800x450.jpg\" alt=\"A still from 'This is My Desire,' playing at SFFILM.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13895493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/This-Is-My-Desire_Still3-Courtesy-of-SFFILM-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/This-Is-My-Desire_Still3-Courtesy-of-SFFILM-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/This-Is-My-Desire_Still3-Courtesy-of-SFFILM-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/This-Is-My-Desire_Still3-Courtesy-of-SFFILM-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/This-Is-My-Desire_Still3-Courtesy-of-SFFILM-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/This-Is-My-Desire_Still3-Courtesy-of-SFFILM.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘This is My Desire,’ playing at SFFILM. \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The protagonists of \u003cem>This Is My Desire\u003c/em> are also everyday people, indistinguishable from the thousands thronging the streets, alleys and open-air markets of Lagos. A highlight of the festival, the film first follows Mofe (Jude Akuwudike), a mechanic at a printing factory who plans to emigrate to Spain until a family tragedy derails his dream. Further setbacks follow, but the Esiri brothers (who did their film studies in New York) aren’t interested in gritty nihilism and urban degradation but in Mofe’s resilience.\u003c/p>\n\u003cp>That’s not to say that the filmmakers aren’t attuned to the transactional nature of life. Everyone has a hand out or something to barter. While Mofe uses his ability to repair anything to rebound and rebuild, Rosa (Temi Ami-Williams) has less autonomy. A hairdresser and a bartender with sparkle and smarts, Rosa has her sights set on Italy but a pregnant teenage sister to look after. Like Mofe, she has no margin for error, for unexpected expenses, for fate.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Refreshingly, the characters in \u003cem>This is My Desire\u003c/em> don’t evince an iota of self-pity. They don’t complain. They don’t have the luxury of melodrama. There’s no time to lose. They weigh their options, calculate the costs of compromise, make a decision and go. Happy survival, indeed.\u003c/p>\n\n","blocks":[],"excerpt":"The scaled-back 2021 edition of SFFILM is more of a spring fling than the annual deep dive into global cinema—but with plenty to be excited about.","status":"publish","parent":0,"modified":1705019194,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1150},"headData":{"title":"Now Playing! SFFILM Festival Returns With Crime, Futurism, Sexual Revolutions and More | KQED","description":"The scaled-back 2021 edition of SFFILM is more of a spring fling than the annual deep dive into global cinema—but with plenty to be excited about.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Now Playing! SFFILM Festival Returns With Crime, Futurism, Sexual Revolutions and More","datePublished":"2021-04-09T18:06:08.000Z","dateModified":"2024-01-12T00:26:34.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13895426/now-playing-sffilm-festival-returns-with-crime-futurism-sexual-revolutions-and-more","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://sffilm.org\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>SFFILM\u003c/strong>\u003c/a>\u003cbr>\n\u003cstrong>Apr. 9-18\u003c/strong>\u003cbr>\nOnline and Drive-in at Fort Mason Center\u003c/p>\n\u003cp>One tune could serve as the unofficial anthem of this year’s SFFILM Festival: “\u003ca href=\"https://www.youtube.com/watch?v=kgYFHoWrcBM\" rel=\"noopener noreferrer\" target=\"_blank\">Happy Survival\u003c/a>,” the bluesy pop song that Nigerian twin brothers Arie and Chuko Esiri picked to play over the end credits of their engrossing 2019 feature debut, \u003cem>Eyimofe\u003c/em> (\u003cem>This Is My Desire\u003c/em>). A ’70s hit for Ifeanyi Eddie Okwedy & His Maymores Dance Band, it provides a perfect coda, rueful yet upbeat, to the Esiris’ naturalistic, slice-of-lives saga of persistence and compromise—and speaks now, as the arts \u003ca href=\"https://www.kqed.org/arts/13894499/reopened-bay-area-movies-museums-music-sports-open\" rel=\"noopener noreferrer\" target=\"_blank\">slowly reopen\u003c/a>, for all of us on the verge of making it through the pandemic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13894499","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In the turbulent wake of the cancellation of the 2020 SFFILM festival and arrivals of new Executive Director Anne Lai and Director of Programming Jessie Fairbanks, the festival returns in what is, necessarily, a transition year. The smaller-than-usual program of just 45 feature films (including 20 documentaries), buttressed with a slew of shorts, is available through the pandemic-era combo of a streaming platform and several physical screenings at the Fort Mason Drive-In.\u003c/p>\n\u003cp>Consequently, it’s best to view the 2021 SFFILM Festival as a welcome spring fling rather than the annual d-e-e-e-e-p dive into global cinema. The cream of Cannes, Venice, Toronto and other festivals has already trickled out to virtual cinemas or is being held by distributors until theaters fully reopen. The inclusion of 15 world premieres and 15 North American debuts (along with five U.S. premieres) suggests, however, that SFFILM found plenty of films primed to begin their post-pandemic lives.\u003c/p>\n\u003cp>One of those world premieres is the Opening Night selection, \u003cem>Naked Singularity\u003c/em> (pictured above), a crime thriller starring John Boyega as a public defender with a noir hero’s opportunistic streak. Chase Palmer adapted Sergio De La Pava’s ambitious novel for his feature directorial debut.\u003c/p>\n\u003cfigure id=\"attachment_13895495\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Homeroom_Still1_Courtesy-of-SFFILM-800x450.jpg\" alt=\"A scene from Pete Nicks' 'Homeroom.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13895495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Homeroom_Still1_Courtesy-of-SFFILM-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Homeroom_Still1_Courtesy-of-SFFILM-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Homeroom_Still1_Courtesy-of-SFFILM-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Homeroom_Still1_Courtesy-of-SFFILM-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Homeroom_Still1_Courtesy-of-SFFILM-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Homeroom_Still1_Courtesy-of-SFFILM.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Pete Nicks’ ‘Homeroom.’ \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As always, plenty of titles that debuted at Sundance make their way to the Bay. Oakland filmmaker Peter Nicks presents his engaging study of Oakland High School student activists, \u003cem>Homeroom\u003c/em>, and receives the George Gund III Craft of Cinema Award. \u003cem>Rita Moreno: Just a Girl Who Decided to Go For It\u003c/em> (screening ahead of its June theatrical release and subsequent American Masters broadcast) recasts the EGOT winner as a determined victor over racism and misogyny, with its social-justice message leavened by its subject’s irrepressible spirit.\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>Another well-known Bay Area figure thriving into his golden years, albeit far from the showbiz heat lamp, is the pragmatic seeker Stewart Brand. David Alvarado and Jason Susskind’s fascinating and provocative portrait, \u003cem>We Are as Gods\u003c/em>, portrays the man behind \u003cem>The Whole Earth Catalog\u003c/em> as the bridge between ’60s independent thinking and Internet-age possibilities.\u003c/p>\n\u003cfigure id=\"attachment_13895496\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/We-Are-As-Gods_Still1-Courtesy-of-SFFILM-800x450.jpg\" alt=\"Stewart Brand (foreground, left) is the subject of 'We Are As Gods.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13895496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/We-Are-As-Gods_Still1-Courtesy-of-SFFILM-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/We-Are-As-Gods_Still1-Courtesy-of-SFFILM-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/We-Are-As-Gods_Still1-Courtesy-of-SFFILM-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/We-Are-As-Gods_Still1-Courtesy-of-SFFILM-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/We-Are-As-Gods_Still1-Courtesy-of-SFFILM-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/We-Are-As-Gods_Still1-Courtesy-of-SFFILM.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stewart Brand (foreground, left) is the subject of ‘We Are As Gods.’ \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For a younger man’s take on futurism, SFFILM gives us Dash Shaw’s color-drenched animated feature \u003cem>Cryptozoo\u003c/em>, a violent sex- and profanity-laced eco-fable about erstwhile savior conservationists and evil military contractors crisscrossing the country in a battle over rare cryptids (i.e., unicorn, winged horse, centaur). Acid isn’t necessary for this Garden-of-Eden-gone-wrong film trip, but a chilled glass of chartreuse with a mandarin orange segment might make a good pairing. And you’ll have a drink in hand to toast Shaw, this year’s Persistence of Vision Award recipient, as he joins recent honorees Isaac Julien, Barbara Kopple, Lynn Hershman Leeson, Nathaniel Dorsky and Kim Longinotto.\u003c/p>\n\u003cp>Another way the festival has tapped in to Generations Y and Z in recent years is by celebrating up-and-coming actors and actresses. Vanessa Kirby, the Academy Award-nominated star of Netflix’s \u003cem>Pieces of a Woman\u003c/em>, will receive the Impact Award. While the fest’s batting average at picking future household names hasn’t been great, Kirby is certainly well-positioned for stardom. \u003c/p>\n\u003cfigure id=\"attachment_13895494\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Seyran-Ates_Still3_Courtesy-of-SFFILM-800x450.jpg\" alt=\"A still from 'Seyran Ates: Sex, Revolution & Islam,' playing at SFFILM.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13895494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Seyran-Ates_Still3_Courtesy-of-SFFILM-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Seyran-Ates_Still3_Courtesy-of-SFFILM-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Seyran-Ates_Still3_Courtesy-of-SFFILM-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Seyran-Ates_Still3_Courtesy-of-SFFILM-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Seyran-Ates_Still3_Courtesy-of-SFFILM-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Seyran-Ates_Still3_Courtesy-of-SFFILM.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Seyran Ates: Sex, Revolution & Islam,’ playing at SFFILM. \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Turkish-born, German-based lawyer and imam Seyran Ates doesn’t mind the spotlight, even if she must be protected by bodyguards or police wherever she goes. (Especially at the gender-neutral LGBTQ mosque she founded in Berlin.) The author of \u003cem>Islam Needs a Sexual Revolution\u003c/em> lives with a fatwa, and a stream of online abuse, on account of her advocacy for gender equality.\u003c/p>\n\u003cp>Norwegian director Nefise Özkal Lorentzen’s sisterly profile, \u003cem>Seyran Ates: Sex, Revolution & Islam\u003c/em>, gives the impression that its dedicated subject is well-known in Europe. Her profile is about to get a boost in the U.S. thanks to SFFILM’s North American premiere and the cascade of LGBTQ festival screenings to follow. Nonetheless, the soft-spoken Ates isn’t what you’d call a galvanizing personality—that is, a riveting film subject. \u003c/p>\n\u003cp>Ates is empathetic and effective in small groups and one-on-one, speaking with lesbian Muslims in China or to worshipers at her mosque. A woman of faith and tenacity, Ates is a scholar, a counselor, a rock. But she isn’t a firebrand, so set your expectations accordingly.\u003c/p>\n\u003cfigure id=\"attachment_13895493\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/This-Is-My-Desire_Still3-Courtesy-of-SFFILM-800x450.jpg\" alt=\"A still from 'This is My Desire,' playing at SFFILM.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13895493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/This-Is-My-Desire_Still3-Courtesy-of-SFFILM-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/This-Is-My-Desire_Still3-Courtesy-of-SFFILM-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/This-Is-My-Desire_Still3-Courtesy-of-SFFILM-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/This-Is-My-Desire_Still3-Courtesy-of-SFFILM-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/This-Is-My-Desire_Still3-Courtesy-of-SFFILM-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/This-Is-My-Desire_Still3-Courtesy-of-SFFILM.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘This is My Desire,’ playing at SFFILM. \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The protagonists of \u003cem>This Is My Desire\u003c/em> are also everyday people, indistinguishable from the thousands thronging the streets, alleys and open-air markets of Lagos. A highlight of the festival, the film first follows Mofe (Jude Akuwudike), a mechanic at a printing factory who plans to emigrate to Spain until a family tragedy derails his dream. Further setbacks follow, but the Esiri brothers (who did their film studies in New York) aren’t interested in gritty nihilism and urban degradation but in Mofe’s resilience.\u003c/p>\n\u003cp>That’s not to say that the filmmakers aren’t attuned to the transactional nature of life. Everyone has a hand out or something to barter. While Mofe uses his ability to repair anything to rebound and rebuild, Rosa (Temi Ami-Williams) has less autonomy. A hairdresser and a bartender with sparkle and smarts, Rosa has her sights set on Italy but a pregnant teenage sister to look after. Like Mofe, she has no margin for error, for unexpected expenses, for fate.\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>Refreshingly, the characters in \u003cem>This is My Desire\u003c/em> don’t evince an iota of self-pity. They don’t complain. They don’t have the luxury of melodrama. There’s no time to lose. They weigh their options, calculate the costs of compromise, make a decision and go. Happy survival, indeed.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13895426/now-playing-sffilm-festival-returns-with-crime-futurism-sexual-revolutions-and-more","authors":["22"],"programs":["arts_140"],"categories":["arts_1","arts_74"],"tags":["arts_977","arts_1690","arts_9159","arts_3772","arts_5422"],"featImg":"arts_13895491","label":"arts_140"},"arts_13884767":{"type":"posts","id":"arts_13884767","meta":{"index":"posts_1591205157","site":"arts","id":"13884767","score":null,"sort":[1597348848000]},"guestAuthors":[],"slug":"now-playing-mark-time-with-politics-jazz-and-an-entire-mountain-range","title":"Now Playing! Mark Time with Politics, Jazz and an Entire Mountain Range","publishDate":1597348848,"format":"standard","headTitle":"Now Playing! Mark Time with Politics, Jazz and an Entire Mountain Range | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>In our new normal, the virtual cinemas built online by local theaters and niche distributors hum along with a steady stream (pun intended) of new and recent indie films. This week, however, the week that Sen. Kamala Harris became the first Black woman running for vice president, the civil rights movement-era short documentaries of pioneering Black director Madeline Anderson—\u003ca href=\"https://bampfa.org/watch-from-home/streaming-spotlight-madeline-anderson\" rel=\"noopener noreferrer\" target=\"_blank\">streaming for free at the BAMPFA website\u003c/a> through Nov. 30—should be top of your list. \u003c/p>\n\u003cp>Anderson’s 30-minute \u003cem>I Am Somebody\u003c/em> (1970) recounts a pivotal 100-day strike against the Medical College of the University of South Carolina by some 400 Black women through the eyes of one worker. It’s history, all right, but it’s not the past: Fifty years after National Guardsman with fixed bayonets faced peaceful marchers in Charleston’s streets, tear gas and helicopters were used against Washington, D.C. residents protesting the killing of George Floyd.\u003c/p>\n\u003cp>You may dismiss the sniping at Sen. Harris from both sides—the lefty contingent lamenting that the former California attorney general is too Establishment for the times and the right wing pretending she’s a radical threat to suburban wives—as politics as usual. \u003cem>I Am Somebody\u003c/em> is an instructive, infuriating reminder that there is \u003cem>no\u003c/em> behavior, attitude or stance a Black woman can take that won’t be deemed inappropriate by a large number of white people.\u003c/p>\n\u003cfigure id=\"attachment_13884775\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/HACKERHOUSE_Final_PubStills_1200.jpg\" alt=\"\" width=\"1200\" height=\"676\" class=\"size-full wp-image-13884775\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HACKERHOUSE_Final_PubStills_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HACKERHOUSE_Final_PubStills_1200-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HACKERHOUSE_Final_PubStills_1200-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HACKERHOUSE_Final_PubStills_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HACKERHOUSE_Final_PubStills_1200-768x433.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Startup Embassy.’ \u003ccite>(Courtesy ITVS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"https://www.doclands.com/docpitch/\" rel=\"noopener noreferrer\" target=\"_blank\">DocPitch\u003c/a>\u003c/b>\u003c/p>\n\u003cp>The 2020 edition of the California Film Institute’s annual documentary festival, DocLands, was derailed by the pandemic. Its older sibling, the Mill Valley Film Festival, plans to show some of those docs at its October bash. Right now—today, Aug. 13, at 4pm—you can hop aboard one of DocLands’ most popular attractions when eight filmmaker teams square off in DocPitch.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Each of the works in progress is a winner, as a jury of industry professionals will award three big grants and five smaller prizes. Here’s where you enter the picture: A $25,000 Audience Award is up for grabs, with online voting open through Aug. 19.\u003c/p>\n\u003cp>The projects include \u003cem>My Name is Andrea\u003c/em>, Pratibha Parmar’s portrait of public intellectual Andrea Dworkin, and \u003cem>Startup Embassy\u003c/em>, Kenji Yamamoto’s saga of three hungry Silicon Valley entrepreneurs. Khadija Diakité’s \u003cem>Black and Gold\u003c/em> depicts another not-for-the-meek competition, that of elite Black women gymnasts vying for spots on the Olympic team. \u003c/p>\n\u003cp>https://youtu.be/WWS1tt3ydV8\u003c/p>\n\u003cp>\u003cb>\u003cem>Jazz On a Summer’s Day\u003c/em>\u003c/b>\u003cbr>\n\u003ca href=\"https://kinomarquee.com/film/venue/5f29b30089c40c0001a2e519\" rel=\"noopener noreferrer\" target=\"_blank\">Streaming via local theaters\u003c/a>\u003c/p>\n\u003cp>I begin the countdown of new releases with a golden oldie. Top-rank commercial photographer and Kubrick pal Bert Stern made just one feature-length film in his colorful life, but it’s an indisputable classic. A record of the last two days of the 1958 Newport Jazz Festival, \u003cem>Jazz On a Summer’s Day\u003c/em> invented the concert film as we know it with its blend of electric performances, tight close-ups and candid audience reactions. \u003c/p>\n\u003cp>Important enough to be included in the National Film Registry of the Library of Congress (as is \u003cem>I Am Somebody\u003c/em>), \u003cem>Jazz On a Summer’s Day\u003c/em> flits and darts like a feather on a breeze. The music isn’t the only thing lifting our spirits; Stern’s compositions of carefree integration play like postcards from an ideal society. Last word: If you’ve never heard of Anita O’Day, you’ll never forget her after \u003cem>Jazz On a Summer’s Day\u003c/em>.\u003c/p>\n\u003cp>https://youtu.be/E1Kh_T5ZBIM\u003c/p>\n\u003cp>\u003cb>\u003cem>Boys State\u003c/em>\u003c/b>\u003cbr>\n\u003ca href=\"https://tv.apple.com/us/movie/boys-state/umc.cmc.1aatz9gwjhnpfqqt8noafagq\" rel=\"noopener noreferrer\" target=\"_blank\">Apple TV+\u003c/a>\u003c/p>\n\u003cp>Local filmmakers Jesse Moss and Amanda McBaine wowed Sundance audiences and won the Grand Jury Prize for their vivid rendering of Texas’ annual spectacle of youthful political participation. Separating a thousand high school seniors into two parties, Boys State immerses them in a week-long distillery of the best and worst aspects of electoral democracy. (Girls State also takes place, and while it probably devolves into a similarly frothy brew of speechifying, strategizing, team-building, generalized apathy and naked ambition, one hopes the gals are more sophisticated.)\u003c/p>\n\u003cp>\u003cem>Boys State\u003c/em> gleans order and suspense from the chaos by using the \u003cem>Spellbound\u003c/em> model: Focus on a handful of subjects, follow them through the competition (the ultimate prize is Governor of Boys State) and conduct candid interviews with them as the week unfolds. Needless to say, Moss and McBaine expertly shape the film to make it almost impossible not to root either for or against the spotlighted guys.\u003c/p>\n\u003cp>Consequently, the film works like a Pavlov chime in revving your sympathies and, during the climactic vote, heartbeat. \u003cem>Boys State\u003c/em> is engaging entertainment, but if you aren’t all that keen about being manipulated like a spaniel, and yearn for more insight into political systems or Lone Star psyches, set your expectations accordingly.\u003c/p>\n\u003cp>https://youtu.be/DpMbsXuQs7Q\u003c/p>\n\u003cp>\u003cb>\u003cem>The Cordillera of Dreams\u003c/em>\u003c/b>\u003cbr>\n\u003ca href=\"https://bampfa.org/watch-from-home/streaming-spotlight-patricio-guzman\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a> through Aug. 16\u003c/p>\n\u003cp>Patricio Guzmán fled Chile after the Pinochet coup, finishing his landmark mid-’70s documentary \u003cem>The Battle of Chile\u003c/em> abroad. He’s returned to visit but never to live, yet the brutal history of his homeland informs every frame of his films. If you missed \u003cem>The Cordillera of Dreams\u003c/em> when the Roxie showed it a few months ago, you have a couple days to watch it along with his other brilliant recent essay films, \u003cem>Nostalgia for the Light\u003c/em> (2010) and \u003cem>The Pearl Button\u003c/em> (2015).\u003c/p>\n\u003cp>Guzmán has the ability to evoke the ephemeral—memory, most crucially—through the physical and the tangible. \u003cem>The Cordillera of Dreams\u003c/em> takes the long range of the Andes Mountains on Chile’s eastern side and patiently and relentlessly probes its geographical, material and metaphorical dimensions.\u003c/p>\n\u003cp>This great filmmaker’s lifelong project might be described as “never forget,” to borrow a phrase, but that’s underestimating the scope of his mission. He knows that those who suffered under the military regime, whose parents and siblings and friends were tortured and murdered, are condemned never to forget. They do not need help remembering.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Justice and healing, however, are more elusive. (Pinochet lived to be 91, and was never convicted of his crimes.) Guzmán takes the long view of history—a geological view, perhaps—that, over the course of one film, let alone three, achieves majestic profundity.\u003c/p>\n\n","blocks":[],"excerpt":"This week, the short documentaries of Black director Madeline Anderson should be at the top of your list.","status":"publish","parent":0,"modified":1705020289,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1083},"headData":{"title":"Now Playing! Mark Time with Politics, Jazz and an Entire Mountain Range | KQED","description":"This week, the short documentaries of Black director Madeline Anderson should be at the top of your list.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Now Playing! Mark Time with Politics, Jazz and an Entire Mountain Range","datePublished":"2020-08-13T20:00:48.000Z","dateModified":"2024-01-12T00:44:49.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13884767/now-playing-mark-time-with-politics-jazz-and-an-entire-mountain-range","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In our new normal, the virtual cinemas built online by local theaters and niche distributors hum along with a steady stream (pun intended) of new and recent indie films. This week, however, the week that Sen. Kamala Harris became the first Black woman running for vice president, the civil rights movement-era short documentaries of pioneering Black director Madeline Anderson—\u003ca href=\"https://bampfa.org/watch-from-home/streaming-spotlight-madeline-anderson\" rel=\"noopener noreferrer\" target=\"_blank\">streaming for free at the BAMPFA website\u003c/a> through Nov. 30—should be top of your list. \u003c/p>\n\u003cp>Anderson’s 30-minute \u003cem>I Am Somebody\u003c/em> (1970) recounts a pivotal 100-day strike against the Medical College of the University of South Carolina by some 400 Black women through the eyes of one worker. It’s history, all right, but it’s not the past: Fifty years after National Guardsman with fixed bayonets faced peaceful marchers in Charleston’s streets, tear gas and helicopters were used against Washington, D.C. residents protesting the killing of George Floyd.\u003c/p>\n\u003cp>You may dismiss the sniping at Sen. Harris from both sides—the lefty contingent lamenting that the former California attorney general is too Establishment for the times and the right wing pretending she’s a radical threat to suburban wives—as politics as usual. \u003cem>I Am Somebody\u003c/em> is an instructive, infuriating reminder that there is \u003cem>no\u003c/em> behavior, attitude or stance a Black woman can take that won’t be deemed inappropriate by a large number of white people.\u003c/p>\n\u003cfigure id=\"attachment_13884775\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/HACKERHOUSE_Final_PubStills_1200.jpg\" alt=\"\" width=\"1200\" height=\"676\" class=\"size-full wp-image-13884775\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HACKERHOUSE_Final_PubStills_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HACKERHOUSE_Final_PubStills_1200-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HACKERHOUSE_Final_PubStills_1200-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HACKERHOUSE_Final_PubStills_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HACKERHOUSE_Final_PubStills_1200-768x433.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Startup Embassy.’ \u003ccite>(Courtesy ITVS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"https://www.doclands.com/docpitch/\" rel=\"noopener noreferrer\" target=\"_blank\">DocPitch\u003c/a>\u003c/b>\u003c/p>\n\u003cp>The 2020 edition of the California Film Institute’s annual documentary festival, DocLands, was derailed by the pandemic. Its older sibling, the Mill Valley Film Festival, plans to show some of those docs at its October bash. Right now—today, Aug. 13, at 4pm—you can hop aboard one of DocLands’ most popular attractions when eight filmmaker teams square off in DocPitch.\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>Each of the works in progress is a winner, as a jury of industry professionals will award three big grants and five smaller prizes. Here’s where you enter the picture: A $25,000 Audience Award is up for grabs, with online voting open through Aug. 19.\u003c/p>\n\u003cp>The projects include \u003cem>My Name is Andrea\u003c/em>, Pratibha Parmar’s portrait of public intellectual Andrea Dworkin, and \u003cem>Startup Embassy\u003c/em>, Kenji Yamamoto’s saga of three hungry Silicon Valley entrepreneurs. Khadija Diakité’s \u003cem>Black and Gold\u003c/em> depicts another not-for-the-meek competition, that of elite Black women gymnasts vying for spots on the Olympic team. \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/WWS1tt3ydV8'\n title='//www.youtube.com/embed/WWS1tt3ydV8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>\u003cem>Jazz On a Summer’s Day\u003c/em>\u003c/b>\u003cbr>\n\u003ca href=\"https://kinomarquee.com/film/venue/5f29b30089c40c0001a2e519\" rel=\"noopener noreferrer\" target=\"_blank\">Streaming via local theaters\u003c/a>\u003c/p>\n\u003cp>I begin the countdown of new releases with a golden oldie. Top-rank commercial photographer and Kubrick pal Bert Stern made just one feature-length film in his colorful life, but it’s an indisputable classic. A record of the last two days of the 1958 Newport Jazz Festival, \u003cem>Jazz On a Summer’s Day\u003c/em> invented the concert film as we know it with its blend of electric performances, tight close-ups and candid audience reactions. \u003c/p>\n\u003cp>Important enough to be included in the National Film Registry of the Library of Congress (as is \u003cem>I Am Somebody\u003c/em>), \u003cem>Jazz On a Summer’s Day\u003c/em> flits and darts like a feather on a breeze. The music isn’t the only thing lifting our spirits; Stern’s compositions of carefree integration play like postcards from an ideal society. Last word: If you’ve never heard of Anita O’Day, you’ll never forget her after \u003cem>Jazz On a Summer’s Day\u003c/em>.\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/E1Kh_T5ZBIM'\n title='//www.youtube.com/embed/E1Kh_T5ZBIM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>\u003cem>Boys State\u003c/em>\u003c/b>\u003cbr>\n\u003ca href=\"https://tv.apple.com/us/movie/boys-state/umc.cmc.1aatz9gwjhnpfqqt8noafagq\" rel=\"noopener noreferrer\" target=\"_blank\">Apple TV+\u003c/a>\u003c/p>\n\u003cp>Local filmmakers Jesse Moss and Amanda McBaine wowed Sundance audiences and won the Grand Jury Prize for their vivid rendering of Texas’ annual spectacle of youthful political participation. Separating a thousand high school seniors into two parties, Boys State immerses them in a week-long distillery of the best and worst aspects of electoral democracy. (Girls State also takes place, and while it probably devolves into a similarly frothy brew of speechifying, strategizing, team-building, generalized apathy and naked ambition, one hopes the gals are more sophisticated.)\u003c/p>\n\u003cp>\u003cem>Boys State\u003c/em> gleans order and suspense from the chaos by using the \u003cem>Spellbound\u003c/em> model: Focus on a handful of subjects, follow them through the competition (the ultimate prize is Governor of Boys State) and conduct candid interviews with them as the week unfolds. Needless to say, Moss and McBaine expertly shape the film to make it almost impossible not to root either for or against the spotlighted guys.\u003c/p>\n\u003cp>Consequently, the film works like a Pavlov chime in revving your sympathies and, during the climactic vote, heartbeat. \u003cem>Boys State\u003c/em> is engaging entertainment, but if you aren’t all that keen about being manipulated like a spaniel, and yearn for more insight into political systems or Lone Star psyches, set your expectations accordingly.\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/DpMbsXuQs7Q'\n title='//www.youtube.com/embed/DpMbsXuQs7Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>\u003cem>The Cordillera of Dreams\u003c/em>\u003c/b>\u003cbr>\n\u003ca href=\"https://bampfa.org/watch-from-home/streaming-spotlight-patricio-guzman\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a> through Aug. 16\u003c/p>\n\u003cp>Patricio Guzmán fled Chile after the Pinochet coup, finishing his landmark mid-’70s documentary \u003cem>The Battle of Chile\u003c/em> abroad. He’s returned to visit but never to live, yet the brutal history of his homeland informs every frame of his films. If you missed \u003cem>The Cordillera of Dreams\u003c/em> when the Roxie showed it a few months ago, you have a couple days to watch it along with his other brilliant recent essay films, \u003cem>Nostalgia for the Light\u003c/em> (2010) and \u003cem>The Pearl Button\u003c/em> (2015).\u003c/p>\n\u003cp>Guzmán has the ability to evoke the ephemeral—memory, most crucially—through the physical and the tangible. \u003cem>The Cordillera of Dreams\u003c/em> takes the long range of the Andes Mountains on Chile’s eastern side and patiently and relentlessly probes its geographical, material and metaphorical dimensions.\u003c/p>\n\u003cp>This great filmmaker’s lifelong project might be described as “never forget,” to borrow a phrase, but that’s underestimating the scope of his mission. He knows that those who suffered under the military regime, whose parents and siblings and friends were tortured and murdered, are condemned never to forget. They do not need help remembering.\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>Justice and healing, however, are more elusive. (Pinochet lived to be 91, and was never convicted of his crimes.) Guzmán takes the long view of history—a geological view, perhaps—that, over the course of one film, let alone three, achieves majestic profundity.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13884767/now-playing-mark-time-with-politics-jazz-and-an-entire-mountain-range","authors":["22"],"programs":["arts_140"],"categories":["arts_1","arts_74"],"tags":["arts_2227","arts_10278","arts_1006","arts_1690","arts_585"],"featImg":"arts_13884774","label":"arts_140"},"arts_13884421":{"type":"posts","id":"arts_13884421","meta":{"index":"posts_1591205157","site":"arts","id":"13884421","score":null,"sort":[1596741777000]},"guestAuthors":[],"slug":"now-playing-percussion-pickles-and-poetry-in-your-living-room","title":"Now Playing! Percussion, Pickles and Poetry in Your Living Room","publishDate":1596741777,"format":"standard","headTitle":"Now Playing! Percussion, Pickles and Poetry in Your Living Room | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The major fall film festivals, especially in the hapless U.S., will take a different form because of the pandemic. The Telluride Film Festival announced the cancellation of its Labor Day weekend bash on Monday—along with its 2020 selections. Congratulations to veteran San Francisco filmmaker \u003ca href=\"https://www.jayrosenblattfilms.com/index.php\" rel=\"noopener noreferrer\" target=\"_blank\">Jay Rosenblatt\u003c/a>, whose poignant new work, \u003cem>When We Were Bullies\u003c/em>, made the cut. As for when and where local audiences will be able to see the 36-minute film, be patient. \u003c/p>\n\u003cp>Another world-renowned local filmmaker, Lynn Hershman Leeson, joins curator Margot Norton of New York’s \u003ca href=\"https://www.newmuseum.org/calendar/view/1671/lynn-hershman-leeson-in-conversation-with-margot-norton\" rel=\"noopener noreferrer\" target=\"_blank\">New Museum\u003c/a> for a live-streamed conversation Thursday, Aug. 6. Their dialogue will touch, no doubt, on the artist’s longstanding fascination with the uncomfortable intersections of scientific progress and innate humanity, Big Tech and free self-expression. Hershman Leeson’s wide-ranging multimedia exhibition \u003ci>\u003ca href=\"https://www.newmuseum.org/exhibitions/view/lynn-hershman-leeson-twisted\" rel=\"noopener noreferrer\" target=\"_blank\">Twisted\u003c/a>\u003c/i>, her first solo show at a Big Apple museum, opens February, 2021 at the New Museum.\u003c/p>\n\u003cp>\u003cb>\u003cem>River City Drumbeat\u003c/em>\u003c/b>\u003cbr>\n\u003ca href=\"https://www.roxie.com/river-city-drumbeat/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie\u003c/a>, Aug. 7; \u003ca href=\"https://rafaelfilm.cafilm.org/river-city-drumbeat/\" rel=\"noopener noreferrer\" target=\"_blank\">Smith Rafael Film Center\u003c/a>, Aug. 14\u003c/p>\n\u003cp>This week’s new streaming-on-demand releases feature a trio of films exploring how individuals relate to and are nurtured by their environments. The clear standout, Marion Johnson and local filmmaker Anne Flatté’s soulful \u003cem>River City Drumbeat\u003c/em>, takes us into the Black community of Louisville, Kentucky, through the River City Drum Corp and its founder and longtime director Edward “Nardie” White.\u003c/p>\n\u003cp>Nardie’s 30-year mission uses musical training and performance as instruments of discipline, self-confidence, pride and African-American education. \u003cem>River City Drumbeat\u003c/em> spends enough time with three student drummers for us to understand that their college-and-beyond ambitions (and possibilities) derive directly from their longtime participation in the RCDC.\u003c/p>\n\u003cfigure id=\"attachment_13884501\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/RCD2b_Edward_White_1200.jpg\" alt=\"\" width=\"1200\" height=\"558\" class=\"size-full wp-image-13884501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/RCD2b_Edward_White_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/RCD2b_Edward_White_1200-800x372.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/RCD2b_Edward_White_1200-1020x474.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/RCD2b_Edward_White_1200-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/RCD2b_Edward_White_1200-768x357.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Edward ‘Nardie’ White in ‘River City Drumbeat.’ \u003ccite>(Courtesy the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Flatté and Johnson’s concerted attention coincides with Nardie’s decision to retire at the end of the school year and hand the reins to soft-spoken RCDC alumnus Albert Shumake. Most filmmakers couldn’t resist the urge to embrace a countdown structure, build to an emotional crescendo and fade out on an uplifting note. \u003cem>River City Drumbeat\u003c/em>, however, is focused more on the journey than the destination, and with portraying a troubled ecosystem rather than celebrating a milestone.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Without being downbeat, the documentary illuminates the factors that have limited Black progress for decades—poverty, racism, scarce public resources, insufficient political power. While it’s a cliché to call every social-issue doc “timely,” \u003cem>River City Drumbeat\u003c/em> has a contribution to make to the recharged debate about public priorities and policy.\u003c/p>\n\u003cfigure id=\"attachment_13884500\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/an-american-pickle_1200.jpg\" alt=\"\" width=\"1200\" height=\"773\" class=\"size-full wp-image-13884500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/an-american-pickle_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/an-american-pickle_1200-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/an-american-pickle_1200-1020x657.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/an-american-pickle_1200-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/an-american-pickle_1200-768x495.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Seth Rogen and Seth Rogen in ‘An American Pickle.’ \u003ccite>(Hopper Stone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>An American Pickle\u003c/em>\u003c/b>\u003cbr>\nAug. 6\u003cbr>\n\u003ca href=\"https://www.hbomax.com/coming-soon/an-american-pickle\" rel=\"noopener noreferrer\" target=\"_blank\">HBO Max\u003c/a>\u003c/p>\n\u003cp>The new Seth Rogen flick is a two-hander, or more accurately a one-hander. There are two characters, and Rogen plays both of them: Herschel Greenbaum, a 1920s Lower East Side-nee-shtetl Jew (with Old Country accent, beard and cap) and his underachieving 2020s Brooklyn great-grandson Ben (without any of those fashion accessories). Scripted by Simon Rich from his 2013 New Yorker story “Sell Out,” \u003cem>An American Pickle\u003c/em> is an intermittently amusing and avowedly sentimental yarn about the supposedly unbreakable bonds of family. \u003c/p>\n\u003cp>If I could come up with fainter praise to damn this movie, I would. \u003cem>An American Pickle\u003c/em> takes hold as a Rip Van Winkle story in which salt-of-the-Earth Herschel resurfaces 100 years after falling into a vat of pickles, preserved intact by the brine. But instead of the biting, hilarious and political one-liners packed into the opening reels of Woody Allen’s \u003cem>Sleeper\u003c/em>, we get lazy, obvious sight gags.\u003c/p>\n\u003cp>https://youtu.be/JBC0pTh6GDM\u003c/p>\n\u003cp>Herschel is introduced to his sole living descendant, the blandly assimilated, Internet-savvy Ben. Neither man understands the other, understandably, but in the absence of any other significant characters the filmmakers manufacture conflict by escalating the Greenbaums’ culture clash into an illogical, mutually destructive war. Then, in the final five minutes, they and we learn that blood is thicker than pickle juice. (Or of equal consistency, metaphorically speaking.)\u003c/p>\n\u003cp>As fractured family fairy tales go, \u003cem>An American Pickle\u003c/em> (like the vast body of Rogen’s work) is as slender as a slice of Carnegie Deli corned beef. The reference points and emotional cues aren’t inspired by real life but by other movies (\u003cem>Fiddler on the Roof\u003c/em>, \u003cem>Being There\u003c/em>). All that said, and although comedies play better with crowds in theaters than on the couch with a partner, this one—which the new streaming platform HBO Max acquired from the original theatrical distributor—will benefit from the hunger for any kind of coronavirus escapism.\u003c/p>\n\u003cfigure id=\"attachment_13884502\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Buk.1_1200.jpg\" alt=\"\" width=\"1200\" height=\"813\" class=\"size-full wp-image-13884502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Buk.1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Buk.1_1200-800x542.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Buk.1_1200-1020x691.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Buk.1_1200-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Buk.1_1200-768x520.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Charles Bukowski in ‘You Never Had It.’ \u003ccite>(Courtesy Kino Lorber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>You Never Had It: An Evening With Bukowski\u003c/em>\u003c/b>\u003cbr>\nAug. 7\u003cbr>\n\u003ca href=\"https://rafaelfilm.cafilm.org/you-never-had-it/\" rel=\"noopener noreferrer\" target=\"_blank\">Smith Rafael Film Center\u003c/a>, \u003ca href=\"https://ondemand.drafthouse.com/film/you-never-had-it-an-evening-with-bukowski/\" rel=\"noopener noreferrer\" target=\"_blank\">Alamo Drafthouse\u003c/a>, \u003ca href=\"https://www.roxie.com/you-never-had-it-an-evening-with-charles-bukowski/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie\u003c/a>\u003c/p>\n\u003cp>A quarter-century after his death, the prolific L.A. poet, writer and artist Charles Bukowski still provokes strong reactions. More popular in Europe than at home, Bukowski wrote about society’s down-and-outers with a refreshing lack of shyness about the less romantic aspects of sex and alcohol. His public readings, in which he played up and played to his reputation as a hard-drinking, say-anything provocateur, enraged a few and endeared him to everyone else.\u003c/p>\n\u003cp>Italian journalist Silvia Bizio had published a couple magazine stories about Bukowski, so Italian TV gave her an assignment and a crew to interview him on camera. They were joined on this night in early 1981 at Bukowski’s San Pedro home by his partner and eventual wife Linda Lee Beighle, and a couple of their friends. Bizio kept Bukowski talking for hours, as it turned out, but the tapes were never aired. All these years later, they’ve been edited (along with contemporary Super8 footage of gritty SoCal life) into a one-hour doc. \u003c/p>\n\u003cp>The wine-guzzling, chain-smoking 60-year-old we encounter in \u003cem>You Never Had It\u003c/em> is slightly more likable and a hair more vulnerable than you might expect. To be sure, he’s crusty and cocksure, certain of his talent and secure in his tastes. But he exudes an awareness and acceptance that he is as flawed, petty and miserable a human being as everyone else wandering the planet.\u003c/p>\n\u003cfigure id=\"attachment_13884504\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Buk.2_1200.jpg\" alt=\"\" width=\"1200\" height=\"823\" class=\"size-full wp-image-13884504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Buk.2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Buk.2_1200-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Buk.2_1200-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Buk.2_1200-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Buk.2_1200-768x527.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Charles Bukowski (and cat) in ‘You Never Had It.’ \u003ccite>(Courtesy Kino Lorber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mock humility wasn’t Bukowski’s strong suit, especially when he was the center of attention, and he knew it. But he was self-aware and capable of flashes of honesty. Asked for his favorite authors, he names Celiné, John Fante, Dostoevsky and D.H. Lawrence—and that’s it. He confides that he avoids meeting other writers. “Writers are very despicable people,” he declares in a raspy voice. “Plumbers are better. Used car salesmen are better.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>A little while later, Bizio inquires about Bukowski’s tactics at the typewriter. He takes a puff and parries. “I simply write,” he says. “I’m not trying to shock or upset. I just write it down, that’s all.”\u003c/p>\n\n","blocks":[],"excerpt":"A trio of new streaming releases explore how individuals are nurtured by their environments and cultures.","status":"publish","parent":0,"modified":1705020322,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":1227},"headData":{"title":"Now Playing! Percussion, Pickles and Poetry in Your Living Room | KQED","description":"A trio of new streaming releases explore how individuals are nurtured by their environments and cultures.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Now Playing! Percussion, Pickles and Poetry in Your Living Room","datePublished":"2020-08-06T19:22:57.000Z","dateModified":"2024-01-12T00:45:22.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13884421/now-playing-percussion-pickles-and-poetry-in-your-living-room","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The major fall film festivals, especially in the hapless U.S., will take a different form because of the pandemic. The Telluride Film Festival announced the cancellation of its Labor Day weekend bash on Monday—along with its 2020 selections. Congratulations to veteran San Francisco filmmaker \u003ca href=\"https://www.jayrosenblattfilms.com/index.php\" rel=\"noopener noreferrer\" target=\"_blank\">Jay Rosenblatt\u003c/a>, whose poignant new work, \u003cem>When We Were Bullies\u003c/em>, made the cut. As for when and where local audiences will be able to see the 36-minute film, be patient. \u003c/p>\n\u003cp>Another world-renowned local filmmaker, Lynn Hershman Leeson, joins curator Margot Norton of New York’s \u003ca href=\"https://www.newmuseum.org/calendar/view/1671/lynn-hershman-leeson-in-conversation-with-margot-norton\" rel=\"noopener noreferrer\" target=\"_blank\">New Museum\u003c/a> for a live-streamed conversation Thursday, Aug. 6. Their dialogue will touch, no doubt, on the artist’s longstanding fascination with the uncomfortable intersections of scientific progress and innate humanity, Big Tech and free self-expression. Hershman Leeson’s wide-ranging multimedia exhibition \u003ci>\u003ca href=\"https://www.newmuseum.org/exhibitions/view/lynn-hershman-leeson-twisted\" rel=\"noopener noreferrer\" target=\"_blank\">Twisted\u003c/a>\u003c/i>, her first solo show at a Big Apple museum, opens February, 2021 at the New Museum.\u003c/p>\n\u003cp>\u003cb>\u003cem>River City Drumbeat\u003c/em>\u003c/b>\u003cbr>\n\u003ca href=\"https://www.roxie.com/river-city-drumbeat/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie\u003c/a>, Aug. 7; \u003ca href=\"https://rafaelfilm.cafilm.org/river-city-drumbeat/\" rel=\"noopener noreferrer\" target=\"_blank\">Smith Rafael Film Center\u003c/a>, Aug. 14\u003c/p>\n\u003cp>This week’s new streaming-on-demand releases feature a trio of films exploring how individuals relate to and are nurtured by their environments. The clear standout, Marion Johnson and local filmmaker Anne Flatté’s soulful \u003cem>River City Drumbeat\u003c/em>, takes us into the Black community of Louisville, Kentucky, through the River City Drum Corp and its founder and longtime director Edward “Nardie” White.\u003c/p>\n\u003cp>Nardie’s 30-year mission uses musical training and performance as instruments of discipline, self-confidence, pride and African-American education. \u003cem>River City Drumbeat\u003c/em> spends enough time with three student drummers for us to understand that their college-and-beyond ambitions (and possibilities) derive directly from their longtime participation in the RCDC.\u003c/p>\n\u003cfigure id=\"attachment_13884501\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/RCD2b_Edward_White_1200.jpg\" alt=\"\" width=\"1200\" height=\"558\" class=\"size-full wp-image-13884501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/RCD2b_Edward_White_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/RCD2b_Edward_White_1200-800x372.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/RCD2b_Edward_White_1200-1020x474.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/RCD2b_Edward_White_1200-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/RCD2b_Edward_White_1200-768x357.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Edward ‘Nardie’ White in ‘River City Drumbeat.’ \u003ccite>(Courtesy the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Flatté and Johnson’s concerted attention coincides with Nardie’s decision to retire at the end of the school year and hand the reins to soft-spoken RCDC alumnus Albert Shumake. Most filmmakers couldn’t resist the urge to embrace a countdown structure, build to an emotional crescendo and fade out on an uplifting note. \u003cem>River City Drumbeat\u003c/em>, however, is focused more on the journey than the destination, and with portraying a troubled ecosystem rather than celebrating a milestone.\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>Without being downbeat, the documentary illuminates the factors that have limited Black progress for decades—poverty, racism, scarce public resources, insufficient political power. While it’s a cliché to call every social-issue doc “timely,” \u003cem>River City Drumbeat\u003c/em> has a contribution to make to the recharged debate about public priorities and policy.\u003c/p>\n\u003cfigure id=\"attachment_13884500\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/an-american-pickle_1200.jpg\" alt=\"\" width=\"1200\" height=\"773\" class=\"size-full wp-image-13884500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/an-american-pickle_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/an-american-pickle_1200-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/an-american-pickle_1200-1020x657.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/an-american-pickle_1200-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/an-american-pickle_1200-768x495.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Seth Rogen and Seth Rogen in ‘An American Pickle.’ \u003ccite>(Hopper Stone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>An American Pickle\u003c/em>\u003c/b>\u003cbr>\nAug. 6\u003cbr>\n\u003ca href=\"https://www.hbomax.com/coming-soon/an-american-pickle\" rel=\"noopener noreferrer\" target=\"_blank\">HBO Max\u003c/a>\u003c/p>\n\u003cp>The new Seth Rogen flick is a two-hander, or more accurately a one-hander. There are two characters, and Rogen plays both of them: Herschel Greenbaum, a 1920s Lower East Side-nee-shtetl Jew (with Old Country accent, beard and cap) and his underachieving 2020s Brooklyn great-grandson Ben (without any of those fashion accessories). Scripted by Simon Rich from his 2013 New Yorker story “Sell Out,” \u003cem>An American Pickle\u003c/em> is an intermittently amusing and avowedly sentimental yarn about the supposedly unbreakable bonds of family. \u003c/p>\n\u003cp>If I could come up with fainter praise to damn this movie, I would. \u003cem>An American Pickle\u003c/em> takes hold as a Rip Van Winkle story in which salt-of-the-Earth Herschel resurfaces 100 years after falling into a vat of pickles, preserved intact by the brine. But instead of the biting, hilarious and political one-liners packed into the opening reels of Woody Allen’s \u003cem>Sleeper\u003c/em>, we get lazy, obvious sight gags.\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/JBC0pTh6GDM'\n title='//www.youtube.com/embed/JBC0pTh6GDM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Herschel is introduced to his sole living descendant, the blandly assimilated, Internet-savvy Ben. Neither man understands the other, understandably, but in the absence of any other significant characters the filmmakers manufacture conflict by escalating the Greenbaums’ culture clash into an illogical, mutually destructive war. Then, in the final five minutes, they and we learn that blood is thicker than pickle juice. (Or of equal consistency, metaphorically speaking.)\u003c/p>\n\u003cp>As fractured family fairy tales go, \u003cem>An American Pickle\u003c/em> (like the vast body of Rogen’s work) is as slender as a slice of Carnegie Deli corned beef. The reference points and emotional cues aren’t inspired by real life but by other movies (\u003cem>Fiddler on the Roof\u003c/em>, \u003cem>Being There\u003c/em>). All that said, and although comedies play better with crowds in theaters than on the couch with a partner, this one—which the new streaming platform HBO Max acquired from the original theatrical distributor—will benefit from the hunger for any kind of coronavirus escapism.\u003c/p>\n\u003cfigure id=\"attachment_13884502\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Buk.1_1200.jpg\" alt=\"\" width=\"1200\" height=\"813\" class=\"size-full wp-image-13884502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Buk.1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Buk.1_1200-800x542.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Buk.1_1200-1020x691.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Buk.1_1200-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Buk.1_1200-768x520.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Charles Bukowski in ‘You Never Had It.’ \u003ccite>(Courtesy Kino Lorber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>You Never Had It: An Evening With Bukowski\u003c/em>\u003c/b>\u003cbr>\nAug. 7\u003cbr>\n\u003ca href=\"https://rafaelfilm.cafilm.org/you-never-had-it/\" rel=\"noopener noreferrer\" target=\"_blank\">Smith Rafael Film Center\u003c/a>, \u003ca href=\"https://ondemand.drafthouse.com/film/you-never-had-it-an-evening-with-bukowski/\" rel=\"noopener noreferrer\" target=\"_blank\">Alamo Drafthouse\u003c/a>, \u003ca href=\"https://www.roxie.com/you-never-had-it-an-evening-with-charles-bukowski/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie\u003c/a>\u003c/p>\n\u003cp>A quarter-century after his death, the prolific L.A. poet, writer and artist Charles Bukowski still provokes strong reactions. More popular in Europe than at home, Bukowski wrote about society’s down-and-outers with a refreshing lack of shyness about the less romantic aspects of sex and alcohol. His public readings, in which he played up and played to his reputation as a hard-drinking, say-anything provocateur, enraged a few and endeared him to everyone else.\u003c/p>\n\u003cp>Italian journalist Silvia Bizio had published a couple magazine stories about Bukowski, so Italian TV gave her an assignment and a crew to interview him on camera. They were joined on this night in early 1981 at Bukowski’s San Pedro home by his partner and eventual wife Linda Lee Beighle, and a couple of their friends. Bizio kept Bukowski talking for hours, as it turned out, but the tapes were never aired. All these years later, they’ve been edited (along with contemporary Super8 footage of gritty SoCal life) into a one-hour doc. \u003c/p>\n\u003cp>The wine-guzzling, chain-smoking 60-year-old we encounter in \u003cem>You Never Had It\u003c/em> is slightly more likable and a hair more vulnerable than you might expect. To be sure, he’s crusty and cocksure, certain of his talent and secure in his tastes. But he exudes an awareness and acceptance that he is as flawed, petty and miserable a human being as everyone else wandering the planet.\u003c/p>\n\u003cfigure id=\"attachment_13884504\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Buk.2_1200.jpg\" alt=\"\" width=\"1200\" height=\"823\" class=\"size-full wp-image-13884504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Buk.2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Buk.2_1200-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Buk.2_1200-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Buk.2_1200-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Buk.2_1200-768x527.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Charles Bukowski (and cat) in ‘You Never Had It.’ \u003ccite>(Courtesy Kino Lorber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mock humility wasn’t Bukowski’s strong suit, especially when he was the center of attention, and he knew it. But he was self-aware and capable of flashes of honesty. Asked for his favorite authors, he names Celiné, John Fante, Dostoevsky and D.H. Lawrence—and that’s it. He confides that he avoids meeting other writers. “Writers are very despicable people,” he declares in a raspy voice. “Plumbers are better. Used car salesmen are better.”\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>A little while later, Bizio inquires about Bukowski’s tactics at the typewriter. He takes a puff and parries. “I simply write,” he says. “I’m not trying to shock or upset. I just write it down, that’s all.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13884421/now-playing-percussion-pickles-and-poetry-in-your-living-room","authors":["22"],"programs":["arts_140"],"categories":["arts_1","arts_74"],"tags":["arts_549","arts_1006","arts_1690","arts_585"],"featImg":"arts_13884499","label":"arts_140"},"arts_13878127":{"type":"posts","id":"arts_13878127","meta":{"index":"posts_1591205157","site":"arts","id":"13878127","score":null,"sort":[1586206628000]},"guestAuthors":[],"slug":"now-playing-comic-diversion-unspools-across-sfs-landscape","title":"Now Playing! Comic Diversion Unspools Across SF's Landscape","publishDate":1586206628,"format":"standard","headTitle":"Now Playing! Comic Diversion Unspools Across SF’s Landscape | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>SFFILM, the venerable, far-ranging festival and big dog on the local cinema calendar, was supposed to start Wednesday. To fill the void, I should have compiled a selection of challenging films from around the globe. Maybe next week. Right now, a bit of comic diversion is called for. Here’s a batch of movies that use San Francisco locations to excellent effect.\u003c/p>\n\u003cp>\u003cb>\u003ci>What’s Up, Doc?\u003c/i>, 1972\u003c/b>\u003cbr>\n\u003ca href=\"https://www.criterionchannel.com/what-s-up-doc\" target=\"_blank\" rel=\"noopener noreferrer\">Criterion Channel\u003c/a>\u003cbr>\nPeter Bogdanovich’s homage to ’30s screwball comedies is a charming romp up and down San Francisco’s hills. Careening from coincidence to improbability, the movie revels in the comic timing of Barbra Streisand and straight man Ryan O’Neal. Raise a glass to co-screenwriter Buck Henry, who jitterbugged off this mortal coil in January.\u003c/p>\n\u003cp>\u003cb>\u003ci>North Beach\u003c/i>, 2000\u003c/b>\u003cbr>\n\u003ca href=\"https://www.fandor.com/films/north_beach\" target=\"_blank\" rel=\"noopener noreferrer\">Fandor\u003c/a>\u003cbr>\nTelegraph Hill is the picturesque setting for this indie gem that played to a packed Lumiere at a long-ago Indiefest. Casey Peterson (who wrote the clever comic screenplay) wakes up after a one-night stand with a stripper to discover that everyone—including his fiancée—knows about the dirty deed. Co-directors Jed Mortenson and Richard Speight draw naturalistic performances from a coterie of likable twenty-somethings who handle the sparkling banter with brio and aplomb.\u003c/p>\n\u003cp>\u003cb>\u003ci>So I Married an Axe Murderer\u003c/i>, 1993\u003c/b>\u003cbr>\n\u003ca href=\"https://www.amazon.com/gp/video/detail/amzn1.dv.gti.e2a9f7b7-0005-82c2-0a27-88b3029c4932\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon and other online rental platforms\u003c/a>\u003cbr>\nThe other comedy that Mike Myers put out in 1993 spun the turnstiles a good deal slower than \u003cem>Wayne’s World 2\u003c/em>. It’s worth a look for its local setting, the star’s dual performances and the weirdly funny supporting cast of Nancy Travis, Anthony LaPaglia, Phil Hartman, Brenda Fricker, Amanda Plummer and Charles Grodin.\u003c/p>\n\u003cp>\u003cb>\u003ci>Bicentennial Man\u003c/i>, 1999\u003c/b>\u003cbr>\n\u003ca href=\"https://play.hbogo.com/feature/urn:hbo:feature:GVYSiTAFbwIqLlS8JADtp\" target=\"_blank\" rel=\"noopener noreferrer\">HBO Go\u003c/a>\u003cbr>\nSix years after \u003cem>Mrs. Doubtfire\u003c/em>, Robin Williams and Chris Columbus paired up again to showcase the Bay Area’s natural and man-made beauty—as envisioned in the near and distant future. This speculative and overly sentimental fiction, adapted from Isaac Asimov’s story, follows a household robot’s progress over two centuries.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>\u003ci>Medicine for Melancholy\u003c/i>, 2008\u003c/b>\u003cbr>\n\u003ca href=\"https://www.amazon.com/gp/video/detail/amzn1.dv.gti.30a9f7bb-fbd1-13cd-5a9b-bdf1814a3f05\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon and other online rental platforms\u003c/a>\u003cbr>\nBarry Jenkins’ black-and-white debut, shot during the Miami-born director’s time in San Francisco, won the Audience Award at (what was then called) the S.F. International Film Festival. It’s of a piece with his later successes; that is, it’s an artful and piercing character study focused on the acute challenges of being black in America. After spending the night together, Wyatt Cenac and Tracey Heggins stroll around town navigating their awkward connection and the larger picture.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>\u003ci>After the Thin Man\u003c/i>, 1936\u003c/b>\u003cbr>\n\u003ca href=\"https://www.amazon.com/gp/product/B000LJ60FO\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon and other online rental platforms\u003c/a>\u003cbr>\nThe copyright laws mystify me. How can an 84-year-old film not be in the public domain, and free to all? If you (or your children) have never seen Woody Van Dyke’s terrific S.F.-set sequel (the first of five) to \u003cem>The Thin Man\u003c/em>, his immortal 1934 adaptation of Dashiell Hammett’s novel, mix a pitcher of martinis and curl up with the dog. Urbane amateur detectives Nick and Nora Charles (the sublime William Powell and Mary Astor) are on the case, though assuredly not on the wagon.\u003c/p>\n\n","blocks":[],"excerpt":"Six films that use the city as a backdrop, to excellent effect.","status":"publish","parent":0,"modified":1705020946,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":553},"headData":{"title":"Now Playing! Comic Diversion Unspools Across SF's Landscape | KQED","description":"Six films that use the city as a backdrop, to excellent effect.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Now Playing! Comic Diversion Unspools Across SF's Landscape","datePublished":"2020-04-06T20:57:08.000Z","dateModified":"2024-01-12T00:55:46.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13878127/now-playing-comic-diversion-unspools-across-sfs-landscape","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>SFFILM, the venerable, far-ranging festival and big dog on the local cinema calendar, was supposed to start Wednesday. To fill the void, I should have compiled a selection of challenging films from around the globe. Maybe next week. Right now, a bit of comic diversion is called for. Here’s a batch of movies that use San Francisco locations to excellent effect.\u003c/p>\n\u003cp>\u003cb>\u003ci>What’s Up, Doc?\u003c/i>, 1972\u003c/b>\u003cbr>\n\u003ca href=\"https://www.criterionchannel.com/what-s-up-doc\" target=\"_blank\" rel=\"noopener noreferrer\">Criterion Channel\u003c/a>\u003cbr>\nPeter Bogdanovich’s homage to ’30s screwball comedies is a charming romp up and down San Francisco’s hills. Careening from coincidence to improbability, the movie revels in the comic timing of Barbra Streisand and straight man Ryan O’Neal. Raise a glass to co-screenwriter Buck Henry, who jitterbugged off this mortal coil in January.\u003c/p>\n\u003cp>\u003cb>\u003ci>North Beach\u003c/i>, 2000\u003c/b>\u003cbr>\n\u003ca href=\"https://www.fandor.com/films/north_beach\" target=\"_blank\" rel=\"noopener noreferrer\">Fandor\u003c/a>\u003cbr>\nTelegraph Hill is the picturesque setting for this indie gem that played to a packed Lumiere at a long-ago Indiefest. Casey Peterson (who wrote the clever comic screenplay) wakes up after a one-night stand with a stripper to discover that everyone—including his fiancée—knows about the dirty deed. Co-directors Jed Mortenson and Richard Speight draw naturalistic performances from a coterie of likable twenty-somethings who handle the sparkling banter with brio and aplomb.\u003c/p>\n\u003cp>\u003cb>\u003ci>So I Married an Axe Murderer\u003c/i>, 1993\u003c/b>\u003cbr>\n\u003ca href=\"https://www.amazon.com/gp/video/detail/amzn1.dv.gti.e2a9f7b7-0005-82c2-0a27-88b3029c4932\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon and other online rental platforms\u003c/a>\u003cbr>\nThe other comedy that Mike Myers put out in 1993 spun the turnstiles a good deal slower than \u003cem>Wayne’s World 2\u003c/em>. It’s worth a look for its local setting, the star’s dual performances and the weirdly funny supporting cast of Nancy Travis, Anthony LaPaglia, Phil Hartman, Brenda Fricker, Amanda Plummer and Charles Grodin.\u003c/p>\n\u003cp>\u003cb>\u003ci>Bicentennial Man\u003c/i>, 1999\u003c/b>\u003cbr>\n\u003ca href=\"https://play.hbogo.com/feature/urn:hbo:feature:GVYSiTAFbwIqLlS8JADtp\" target=\"_blank\" rel=\"noopener noreferrer\">HBO Go\u003c/a>\u003cbr>\nSix years after \u003cem>Mrs. Doubtfire\u003c/em>, Robin Williams and Chris Columbus paired up again to showcase the Bay Area’s natural and man-made beauty—as envisioned in the near and distant future. This speculative and overly sentimental fiction, adapted from Isaac Asimov’s story, follows a household robot’s progress over two centuries.\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>\u003ci>Medicine for Melancholy\u003c/i>, 2008\u003c/b>\u003cbr>\n\u003ca href=\"https://www.amazon.com/gp/video/detail/amzn1.dv.gti.30a9f7bb-fbd1-13cd-5a9b-bdf1814a3f05\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon and other online rental platforms\u003c/a>\u003cbr>\nBarry Jenkins’ black-and-white debut, shot during the Miami-born director’s time in San Francisco, won the Audience Award at (what was then called) the S.F. International Film Festival. It’s of a piece with his later successes; that is, it’s an artful and piercing character study focused on the acute challenges of being black in America. After spending the night together, Wyatt Cenac and Tracey Heggins stroll around town navigating their awkward connection and the larger picture.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>\u003ci>After the Thin Man\u003c/i>, 1936\u003c/b>\u003cbr>\n\u003ca href=\"https://www.amazon.com/gp/product/B000LJ60FO\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon and other online rental platforms\u003c/a>\u003cbr>\nThe copyright laws mystify me. How can an 84-year-old film not be in the public domain, and free to all? If you (or your children) have never seen Woody Van Dyke’s terrific S.F.-set sequel (the first of five) to \u003cem>The Thin Man\u003c/em>, his immortal 1934 adaptation of Dashiell Hammett’s novel, mix a pitcher of martinis and curl up with the dog. Urbane amateur detectives Nick and Nora Charles (the sublime William Powell and Mary Astor) are on the case, though assuredly not on the wagon.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13878127/now-playing-comic-diversion-unspools-across-sfs-landscape","authors":["22"],"programs":["arts_140"],"categories":["arts_74"],"tags":["arts_1006","arts_1690","arts_585"],"featImg":"arts_13878179","label":"arts_140"},"arts_13863107":{"type":"posts","id":"arts_13863107","meta":{"index":"posts_1591205157","site":"arts","id":"13863107","score":null,"sort":[1565124410000]},"guestAuthors":[],"slug":"now-playing-moads-caribbean-trek-turns-its-lens-to-puerto-rico","title":"Now Playing! MoAD’s Caribbean Trek Turns its Lens to Puerto Rico","publishDate":1565124410,"format":"standard","headTitle":"Now Playing! MoAD’s Caribbean Trek Turns its Lens to Puerto Rico | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>After nearly a century and a quarter as a U.S. territory, Puerto Rico is beset by economic crisis and political chaos. Much of the havoc can be blamed on Hurricane Maria, but the U.S. government wasn’t especially mindful of its citizens—who don’t vote in federal elections and have no elected representative in D.C.—even before the 2018 storm left a trail of death and devastation.\u003c/p>\n\u003cp>\u003cem>Moving in Place\u003c/em>, the finale of the \u003ca href=\"https://www.moadsf.org/blog/caribbean-in-motion-a-film-series/\" rel=\"noopener\" target=\"_blank\">Caribbean in Motion film series\u003c/a> playing at MoAD for the last five weeks, gives voice to several twentysomething Puerto Ricans on the island, in New York and Florida. Perennially cheerful yet palpably concerned, they grapple with a complicated present and an uncertain future.\u003c/p>\n\u003cfigure id=\"attachment_13863189\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200.jpg\" alt=\"Still from 'Moving in Place,' a hurricane relief rally in Union Square, New York City.\" width=\"1200\" height=\"638\" class=\"size-full wp-image-13863189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200-800x425.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200-768x408.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200-1020x542.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Moving in Place,’ a hurricane relief rally in Union Square, New York City. \u003ccite>(Courtesy of the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A current of injustice runs just below the surface of their testimonies; it’s neither fair nor right that these educated, generous people should encounter so many hurdles contributing to Puerto Rico’s recovery. \u003cem>Moving in Place\u003c/em>, which screens Wednesday, Aug. 7, evokes the inequitable power relationship between the U.S. and the tiny territory, and asks us to hear the lingering echoes of colonialism and exploitation.\u003c/p>\n\u003cp>Filmmakers Lyka Sethi and Geoffrey Iwata would have better served their subjects—and their talking-head documentary—by editing their interviews with greater rigor. As it is, \u003cem>Moving in Place\u003c/em> is like eavesdropping on a series of conversations: heartfelt, earnest and in the moment. \u003ci>—Michael Fox\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"'Moving in Place' evokes the inequitable power relationship between the U.S. and the tiny territory, and asks us to hear the lingering echoes of colonialism and exploitation.\r\n","status":"publish","parent":0,"modified":1705022390,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":266},"headData":{"title":"Now Playing! MoAD’s Caribbean Trek Turns its Lens to Puerto Rico | KQED","description":"'Moving in Place' evokes the inequitable power relationship between the U.S. and the tiny territory, and asks us to hear the lingering echoes of colonialism and exploitation.\r\n","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Now Playing! MoAD’s Caribbean Trek Turns its Lens to Puerto Rico","datePublished":"2019-08-06T20:46:50.000Z","dateModified":"2024-01-12T01:19:50.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"event","featuredImageType":"standard","startTime":1565227800,"endTime":1565236800,"startTimeString":"Aug. 7, 6:30–9pm","venueName":"Museum of the African Diaspora","venueAddress":"685 Mission St., San Francisco","eventLink":"https://www.moadsf.org/event/moving-in-place-caribbean-in-motion-film-series/?instance_id=15281","path":"/arts/13863107/now-playing-moads-caribbean-trek-turns-its-lens-to-puerto-rico","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>After nearly a century and a quarter as a U.S. territory, Puerto Rico is beset by economic crisis and political chaos. Much of the havoc can be blamed on Hurricane Maria, but the U.S. government wasn’t especially mindful of its citizens—who don’t vote in federal elections and have no elected representative in D.C.—even before the 2018 storm left a trail of death and devastation.\u003c/p>\n\u003cp>\u003cem>Moving in Place\u003c/em>, the finale of the \u003ca href=\"https://www.moadsf.org/blog/caribbean-in-motion-a-film-series/\" rel=\"noopener\" target=\"_blank\">Caribbean in Motion film series\u003c/a> playing at MoAD for the last five weeks, gives voice to several twentysomething Puerto Ricans on the island, in New York and Florida. Perennially cheerful yet palpably concerned, they grapple with a complicated present and an uncertain future.\u003c/p>\n\u003cfigure id=\"attachment_13863189\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200.jpg\" alt=\"Still from 'Moving in Place,' a hurricane relief rally in Union Square, New York City.\" width=\"1200\" height=\"638\" class=\"size-full wp-image-13863189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200-800x425.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200-768x408.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200-1020x542.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Moving in Place,’ a hurricane relief rally in Union Square, New York City. \u003ccite>(Courtesy of the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A current of injustice runs just below the surface of their testimonies; it’s neither fair nor right that these educated, generous people should encounter so many hurdles contributing to Puerto Rico’s recovery. \u003cem>Moving in Place\u003c/em>, which screens Wednesday, Aug. 7, evokes the inequitable power relationship between the U.S. and the tiny territory, and asks us to hear the lingering echoes of colonialism and exploitation.\u003c/p>\n\u003cp>Filmmakers Lyka Sethi and Geoffrey Iwata would have better served their subjects—and their talking-head documentary—by editing their interviews with greater rigor. As it is, \u003cem>Moving in Place\u003c/em> is like eavesdropping on a series of conversations: heartfelt, earnest and in the moment. \u003ci>—Michael Fox\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/13863107/now-playing-moads-caribbean-trek-turns-its-lens-to-puerto-rico","authors":["22"],"programs":["arts_140"],"categories":["arts_74"],"tags":["arts_977","arts_1006","arts_1987","arts_1690","arts_596","arts_4244"],"featImg":"arts_13863190","label":"arts_140"},"arts_13852684":{"type":"posts","id":"arts_13852684","meta":{"index":"posts_1591205157","site":"arts","id":"13852684","score":null,"sort":[1552330846000]},"guestAuthors":[],"slug":"now-playing-when-the-lights-go-down-in-the-city-of-albany","title":"Now Playing! When the Lights Go Down in the City (of Albany)","publishDate":1552330846,"format":"standard","headTitle":"Now Playing! When the Lights Go Down in the City (of Albany) | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Regardless where the movies come from, every film festival is local. Programmers are always thinking about their audience, whether they’re aiming for a sweet spot or walking out on the edge. While the notion of community is often preeminent, especially for festivals centered on identity or an issue, it’s tough for geography-based festivals to create that sense of shared experience and purpose.\u003c/p>\n\u003cp>\u003ca href=\"https://albanyfilmfest.org\" rel=\"noopener\" target=\"_blank\">Albany International FilmFest\u003c/a> (March 16–24) cultivates that elusive connection between moviegoers with far more success than most “nondenominational” festivals. Its recipe blends short films, children’s programming, lots of filmmakers and a welcoming vibe—with the aim of dissolving the distance between artist and audience, subject and viewer, them and us.\u003c/p>\n\u003cfigure id=\"attachment_13852693\" class=\"wp-caption aligncenter\" style=\"max-width: 891px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/ursula_web.jpg\" alt=\"Ursula K. Le Guin on the Oregon Coast during the production of 'Worlds of Ursula K. Le Guin.'\" width=\"891\" height=\"711\" class=\"size-full wp-image-13852693\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ursula_web.jpg 891w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ursula_web-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ursula_web-800x638.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ursula_web-768x613.jpg 768w\" sizes=\"(max-width: 891px) 100vw, 891px\">\u003cfigcaption class=\"wp-caption-text\">Ursula K. Le Guin on the Oregon Coast during the production of ‘Worlds of Ursula K. Le Guin.’\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s lineup offers another chance to catch a trio of vivid and poignant feature-length portraits that debuted at previous Bay Area festivals, Arwen Curry’s \u003cem>Worlds of Ursula K. Leguin\u003c/em>, Laurie Coyle’s \u003cem>Adios Amor: The Search for Maria Moreno\u003c/em> and V. Scott Balcerek’s \u003cem>Satan & Adam\u003c/em>. The short standouts include Anne Flatté’s \u003cem>Symphony for Nature\u003c/em> and Albany filmmaker Michael Primmer’s \u003cem>Downeast Morning\u003c/em>. It’s a beautiful day in the neighborhood, as somebody once said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The Albany International FilmFest cultivates community by dissolving distance.","status":"publish","parent":0,"modified":1705026497,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":5,"wordCount":235},"headData":{"title":"Now Playing! When the Lights Go Down in the City (of Albany) | KQED","description":"The Albany International FilmFest cultivates community by dissolving distance.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Now Playing! When the Lights Go Down in the City (of Albany)","datePublished":"2019-03-11T19:00:46.000Z","dateModified":"2024-01-12T02:28:17.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13852684/now-playing-when-the-lights-go-down-in-the-city-of-albany","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Regardless where the movies come from, every film festival is local. Programmers are always thinking about their audience, whether they’re aiming for a sweet spot or walking out on the edge. While the notion of community is often preeminent, especially for festivals centered on identity or an issue, it’s tough for geography-based festivals to create that sense of shared experience and purpose.\u003c/p>\n\u003cp>\u003ca href=\"https://albanyfilmfest.org\" rel=\"noopener\" target=\"_blank\">Albany International FilmFest\u003c/a> (March 16–24) cultivates that elusive connection between moviegoers with far more success than most “nondenominational” festivals. Its recipe blends short films, children’s programming, lots of filmmakers and a welcoming vibe—with the aim of dissolving the distance between artist and audience, subject and viewer, them and us.\u003c/p>\n\u003cfigure id=\"attachment_13852693\" class=\"wp-caption aligncenter\" style=\"max-width: 891px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/ursula_web.jpg\" alt=\"Ursula K. Le Guin on the Oregon Coast during the production of 'Worlds of Ursula K. Le Guin.'\" width=\"891\" height=\"711\" class=\"size-full wp-image-13852693\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ursula_web.jpg 891w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ursula_web-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ursula_web-800x638.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ursula_web-768x613.jpg 768w\" sizes=\"(max-width: 891px) 100vw, 891px\">\u003cfigcaption class=\"wp-caption-text\">Ursula K. Le Guin on the Oregon Coast during the production of ‘Worlds of Ursula K. Le Guin.’\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s lineup offers another chance to catch a trio of vivid and poignant feature-length portraits that debuted at previous Bay Area festivals, Arwen Curry’s \u003cem>Worlds of Ursula K. Leguin\u003c/em>, Laurie Coyle’s \u003cem>Adios Amor: The Search for Maria Moreno\u003c/em> and V. Scott Balcerek’s \u003cem>Satan & Adam\u003c/em>. The short standouts include Anne Flatté’s \u003cem>Symphony for Nature\u003c/em> and Albany filmmaker Michael Primmer’s \u003cem>Downeast Morning\u003c/em>. It’s a beautiful day in the neighborhood, as somebody once said.\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/13852684/now-playing-when-the-lights-go-down-in-the-city-of-albany","authors":["22"],"programs":["arts_140"],"categories":["arts_74"],"tags":["arts_1118","arts_1006","arts_1690","arts_596","arts_1334"],"featImg":"arts_13852692","label":"arts_140"},"arts_13851517":{"type":"posts","id":"arts_13851517","meta":{"index":"posts_1591205157","site":"arts","id":"13851517","score":null,"sort":[1551124803000]},"guestAuthors":[],"slug":"now-playing-black-snake-killaz-take-on-dakota-pipeline-at-other-cinema","title":"Now Playing! ‘Black Snake Killaz’ Take on Dakota Pipeline at Other Cinema","publishDate":1551124803,"format":"standard","headTitle":"Now Playing! ‘Black Snake Killaz’ Take on Dakota Pipeline at Other Cinema | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>For some documentary filmmakers, the toughest trick is balancing journalism and activism. (The challenge for some film critics, it’s fair to say, is separating a film’s quality from its—or the writer’s—politics.) \u003cem>Black Snake Killaz\u003c/em>, a frankly one-sided chronology of the quashed Native American protests of the Dakota Access Pipeline in 2016 and 2017, proffers a catalog of events witnessed and filmed by reporters for the nonprofit, internet-based media organization Unicorn Riot. These frontline journalists have produced a surprisingly restrained document that still manages to be deeply infuriating.\u003c/p>\n\u003cp>\u003cem>Black Snake Killaz\u003c/em>, screening Sat., March 2 at the Mission District’s venerable \u003ca href=\"http://www.othercinema.com/calendar/index.html\" rel=\"noopener\" target=\"_blank\">The Other Cinema\u003c/a>, adopts the perspective and point of view of the indigenous people of the area. Simply stated, the locals are anxious about the inevitable oil spills and leaks that will contaminate their water supply (based on the petroleum industry’s global track record) and infuriated by a century and a half of broken U.S. Government treaties.\u003c/p>\n\u003cp>Perhaps that untrustworthiness dictated the reporters’ refusal to interview anyone from the various governments, corporations, banks or law enforcement agencies implementing the pipeline’s construction. But is anyone unclear about—or supportive of—the rhetoric used to justify, at this point in Earth’s climate change, a moronically self-destructive oil pipeline? Far more eloquent than public relations-speak are the nonsense propaganda videos produced by the sheriff’s department, and the shocking images that Unicorn Riot captured of sadistic, hyper-militarized cops confronting nonviolent protestors engaged in civil disobedience.\u003c/p>\n\u003cp>\u003cem>Black Snake Killaz\u003c/em> (the black snake is oil, if you hadn’t guessed, and the would-be killaz are the protestors or, as the film calls them, “water protectors”) is not a great film, and perhaps not even a persuasive one for diehard free-marketers, Humvee owners, law-and-order fetishists and other niche groups. But it is an important document, especially in a culture where everything seems to disappear down the memory hole. If you can’t get to Valencia St. for the screening, you can watch the film \u003ca href=\"https://unicornriot.ninja/black-snake-killaz-2017/\" rel=\"noopener\" target=\"_blank\">here\u003c/a> legally.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"An important document of hyper-militarized cops and nonviolent protestors at the Dakota Access Pipeline.","status":"publish","parent":0,"modified":1705026555,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":367},"headData":{"title":"Now Playing! ‘Black Snake Killaz’ Take on Dakota Pipeline at Other Cinema | KQED","description":"An important document of hyper-militarized cops and nonviolent protestors at the Dakota Access Pipeline.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Now Playing! ‘Black Snake Killaz’ Take on Dakota Pipeline at Other Cinema","datePublished":"2019-02-25T20:00:03.000Z","dateModified":"2024-01-12T02:29:15.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13851517/now-playing-black-snake-killaz-take-on-dakota-pipeline-at-other-cinema","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For some documentary filmmakers, the toughest trick is balancing journalism and activism. (The challenge for some film critics, it’s fair to say, is separating a film’s quality from its—or the writer’s—politics.) \u003cem>Black Snake Killaz\u003c/em>, a frankly one-sided chronology of the quashed Native American protests of the Dakota Access Pipeline in 2016 and 2017, proffers a catalog of events witnessed and filmed by reporters for the nonprofit, internet-based media organization Unicorn Riot. These frontline journalists have produced a surprisingly restrained document that still manages to be deeply infuriating.\u003c/p>\n\u003cp>\u003cem>Black Snake Killaz\u003c/em>, screening Sat., March 2 at the Mission District’s venerable \u003ca href=\"http://www.othercinema.com/calendar/index.html\" rel=\"noopener\" target=\"_blank\">The Other Cinema\u003c/a>, adopts the perspective and point of view of the indigenous people of the area. Simply stated, the locals are anxious about the inevitable oil spills and leaks that will contaminate their water supply (based on the petroleum industry’s global track record) and infuriated by a century and a half of broken U.S. Government treaties.\u003c/p>\n\u003cp>Perhaps that untrustworthiness dictated the reporters’ refusal to interview anyone from the various governments, corporations, banks or law enforcement agencies implementing the pipeline’s construction. But is anyone unclear about—or supportive of—the rhetoric used to justify, at this point in Earth’s climate change, a moronically self-destructive oil pipeline? Far more eloquent than public relations-speak are the nonsense propaganda videos produced by the sheriff’s department, and the shocking images that Unicorn Riot captured of sadistic, hyper-militarized cops confronting nonviolent protestors engaged in civil disobedience.\u003c/p>\n\u003cp>\u003cem>Black Snake Killaz\u003c/em> (the black snake is oil, if you hadn’t guessed, and the would-be killaz are the protestors or, as the film calls them, “water protectors”) is not a great film, and perhaps not even a persuasive one for diehard free-marketers, Humvee owners, law-and-order fetishists and other niche groups. But it is an important document, especially in a culture where everything seems to disappear down the memory hole. If you can’t get to Valencia St. for the screening, you can watch the film \u003ca href=\"https://unicornriot.ninja/black-snake-killaz-2017/\" rel=\"noopener\" target=\"_blank\">here\u003c/a> legally.\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/13851517/now-playing-black-snake-killaz-take-on-dakota-pipeline-at-other-cinema","authors":["22"],"programs":["arts_140"],"categories":["arts_74"],"tags":["arts_1118","arts_1690","arts_596","arts_769"],"featImg":"arts_13851329","label":"arts_140"},"arts_13851130":{"type":"posts","id":"arts_13851130","meta":{"index":"posts_1591205157","site":"arts","id":"13851130","score":null,"sort":[1550524577000]},"guestAuthors":[],"slug":"now-playing-toasts-to-bay-area-legends-james-ivory-and-marlon-riggs","title":"Now Playing! Toasts to Bay Area Legends James Ivory and Marlon Riggs","publishDate":1550524577,"format":"standard","headTitle":"Now Playing! Toasts to Bay Area Legends James Ivory and Marlon Riggs | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Born in Berkeley 90 years ago, James Ivory’s brilliant career as a film director has taken him around the world. He remains closely identified with India, however, where he made his first documentaries as well as his first narrative features. Ivory’s longtime partner, Ismail Merchant, was born in Bombay and their favorite screenwriter, novelist Ruth Prawer Jhabvala, wrote about and lived in India for almost a quarter century.\u003c/p>\n\u003cp>Ivory returns to Berkeley and \u003ca href=\"https://bampfa.org/program/james-ivory-person\" target=\"_blank\" rel=\"noopener\">BAMPFA\u003c/a> this week to present three early films shot in India or with an Indian protagonist—1965’s \u003cem>Shakespeare Wallah\u003c/em> (Feb. 22) and 1969’s \u003cem>The Guru\u003c/em> (Feb. 23), along with a sold-out screening of 1975’s \u003cem>Autobiography of a Princess\u003c/em> (Feb. 20). The director’s perceptive and empathetic attitude regarding culture clash, geographical dislocation, the discomfort of looming change and the disruptive force of romantic love presages his entire career.\u003c/p>\n\u003cfigure id=\"attachment_13851136\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13851136\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/tongues.jpg\" alt=\"Still from Marlon Rigg's 'Tongues Untied,' 1989.\" width=\"1920\" height=\"1422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/tongues.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/tongues-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/tongues-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/tongues-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/tongues-1020x755.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/tongues-1200x889.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from Marlon Rigg’s ‘Tongues Untied,’ 1989. \u003ccite>(Courtesy of the Roxie Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marlon Riggs was born in Texas, but called the Bay Area home. After graduating from Harvard with honors, Riggs ventured west to do his graduate work in journalism at UC Berkeley (and stayed on as a professor). His first documentary, \u003cem>Ethnic Notions\u003c/em> (1987), brilliantly delineated \u003cem>in 59 minutes\u003c/em> the evolution of black stereotypes in mainstream American culture from the end of the Civil War onward. (Stream it for free on \u003ca href=\"https://sfpl.kanopy.com/video/ethnic-notions-0\">Kanopy\u003c/a>. You will be astonished.)\u003c/p>\n\u003cp>The \u003ca href=\"https://www.roxie.com/ai1ec_event/tongues-untied-30th-anniversary-screening/?instance_id=32349\" target=\"_blank\" rel=\"noopener\">Roxie\u003c/a> marks the 30th anniversary of Marlon’s most personal, poetic, sexy and brave film, \u003cem>Tongues Untied\u003c/em>, with a screening on Feb. 20. At a time when homosexuality wasn’t acknowledged in the black community, Riggs did more than out himself: He celebrated every fiber of his being as an intellectual, an artist, a member of a community and a queer man. He died of AIDS in 1994, and his memory and his work inspire generations of Bay Area documentary makers to this day.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"This week, two masters are celebrated and remembered on both sides of the Bay this week.","status":"publish","parent":0,"modified":1705026579,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":334},"headData":{"title":"Now Playing! Toasts to Bay Area Legends James Ivory and Marlon Riggs | KQED","description":"This week, two masters are celebrated and remembered on both sides of the Bay this week.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Now Playing! Toasts to Bay Area Legends James Ivory and Marlon Riggs","datePublished":"2019-02-18T21:16:17.000Z","dateModified":"2024-01-12T02:29:39.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13851130/now-playing-toasts-to-bay-area-legends-james-ivory-and-marlon-riggs","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Born in Berkeley 90 years ago, James Ivory’s brilliant career as a film director has taken him around the world. He remains closely identified with India, however, where he made his first documentaries as well as his first narrative features. Ivory’s longtime partner, Ismail Merchant, was born in Bombay and their favorite screenwriter, novelist Ruth Prawer Jhabvala, wrote about and lived in India for almost a quarter century.\u003c/p>\n\u003cp>Ivory returns to Berkeley and \u003ca href=\"https://bampfa.org/program/james-ivory-person\" target=\"_blank\" rel=\"noopener\">BAMPFA\u003c/a> this week to present three early films shot in India or with an Indian protagonist—1965’s \u003cem>Shakespeare Wallah\u003c/em> (Feb. 22) and 1969’s \u003cem>The Guru\u003c/em> (Feb. 23), along with a sold-out screening of 1975’s \u003cem>Autobiography of a Princess\u003c/em> (Feb. 20). The director’s perceptive and empathetic attitude regarding culture clash, geographical dislocation, the discomfort of looming change and the disruptive force of romantic love presages his entire career.\u003c/p>\n\u003cfigure id=\"attachment_13851136\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13851136\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/tongues.jpg\" alt=\"Still from Marlon Rigg's 'Tongues Untied,' 1989.\" width=\"1920\" height=\"1422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/tongues.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/tongues-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/tongues-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/tongues-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/tongues-1020x755.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/tongues-1200x889.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from Marlon Rigg’s ‘Tongues Untied,’ 1989. \u003ccite>(Courtesy of the Roxie Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marlon Riggs was born in Texas, but called the Bay Area home. After graduating from Harvard with honors, Riggs ventured west to do his graduate work in journalism at UC Berkeley (and stayed on as a professor). His first documentary, \u003cem>Ethnic Notions\u003c/em> (1987), brilliantly delineated \u003cem>in 59 minutes\u003c/em> the evolution of black stereotypes in mainstream American culture from the end of the Civil War onward. (Stream it for free on \u003ca href=\"https://sfpl.kanopy.com/video/ethnic-notions-0\">Kanopy\u003c/a>. You will be astonished.)\u003c/p>\n\u003cp>The \u003ca href=\"https://www.roxie.com/ai1ec_event/tongues-untied-30th-anniversary-screening/?instance_id=32349\" target=\"_blank\" rel=\"noopener\">Roxie\u003c/a> marks the 30th anniversary of Marlon’s most personal, poetic, sexy and brave film, \u003cem>Tongues Untied\u003c/em>, with a screening on Feb. 20. At a time when homosexuality wasn’t acknowledged in the black community, Riggs did more than out himself: He celebrated every fiber of his being as an intellectual, an artist, a member of a community and a queer man. He died of AIDS in 1994, and his memory and his work inspire generations of Bay Area documentary makers to this day.\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/13851130/now-playing-toasts-to-bay-area-legends-james-ivory-and-marlon-riggs","authors":["22"],"programs":["arts_140"],"categories":["arts_74"],"tags":["arts_2227","arts_1118","arts_1006","arts_1690","arts_596","arts_3163"],"featImg":"arts_13851135","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. 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