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"content": "\u003cp>In this country, people with criminal records are regularly used in fear-mongering news reports or political catchphrases to sway the general public’s opinion about crime, violence and public safety.\u003c/p>\n\u003cp>It’s no surprise, then, that many find it hard to accept those who’ve spent time behind bars as full human beings. But a criminal conviction doesn’t negate a person’s need to learn, love, play with their kids and practice religious ceremonies. Hell, some folks who’ve been incarcerated even find joy in painting images of hummingbirds.\u003c/p>\n\u003cfigure id=\"attachment_13984126\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984126\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-7.24.09%E2%80%AFPM.png\" alt=\"Two women stand on a beach sharing an embrace as the sunsets.\" width=\"2000\" height=\"1328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-7.24.09 PM.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-7.24.09 PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-7.24.09 PM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-7.24.09 PM-1536x1020.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Julia Arroyo (at right), executive director of the Young Women’s Freedom Center, shares a moment on the beach with her daughter as the sun sets in the film ‘Off the Record: Julia.’ \u003ccite>(The Adachi Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Tuesday, Dec. 2, San Francisco’s Roxie Theater hosts \u003ca href=\"https://roxie.com/film/adachi-project-presents-defender-off-the-record/\">Defender: Off The Record\u003c/a>, a series of films about three people who’ve seen the ins and outs of the criminal justice system.\u003c/p>\n\u003cp>Accompanying the films is a discussion with filmmaker, organizer and rapper Boots Riley and San Francisco’s sitting public defender \u003ca href=\"https://www.kqed.org/news/11732158/s-f-mayor-breed-appoints-manohar-raju-as-successor-to-late-public-defender-jeff-adachi\">Manohar “Mano” Raju\u003c/a>.\u003c/p>\n\u003cp>The duo will be joined by two subjects of the films: Bayview-Hunters Point–raised rapper \u003ca href=\"https://www.kqed.org/arts/13828036/talking-with-prezi-the-rapper-pledging-to-do-better-for-hunters-point\">Charles ‘Prezi’ Gardner\u003c/a> and \u003ca href=\"https://youngwomenfree.org/staff/julia-arroyo/\">Julia Arroyo\u003c/a>, the executive director of the Young Women’s Freedom Center.\u003c/p>\n\u003cfigure id=\"attachment_13984128\" class=\"wp-caption aligncenter\" style=\"max-width: 1308px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984128\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-25-at-9.46.33%E2%80%AFPM.png\" alt=\"An older man with long hair in a grey hoodie sitting on a park bench painting. \" width=\"1308\" height=\"1504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-25-at-9.46.33 PM.png 1308w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-25-at-9.46.33 PM-160x184.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-25-at-9.46.33 PM-768x883.png 768w\" sizes=\"auto, (max-width: 1308px) 100vw, 1308px\">\u003cfigcaption class=\"wp-caption-text\">In the short film ‘Off the Record: Sal,’ Salesh Prasad shares his affinity for art and his deep appreciation for hummingbirds. \u003ccite>(The Adachi Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The subject of the third film, \u003ca href=\"https://www.theguardian.com/us-news/2022/jun/28/queer-california-man-deportation-fiji-us\">Salesh Prasad\u003c/a>, was born in Fiji and immigrated to the U.S. at the age of six. He was raised in Modesto, where a rough childhood left him scarred. During an altercation at the age of 22, Prasad took someone’s life and was later charged with second-degree murder.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He served 27 years in prison before being granted parole. As soon as he was released, he was taken into ICE custody.\u003c/p>\n\u003cp>Although not currently incarcerated, Prasad is haunted by the fear of deportation, given the administration’s escalated actions against immigrants. Additionally, as a queer man, he faces potential persecution in Fiji. Prasad and his legal team are seeking a full pardon from Governor Newsom.\u003c/p>\n\u003cp>“There’s so much you can say about the narrative of crime, and how that has been so weaponized in San Francisco and the Bay Area,” says \u003ca href=\"https://www.instagram.com/hkinder/\">Henry Kinder\u003c/a>, a creative producer at \u003ca href=\"https://evenodd.studio/\">Even/Odd\u003c/a> who also directed two of the three films.\u003c/p>\n\u003cp>“I think we have a real opportunity to present an alternative vision for what public safety really looks like,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13984129\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13984129\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-7.22.46%E2%80%AFPM-2000x1330.png\" alt=\"Two people stand atop a lookout point, overlooking San Francisco. \" width=\"2000\" height=\"1330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-7.22.46 PM-2000x1330.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-7.22.46 PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-7.22.46 PM-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-7.22.46 PM-1536x1021.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-7.22.46 PM-2048x1362.png 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Julia Arroyo and her daughter overlook San Francisco as they prepare for an upcoming ceremony in the short documentary ‘Off the Record: Julia.’ \u003ccite>(The Adachi Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A filmmaker who uses his skills to bring attention to injustice, Kinder insists that correcting the narrative is more than just about \u003cem>how\u003c/em> the story is told.\u003c/p>\n\u003cp>“We want these stories to be made for, by and with the people of San Francisco,” he says, excited to show the films next week to the very communities featured.\u003c/p>\n\u003cp>The short films are poetic, touching even, but not corny. Instead, there’s a edge to them, along with a visual gloss that makes for a highly produced but relatable aesthetic.\u003c/p>\n\u003cp>“It sort of defies the expectation,” Kinder says, about a public defender’s office producing films of such quality. But that’s part of the strategy. “A lot of that comes from trying to reach audiences that are closer to the clientele that the public defender serves,” he says.\u003c/p>\n\u003cp>Kinder adds that a short “sentencing mitigation video” will also screen on Dec. 2, allowing the audience to see the media he and his team create to steer judges into more lenient sentencing.\u003c/p>\n\u003cp>It’s all part of a push to understand and represent defendants’ full humanity, both in media and in the courtroom. That’s the central mission of \u003ca href=\"https://www.kqed.org/arts/13899104/firsthand-accounts-of-surviving-prisons-and-pandemic-power-the-adachi-projects-films\">The Adachi Project\u003c/a>, an organization carrying on the work of the late San Francisco public defender Jeff Adachi.\u003c/p>\n\u003cp>When a person’s story is told well, with thorough context, the result tends to be empathy. And when one commits themselves to comprehending the complexities of another person, it might start as a social study but can quickly become a public service.\u003c/p>\n\u003cp>Somewhere in the process, it morphs into an art form — in this case, one that’s fit for the silver screen.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Adachi Project Presents ‘\u003ca href=\"https://roxie.com/film/adachi-project-presents-defender-off-the-record/\">Defender: Off The Record\u003c/a>’ on Tuesday, Dec. 2, at the Roxie Theater (3117 16th St., San Francisco). \u003ca href=\"https://roxie.com/film/adachi-project-presents-defender-off-the-record/\">Tickets and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In this country, people with criminal records are regularly used in fear-mongering news reports or political catchphrases to sway the general public’s opinion about crime, violence and public safety.\u003c/p>\n\u003cp>It’s no surprise, then, that many find it hard to accept those who’ve spent time behind bars as full human beings. But a criminal conviction doesn’t negate a person’s need to learn, love, play with their kids and practice religious ceremonies. Hell, some folks who’ve been incarcerated even find joy in painting images of hummingbirds.\u003c/p>\n\u003cfigure id=\"attachment_13984126\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984126\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-7.24.09%E2%80%AFPM.png\" alt=\"Two women stand on a beach sharing an embrace as the sunsets.\" width=\"2000\" height=\"1328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-7.24.09 PM.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-7.24.09 PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-7.24.09 PM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-7.24.09 PM-1536x1020.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Julia Arroyo (at right), executive director of the Young Women’s Freedom Center, shares a moment on the beach with her daughter as the sun sets in the film ‘Off the Record: Julia.’ \u003ccite>(The Adachi Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Tuesday, Dec. 2, San Francisco’s Roxie Theater hosts \u003ca href=\"https://roxie.com/film/adachi-project-presents-defender-off-the-record/\">Defender: Off The Record\u003c/a>, a series of films about three people who’ve seen the ins and outs of the criminal justice system.\u003c/p>\n\u003cp>Accompanying the films is a discussion with filmmaker, organizer and rapper Boots Riley and San Francisco’s sitting public defender \u003ca href=\"https://www.kqed.org/news/11732158/s-f-mayor-breed-appoints-manohar-raju-as-successor-to-late-public-defender-jeff-adachi\">Manohar “Mano” Raju\u003c/a>.\u003c/p>\n\u003cp>The duo will be joined by two subjects of the films: Bayview-Hunters Point–raised rapper \u003ca href=\"https://www.kqed.org/arts/13828036/talking-with-prezi-the-rapper-pledging-to-do-better-for-hunters-point\">Charles ‘Prezi’ Gardner\u003c/a> and \u003ca href=\"https://youngwomenfree.org/staff/julia-arroyo/\">Julia Arroyo\u003c/a>, the executive director of the Young Women’s Freedom Center.\u003c/p>\n\u003cfigure id=\"attachment_13984128\" class=\"wp-caption aligncenter\" style=\"max-width: 1308px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984128\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-25-at-9.46.33%E2%80%AFPM.png\" alt=\"An older man with long hair in a grey hoodie sitting on a park bench painting. \" width=\"1308\" height=\"1504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-25-at-9.46.33 PM.png 1308w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-25-at-9.46.33 PM-160x184.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-25-at-9.46.33 PM-768x883.png 768w\" sizes=\"auto, (max-width: 1308px) 100vw, 1308px\">\u003cfigcaption class=\"wp-caption-text\">In the short film ‘Off the Record: Sal,’ Salesh Prasad shares his affinity for art and his deep appreciation for hummingbirds. \u003ccite>(The Adachi Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The subject of the third film, \u003ca href=\"https://www.theguardian.com/us-news/2022/jun/28/queer-california-man-deportation-fiji-us\">Salesh Prasad\u003c/a>, was born in Fiji and immigrated to the U.S. at the age of six. He was raised in Modesto, where a rough childhood left him scarred. During an altercation at the age of 22, Prasad took someone’s life and was later charged with second-degree murder.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He served 27 years in prison before being granted parole. As soon as he was released, he was taken into ICE custody.\u003c/p>\n\u003cp>Although not currently incarcerated, Prasad is haunted by the fear of deportation, given the administration’s escalated actions against immigrants. Additionally, as a queer man, he faces potential persecution in Fiji. Prasad and his legal team are seeking a full pardon from Governor Newsom.\u003c/p>\n\u003cp>“There’s so much you can say about the narrative of crime, and how that has been so weaponized in San Francisco and the Bay Area,” says \u003ca href=\"https://www.instagram.com/hkinder/\">Henry Kinder\u003c/a>, a creative producer at \u003ca href=\"https://evenodd.studio/\">Even/Odd\u003c/a> who also directed two of the three films.\u003c/p>\n\u003cp>“I think we have a real opportunity to present an alternative vision for what public safety really looks like,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13984129\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13984129\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-7.22.46%E2%80%AFPM-2000x1330.png\" alt=\"Two people stand atop a lookout point, overlooking San Francisco. \" width=\"2000\" height=\"1330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-7.22.46 PM-2000x1330.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-7.22.46 PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-7.22.46 PM-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-7.22.46 PM-1536x1021.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-7.22.46 PM-2048x1362.png 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Julia Arroyo and her daughter overlook San Francisco as they prepare for an upcoming ceremony in the short documentary ‘Off the Record: Julia.’ \u003ccite>(The Adachi Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A filmmaker who uses his skills to bring attention to injustice, Kinder insists that correcting the narrative is more than just about \u003cem>how\u003c/em> the story is told.\u003c/p>\n\u003cp>“We want these stories to be made for, by and with the people of San Francisco,” he says, excited to show the films next week to the very communities featured.\u003c/p>\n\u003cp>The short films are poetic, touching even, but not corny. Instead, there’s a edge to them, along with a visual gloss that makes for a highly produced but relatable aesthetic.\u003c/p>\n\u003cp>“It sort of defies the expectation,” Kinder says, about a public defender’s office producing films of such quality. But that’s part of the strategy. “A lot of that comes from trying to reach audiences that are closer to the clientele that the public defender serves,” he says.\u003c/p>\n\u003cp>Kinder adds that a short “sentencing mitigation video” will also screen on Dec. 2, allowing the audience to see the media he and his team create to steer judges into more lenient sentencing.\u003c/p>\n\u003cp>It’s all part of a push to understand and represent defendants’ full humanity, both in media and in the courtroom. That’s the central mission of \u003ca href=\"https://www.kqed.org/arts/13899104/firsthand-accounts-of-surviving-prisons-and-pandemic-power-the-adachi-projects-films\">The Adachi Project\u003c/a>, an organization carrying on the work of the late San Francisco public defender Jeff Adachi.\u003c/p>\n\u003cp>When a person’s story is told well, with thorough context, the result tends to be empathy. And when one commits themselves to comprehending the complexities of another person, it might start as a social study but can quickly become a public service.\u003c/p>\n\u003cp>Somewhere in the process, it morphs into an art form — in this case, one that’s fit for the silver screen.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Adachi Project Presents ‘\u003ca href=\"https://roxie.com/film/adachi-project-presents-defender-off-the-record/\">Defender: Off The Record\u003c/a>’ on Tuesday, Dec. 2, at the Roxie Theater (3117 16th St., San Francisco). \u003ca href=\"https://roxie.com/film/adachi-project-presents-defender-off-the-record/\">Tickets and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "orwell-225-documentary-movie-review-raoul-peck-roxie-theater",
"title": "‘Orwell: 2+2=5’ Makes a Persuasive Point That Our World Is Only Getting Worse",
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"headTitle": "‘Orwell: 2+2=5’ Makes a Persuasive Point That Our World Is Only Getting Worse | KQED",
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"content": "\u003cp>Filmmaker Raoul Peck uses \u003ca href=\"https://www.kqed.org/arts/23991/a_conflicted_paradise_all_art_is_propaganda_critical_essays_by\">George Orwell\u003c/a>’s writings to weave together a biographical portrait of the author and a dispiriting picture of power and truth in the modern world in \u003cem>Orwell: 2+2=5\u003c/em>.\u003c/p>\n\u003cp>He’s hardly the first to connect the dots between Orwell’s prophetic writings and the current state of things — remember, sales for \u003cem>\u003ca href=\"https://www.kqed.org/pop/61150/you-too-will-love-big-brother-a-life-of-reading-and-rereading-1984\">Nineteen Eighty-Four\u003c/a> \u003c/em>soared in the months following Donald Trump’s first election when phrases like “alternative facts” were being used with no irony. Knowing that, Peck draws heavily on what has come before.\u003c/p>\n\u003cp>[aside postid='arts_12713994']The film is packed with clips from film adaptations of \u003cem>1984\u003c/em>, including Michael Anderson’s black and white version from 1956, and Michael Radford’s, released in 1984, documentaries, like Robert Kane Pappas’s 2003 warning \u003cem>Orwell Rolls in His Grave\u003c/em>, and news footage from \u003ca href=\"https://www.kqed.org/arts/tag/world-war-ii\">World War II\u003c/a> through \u003ca href=\"https://www.kqed.org/arts/tag/gaza\">Gaza\u003c/a>. In sum, it makes a persuasive point that things are only getting worse.\u003c/p>\n\u003cp>\u003cem>Orwell: 2+2=5\u003c/em> is loosely structured around Orwell’s time on the Isle of Jura in Scotland, where he wrote what would be his last novel, \u003cem>1984\u003c/em>, while his health was deteriorating from tuberculosis. He went to Jura in 1946 and was dead by 1950. But this is no Wikipedia page or college lecture. There are no talking heads and no one explaining, “War is peace. Freedom is slavery. Ignorance is strength.”\u003c/p>\n\u003cp>Instead, it’s a loose assembly of biography, reflection and key moments of political awakening, with actor \u003ca href=\"https://www.pbs.org/show/wolf-hall/\">Damian Lewis\u003c/a> narrating Orwell’s words with a poetic gravitas, interspersed with a collage of images, words and archival footage. Anything from David Lean’s \u003cem>Oliver Twist\u003c/em> and Sydney Pollack \u003cem>Out of Africa\u003c/em> to Lauren Greenfield’s \u003cem>Generation Wealth\u003c/em> is on the table, and nothing is there carelessly. Alexei Aigui’s powerful score adds a melancholy weight to sequences showing wartime destruction past and present along with the political phrases used to describe them: A “strategic bombing” in Berlin in 1945, “peacekeeping operations” in Mariupol in 2022, “clearance operation” in Myanmar in 2017.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s a purposefully disorienting effect to the film’s editing, blending past, present, fiction and reality in such a way that it all begins to blur together. By the time we’re hearing Lewis utter Orwell’s famous phrase “the very concept of objective truth is fading out of the world” while AI images pollute the screen, it’s easy to forget that the quote is seven decades old. It won’t prepare you for any kind of historical report on Orwell, totalitarianism or doublespeak, but its impact is undeniable.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SQ8l6HSCWBw\u003c/p>\n\u003cp>Orwell understood that every writer is a product of their own time. Born Eric Arthur Blair in Motihari, Bihar, then an outpost of the British Empire, Peck focuses in on a photograph of him as a baby with his Indian nursemaid. Describing himself as “lower upper middle class,” Orwell attended Eton and served with the British Imperial Police in Burma (now Myanmar). He observed how power manifested in colonial outposts, how class unattainable in England was suddenly accessible to any white man simply because they were white.\u003c/p>\n\u003cp>[aside postid='arts_13968446']He considered himself both a snob and a revolutionary, which only intensified as he picked up more life experiences through the Spanish Civil War, his time at the BBC and simply observing ordinary people around him. It’s actually quite extraordinary just how much information Peck, who has delved into the lives of \u003ca href=\"https://www.kqed.org/arts/tag/james-baldwin\">James Baldwin\u003c/a>, Karl Marx, \u003ca href=\"https://www.kqed.org/arts/13956480/soundtrack-for-a-coup-detat-sffilm-lumumba-jazz\">Patrice Lumumba\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13968446/ernest-cole-lost-and-found-anti-apartheid-photographer-documentary-review\">Ernest Cole\u003c/a>, is able to convey in just under two hours.\u003c/p>\n\u003cp>\u003cem>Orwell: 2+2=5\u003c/em> might not be as fully realized as Peck’s 2017 knockout \u003ca href=\"https://www.kqed.org/arts/12713994/james-baldwin-in-his-own-searing-revelatory-words-i-am-not-your-negro\">\u003cem>I Am Not Your Negro\u003c/em>\u003c/a>, but it is no less essential. It hardly matters that Orwell is on every high schooler’s syllabus, that doublespeak and big brother are household phrases, or that every few years there is some film, some book, some article reminding us of his big ideas. Earlier this year Andy Serkis even debuted a new animated version of \u003cem>Animal Farm\u003c/em> at a film festival.\u003c/p>\n\u003cp>Orwell died months after \u003cem>1984\u003c/em> was released and wouldn’t know just how prophetic his work would become. While every writer dreams of their words, their thoughts living on, wouldn’t it be nice if, for a moment, these weren’t so awfully relevant?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Orwell: 2+2=5’ will show daily at the Roxie Theater (3125 16th St., San Francisco), \u003ca href=\"https://roxie.com/film/orwell-225/\">Oct. 7-16\u003c/a>. Raoul Peck will appear after the Oct. 7 screening for a Q&A moderated by UC Berkeley professor, \u003ca href=\"https://journalism.berkeley.edu/person/else/\">Jon Else\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Filmmaker Raoul Peck uses \u003ca href=\"https://www.kqed.org/arts/23991/a_conflicted_paradise_all_art_is_propaganda_critical_essays_by\">George Orwell\u003c/a>’s writings to weave together a biographical portrait of the author and a dispiriting picture of power and truth in the modern world in \u003cem>Orwell: 2+2=5\u003c/em>.\u003c/p>\n\u003cp>He’s hardly the first to connect the dots between Orwell’s prophetic writings and the current state of things — remember, sales for \u003cem>\u003ca href=\"https://www.kqed.org/pop/61150/you-too-will-love-big-brother-a-life-of-reading-and-rereading-1984\">Nineteen Eighty-Four\u003c/a> \u003c/em>soared in the months following Donald Trump’s first election when phrases like “alternative facts” were being used with no irony. Knowing that, Peck draws heavily on what has come before.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The film is packed with clips from film adaptations of \u003cem>1984\u003c/em>, including Michael Anderson’s black and white version from 1956, and Michael Radford’s, released in 1984, documentaries, like Robert Kane Pappas’s 2003 warning \u003cem>Orwell Rolls in His Grave\u003c/em>, and news footage from \u003ca href=\"https://www.kqed.org/arts/tag/world-war-ii\">World War II\u003c/a> through \u003ca href=\"https://www.kqed.org/arts/tag/gaza\">Gaza\u003c/a>. In sum, it makes a persuasive point that things are only getting worse.\u003c/p>\n\u003cp>\u003cem>Orwell: 2+2=5\u003c/em> is loosely structured around Orwell’s time on the Isle of Jura in Scotland, where he wrote what would be his last novel, \u003cem>1984\u003c/em>, while his health was deteriorating from tuberculosis. He went to Jura in 1946 and was dead by 1950. But this is no Wikipedia page or college lecture. There are no talking heads and no one explaining, “War is peace. Freedom is slavery. Ignorance is strength.”\u003c/p>\n\u003cp>Instead, it’s a loose assembly of biography, reflection and key moments of political awakening, with actor \u003ca href=\"https://www.pbs.org/show/wolf-hall/\">Damian Lewis\u003c/a> narrating Orwell’s words with a poetic gravitas, interspersed with a collage of images, words and archival footage. Anything from David Lean’s \u003cem>Oliver Twist\u003c/em> and Sydney Pollack \u003cem>Out of Africa\u003c/em> to Lauren Greenfield’s \u003cem>Generation Wealth\u003c/em> is on the table, and nothing is there carelessly. Alexei Aigui’s powerful score adds a melancholy weight to sequences showing wartime destruction past and present along with the political phrases used to describe them: A “strategic bombing” in Berlin in 1945, “peacekeeping operations” in Mariupol in 2022, “clearance operation” in Myanmar in 2017.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s a purposefully disorienting effect to the film’s editing, blending past, present, fiction and reality in such a way that it all begins to blur together. By the time we’re hearing Lewis utter Orwell’s famous phrase “the very concept of objective truth is fading out of the world” while AI images pollute the screen, it’s easy to forget that the quote is seven decades old. It won’t prepare you for any kind of historical report on Orwell, totalitarianism or doublespeak, but its impact is undeniable.\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/SQ8l6HSCWBw'\n title='//www.youtube.com/embed/SQ8l6HSCWBw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Orwell understood that every writer is a product of their own time. Born Eric Arthur Blair in Motihari, Bihar, then an outpost of the British Empire, Peck focuses in on a photograph of him as a baby with his Indian nursemaid. Describing himself as “lower upper middle class,” Orwell attended Eton and served with the British Imperial Police in Burma (now Myanmar). He observed how power manifested in colonial outposts, how class unattainable in England was suddenly accessible to any white man simply because they were white.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>He considered himself both a snob and a revolutionary, which only intensified as he picked up more life experiences through the Spanish Civil War, his time at the BBC and simply observing ordinary people around him. It’s actually quite extraordinary just how much information Peck, who has delved into the lives of \u003ca href=\"https://www.kqed.org/arts/tag/james-baldwin\">James Baldwin\u003c/a>, Karl Marx, \u003ca href=\"https://www.kqed.org/arts/13956480/soundtrack-for-a-coup-detat-sffilm-lumumba-jazz\">Patrice Lumumba\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13968446/ernest-cole-lost-and-found-anti-apartheid-photographer-documentary-review\">Ernest Cole\u003c/a>, is able to convey in just under two hours.\u003c/p>\n\u003cp>\u003cem>Orwell: 2+2=5\u003c/em> might not be as fully realized as Peck’s 2017 knockout \u003ca href=\"https://www.kqed.org/arts/12713994/james-baldwin-in-his-own-searing-revelatory-words-i-am-not-your-negro\">\u003cem>I Am Not Your Negro\u003c/em>\u003c/a>, but it is no less essential. It hardly matters that Orwell is on every high schooler’s syllabus, that doublespeak and big brother are household phrases, or that every few years there is some film, some book, some article reminding us of his big ideas. Earlier this year Andy Serkis even debuted a new animated version of \u003cem>Animal Farm\u003c/em> at a film festival.\u003c/p>\n\u003cp>Orwell died months after \u003cem>1984\u003c/em> was released and wouldn’t know just how prophetic his work would become. While every writer dreams of their words, their thoughts living on, wouldn’t it be nice if, for a moment, these weren’t so awfully relevant?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Orwell: 2+2=5’ will show daily at the Roxie Theater (3125 16th St., San Francisco), \u003ca href=\"https://roxie.com/film/orwell-225/\">Oct. 7-16\u003c/a>. Raoul Peck will appear after the Oct. 7 screening for a Q&A moderated by UC Berkeley professor, \u003ca href=\"https://journalism.berkeley.edu/person/else/\">Jon Else\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When \u003ca href=\"https://www.laveletaproductions.com/\">Naomi Garcia Pasmanick\u003c/a> was growing up in San Francisco, she’d often hear her grandmother Aurita make offhanded comments about her disdain for fascists and respect for working class people. As Garcia Pasmanick grew older and got to know her extended family in the small fishing town of Moaña in Galicia, Spain, she began to learn more about her ancestors’ legacy — and of a labor movement that was crushed by repression, violence and persecution during Francisco Franco’s regime.\u003c/p>\n\u003cp>That legacy is the subject of Garcia Pasmanick’s 2024 documentary, \u003cem>Olas de Recuerdo\u003c/em> (\u003cem>Memories of Salt\u003c/em>), which makes its \u003ca href=\"https://www.eventbrite.com/e/olas-de-recuerdo-personal-documentaries-by-bay-area-women-directors-tickets-1450799984809\">San Francisco premiere at the Roxie on Aug. 25\u003c/a> during an evening of short documentaries by women filmmakers.\u003c/p>\n\u003cfigure id=\"attachment_13980522\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980522\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/familia-1960s-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/familia-1960s-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/familia-1960s-2000x1367.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/familia-1960s-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/familia-1960s-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/familia-1960s-1536x1050.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/familia-1960s-2048x1400.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Naomi Garcia Pasmanick’s family in the 1960s. \u003ccite>(Courtesy of Naomi Garcia Pasmanick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Garcia Pasmanick says that she was inspired to look deeper into her roots as far-right and fascist political movements made a resurgence around the world in recent years. In \u003cem>Olas de Recuerdo\u003c/em>, black-and-white reenactments, sumptuously shot on the Spanish coast, transport viewers back into the 1930s.\u003c/p>\n\u003cp>As Spain’s monarchy toppled, the filmmaker’s great-uncles joined a fishermen’s labor union that aligned itself with the new democratic government. Through emotional Spanish- and Galician-language interviews with Garcia Pasmanick’s extended family, the film offers an oral history of how Franco’s military coup launched a dictatorship that lasted 40 years. Scabs waged violence against the unionized fishermen during a strike, forcing Garcia Pasmanick’s ancestors to go into hiding and eventually flee the country altogether.\u003c/p>\n\u003cp>“It makes me proud and also kind of puts things in perspective,” Garcia Pasmanick reflects. “What are we — and what am I — willing to put on the line?”\u003c/p>\n\u003cfigure id=\"attachment_13980521\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980521\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cristian-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cristian-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cristian-2000x1125.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cristian-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cristian-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cristian-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cristian-2048x1152.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Olas de Recuerdo’ featuring Naomi Garcia Pasmanick’s childhood friend Cristian. \u003ccite>(Courtesy of Naomi Garcia Pasmanick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The film draws moving parallels to this generation’s struggles against rightwing militarism as young people protest Israel’s war in Gaza. Throughout its 30-minute run time Garcia Pasmanick connects stories from her Spanish elders to her Jewish ancestors on her father’s side who fled Nazi persecution. She grapples with her responsibility as a Jewish American to speak out about the death and destruction in Gaza.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As she immersed herself in her ancestors’ stories, she realized “the importance of the earliest interventions that you can make, of speaking out as soon as you even sense injustice,” she says. [aside postid='arts_13963789']\u003c/p>\n\u003cp>Garcia Pasmanick is no stranger to making political art. The daughter of San Francisco public school teachers, she’s best known as a saxophone player, singer and music video director for \u003ca href=\"https://www.kqed.org/arts/13963789/la-dona-los-altos-de-la-soledad\">La Doña\u003c/a>, whose music uplifts working-class immigrants of San Francisco, and who has faced backlash for her support of Palestinian human rights.\u003c/p>\n\u003cp>\u003cem>Olas de Recuerdo\u003c/em> is Garcia Pasmanick’s most personal project to date. She debuted it in 2024 in Moaña, where buried trauma and unspoken rifts among families still linger from the Spanish Civil War.\u003c/p>\n\u003cp>The screening brought uncomfortable truths to light, and spurred necessary conversations about what everyday people can do in the face of political repression.\u003c/p>\n\u003cp>“I think there was a big sense of pride in the family for having recorded the history and shared it,” she reflects. “During some of the interviews, I didn’t want anyone to feel uncomfortable or press them too much, but I feel like at that point they were ready to share.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.eventbrite.com/e/olas-de-recuerdo-personal-documentaries-by-bay-area-women-directors-tickets-1450799984809\">Olas de Recuerdo: Personal Documentaries by Bay Area Women Directors\u003c/a>’ takes place at the Roxie Theater (3117 16th St., San Francisco) on Aug. 25 at 5:30 p.m.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"https://www.laveletaproductions.com/\">Naomi Garcia Pasmanick\u003c/a> was growing up in San Francisco, she’d often hear her grandmother Aurita make offhanded comments about her disdain for fascists and respect for working class people. As Garcia Pasmanick grew older and got to know her extended family in the small fishing town of Moaña in Galicia, Spain, she began to learn more about her ancestors’ legacy — and of a labor movement that was crushed by repression, violence and persecution during Francisco Franco’s regime.\u003c/p>\n\u003cp>That legacy is the subject of Garcia Pasmanick’s 2024 documentary, \u003cem>Olas de Recuerdo\u003c/em> (\u003cem>Memories of Salt\u003c/em>), which makes its \u003ca href=\"https://www.eventbrite.com/e/olas-de-recuerdo-personal-documentaries-by-bay-area-women-directors-tickets-1450799984809\">San Francisco premiere at the Roxie on Aug. 25\u003c/a> during an evening of short documentaries by women filmmakers.\u003c/p>\n\u003cfigure id=\"attachment_13980522\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980522\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/familia-1960s-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/familia-1960s-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/familia-1960s-2000x1367.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/familia-1960s-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/familia-1960s-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/familia-1960s-1536x1050.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/familia-1960s-2048x1400.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Naomi Garcia Pasmanick’s family in the 1960s. \u003ccite>(Courtesy of Naomi Garcia Pasmanick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Garcia Pasmanick says that she was inspired to look deeper into her roots as far-right and fascist political movements made a resurgence around the world in recent years. In \u003cem>Olas de Recuerdo\u003c/em>, black-and-white reenactments, sumptuously shot on the Spanish coast, transport viewers back into the 1930s.\u003c/p>\n\u003cp>As Spain’s monarchy toppled, the filmmaker’s great-uncles joined a fishermen’s labor union that aligned itself with the new democratic government. Through emotional Spanish- and Galician-language interviews with Garcia Pasmanick’s extended family, the film offers an oral history of how Franco’s military coup launched a dictatorship that lasted 40 years. Scabs waged violence against the unionized fishermen during a strike, forcing Garcia Pasmanick’s ancestors to go into hiding and eventually flee the country altogether.\u003c/p>\n\u003cp>“It makes me proud and also kind of puts things in perspective,” Garcia Pasmanick reflects. “What are we — and what am I — willing to put on the line?”\u003c/p>\n\u003cfigure id=\"attachment_13980521\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980521\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cristian-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cristian-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cristian-2000x1125.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cristian-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cristian-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cristian-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Cristian-2048x1152.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Olas de Recuerdo’ featuring Naomi Garcia Pasmanick’s childhood friend Cristian. \u003ccite>(Courtesy of Naomi Garcia Pasmanick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The film draws moving parallels to this generation’s struggles against rightwing militarism as young people protest Israel’s war in Gaza. Throughout its 30-minute run time Garcia Pasmanick connects stories from her Spanish elders to her Jewish ancestors on her father’s side who fled Nazi persecution. She grapples with her responsibility as a Jewish American to speak out about the death and destruction in Gaza.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As she immersed herself in her ancestors’ stories, she realized “the importance of the earliest interventions that you can make, of speaking out as soon as you even sense injustice,” she says. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Garcia Pasmanick is no stranger to making political art. The daughter of San Francisco public school teachers, she’s best known as a saxophone player, singer and music video director for \u003ca href=\"https://www.kqed.org/arts/13963789/la-dona-los-altos-de-la-soledad\">La Doña\u003c/a>, whose music uplifts working-class immigrants of San Francisco, and who has faced backlash for her support of Palestinian human rights.\u003c/p>\n\u003cp>\u003cem>Olas de Recuerdo\u003c/em> is Garcia Pasmanick’s most personal project to date. She debuted it in 2024 in Moaña, where buried trauma and unspoken rifts among families still linger from the Spanish Civil War.\u003c/p>\n\u003cp>The screening brought uncomfortable truths to light, and spurred necessary conversations about what everyday people can do in the face of political repression.\u003c/p>\n\u003cp>“I think there was a big sense of pride in the family for having recorded the history and shared it,” she reflects. “During some of the interviews, I didn’t want anyone to feel uncomfortable or press them too much, but I feel like at that point they were ready to share.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.eventbrite.com/e/olas-de-recuerdo-personal-documentaries-by-bay-area-women-directors-tickets-1450799984809\">Olas de Recuerdo: Personal Documentaries by Bay Area Women Directors\u003c/a>’ takes place at the Roxie Theater (3117 16th St., San Francisco) on Aug. 25 at 5:30 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "summer-movie-guide-2025-film-festivals",
"title": "Fill Your Summer With the Flickering Light of Film",
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"content": "\u003cp>\u003cb>\u003ci>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/summer-guide-2025\">2025 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>The 2025 summer \u003ca href=\"https://www.kqed.org/arts/category/movies\">movie\u003c/a> season, brought to you by the big brains at Hollywood’s no-risk-too-small multinationals, could be called \u003cem>Attack of the 60-Foot White Men\u003c/em>. Tom Cruise’s latest (last?) \u003cem>Mission Impossible\u003c/em> action extravaganza hijacks Memorial Day weekend, followed by Brad Pitt’s high-octane vroomfest \u003cem>F1: The Movie\u003c/em> (June 27), James Gunn’s sky-high \u003cem>Superman\u003c/em> (July 11) starring David Corenswet (who?) and Akiva Shaffer’s high jinxed \u003cem>Naked Gun\u003c/em> (August 1) with Liam Neeson in Leslie Nielsen’s shoes (why?).\u003c/p>\n\u003cp>Locally, the cash-squeezed nonprofit San Francisco Parks Alliance canceled its signature outdoor summer series, \u003ca href=\"https://www.kqed.org/arts/13975608/sundown-cinema-canceled-san-francisco-movie-series\">Sundown Cinema\u003c/a>. In a pinch, you can always take your tablet, a blanket and a friend to Dolores Park on a foggy evening and watch the locally set flicks \u003cem>D.O.A.\u003c/em> or \u003cem>48 Hrs.\u003c/em> or \u003cem>Mrs. Doubtfire\u003c/em> or \u003cem>The Game\u003c/em>. Or check out the touchstone film festivals carrying on for another summer without the Castro. See you somewhere at the movies!\u003c/p>\n\u003cfigure id=\"attachment_13897013\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/1.png\" alt=\"\" width=\"1500\" height=\"789\" class=\"size-full wp-image-13897013\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/1.png 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/1-800x421.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/1-1020x537.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/1-160x84.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/1-768x404.png 768w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">A still from Alfred Hitchcock’s ‘Vertigo,’ 1958. \u003ccite>(Tenderloin Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Hitchcock Fest\u003c/h2>\n\u003cp>\u003ci>May 23–26, 2025\u003cbr>\n\u003ca href=\"https://www.balboamovies.com/\">Balboa Theatre\u003c/a>, San Francisco\u003c/i>\u003c/p>\n\u003cp>Profit-panicked studios are packing the multiplexes with low-rent horror this summer. There’s nothing like a drop of terror-laced sweat inching down one’s spine, but I’m partial to the taut classicism of a certain English \u003cs>perv\u003c/s>gent. The Balboa chose eight of Alfred Hitchcock’s best-loved films — \u003cem>Strangers on a Train\u003c/em>, \u003cem>Rear Window\u003c/em>, \u003cem>North by Northwest\u003c/em> and \u003cem>Vertigo\u003c/em> among them — and three lesser works, serving up roller-coaster triple bills on Saturday, Sunday and Monday. If the fog doesn’t put you in the mood when you arrive, it will when you leave.\u003c/p>\n\u003cfigure id=\"attachment_13976172\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jimpa-Aud-Mason-Hyde-photo-credit-Mark-De-Blok_2000.jpg\" alt=\"blue-lit young people in party scene\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13976172\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jimpa-Aud-Mason-Hyde-photo-credit-Mark-De-Blok_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jimpa-Aud-Mason-Hyde-photo-credit-Mark-De-Blok_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jimpa-Aud-Mason-Hyde-photo-credit-Mark-De-Blok_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jimpa-Aud-Mason-Hyde-photo-credit-Mark-De-Blok_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jimpa-Aud-Mason-Hyde-photo-credit-Mark-De-Blok_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jimpa-Aud-Mason-Hyde-photo-credit-Mark-De-Blok_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jimpa-Aud-Mason-Hyde-photo-credit-Mark-De-Blok_2000-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Aud Mason-Hyde in a scene from Sophie Hyde’s ‘Jimpa.’ \u003ccite>(Mark de Blok)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.frameline.org/festival\">Frameline\u003c/a>\u003c/h2>\n\u003cp>\u003ci>June 18–28, 2025\u003cbr>\nVarious locations\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>San Francisco’s pioneering LGBTQ+ film festival celebrates its 50th edition next year. There have been brief periods in the last half-century when “live and let live” was the national mood, and a Frameline screening could just be a movie. Not now. The festival opens with Sophie Hyde’s earnest family drama \u003cem>Jimpa\u003c/em>, with Olivia Colman and nonbinary actor Aud Mason-Hyde crashing the Amsterdam lair of gay father/grandfather John Lithgow. Sam Feder’s hard-edged documentary \u003cem>Heightened Security\u003c/em> (June 20) follows the ACLU challenge to Tennessee’s ban on gender-affirming care for trans adolescents. To put it bluntly, Frameline is the most crucial event on the summer film calendar.\u003c/p>\n\u003cp>https://youtu.be/ETVi5_cnnaE?feature=shared\u003c/p>\n\u003ch2>‘Elio’\u003c/h2>\n\u003cp>\u003ci>Opens June 20, 2025\u003c/i>\u003c/p>\n\u003cp>In the beginning, aliens (or extraterrestrials) were super-smart, technologically advanced beings who, depending on what they had for breakfast, could subjugate humans or destroy Earth with a snap of their extremities. Pixar Animation Studios has made the remarkable discovery — right there in Emeryville! — that, in fact, the other denizens of the galaxy are as feckless, error-prone and comical as our own species. (Don’t tell a soul!) The Disney subsidiary applies this scientific breakthrough to a tried-and-true narrative device (an 11-year-old is unexpectedly called upon to represent the human race to the galaxy, and proves up to the task) with predictable results: boffo box office, and complaints that voice actor Yonas Kibreab is a DEI hire.\u003c/p>\n\u003cfigure id=\"attachment_13976241\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Fraenkel-Film-Festival-The-Conversation.jpeg\" alt=\"man with hands clasped in front of mouth\" width=\"1440\" height=\"810\" class=\"size-full wp-image-13976241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Fraenkel-Film-Festival-The-Conversation.jpeg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Fraenkel-Film-Festival-The-Conversation-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Fraenkel-Film-Festival-The-Conversation-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Fraenkel-Film-Festival-The-Conversation-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Fraenkel-Film-Festival-The-Conversation-768x432.jpeg 768w\" sizes=\"auto, (max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Gene Hackman in a scene from Francis Ford Coppola’s ‘The Conversation,’ 1974. \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://roxie.com/series/fraenkel-film-festival-2025/\">Fraenkel Film Festival 2025\u003c/a>\u003c/h2>\n\u003cp>\u003ci>July 9–19, 2025\u003cbr>\nRoxie Theater, San Francisco\u003c/i>\u003c/p>\n\u003cp>Union Square gallery owner Jeffrey Fraenkel had a marvelous inspiration last year: He asked his roster of top-drawer visual artists to \u003ca href=\"https://www.kqed.org/arts/13960392/fraenkel-gallery-45th-anniversary-film-festival-roxie-theater\">select their favorite films\u003c/a>, with the series drawing crowds to the Roxie. The second edition includes all-time San Francisco greats \u003cem>The Conversation\u003c/em> (July 11, chosen by Janet Cardiff and George Bures Miller) starring the late Gene Hackman and Terry Zwigoff’s astonishing \u003cem>Crumb\u003c/em> (July 16, chosen by Sophie Calle). The lineup is littered with unexpected treasures from around the globe such as Dorothy Arzner’s acerbic pre-code gem \u003cem>Merrily We Go To Hell\u003c/em> (1932), Satyajit Ray’s \u003cem>The Music Room\u003c/em> (1958) and Yasujiro Ozu’s \u003cem>The End of Summer\u003c/em> (1961). There are few things more stimulating than art and artists in dialogue.\u003c/p>\n\u003cfigure id=\"attachment_13976153\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/TheFirstLady_2000.jpg\" alt=\"person with long brown hair in bright pink blazer looks over city with back to camera, arms spread\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13976153\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/TheFirstLady_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/TheFirstLady_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/TheFirstLady_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/TheFirstLady_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/TheFirstLady_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/TheFirstLady_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/TheFirstLady_2000-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Efrat Tilma in a still from Udi Nir and Sagi Bornstein’s ‘The First Lady.’ \u003ccite>(Courtesy of Jewish Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfjff.org/film-festival\">San Francisco Jewish Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>July 17–Aug. 3, 2025\u003cbr>\nVarious locations\u003c/i>\u003c/p>\n\u003cp>The SFJFF programmers have an impossibly difficult job. The October 7 massacre of Israelis by Hamas and the ongoing annihilation of Gaza and Palestinian civilians by Israel have shocked and splintered the American Jewish community. Israeli narrative and documentary filmmakers, a perennial festival source of timely, high-quality work funded in part by their government, are scrambling. Yet movies always offer an opening — to listen, to see, to talk — for willing audiences. With that mantra, the programmers are in the process of compiling the lineup. \u003cem>The First Lady\u003c/em>, documenting transgender activist Efrat Tilma’s return to Israel while the reactionary, ultra-Orthodox-supported Netanyahu government wields power, will surely provoke discussion.\u003c/p>\n\u003cp>https://youtu.be/lIpxO4KRV98?feature=shared\u003c/p>\n\u003ch2>‘Eddington’\u003c/h2>\n\u003cp>\u003ci>Opens July 18, 2025\u003c/i>\u003c/p>\n\u003cp>In the heat of the New Mexico summer, the center cannot hold. This pandemic-set (2020, if you forgot/repressed the memory) foray into paranoia from writer-director Ari Aster (\u003cem>Midsommar\u003c/em>, \u003cem>Beau Is Afraid\u003c/em>) locks and loads the always-volatile Joaquin Phoenix as a small-town sheriff at odds with mayor Pedro Pascal. Fueled by conspiracy theories and (anti)social media, suspicious minds race headlong to the brink. We’ll know if Aster hits the bull’s-eye or explodes into space after \u003cem>Eddington\u003c/em>’s Cannes debut.\u003c/p>\n\u003cfigure id=\"attachment_13976242\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/FF_Roxie_03.jpg\" alt=\"large crowd from above, dancing and singing\" width=\"1920\" height=\"816\" class=\"size-full wp-image-13976242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/FF_Roxie_03.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/FF_Roxie_03-800x340.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/FF_Roxie_03-1020x434.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/FF_Roxie_03-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/FF_Roxie_03-768x326.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/FF_Roxie_03-1536x653.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A scene from H.P. Mendoza’s musical film ‘Fruit Fly,’ 2009. \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://roxie.com/film/fruit-fly/\">‘Fruit Fly’: Sing-Along Tour\u003c/a>\u003c/h2>\n\u003cp>\u003ci>July 23, 2025\u003cbr>\nRoxie Theater, San Francisco\u003c/i>\u003c/p>\n\u003cp>Writer-director-composer H.P. Mendoza is the Bay Area’s most uninhibited purveyor of silver screen entertainment. After penning the songs and screenplay for the jaw-droppingly wonderful \u003cem>Colma: The Musical\u003c/em> (2006), he handled all the chores for his delirious 2009 follow-up, \u003cem>Fruit Fly\u003c/em>. Both films have certified cult status among queer and Asian American audiences, but no demo can resist Mendoza’s enthusiasm for all-shapes/sizes/colors self-expression. Bring your voice, bring an instrument, get down tonight!\u003c/p>\n\u003cfigure id=\"attachment_13976154\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Tsai_Hole_2000.jpg\" alt=\"man in underwear and white tank sits on floor with leg through hole, with beer and cigarette\" width=\"2000\" height=\"1371\" class=\"size-full wp-image-13976154\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Tsai_Hole_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Tsai_Hole_2000-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Tsai_Hole_2000-1020x699.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Tsai_Hole_2000-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Tsai_Hole_2000-768x526.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Tsai_Hole_2000-1536x1053.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Tsai_Hole_2000-1920x1316.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lee Kang-sheng in a scene from Tsai Ming-liang’s ‘The Hole.’ \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://bampfa.org/program/tsai-ming-liang\">Tsai Ming-liang and Lee Kang-sheng in person\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Aug. 14–31, 2025\u003cbr>\nBerkeley Art Museum and Pacific Film Archive\u003c/i>\u003c/p>\n\u003cp>You’ll have to move fast — faster than Tsai Ming-liang’s low-key ambivalent protagonists — to score tickets for the director’s Berkeley visit with his long-time collaborator, actor Lee Kang-sheng. Tsai’s patient urban sketches elevate glamour-drained neorealism to fine art, and the colorless daily lives of his unassuming characters to profound heights. 1998’s \u003cem>The Hole\u003c/em> (Aug. 28) views the approaching millennium as more drip, drip, drip of civilization’s spiral down the drain, while 2013’s \u003cem>Stray Dogs\u003c/em> (Aug. 30) observes a single father and two children barely staying afloat amid an unceasing Taipei deluge. In the duo’s remarkable body of work, cities — and people — exert a mysterious pull.\u003c/p>\n\u003cfigure id=\"attachment_13976149\" class=\"wp-caption aligncenter\" style=\"max-width: 1360px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Splitsville.jpg\" alt=\"four people stand on stairs looking confused\" width=\"1360\" height=\"765\" class=\"size-full wp-image-13976149\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Splitsville.jpg 1360w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Splitsville-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Splitsville-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Splitsville-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Splitsville-768x432.jpg 768w\" sizes=\"auto, (max-width: 1360px) 100vw, 1360px\">\u003cfigcaption class=\"wp-caption-text\">Still from Michael Angelo Covino’s ‘Splitsville,’ starring Covino, Adria Arjona, Dakota Johnson and Kyle Marvin. \u003ccite>(Neon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Splitsville’\u003c/h2>\n\u003cp>\u003ci>Opens Aug. 22, 2025\u003c/i>\u003c/p>\n\u003cp>Merrily we go to hell, with any luck. American sex comedies post-Lubitsch/Sturges/Wilder tend to disappoint; they dabble in unabashed pleasure for a few hot minutes before zipping up and off to the Puritan wonderland of a PG-13 rating. But what’s summer without, uh, a summer romance? Michael Angelo Covino’s follow-up to \u003cem>The Climb\u003c/em>, written with Kyle Marvin and costarring the two of them, imagines the lustful anarchy unleashed when Marvin’s character — unmoored by wife Adria Arjona demanding a divorce — hooks up with his married friends Covino and Dakota Johnson. Fidelity means never having to say you’re sorry, right? Cannes hosts \u003ci>Splitsville\u003c/i>’s premiere; at the very least, the red carpet should be a hoot.\u003c/p>\n\u003cfigure id=\"attachment_13976152\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/CaughtStealing_2000.jpg\" alt=\"white man holds bat in action pose behind fridge\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13976152\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/CaughtStealing_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/CaughtStealing_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/CaughtStealing_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/CaughtStealing_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/CaughtStealing_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/CaughtStealing_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/CaughtStealing_2000-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Austin Butler in Darren Aronofsky’s ‘Caught Stealing.’ \u003ccite>(Sony Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Caught Stealing’\u003c/h2>\n\u003cp>\u003ci>Opens Aug. 29, 2025\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Darren Aronofsky’s urban crime thriller sets the hounds loose on the dog days of summer. The hook, for our purposes, is a potential San Francisco treat: The down-on-his-luck ex-ballplayer hustling through lowdown 1990s New York City in Charlie Huston’s debut novel hails from the East Bay. Austin Butler flashes a Giants cap while romancing Zoë Kravitz and dodging danger boys Liev Schreiber, Vincent D’Onofrio and Bad Bunny. If the hometown nine are still hanging with the Dodgers and Padres in late August, this could be a memorable summer.\u003c/p>\n\n",
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"excerpt": "How to catch the festivals, premieres and old favorites showing up in Bay Area theaters this summer.",
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"title": "Your 2025 Bay Area Summer Movie Guide | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003ci>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/summer-guide-2025\">2025 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>The 2025 summer \u003ca href=\"https://www.kqed.org/arts/category/movies\">movie\u003c/a> season, brought to you by the big brains at Hollywood’s no-risk-too-small multinationals, could be called \u003cem>Attack of the 60-Foot White Men\u003c/em>. Tom Cruise’s latest (last?) \u003cem>Mission Impossible\u003c/em> action extravaganza hijacks Memorial Day weekend, followed by Brad Pitt’s high-octane vroomfest \u003cem>F1: The Movie\u003c/em> (June 27), James Gunn’s sky-high \u003cem>Superman\u003c/em> (July 11) starring David Corenswet (who?) and Akiva Shaffer’s high jinxed \u003cem>Naked Gun\u003c/em> (August 1) with Liam Neeson in Leslie Nielsen’s shoes (why?).\u003c/p>\n\u003cp>Locally, the cash-squeezed nonprofit San Francisco Parks Alliance canceled its signature outdoor summer series, \u003ca href=\"https://www.kqed.org/arts/13975608/sundown-cinema-canceled-san-francisco-movie-series\">Sundown Cinema\u003c/a>. In a pinch, you can always take your tablet, a blanket and a friend to Dolores Park on a foggy evening and watch the locally set flicks \u003cem>D.O.A.\u003c/em> or \u003cem>48 Hrs.\u003c/em> or \u003cem>Mrs. Doubtfire\u003c/em> or \u003cem>The Game\u003c/em>. Or check out the touchstone film festivals carrying on for another summer without the Castro. See you somewhere at the movies!\u003c/p>\n\u003cfigure id=\"attachment_13897013\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/1.png\" alt=\"\" width=\"1500\" height=\"789\" class=\"size-full wp-image-13897013\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/1.png 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/1-800x421.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/1-1020x537.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/1-160x84.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/1-768x404.png 768w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">A still from Alfred Hitchcock’s ‘Vertigo,’ 1958. \u003ccite>(Tenderloin Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Hitchcock Fest\u003c/h2>\n\u003cp>\u003ci>May 23–26, 2025\u003cbr>\n\u003ca href=\"https://www.balboamovies.com/\">Balboa Theatre\u003c/a>, San Francisco\u003c/i>\u003c/p>\n\u003cp>Profit-panicked studios are packing the multiplexes with low-rent horror this summer. There’s nothing like a drop of terror-laced sweat inching down one’s spine, but I’m partial to the taut classicism of a certain English \u003cs>perv\u003c/s>gent. The Balboa chose eight of Alfred Hitchcock’s best-loved films — \u003cem>Strangers on a Train\u003c/em>, \u003cem>Rear Window\u003c/em>, \u003cem>North by Northwest\u003c/em> and \u003cem>Vertigo\u003c/em> among them — and three lesser works, serving up roller-coaster triple bills on Saturday, Sunday and Monday. If the fog doesn’t put you in the mood when you arrive, it will when you leave.\u003c/p>\n\u003cfigure id=\"attachment_13976172\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jimpa-Aud-Mason-Hyde-photo-credit-Mark-De-Blok_2000.jpg\" alt=\"blue-lit young people in party scene\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13976172\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jimpa-Aud-Mason-Hyde-photo-credit-Mark-De-Blok_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jimpa-Aud-Mason-Hyde-photo-credit-Mark-De-Blok_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jimpa-Aud-Mason-Hyde-photo-credit-Mark-De-Blok_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jimpa-Aud-Mason-Hyde-photo-credit-Mark-De-Blok_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jimpa-Aud-Mason-Hyde-photo-credit-Mark-De-Blok_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jimpa-Aud-Mason-Hyde-photo-credit-Mark-De-Blok_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jimpa-Aud-Mason-Hyde-photo-credit-Mark-De-Blok_2000-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Aud Mason-Hyde in a scene from Sophie Hyde’s ‘Jimpa.’ \u003ccite>(Mark de Blok)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.frameline.org/festival\">Frameline\u003c/a>\u003c/h2>\n\u003cp>\u003ci>June 18–28, 2025\u003cbr>\nVarious locations\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>San Francisco’s pioneering LGBTQ+ film festival celebrates its 50th edition next year. There have been brief periods in the last half-century when “live and let live” was the national mood, and a Frameline screening could just be a movie. Not now. The festival opens with Sophie Hyde’s earnest family drama \u003cem>Jimpa\u003c/em>, with Olivia Colman and nonbinary actor Aud Mason-Hyde crashing the Amsterdam lair of gay father/grandfather John Lithgow. Sam Feder’s hard-edged documentary \u003cem>Heightened Security\u003c/em> (June 20) follows the ACLU challenge to Tennessee’s ban on gender-affirming care for trans adolescents. To put it bluntly, Frameline is the most crucial event on the summer film calendar.\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/ETVi5_cnnaE'\n title='//www.youtube.com/embed/ETVi5_cnnaE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Elio’\u003c/h2>\n\u003cp>\u003ci>Opens June 20, 2025\u003c/i>\u003c/p>\n\u003cp>In the beginning, aliens (or extraterrestrials) were super-smart, technologically advanced beings who, depending on what they had for breakfast, could subjugate humans or destroy Earth with a snap of their extremities. Pixar Animation Studios has made the remarkable discovery — right there in Emeryville! — that, in fact, the other denizens of the galaxy are as feckless, error-prone and comical as our own species. (Don’t tell a soul!) The Disney subsidiary applies this scientific breakthrough to a tried-and-true narrative device (an 11-year-old is unexpectedly called upon to represent the human race to the galaxy, and proves up to the task) with predictable results: boffo box office, and complaints that voice actor Yonas Kibreab is a DEI hire.\u003c/p>\n\u003cfigure id=\"attachment_13976241\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Fraenkel-Film-Festival-The-Conversation.jpeg\" alt=\"man with hands clasped in front of mouth\" width=\"1440\" height=\"810\" class=\"size-full wp-image-13976241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Fraenkel-Film-Festival-The-Conversation.jpeg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Fraenkel-Film-Festival-The-Conversation-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Fraenkel-Film-Festival-The-Conversation-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Fraenkel-Film-Festival-The-Conversation-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Fraenkel-Film-Festival-The-Conversation-768x432.jpeg 768w\" sizes=\"auto, (max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Gene Hackman in a scene from Francis Ford Coppola’s ‘The Conversation,’ 1974. \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://roxie.com/series/fraenkel-film-festival-2025/\">Fraenkel Film Festival 2025\u003c/a>\u003c/h2>\n\u003cp>\u003ci>July 9–19, 2025\u003cbr>\nRoxie Theater, San Francisco\u003c/i>\u003c/p>\n\u003cp>Union Square gallery owner Jeffrey Fraenkel had a marvelous inspiration last year: He asked his roster of top-drawer visual artists to \u003ca href=\"https://www.kqed.org/arts/13960392/fraenkel-gallery-45th-anniversary-film-festival-roxie-theater\">select their favorite films\u003c/a>, with the series drawing crowds to the Roxie. The second edition includes all-time San Francisco greats \u003cem>The Conversation\u003c/em> (July 11, chosen by Janet Cardiff and George Bures Miller) starring the late Gene Hackman and Terry Zwigoff’s astonishing \u003cem>Crumb\u003c/em> (July 16, chosen by Sophie Calle). The lineup is littered with unexpected treasures from around the globe such as Dorothy Arzner’s acerbic pre-code gem \u003cem>Merrily We Go To Hell\u003c/em> (1932), Satyajit Ray’s \u003cem>The Music Room\u003c/em> (1958) and Yasujiro Ozu’s \u003cem>The End of Summer\u003c/em> (1961). There are few things more stimulating than art and artists in dialogue.\u003c/p>\n\u003cfigure id=\"attachment_13976153\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/TheFirstLady_2000.jpg\" alt=\"person with long brown hair in bright pink blazer looks over city with back to camera, arms spread\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13976153\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/TheFirstLady_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/TheFirstLady_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/TheFirstLady_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/TheFirstLady_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/TheFirstLady_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/TheFirstLady_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/TheFirstLady_2000-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Efrat Tilma in a still from Udi Nir and Sagi Bornstein’s ‘The First Lady.’ \u003ccite>(Courtesy of Jewish Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfjff.org/film-festival\">San Francisco Jewish Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>July 17–Aug. 3, 2025\u003cbr>\nVarious locations\u003c/i>\u003c/p>\n\u003cp>The SFJFF programmers have an impossibly difficult job. The October 7 massacre of Israelis by Hamas and the ongoing annihilation of Gaza and Palestinian civilians by Israel have shocked and splintered the American Jewish community. Israeli narrative and documentary filmmakers, a perennial festival source of timely, high-quality work funded in part by their government, are scrambling. Yet movies always offer an opening — to listen, to see, to talk — for willing audiences. With that mantra, the programmers are in the process of compiling the lineup. \u003cem>The First Lady\u003c/em>, documenting transgender activist Efrat Tilma’s return to Israel while the reactionary, ultra-Orthodox-supported Netanyahu government wields power, will surely provoke discussion.\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/lIpxO4KRV98'\n title='//www.youtube.com/embed/lIpxO4KRV98'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Eddington’\u003c/h2>\n\u003cp>\u003ci>Opens July 18, 2025\u003c/i>\u003c/p>\n\u003cp>In the heat of the New Mexico summer, the center cannot hold. This pandemic-set (2020, if you forgot/repressed the memory) foray into paranoia from writer-director Ari Aster (\u003cem>Midsommar\u003c/em>, \u003cem>Beau Is Afraid\u003c/em>) locks and loads the always-volatile Joaquin Phoenix as a small-town sheriff at odds with mayor Pedro Pascal. Fueled by conspiracy theories and (anti)social media, suspicious minds race headlong to the brink. We’ll know if Aster hits the bull’s-eye or explodes into space after \u003cem>Eddington\u003c/em>’s Cannes debut.\u003c/p>\n\u003cfigure id=\"attachment_13976242\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/FF_Roxie_03.jpg\" alt=\"large crowd from above, dancing and singing\" width=\"1920\" height=\"816\" class=\"size-full wp-image-13976242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/FF_Roxie_03.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/FF_Roxie_03-800x340.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/FF_Roxie_03-1020x434.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/FF_Roxie_03-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/FF_Roxie_03-768x326.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/FF_Roxie_03-1536x653.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A scene from H.P. Mendoza’s musical film ‘Fruit Fly,’ 2009. \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://roxie.com/film/fruit-fly/\">‘Fruit Fly’: Sing-Along Tour\u003c/a>\u003c/h2>\n\u003cp>\u003ci>July 23, 2025\u003cbr>\nRoxie Theater, San Francisco\u003c/i>\u003c/p>\n\u003cp>Writer-director-composer H.P. Mendoza is the Bay Area’s most uninhibited purveyor of silver screen entertainment. After penning the songs and screenplay for the jaw-droppingly wonderful \u003cem>Colma: The Musical\u003c/em> (2006), he handled all the chores for his delirious 2009 follow-up, \u003cem>Fruit Fly\u003c/em>. Both films have certified cult status among queer and Asian American audiences, but no demo can resist Mendoza’s enthusiasm for all-shapes/sizes/colors self-expression. Bring your voice, bring an instrument, get down tonight!\u003c/p>\n\u003cfigure id=\"attachment_13976154\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Tsai_Hole_2000.jpg\" alt=\"man in underwear and white tank sits on floor with leg through hole, with beer and cigarette\" width=\"2000\" height=\"1371\" class=\"size-full wp-image-13976154\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Tsai_Hole_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Tsai_Hole_2000-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Tsai_Hole_2000-1020x699.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Tsai_Hole_2000-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Tsai_Hole_2000-768x526.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Tsai_Hole_2000-1536x1053.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Tsai_Hole_2000-1920x1316.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lee Kang-sheng in a scene from Tsai Ming-liang’s ‘The Hole.’ \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://bampfa.org/program/tsai-ming-liang\">Tsai Ming-liang and Lee Kang-sheng in person\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Aug. 14–31, 2025\u003cbr>\nBerkeley Art Museum and Pacific Film Archive\u003c/i>\u003c/p>\n\u003cp>You’ll have to move fast — faster than Tsai Ming-liang’s low-key ambivalent protagonists — to score tickets for the director’s Berkeley visit with his long-time collaborator, actor Lee Kang-sheng. Tsai’s patient urban sketches elevate glamour-drained neorealism to fine art, and the colorless daily lives of his unassuming characters to profound heights. 1998’s \u003cem>The Hole\u003c/em> (Aug. 28) views the approaching millennium as more drip, drip, drip of civilization’s spiral down the drain, while 2013’s \u003cem>Stray Dogs\u003c/em> (Aug. 30) observes a single father and two children barely staying afloat amid an unceasing Taipei deluge. In the duo’s remarkable body of work, cities — and people — exert a mysterious pull.\u003c/p>\n\u003cfigure id=\"attachment_13976149\" class=\"wp-caption aligncenter\" style=\"max-width: 1360px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Splitsville.jpg\" alt=\"four people stand on stairs looking confused\" width=\"1360\" height=\"765\" class=\"size-full wp-image-13976149\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Splitsville.jpg 1360w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Splitsville-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Splitsville-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Splitsville-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Splitsville-768x432.jpg 768w\" sizes=\"auto, (max-width: 1360px) 100vw, 1360px\">\u003cfigcaption class=\"wp-caption-text\">Still from Michael Angelo Covino’s ‘Splitsville,’ starring Covino, Adria Arjona, Dakota Johnson and Kyle Marvin. \u003ccite>(Neon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Splitsville’\u003c/h2>\n\u003cp>\u003ci>Opens Aug. 22, 2025\u003c/i>\u003c/p>\n\u003cp>Merrily we go to hell, with any luck. American sex comedies post-Lubitsch/Sturges/Wilder tend to disappoint; they dabble in unabashed pleasure for a few hot minutes before zipping up and off to the Puritan wonderland of a PG-13 rating. But what’s summer without, uh, a summer romance? Michael Angelo Covino’s follow-up to \u003cem>The Climb\u003c/em>, written with Kyle Marvin and costarring the two of them, imagines the lustful anarchy unleashed when Marvin’s character — unmoored by wife Adria Arjona demanding a divorce — hooks up with his married friends Covino and Dakota Johnson. Fidelity means never having to say you’re sorry, right? Cannes hosts \u003ci>Splitsville\u003c/i>’s premiere; at the very least, the red carpet should be a hoot.\u003c/p>\n\u003cfigure id=\"attachment_13976152\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/CaughtStealing_2000.jpg\" alt=\"white man holds bat in action pose behind fridge\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13976152\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/CaughtStealing_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/CaughtStealing_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/CaughtStealing_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/CaughtStealing_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/CaughtStealing_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/CaughtStealing_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/CaughtStealing_2000-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Austin Butler in Darren Aronofsky’s ‘Caught Stealing.’ \u003ccite>(Sony Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Caught Stealing’\u003c/h2>\n\u003cp>\u003ci>Opens Aug. 29, 2025\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Darren Aronofsky’s urban crime thriller sets the hounds loose on the dog days of summer. The hook, for our purposes, is a potential San Francisco treat: The down-on-his-luck ex-ballplayer hustling through lowdown 1990s New York City in Charlie Huston’s debut novel hails from the East Bay. Austin Butler flashes a Giants cap while romancing Zoë Kravitz and dodging danger boys Liev Schreiber, Vincent D’Onofrio and Bad Bunny. If the hometown nine are still hanging with the Dodgers and Padres in late August, this could be a memorable summer.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "roxie-theater-buy-the-building-san-francisco",
"title": "San Francisco’s 112-Year-Old Roxie Theater to Buy Its Building",
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"content": "\u003cp>The nonprofit group that operates the \u003ca href=\"https://www.kqed.org/arts/tag/roxie-theater\">Roxie Theater\u003c/a>, the 112-year-old theater which for a half-century has shown arthouse and independent films in San Francisco, is on the verge of buying its \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a> building.\u003c/p>\n\u003cp>The Roxie entered into an agreement last year with its landlord of 45 years to purchase the 16th Street property, a sale which is expected to close in 2025. The sale would include the theater’s main auditorium, its smaller Little Roxie theater two doors down, and a space between the two currently home to cocktail bar Dalva.\u003c/p>\n\u003cp>“Nonprofits owning their own space is so critical to their sustainability. And I think we need a story of hope right now, for San Francisco, and for arts and culture,” said the Roxie’s executive director, Lex Sloan.\u003c/p>\n\u003cfigure id=\"attachment_13974550\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974550\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Big-Roxie-empty-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Big-Roxie-empty-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Big-Roxie-empty-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Big-Roxie-empty-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Big-Roxie-empty-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Big-Roxie-empty-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Big-Roxie-empty-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Big-Roxie-empty-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Big-Roxie-empty-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The auditorium at the Roxie Theater. \u003ccite>(Courtesy Roxie Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sloan said discussions between the Roxie and the owners about a potential sale have been ongoing for years. In 2022, the \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-arts-commission\">San Francisco Arts Commission\u003c/a> awarded the Roxie a $50,000 grant to create and implement a fundraising campaign toward the purchase.\u003c/p>\n\u003cp>That campaign’s “silent phase” has already raised nearly $5.5 million of the Roxie’s $7 million goal, with most coming from large donors, including a leading gift from the \u003ca href=\"https://www.kqed.org/arts/tag/rainin-foundation\">Kenneth Rainin Foundation\u003c/a>. Now, the Roxie is reaching out to the public to close the $1.5 million gap.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sloan declined to reveal the purchase price for the property, although she conceded that it is lower than $7 million. The higher fundraising goal, she explained, will provide a comfortable pad for the future, and allow the theater to address deferred maintenance and expand its programming options.\u003c/p>\n\u003cfigure id=\"attachment_13974547\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974547\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Old-Roxie-exterior-scaled.jpeg\" alt=\"\" width=\"2560\" height=\"1845\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Old-Roxie-exterior-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Old-Roxie-exterior-800x577.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Old-Roxie-exterior-1020x735.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Old-Roxie-exterior-160x115.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Old-Roxie-exterior-768x554.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Old-Roxie-exterior-1536x1107.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Old-Roxie-exterior-2048x1476.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Old-Roxie-exterior-1920x1384.jpeg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The Roxie Theater in the mid-19th century. \u003ccite>(Courtesy Roxie Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The theater currently starts most screenings at 6 p.m., Sloan said, and has slowly begun adding earlier shows, as well as thinking about off-site satellite events. Acknowledging that it may be a “dream,” Sloan even suggested: “What if there was a rooftop cinema?”\u003c/p>\n\u003cp>One thing the theater cannot do is expand physically beyond its current footprint. Sloan said there were no plans to knock down any walls, or take over the existing Dalva space. As part of the sale, the Roxie will become Dalva’s landlords.\u003c/p>\n\u003cp>The property is owned by the Abecassis family, whose patriarch Samuel Abecassis bought it in 1989. Samuel died in 2000, and the building has been owned ever since by the family, who understand the Roxie’s importance to the neighborhood, Sloan said.\u003c/p>\n\u003cfigure id=\"attachment_13974548\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974548\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Academy-Award-winner-Ryusuke-Hamaguchi-with-DRIVE-MY-CAR-in-2022-photo-credit-Gene-X-Hwang-scaled.jpg\" alt=\"\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Academy-Award-winner-Ryusuke-Hamaguchi-with-DRIVE-MY-CAR-in-2022-photo-credit-Gene-X-Hwang-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Academy-Award-winner-Ryusuke-Hamaguchi-with-DRIVE-MY-CAR-in-2022-photo-credit-Gene-X-Hwang-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Academy-Award-winner-Ryusuke-Hamaguchi-with-DRIVE-MY-CAR-in-2022-photo-credit-Gene-X-Hwang-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Academy-Award-winner-Ryusuke-Hamaguchi-with-DRIVE-MY-CAR-in-2022-photo-credit-Gene-X-Hwang-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Academy-Award-winner-Ryusuke-Hamaguchi-with-DRIVE-MY-CAR-in-2022-photo-credit-Gene-X-Hwang-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Academy-Award-winner-Ryusuke-Hamaguchi-with-DRIVE-MY-CAR-in-2022-photo-credit-Gene-X-Hwang-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Academy-Award-winner-Ryusuke-Hamaguchi-with-DRIVE-MY-CAR-in-2022-photo-credit-Gene-X-Hwang-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Academy-Award-winner-Ryusuke-Hamaguchi-with-DRIVE-MY-CAR-in-2022-photo-credit-Gene-X-Hwang-1920x2879.jpg 1920w\" sizes=\"auto, (max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Academy Award winner Ryusuke Hamaguchi appears at a Roxie Theater screening of ‘Drive My Car’ in 2022. \u003ccite>(Gene X. Hwang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sloan called the Abecassis family “incredible partners throughout the last 40 years,” noting that their rent was reduced by 50% when the theater was forced to close due to the COVID pandemic. (The Roxie also took that time to \u003ca href=\"https://www.kqed.org/arts/13899598/bay-area-historic-movie-theaters-move-towards-greater-accessibility\">upgrade its disability access\u003c/a>.)\u003c/p>\n\u003cp>Over the years, the Roxie has hosted a who’s who of figures from the film world, including Akira Kurosawa, Barry Jenkins, Errol Morris and film critics Gene Siskel and Roger Ebert. On April 21, body horror director David Cronenberg is a special guest.\u003c/p>\n\u003cp>And while movie theaters continue to close nationwide, support for the Roxie has been strong, Sloan said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’ve certainly seen, in the last year, audiences returning to the theater in ways that we didn’t even see before COVID. It gives me hope, every day, when I walk out and see the line around the block for a film.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The nonprofit group that operates the \u003ca href=\"https://www.kqed.org/arts/tag/roxie-theater\">Roxie Theater\u003c/a>, the 112-year-old theater which for a half-century has shown arthouse and independent films in San Francisco, is on the verge of buying its \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a> building.\u003c/p>\n\u003cp>The Roxie entered into an agreement last year with its landlord of 45 years to purchase the 16th Street property, a sale which is expected to close in 2025. The sale would include the theater’s main auditorium, its smaller Little Roxie theater two doors down, and a space between the two currently home to cocktail bar Dalva.\u003c/p>\n\u003cp>“Nonprofits owning their own space is so critical to their sustainability. And I think we need a story of hope right now, for San Francisco, and for arts and culture,” said the Roxie’s executive director, Lex Sloan.\u003c/p>\n\u003cfigure id=\"attachment_13974550\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974550\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Big-Roxie-empty-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Big-Roxie-empty-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Big-Roxie-empty-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Big-Roxie-empty-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Big-Roxie-empty-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Big-Roxie-empty-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Big-Roxie-empty-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Big-Roxie-empty-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Big-Roxie-empty-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The auditorium at the Roxie Theater. \u003ccite>(Courtesy Roxie Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sloan said discussions between the Roxie and the owners about a potential sale have been ongoing for years. In 2022, the \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-arts-commission\">San Francisco Arts Commission\u003c/a> awarded the Roxie a $50,000 grant to create and implement a fundraising campaign toward the purchase.\u003c/p>\n\u003cp>That campaign’s “silent phase” has already raised nearly $5.5 million of the Roxie’s $7 million goal, with most coming from large donors, including a leading gift from the \u003ca href=\"https://www.kqed.org/arts/tag/rainin-foundation\">Kenneth Rainin Foundation\u003c/a>. Now, the Roxie is reaching out to the public to close the $1.5 million gap.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sloan declined to reveal the purchase price for the property, although she conceded that it is lower than $7 million. The higher fundraising goal, she explained, will provide a comfortable pad for the future, and allow the theater to address deferred maintenance and expand its programming options.\u003c/p>\n\u003cfigure id=\"attachment_13974547\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974547\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Old-Roxie-exterior-scaled.jpeg\" alt=\"\" width=\"2560\" height=\"1845\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Old-Roxie-exterior-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Old-Roxie-exterior-800x577.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Old-Roxie-exterior-1020x735.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Old-Roxie-exterior-160x115.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Old-Roxie-exterior-768x554.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Old-Roxie-exterior-1536x1107.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Old-Roxie-exterior-2048x1476.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Old-Roxie-exterior-1920x1384.jpeg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The Roxie Theater in the mid-19th century. \u003ccite>(Courtesy Roxie Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The theater currently starts most screenings at 6 p.m., Sloan said, and has slowly begun adding earlier shows, as well as thinking about off-site satellite events. Acknowledging that it may be a “dream,” Sloan even suggested: “What if there was a rooftop cinema?”\u003c/p>\n\u003cp>One thing the theater cannot do is expand physically beyond its current footprint. Sloan said there were no plans to knock down any walls, or take over the existing Dalva space. As part of the sale, the Roxie will become Dalva’s landlords.\u003c/p>\n\u003cp>The property is owned by the Abecassis family, whose patriarch Samuel Abecassis bought it in 1989. Samuel died in 2000, and the building has been owned ever since by the family, who understand the Roxie’s importance to the neighborhood, Sloan said.\u003c/p>\n\u003cfigure id=\"attachment_13974548\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974548\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Academy-Award-winner-Ryusuke-Hamaguchi-with-DRIVE-MY-CAR-in-2022-photo-credit-Gene-X-Hwang-scaled.jpg\" alt=\"\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Academy-Award-winner-Ryusuke-Hamaguchi-with-DRIVE-MY-CAR-in-2022-photo-credit-Gene-X-Hwang-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Academy-Award-winner-Ryusuke-Hamaguchi-with-DRIVE-MY-CAR-in-2022-photo-credit-Gene-X-Hwang-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Academy-Award-winner-Ryusuke-Hamaguchi-with-DRIVE-MY-CAR-in-2022-photo-credit-Gene-X-Hwang-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Academy-Award-winner-Ryusuke-Hamaguchi-with-DRIVE-MY-CAR-in-2022-photo-credit-Gene-X-Hwang-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Academy-Award-winner-Ryusuke-Hamaguchi-with-DRIVE-MY-CAR-in-2022-photo-credit-Gene-X-Hwang-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Academy-Award-winner-Ryusuke-Hamaguchi-with-DRIVE-MY-CAR-in-2022-photo-credit-Gene-X-Hwang-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Academy-Award-winner-Ryusuke-Hamaguchi-with-DRIVE-MY-CAR-in-2022-photo-credit-Gene-X-Hwang-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Academy-Award-winner-Ryusuke-Hamaguchi-with-DRIVE-MY-CAR-in-2022-photo-credit-Gene-X-Hwang-1920x2879.jpg 1920w\" sizes=\"auto, (max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Academy Award winner Ryusuke Hamaguchi appears at a Roxie Theater screening of ‘Drive My Car’ in 2022. \u003ccite>(Gene X. Hwang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sloan called the Abecassis family “incredible partners throughout the last 40 years,” noting that their rent was reduced by 50% when the theater was forced to close due to the COVID pandemic. (The Roxie also took that time to \u003ca href=\"https://www.kqed.org/arts/13899598/bay-area-historic-movie-theaters-move-towards-greater-accessibility\">upgrade its disability access\u003c/a>.)\u003c/p>\n\u003cp>Over the years, the Roxie has hosted a who’s who of figures from the film world, including Akira Kurosawa, Barry Jenkins, Errol Morris and film critics Gene Siskel and Roger Ebert. On April 21, body horror director David Cronenberg is a special guest.\u003c/p>\n\u003cp>And while movie theaters continue to close nationwide, support for the Roxie has been strong, Sloan said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’ve certainly seen, in the last year, audiences returning to the theater in ways that we didn’t even see before COVID. It gives me hope, every day, when I walk out and see the line around the block for a film.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Roxie Screens 40-Plus Years of Films by Lynn Marie Kirby",
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"content": "\u003cp>For decades, \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> artist Lynn Marie Kirby has created artwork that defies easy classification. In part, this is because she is a natural collaborator, and her work shifts and grows in complexity with the addition of each new voice. \u003c/p>\n\u003cp>One of my first encounters with Kirby’s work was \u003ci>\u003ca href=\"https://www.kqed.org/arts/107962/a_walk_through_the_mission\">The 24th Street Listening Project\u003c/a>\u003c/i>, a 2012 experimental walking tour she created in collaboration with Alexis Petty. The roundabout and sensitive neighborhood portrait culminated in a potted plant giveaway. \u003c/p>\n\u003cp>A few years later, Kirby and Cristoph Steger temporarily took over the former Alhambra Theater on Polk Street (now a Crunch Gym) for \u003ci>\u003ca href=\"http://thealhambraproject.com/\">The Alhambra Project\u003c/a>\u003c/i>, a piece that similarly engaged a cast of collaborators and spilled out into the surrounding neighborhood. Again and again, Kirby’s poetic and abstracted approach to art-making draws lines between disparate things: bodybuilding and tile patterns, fortune cookies and paint colors. \u003c/p>\n\u003cp>On Sunday, March 30, \u003ca href=\"https://canyoncinema.com/\">Canyon Cinema\u003c/a> presents “\u003ca href=\"https://roxie.com/film/lynn-marie-kirby-the-insufficient-frame/\">the insufficient frame\u003c/a>,” a program of Kirby’s film, video and performance work at the Roxie Theater. More collaborations and improvisations are on view here, along with a wide variety of material approaches to filmmaking (including live singing!). \u003c/p>\n\u003cfigure id=\"attachment_13973712\" class=\"wp-caption aligncenter\" style=\"max-width: 1374px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Requiescat_2.png\" alt=\"white ragged X on black background, horizontal glitch line\" width=\"1374\" height=\"1031\" class=\"size-full wp-image-13973712\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Requiescat_2.png 1374w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Requiescat_2-800x600.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Requiescat_2-1020x765.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Requiescat_2-160x120.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Requiescat_2-768x576.png 768w\" sizes=\"auto, (max-width: 1374px) 100vw, 1374px\">\u003cfigcaption class=\"wp-caption-text\">A still from Lynn Marie Kirby’s ‘Requiescat,’ 2006. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Highlighting a selection from the 1980s to the present, the screening is followed by a conversation between Kirby and filmmaker and scholar Jeffrey Skoller (who contributed an essay to the recent publication from X Artists’ Books, \u003ci>\u003ca href=\"https://www.xartistsbooks.com/books/time-and-place\">Time & Place: on the work of Lynn Marie Kirby\u003c/a>\u003c/i>).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13973675']The Roxie program includes 11 pieces, ranging in length from one minute to 22. In one of the earliest films, Kirby’s 1987 \u003ci>Sharon and the Birds on the Way to the Wedding\u003c/i>, a woman talks about the fading appeal of marriage and her pet birds, while a narrator describes the discovery of “a magazine kind of love.” There’s no sense here of what’s real and what’s staged. The whole thing is interspersed with images of firefighters hosing down a blaze — is it marriage itself that’s the dumpster fire? \u003c/p>\n\u003cp>A more recent digital video returns us to the confusing, claustrophobic days of 2021, when Kirby made \u003ci>Listen to the World Waking\u003c/i> over a period of six months with the San Francisco Girls Chorus. Drawn from objects, images and notes gathered by members of the chorus, the resulting video captures a distorted, ghostly time in the girls’ lives. Their sweet voices sing a haunting libretto written by Kirby and longtime collaborator Denise Newman. \u003c/p>\n\u003cp>Kirby’s program is part of Canyon Cinema’s \u003ca href=\"https://roxie.com/category/canyon-at-the-roxie/\">ongoing series of monographic screenings\u003c/a> of “classic, overlooked, new and restored films.” (Last year they programmed the Toney W. Merrit mini-retrospective “\u003ca href=\"https://roxie.com/film/toney-w-merritt-as-i-am/\">As I Am\u003c/a>.”) Take this rare chance to peer into Canyon Cinema’s incredible vault, see a local artist’s work in depth, and hear from Kirby directly about that work. Such opportunities don’t come around often.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/film/lynn-marie-kirby-the-insufficient-frame/\">Lynn Marie Kirby: the insufficient frame\u003c/a>’ plays at 3:40 p.m. on March 30, 2025 at the Roxie Theater. \u003ca href=\"https://roxie.com/film/lynn-marie-kirby-the-insufficient-frame/\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For decades, \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> artist Lynn Marie Kirby has created artwork that defies easy classification. In part, this is because she is a natural collaborator, and her work shifts and grows in complexity with the addition of each new voice. \u003c/p>\n\u003cp>One of my first encounters with Kirby’s work was \u003ci>\u003ca href=\"https://www.kqed.org/arts/107962/a_walk_through_the_mission\">The 24th Street Listening Project\u003c/a>\u003c/i>, a 2012 experimental walking tour she created in collaboration with Alexis Petty. The roundabout and sensitive neighborhood portrait culminated in a potted plant giveaway. \u003c/p>\n\u003cp>A few years later, Kirby and Cristoph Steger temporarily took over the former Alhambra Theater on Polk Street (now a Crunch Gym) for \u003ci>\u003ca href=\"http://thealhambraproject.com/\">The Alhambra Project\u003c/a>\u003c/i>, a piece that similarly engaged a cast of collaborators and spilled out into the surrounding neighborhood. Again and again, Kirby’s poetic and abstracted approach to art-making draws lines between disparate things: bodybuilding and tile patterns, fortune cookies and paint colors. \u003c/p>\n\u003cp>On Sunday, March 30, \u003ca href=\"https://canyoncinema.com/\">Canyon Cinema\u003c/a> presents “\u003ca href=\"https://roxie.com/film/lynn-marie-kirby-the-insufficient-frame/\">the insufficient frame\u003c/a>,” a program of Kirby’s film, video and performance work at the Roxie Theater. More collaborations and improvisations are on view here, along with a wide variety of material approaches to filmmaking (including live singing!). \u003c/p>\n\u003cfigure id=\"attachment_13973712\" class=\"wp-caption aligncenter\" style=\"max-width: 1374px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Requiescat_2.png\" alt=\"white ragged X on black background, horizontal glitch line\" width=\"1374\" height=\"1031\" class=\"size-full wp-image-13973712\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Requiescat_2.png 1374w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Requiescat_2-800x600.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Requiescat_2-1020x765.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Requiescat_2-160x120.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Requiescat_2-768x576.png 768w\" sizes=\"auto, (max-width: 1374px) 100vw, 1374px\">\u003cfigcaption class=\"wp-caption-text\">A still from Lynn Marie Kirby’s ‘Requiescat,’ 2006. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Highlighting a selection from the 1980s to the present, the screening is followed by a conversation between Kirby and filmmaker and scholar Jeffrey Skoller (who contributed an essay to the recent publication from X Artists’ Books, \u003ci>\u003ca href=\"https://www.xartistsbooks.com/books/time-and-place\">Time & Place: on the work of Lynn Marie Kirby\u003c/a>\u003c/i>).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Roxie program includes 11 pieces, ranging in length from one minute to 22. In one of the earliest films, Kirby’s 1987 \u003ci>Sharon and the Birds on the Way to the Wedding\u003c/i>, a woman talks about the fading appeal of marriage and her pet birds, while a narrator describes the discovery of “a magazine kind of love.” There’s no sense here of what’s real and what’s staged. The whole thing is interspersed with images of firefighters hosing down a blaze — is it marriage itself that’s the dumpster fire? \u003c/p>\n\u003cp>A more recent digital video returns us to the confusing, claustrophobic days of 2021, when Kirby made \u003ci>Listen to the World Waking\u003c/i> over a period of six months with the San Francisco Girls Chorus. Drawn from objects, images and notes gathered by members of the chorus, the resulting video captures a distorted, ghostly time in the girls’ lives. Their sweet voices sing a haunting libretto written by Kirby and longtime collaborator Denise Newman. \u003c/p>\n\u003cp>Kirby’s program is part of Canyon Cinema’s \u003ca href=\"https://roxie.com/category/canyon-at-the-roxie/\">ongoing series of monographic screenings\u003c/a> of “classic, overlooked, new and restored films.” (Last year they programmed the Toney W. Merrit mini-retrospective “\u003ca href=\"https://roxie.com/film/toney-w-merritt-as-i-am/\">As I Am\u003c/a>.”) Take this rare chance to peer into Canyon Cinema’s incredible vault, see a local artist’s work in depth, and hear from Kirby directly about that work. Such opportunities don’t come around often.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/film/lynn-marie-kirby-the-insufficient-frame/\">Lynn Marie Kirby: the insufficient frame\u003c/a>’ plays at 3:40 p.m. on March 30, 2025 at the Roxie Theater. \u003ca href=\"https://roxie.com/film/lynn-marie-kirby-the-insufficient-frame/\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After flirting with a \u003ca href=\"https://www.kqed.org/arts/13954872/sffilm-2024-bay-area-filmmakers-films-guide\">five-day program in 2024\u003c/a>, the San Francisco International Film Festival returns to an 11-day run this year for its 68th iteration, April 17–27. \u003c/p>\n\u003cp>Filmgoers who thrill at having too many options to choose from can once again \u003ca href=\"https://sffilm.org/2025-festival-program/\">assiduously plot their schedules\u003c/a>, even if it involves some tight layovers. As SFFILM Executive Director Anne Lai said during the March 26 program announcement, “We like to see people running.”\u003c/p>\n\u003cp>Like last year, most programming will take place in the Marina and Presidio neighborhoods and at the Berkeley Art Museum and Pacific Archive.\u003c/p>\n\u003cp>Boasting over 150 films from over 50 countries, this year’s festival is packed with world premieres, films with local ties, feature-length debuts and special appearances. Here are five not-to-miss events to seek out when festival tickets go on sale to the general public on Friday, March 28 at 10 a.m.\u003c/p>\n\u003cfigure id=\"attachment_13973681\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000.jpg\" alt=\"Adult and young girl stand on street corner\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13973681\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Asia Kate Dillon and Ridley Asha Bateman in a scene from Elena Oxman’s ‘Outerlands.’ \u003ccite>(SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/closing-night-outerlands/\">Outerlands\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 27, 5 p.m. at Premier Theater\u003cbr>\nApril 27, 6 p.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>No, this is not a documentary about the popular Outer Sunset restaurant, though the narrative feature \u003ci>was\u003c/i> filmed in San Francisco’s Outer Sunset and Richmond neighborhoods. \u003ci>Outerlands\u003c/i>, the festival’s closing-night film, follows Cass (played by Asia Kate Dillon), a recent transplant to San Francisco. Cass is cautiously patching together a life when they unexpectedly become the caretaker of a coworker’s 11-year-old daughter, Ari. As the days stretch on, the two bristle and bond, their interactions shaped by their shared experiences of childhood abandonment.\u003c/p>\n\u003cp>Bonus: Director Elena Oxman will speak at \u003ca href=\"https://sffilm.org/event/festival-talk-filming-in-san-francisco-a-case-study-with-outerlands-and-film-sf/\">a free event on April 25\u003c/a> about filming in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13973680\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TEXAS_CHAIN_SAW_MASSACRE_1.jpg\" alt=\"silhouette of man wielding chainsaw against sunset\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13973680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TEXAS_CHAIN_SAW_MASSACRE_1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TEXAS_CHAIN_SAW_MASSACRE_1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TEXAS_CHAIN_SAW_MASSACRE_1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TEXAS_CHAIN_SAW_MASSACRE_1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TEXAS_CHAIN_SAW_MASSACRE_1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TEXAS_CHAIN_SAW_MASSACRE_1-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘The Texas Chain Saw Massacre’ is part of a a six-film retrospective of classic horror films. \u003ccite>(SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Horror highlights\u003c/h2>\n\u003cp>SFFILM generally has a few “midnight films” on the program, but this year they’ve leaned into horror classics. Spread across the festival run, this mini-retrospective kicks off with John Carpenter’s \u003ci>\u003ca href=\"https://sffilm.org/event/they-live/\">They Live\u003c/a>\u003c/i>, followed by \u003ci>\u003ca href=\"https://sffilm.org/event/the-texas-chain-saw-massacre/\">The Texas Chainsaw Massacre\u003c/a>\u003c/i> (preceded by the documentary \u003ci>\u003ca href=\"https://sffilm.org/event/chain-reactions/\">Chain Reaction\u003c/a>\u003c/i>, charting the 1974 film’s lasting influence), Jennifer Kent’s \u003ci>\u003ca href=\"https://sffilm.org/event/the-babadook/\">The Babadook\u003c/a>\u003c/i>, a potentially foggy outdoor screening of Carpenter’s \u003ci>\u003ca href=\"https://sffilm.org/event/sundown-cinema-outdoor-screening-the-fog/\">The Fog\u003c/a>\u003c/i> and Herk Harvey’s haunting \u003ci>\u003ca href=\"https://sffilm.org/event/carnival-of-souls/\">Carnival of Souls\u003c/a>\u003c/i>. \u003c/p>\n\u003cp>For a taste of contemporary features and shorts following in these genre footsteps, check out \u003ci>\u003ca href=\"https://sffilm.org/event/40-acres/\">40 Acres\u003c/a>\u003c/i> (cannibals!), \u003ci>\u003ca href=\"https://sffilm.org/event/cloud/\">Cloud\u003c/a>\u003c/i> and the shorts block “\u003ca href=\"https://sffilm.org/event/shorts-3-dark-waves-stranger-tides/\">Dark Waves & Stranger Tides\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13973683\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000.jpg\" alt=\"circular image of crashing waves on black background\" width=\"2000\" height=\"1056\" class=\"size-full wp-image-13973683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000-1020x539.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000-768x406.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000-1536x811.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000-1920x1014.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Sky Hopinka’s ‘maɬni – towards the ocean, towards the shore,’ 2020. \u003ccite>(SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A celebration of Sky Hopinka\u003c/h2>\n\u003cp>\u003ci>\u003ca href=\"https://sffilm.org/event/pov-award-sky-hopinka-ma%c9%acni-towards-the-ocean-towards-the-shore/\">Persistence of Vision Award + ‘maɬni – towards the ocean, towards the shore’\u003c/a>\u003cbr>\nApril 24, 7 p.m. at BAMPFA\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://sffilm.org/event/sky-hopinka-shorts-a-proposition-of-memory/\">Sky Hopinka Shorts: a proposition of memory\u003c/a>\u003cbr>\nApril 25, 6 p.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cp>Five years ago, filmmaker Sky Hopinka was set to screen his debut feature \u003ci>maɬni – towards the ocean, towards the shore\u003c/i> at the 2020 SFFILM festival — an event completely canceled due to the pandemic. Now SFFILM is honoring Hopinka, a member of the Ho-Chunk Nation and a descendant of the Pechanga Band of Luiseño Indians, with the festival’s Persistence of Vision award, alongside a screening of his experimental documentary, at long last. \u003c/p>\n\u003cp>\u003ci>maɬni – towards the ocean, towards the shore\u003c/i> follows two people as they wander through nature and share their personal reflections on identity, language and the spirit world, promising to be “a layered art piece that challenges the positioning of Indigenous culture in American society.”\u003c/p>\n\u003cp>If that sells out, which it likely will, there are two other opportunities to engage with Hopinka’s lush, beautifully shot work. A program of Hopinka’s shorts plays on April 25, and BAMPFA is showing \u003ci>\u003ca href=\"https://bampfa.org/program/collection-focus-sky-hopinka-sunflower-siege-engine\">Sunflower Siege Engine\u003c/a>\u003c/i> through Aug. 17, a 2022 film featuring footage of Richard Oakes reading “Proclamation: To the Great White Father and All His People” at the Alcatraz occupation. \u003c/p>\n\u003cfigure id=\"attachment_13973682\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ON_HEALING_LAND_BIRDS_PERCH_1.jpg\" alt=\"distorted illustration of birds flying\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13973682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ON_HEALING_LAND_BIRDS_PERCH_1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ON_HEALING_LAND_BIRDS_PERCH_1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ON_HEALING_LAND_BIRDS_PERCH_1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ON_HEALING_LAND_BIRDS_PERCH_1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ON_HEALING_LAND_BIRDS_PERCH_1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ON_HEALING_LAND_BIRDS_PERCH_1-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Naja Pham Lockwood’s mid-length documentary ‘On Healing Land, Birds Perch,’ 2025, part of a three-film program. \u003ccite>(SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/on-healing-land-birds-perch-roots-that-reach-toward-the-sky-we-were-the-scenery/\">On Healing Land, Birds Perch\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 25, 6:15 p.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cp>In another welcome programming change, 2025 also marks the return of mid-length films, which weren’t included in last year’s festival. A highlight is Naja Pham Lockwood’s 33-minute film \u003ci>On Healing Land, Birds Perch\u003c/i>, focused on what happened after Eddie Adams photographed South Vietnamese general Nguyễn Ngọc Loan killing Viet Cong captain Nguyễn Văn Lém in the Pulitzer Prize-winning image “\u003ca href=\"https://www.npr.org/2009/03/24/102112403/the-vietnam-war-through-eddie-adams-lens\">Saigon Execution\u003c/a>.” The film gathers the children of General Loan and Captain Lém, along with the son of a family Lém executed, all now living in the United States. Their complicated and conflicting views of their forebears — and the war — are depicted in candid detail. \u003c/p>\n\u003cp>Lockwood’s film screens with two others: Jess X. Snow’s \u003ci>Roots That Reach Toward the Sky\u003c/i> and Christopher Radcliff’s \u003ci>We Were the Scenery\u003c/i> (about two Vietnamese refugees in the Philippines who became extras in \u003ci>Apocalypse Now\u003c/i>).\u003c/p>\n\u003cfigure id=\"attachment_13973679\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IDIOTKA_1.jpg\" alt=\"woman with hands on face in shocked gesture\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13973679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IDIOTKA_1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IDIOTKA_1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IDIOTKA_1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IDIOTKA_1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IDIOTKA_1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IDIOTKA_1-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Anna Baryshnikov stars in Nastasya Popov’s ‘Idiotka.’ \u003ccite>(SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/idiotka/\">Idiotka\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 22, 6 p.m. at Premier Theater\u003c/i>\u003c/p>\n\u003cp>So far this list has leaned toward the serious stuff (with a delightful side of gore), but the festival is not without its lighthearted fare! May I present \u003ci>Idiotka\u003c/i>, writer-director Nastasya Popov’s zany debut film. Fans of \u003ci>\u003ca href=\"https://www.kqed.org/arts/13953601/love-lies-bleeding-review-kristen-stewart-ed-harris-kate-glass\">Love Lies Bleeding\u003c/a>\u003c/i> may remember lead actress Anna Baryshnikov as the clingy, wannabe girlfriend caught on the wrong side of Kristen Stewart and Katy O’Brian’s true love. (Who could forget those teeth?) \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Here, Baryshnikov plays Margarita, an emerging fashion designer attaching high-end tags to her own work to sell pieces online. Much of the film’s comedy comes from her chaotic life with her extended Russian Jewish family in West Hollywood. When a reality fashion show called \u003ci>Slay, Serve and Survive\u003c/i> comes calling, Margarita signs on to save — and/or escape — the family home.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After flirting with a \u003ca href=\"https://www.kqed.org/arts/13954872/sffilm-2024-bay-area-filmmakers-films-guide\">five-day program in 2024\u003c/a>, the San Francisco International Film Festival returns to an 11-day run this year for its 68th iteration, April 17–27. \u003c/p>\n\u003cp>Filmgoers who thrill at having too many options to choose from can once again \u003ca href=\"https://sffilm.org/2025-festival-program/\">assiduously plot their schedules\u003c/a>, even if it involves some tight layovers. As SFFILM Executive Director Anne Lai said during the March 26 program announcement, “We like to see people running.”\u003c/p>\n\u003cp>Like last year, most programming will take place in the Marina and Presidio neighborhoods and at the Berkeley Art Museum and Pacific Archive.\u003c/p>\n\u003cp>Boasting over 150 films from over 50 countries, this year’s festival is packed with world premieres, films with local ties, feature-length debuts and special appearances. Here are five not-to-miss events to seek out when festival tickets go on sale to the general public on Friday, March 28 at 10 a.m.\u003c/p>\n\u003cfigure id=\"attachment_13973681\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000.jpg\" alt=\"Adult and young girl stand on street corner\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13973681\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Asia Kate Dillon and Ridley Asha Bateman in a scene from Elena Oxman’s ‘Outerlands.’ \u003ccite>(SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/closing-night-outerlands/\">Outerlands\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 27, 5 p.m. at Premier Theater\u003cbr>\nApril 27, 6 p.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>No, this is not a documentary about the popular Outer Sunset restaurant, though the narrative feature \u003ci>was\u003c/i> filmed in San Francisco’s Outer Sunset and Richmond neighborhoods. \u003ci>Outerlands\u003c/i>, the festival’s closing-night film, follows Cass (played by Asia Kate Dillon), a recent transplant to San Francisco. Cass is cautiously patching together a life when they unexpectedly become the caretaker of a coworker’s 11-year-old daughter, Ari. As the days stretch on, the two bristle and bond, their interactions shaped by their shared experiences of childhood abandonment.\u003c/p>\n\u003cp>Bonus: Director Elena Oxman will speak at \u003ca href=\"https://sffilm.org/event/festival-talk-filming-in-san-francisco-a-case-study-with-outerlands-and-film-sf/\">a free event on April 25\u003c/a> about filming in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13973680\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TEXAS_CHAIN_SAW_MASSACRE_1.jpg\" alt=\"silhouette of man wielding chainsaw against sunset\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13973680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TEXAS_CHAIN_SAW_MASSACRE_1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TEXAS_CHAIN_SAW_MASSACRE_1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TEXAS_CHAIN_SAW_MASSACRE_1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TEXAS_CHAIN_SAW_MASSACRE_1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TEXAS_CHAIN_SAW_MASSACRE_1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TEXAS_CHAIN_SAW_MASSACRE_1-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘The Texas Chain Saw Massacre’ is part of a a six-film retrospective of classic horror films. \u003ccite>(SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Horror highlights\u003c/h2>\n\u003cp>SFFILM generally has a few “midnight films” on the program, but this year they’ve leaned into horror classics. Spread across the festival run, this mini-retrospective kicks off with John Carpenter’s \u003ci>\u003ca href=\"https://sffilm.org/event/they-live/\">They Live\u003c/a>\u003c/i>, followed by \u003ci>\u003ca href=\"https://sffilm.org/event/the-texas-chain-saw-massacre/\">The Texas Chainsaw Massacre\u003c/a>\u003c/i> (preceded by the documentary \u003ci>\u003ca href=\"https://sffilm.org/event/chain-reactions/\">Chain Reaction\u003c/a>\u003c/i>, charting the 1974 film’s lasting influence), Jennifer Kent’s \u003ci>\u003ca href=\"https://sffilm.org/event/the-babadook/\">The Babadook\u003c/a>\u003c/i>, a potentially foggy outdoor screening of Carpenter’s \u003ci>\u003ca href=\"https://sffilm.org/event/sundown-cinema-outdoor-screening-the-fog/\">The Fog\u003c/a>\u003c/i> and Herk Harvey’s haunting \u003ci>\u003ca href=\"https://sffilm.org/event/carnival-of-souls/\">Carnival of Souls\u003c/a>\u003c/i>. \u003c/p>\n\u003cp>For a taste of contemporary features and shorts following in these genre footsteps, check out \u003ci>\u003ca href=\"https://sffilm.org/event/40-acres/\">40 Acres\u003c/a>\u003c/i> (cannibals!), \u003ci>\u003ca href=\"https://sffilm.org/event/cloud/\">Cloud\u003c/a>\u003c/i> and the shorts block “\u003ca href=\"https://sffilm.org/event/shorts-3-dark-waves-stranger-tides/\">Dark Waves & Stranger Tides\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13973683\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000.jpg\" alt=\"circular image of crashing waves on black background\" width=\"2000\" height=\"1056\" class=\"size-full wp-image-13973683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000-1020x539.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000-768x406.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000-1536x811.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000-1920x1014.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Sky Hopinka’s ‘maɬni – towards the ocean, towards the shore,’ 2020. \u003ccite>(SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A celebration of Sky Hopinka\u003c/h2>\n\u003cp>\u003ci>\u003ca href=\"https://sffilm.org/event/pov-award-sky-hopinka-ma%c9%acni-towards-the-ocean-towards-the-shore/\">Persistence of Vision Award + ‘maɬni – towards the ocean, towards the shore’\u003c/a>\u003cbr>\nApril 24, 7 p.m. at BAMPFA\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://sffilm.org/event/sky-hopinka-shorts-a-proposition-of-memory/\">Sky Hopinka Shorts: a proposition of memory\u003c/a>\u003cbr>\nApril 25, 6 p.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cp>Five years ago, filmmaker Sky Hopinka was set to screen his debut feature \u003ci>maɬni – towards the ocean, towards the shore\u003c/i> at the 2020 SFFILM festival — an event completely canceled due to the pandemic. Now SFFILM is honoring Hopinka, a member of the Ho-Chunk Nation and a descendant of the Pechanga Band of Luiseño Indians, with the festival’s Persistence of Vision award, alongside a screening of his experimental documentary, at long last. \u003c/p>\n\u003cp>\u003ci>maɬni – towards the ocean, towards the shore\u003c/i> follows two people as they wander through nature and share their personal reflections on identity, language and the spirit world, promising to be “a layered art piece that challenges the positioning of Indigenous culture in American society.”\u003c/p>\n\u003cp>If that sells out, which it likely will, there are two other opportunities to engage with Hopinka’s lush, beautifully shot work. A program of Hopinka’s shorts plays on April 25, and BAMPFA is showing \u003ci>\u003ca href=\"https://bampfa.org/program/collection-focus-sky-hopinka-sunflower-siege-engine\">Sunflower Siege Engine\u003c/a>\u003c/i> through Aug. 17, a 2022 film featuring footage of Richard Oakes reading “Proclamation: To the Great White Father and All His People” at the Alcatraz occupation. \u003c/p>\n\u003cfigure id=\"attachment_13973682\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ON_HEALING_LAND_BIRDS_PERCH_1.jpg\" alt=\"distorted illustration of birds flying\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13973682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ON_HEALING_LAND_BIRDS_PERCH_1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ON_HEALING_LAND_BIRDS_PERCH_1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ON_HEALING_LAND_BIRDS_PERCH_1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ON_HEALING_LAND_BIRDS_PERCH_1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ON_HEALING_LAND_BIRDS_PERCH_1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ON_HEALING_LAND_BIRDS_PERCH_1-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Naja Pham Lockwood’s mid-length documentary ‘On Healing Land, Birds Perch,’ 2025, part of a three-film program. \u003ccite>(SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/on-healing-land-birds-perch-roots-that-reach-toward-the-sky-we-were-the-scenery/\">On Healing Land, Birds Perch\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 25, 6:15 p.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cp>In another welcome programming change, 2025 also marks the return of mid-length films, which weren’t included in last year’s festival. A highlight is Naja Pham Lockwood’s 33-minute film \u003ci>On Healing Land, Birds Perch\u003c/i>, focused on what happened after Eddie Adams photographed South Vietnamese general Nguyễn Ngọc Loan killing Viet Cong captain Nguyễn Văn Lém in the Pulitzer Prize-winning image “\u003ca href=\"https://www.npr.org/2009/03/24/102112403/the-vietnam-war-through-eddie-adams-lens\">Saigon Execution\u003c/a>.” The film gathers the children of General Loan and Captain Lém, along with the son of a family Lém executed, all now living in the United States. Their complicated and conflicting views of their forebears — and the war — are depicted in candid detail. \u003c/p>\n\u003cp>Lockwood’s film screens with two others: Jess X. Snow’s \u003ci>Roots That Reach Toward the Sky\u003c/i> and Christopher Radcliff’s \u003ci>We Were the Scenery\u003c/i> (about two Vietnamese refugees in the Philippines who became extras in \u003ci>Apocalypse Now\u003c/i>).\u003c/p>\n\u003cfigure id=\"attachment_13973679\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IDIOTKA_1.jpg\" alt=\"woman with hands on face in shocked gesture\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13973679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IDIOTKA_1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IDIOTKA_1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IDIOTKA_1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IDIOTKA_1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IDIOTKA_1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IDIOTKA_1-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Anna Baryshnikov stars in Nastasya Popov’s ‘Idiotka.’ \u003ccite>(SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/idiotka/\">Idiotka\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 22, 6 p.m. at Premier Theater\u003c/i>\u003c/p>\n\u003cp>So far this list has leaned toward the serious stuff (with a delightful side of gore), but the festival is not without its lighthearted fare! May I present \u003ci>Idiotka\u003c/i>, writer-director Nastasya Popov’s zany debut film. Fans of \u003ci>\u003ca href=\"https://www.kqed.org/arts/13953601/love-lies-bleeding-review-kristen-stewart-ed-harris-kate-glass\">Love Lies Bleeding\u003c/a>\u003c/i> may remember lead actress Anna Baryshnikov as the clingy, wannabe girlfriend caught on the wrong side of Kristen Stewart and Katy O’Brian’s true love. (Who could forget those teeth?) \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Here, Baryshnikov plays Margarita, an emerging fashion designer attaching high-end tags to her own work to sell pieces online. Much of the film’s comedy comes from her chaotic life with her extended Russian Jewish family in West Hollywood. When a reality fashion show called \u003ci>Slay, Serve and Survive\u003c/i> comes calling, Margarita signs on to save — and/or escape — the family home.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Roxie Honors the Late, Great David Lynch with a Retrospective",
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"content": "\u003cp>Few filmmakers’ names turn into adjectives. But so distinctive is David Lynch’s feature-length work — with his noir visuals, unsettling narratives, stutter-step pacing and ethereal soundtracks — that we now use “Lynchian” to describe all manner of strange stuff, both real and fictionalized.\u003c/p>\n\u003cp>Since his death on Jan. 16, David Lynch tribute programs have popped up across the Bay Area, but the Roxie’s concentrated “\u003ca href=\"https://roxie.com/series/in-dreams-a-tribute-to-david-lynch/\">In Dreams\u003c/a>” retrospective, playing March 6–13, packs eight films into eight days, with multiple screenings of many. Which leads me to wonder, what would happen to someone who watches all the films back to back?\u003c/p>\n\u003cp>“Well, I think they’ll be more connected to reality, to be honest,” says Isabel Fondevila, the Roxie’s director of programming and curator of the retrospective. \u003c/p>\n\u003cfigure id=\"attachment_13972389\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/1-2.jpg\" alt=\"newsletter clipping with text and images of films\" width=\"1080\" height=\"1350\" class=\"size-full wp-image-13972389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/1-2.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/1-2-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/1-2-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/1-2-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/1-2-768x960.jpg 768w\" sizes=\"auto, (max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">A clip from the Roxie newsletter announcing the end of ‘Eraserhead’s original run at the theater. \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Audiences must see \u003ci>\u003ca href=\"https://roxie.com/film/eraserhead/\">Eraserhead\u003c/a>\u003c/i>, she insists, Lynch’s self-described “dream of dark and troubling things,” his debut black-and-white feature about a distinctively coiffed man experiencing the horrors of work, parenthood and in-laws. After it premiered in 1977, \u003ci>Eraserhead\u003c/i> achieved fame as a midnight film in New York and Los Angeles theaters; the Roxie hosted it from 1978 to 1979.\u003c/p>\n\u003cp>“It was huge,” Fondevila says. “It’s a really really important film for the Roxie.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The March 6 and 11 retrospective screenings of \u003ci>Eraserhead\u003c/i> will be extra special, she notes, because they reunite the feature with Suzan Pitt’s avant-garde animated short \u003ci>\u003ca href=\"https://www.suzanpitt.com/asparagus\">Asparagus\u003c/a>\u003c/i>, which played before it at many of the midnight shows. “It feels like you’re stepping into someone else’s subconscious,” she says of Pitt’s 1979 short. “Just going from that super colorful \u003ci>Asparagus\u003c/i> and then \u003ci>Eraserhead\u003c/i>? It’s got to be a trip, really. I can’t wait.”\u003c/p>\n\u003cfigure id=\"attachment_13972395\" class=\"wp-caption aligncenter\" style=\"max-width: 1860px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Wild-at-Heart-HERO.jpg\" alt=\"white woman kisses a man while standing in a car\" width=\"1860\" height=\"1044\" class=\"size-full wp-image-13972395\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Wild-at-Heart-HERO.jpg 1860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Wild-at-Heart-HERO-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Wild-at-Heart-HERO-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Wild-at-Heart-HERO-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Wild-at-Heart-HERO-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Wild-at-Heart-HERO-1536x862.jpg 1536w\" sizes=\"auto, (max-width: 1860px) 100vw, 1860px\">\u003cfigcaption class=\"wp-caption-text\">Laura Dern and Nicolas Cage in ‘Wild at Heart,’ 1990. \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s no one way to approach the program, Fondevila says: “You can do anything you want with Lynch.”\u003c/p>\n\u003cp>I do have some highlights to note, for your planning purposes. Barry Gifford, co-screenwriter of 1997’s \u003ci>\u003ca href=\"https://roxie.com/film/lost-highway/\">Lost Highway\u003c/a>\u003c/i>, will appear for a post-film conversation at the March 8 screening. The March 7 screening of \u003ci>\u003ca href=\"https://roxie.com/film/wild-at-heart/\">Wild at Heart\u003c/a>\u003c/i> (adapted from a Gifford book), featuring young Nicolas Cage and Laura Dern as couple-on-the-run Sailor and Lula, opens with a “wild” drag show featuring Lil King Milk and Vivica Bea Roadkill. And \u003ci>Eraserhead\u003c/i>, \u003ci>\u003ca href=\"https://roxie.com/film/mulholland-dr/\">Mulholland Dr.\u003c/a>\u003c/i> and \u003ci>\u003ca href=\"https://roxie.com/film/dune-35mm/\">Dune\u003c/a>\u003c/i> are all showing on 35mm.\u003c/p>\n\u003cp>(With Denis Villeneuve’s \u003ci>Dune\u003c/i> films in our recent memory, Fondevila points out, it will be interesting to revisit Lynch’s take on Frank Herbert’s sci-fi.)\u003c/p>\n\u003cfigure id=\"attachment_13972397\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dune.jpg\" alt=\"white woman and young man in sci-fi attire\" width=\"1440\" height=\"810\" class=\"size-full wp-image-13972397\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dune.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dune-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dune-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dune-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dune-768x432.jpg 768w\" sizes=\"auto, (max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Francesca Annis and Kyle MacLachlan in David Lynch’s ‘Dune,’ 1984. \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Die-hard completists will have to seek out \u003ci>The Elephant Man\u003c/i>, \u003ci>Twin Peaks: Fire Walk With Me\u003c/i> and \u003ci>The Straight Story\u003c/i> elsewhere. The Alamo has organized their own retrospective (coincidentally, also called “\u003ca href=\"https://drafthouse.com/sf/movies/in-dreams-films-of-david-lynch\">In Dreams\u003c/a>”) March 7–April 4, showing every Lynch feature except for \u003ci>The Straight Story\u003c/i>, which seemingly can’t catch a break. \u003c/p>\n\u003cp>Over a month after his death, we are no closer to pinpointing what makes a Lynch film so Lynchian. The word is its own definition. What’s left is for us to bask in the weirdness, celebrate a singular artist and surround ourselves with like-minded devotees.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/series/in-dreams-a-tribute-to-david-lynch/\">In Dreams\u003c/a>’ plays at the Roxie Theater March 6–13, 2025. \u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Few filmmakers’ names turn into adjectives. But so distinctive is David Lynch’s feature-length work — with his noir visuals, unsettling narratives, stutter-step pacing and ethereal soundtracks — that we now use “Lynchian” to describe all manner of strange stuff, both real and fictionalized.\u003c/p>\n\u003cp>Since his death on Jan. 16, David Lynch tribute programs have popped up across the Bay Area, but the Roxie’s concentrated “\u003ca href=\"https://roxie.com/series/in-dreams-a-tribute-to-david-lynch/\">In Dreams\u003c/a>” retrospective, playing March 6–13, packs eight films into eight days, with multiple screenings of many. Which leads me to wonder, what would happen to someone who watches all the films back to back?\u003c/p>\n\u003cp>“Well, I think they’ll be more connected to reality, to be honest,” says Isabel Fondevila, the Roxie’s director of programming and curator of the retrospective. \u003c/p>\n\u003cfigure id=\"attachment_13972389\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/1-2.jpg\" alt=\"newsletter clipping with text and images of films\" width=\"1080\" height=\"1350\" class=\"size-full wp-image-13972389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/1-2.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/1-2-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/1-2-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/1-2-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/1-2-768x960.jpg 768w\" sizes=\"auto, (max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">A clip from the Roxie newsletter announcing the end of ‘Eraserhead’s original run at the theater. \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Audiences must see \u003ci>\u003ca href=\"https://roxie.com/film/eraserhead/\">Eraserhead\u003c/a>\u003c/i>, she insists, Lynch’s self-described “dream of dark and troubling things,” his debut black-and-white feature about a distinctively coiffed man experiencing the horrors of work, parenthood and in-laws. After it premiered in 1977, \u003ci>Eraserhead\u003c/i> achieved fame as a midnight film in New York and Los Angeles theaters; the Roxie hosted it from 1978 to 1979.\u003c/p>\n\u003cp>“It was huge,” Fondevila says. “It’s a really really important film for the Roxie.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The March 6 and 11 retrospective screenings of \u003ci>Eraserhead\u003c/i> will be extra special, she notes, because they reunite the feature with Suzan Pitt’s avant-garde animated short \u003ci>\u003ca href=\"https://www.suzanpitt.com/asparagus\">Asparagus\u003c/a>\u003c/i>, which played before it at many of the midnight shows. “It feels like you’re stepping into someone else’s subconscious,” she says of Pitt’s 1979 short. “Just going from that super colorful \u003ci>Asparagus\u003c/i> and then \u003ci>Eraserhead\u003c/i>? It’s got to be a trip, really. I can’t wait.”\u003c/p>\n\u003cfigure id=\"attachment_13972395\" class=\"wp-caption aligncenter\" style=\"max-width: 1860px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Wild-at-Heart-HERO.jpg\" alt=\"white woman kisses a man while standing in a car\" width=\"1860\" height=\"1044\" class=\"size-full wp-image-13972395\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Wild-at-Heart-HERO.jpg 1860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Wild-at-Heart-HERO-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Wild-at-Heart-HERO-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Wild-at-Heart-HERO-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Wild-at-Heart-HERO-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Wild-at-Heart-HERO-1536x862.jpg 1536w\" sizes=\"auto, (max-width: 1860px) 100vw, 1860px\">\u003cfigcaption class=\"wp-caption-text\">Laura Dern and Nicolas Cage in ‘Wild at Heart,’ 1990. \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s no one way to approach the program, Fondevila says: “You can do anything you want with Lynch.”\u003c/p>\n\u003cp>I do have some highlights to note, for your planning purposes. Barry Gifford, co-screenwriter of 1997’s \u003ci>\u003ca href=\"https://roxie.com/film/lost-highway/\">Lost Highway\u003c/a>\u003c/i>, will appear for a post-film conversation at the March 8 screening. The March 7 screening of \u003ci>\u003ca href=\"https://roxie.com/film/wild-at-heart/\">Wild at Heart\u003c/a>\u003c/i> (adapted from a Gifford book), featuring young Nicolas Cage and Laura Dern as couple-on-the-run Sailor and Lula, opens with a “wild” drag show featuring Lil King Milk and Vivica Bea Roadkill. And \u003ci>Eraserhead\u003c/i>, \u003ci>\u003ca href=\"https://roxie.com/film/mulholland-dr/\">Mulholland Dr.\u003c/a>\u003c/i> and \u003ci>\u003ca href=\"https://roxie.com/film/dune-35mm/\">Dune\u003c/a>\u003c/i> are all showing on 35mm.\u003c/p>\n\u003cp>(With Denis Villeneuve’s \u003ci>Dune\u003c/i> films in our recent memory, Fondevila points out, it will be interesting to revisit Lynch’s take on Frank Herbert’s sci-fi.)\u003c/p>\n\u003cfigure id=\"attachment_13972397\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dune.jpg\" alt=\"white woman and young man in sci-fi attire\" width=\"1440\" height=\"810\" class=\"size-full wp-image-13972397\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dune.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dune-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dune-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dune-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dune-768x432.jpg 768w\" sizes=\"auto, (max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Francesca Annis and Kyle MacLachlan in David Lynch’s ‘Dune,’ 1984. \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Die-hard completists will have to seek out \u003ci>The Elephant Man\u003c/i>, \u003ci>Twin Peaks: Fire Walk With Me\u003c/i> and \u003ci>The Straight Story\u003c/i> elsewhere. The Alamo has organized their own retrospective (coincidentally, also called “\u003ca href=\"https://drafthouse.com/sf/movies/in-dreams-films-of-david-lynch\">In Dreams\u003c/a>”) March 7–April 4, showing every Lynch feature except for \u003ci>The Straight Story\u003c/i>, which seemingly can’t catch a break. \u003c/p>\n\u003cp>Over a month after his death, we are no closer to pinpointing what makes a Lynch film so Lynchian. The word is its own definition. What’s left is for us to bask in the weirdness, celebrate a singular artist and surround ourselves with like-minded devotees.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/series/in-dreams-a-tribute-to-david-lynch/\">In Dreams\u003c/a>’ plays at the Roxie Theater March 6–13, 2025. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Meow You’re Talking! 'Cat Video Fest 2024' Is Coming to the Roxie",
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"content": "\u003cp>If you love cats, if you own more than one cat, if one or more of your screensavers has a cat on it, then you no doubt already know: There is an \u003ca href=\"https://www.kqed.org/arts/13891913/how-the-crazy-cat-lady-became-one-of-pop-cultures-most-enduring-sexist-tropes\">enduring stigma attached to being a cat-lover\u003c/a> that just won’t go away.\u003c/p>\n\u003cp>[aside postid='arts_13886425']What better way to flip off all those feline-hating naysayers, then, than by gathering in a room with scores of other likeminded cat people and indulging in the pleasure of 73 straight minutes of cat videos?\u003c/p>\n\u003cp>Whatever your taste in cats, the big-screen supercut that is \u003ca href=\"https://www.catvideofest.com/\">\u003cem>Cat Video Fest 2024\u003c/em> \u003c/a>has something for every cat lover: fat cats, sleek cats, naughty cats, acrobatic cats, lazy cats, dopey cats, weirdo cats, smart cats. And this array of pussies are doing All The Things. They’re in cahoots with children, hiding inside unexpected objects, riding public transportation, getting into altercations with dogs and each other, and (honestly, best of all) experiencing existential crises.\u003c/p>\n\u003cp>The compilation film — put together for the sixth year in a row by Will Braden — is like falling down the best-curated YouTube cat vortex in history. Braden wades through 15,000 cat videos every year and edits the best 200 together (with the video owners’ permission, of course). The end result screens in over 200 locations across the U.S., including the Roxie in San Francisco. Each theater also donates money to a local rescue or charity. The Roxie will be giving proceeds to \u003ca href=\"https://www.givemesheltersf.org/\">Give Me Shelter Cat Rescue\u003c/a>. Talk about the cat’s pajamas…\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Wjv6qZ_1oME&t=50s\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Cat Video Fest’ is playing at San Francisco’s Roxie Theater from Aug. 3 through Aug. 18, 2024. \u003ca href=\"https://roxie.com/film/catvideofest-2024/\">Check the cinema’s website for details\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you love cats, if you own more than one cat, if one or more of your screensavers has a cat on it, then you no doubt already know: There is an \u003ca href=\"https://www.kqed.org/arts/13891913/how-the-crazy-cat-lady-became-one-of-pop-cultures-most-enduring-sexist-tropes\">enduring stigma attached to being a cat-lover\u003c/a> that just won’t go away.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What better way to flip off all those feline-hating naysayers, then, than by gathering in a room with scores of other likeminded cat people and indulging in the pleasure of 73 straight minutes of cat videos?\u003c/p>\n\u003cp>Whatever your taste in cats, the big-screen supercut that is \u003ca href=\"https://www.catvideofest.com/\">\u003cem>Cat Video Fest 2024\u003c/em> \u003c/a>has something for every cat lover: fat cats, sleek cats, naughty cats, acrobatic cats, lazy cats, dopey cats, weirdo cats, smart cats. And this array of pussies are doing All The Things. They’re in cahoots with children, hiding inside unexpected objects, riding public transportation, getting into altercations with dogs and each other, and (honestly, best of all) experiencing existential crises.\u003c/p>\n\u003cp>The compilation film — put together for the sixth year in a row by Will Braden — is like falling down the best-curated YouTube cat vortex in history. Braden wades through 15,000 cat videos every year and edits the best 200 together (with the video owners’ permission, of course). The end result screens in over 200 locations across the U.S., including the Roxie in San Francisco. Each theater also donates money to a local rescue or charity. The Roxie will be giving proceeds to \u003ca href=\"https://www.givemesheltersf.org/\">Give Me Shelter Cat Rescue\u003c/a>. Talk about the cat’s pajamas…\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/Wjv6qZ_1oME'\n title='//www.youtube.com/embed/Wjv6qZ_1oME'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003cp>\u003cem>‘Cat Video Fest’ is playing at San Francisco’s Roxie Theater from Aug. 3 through Aug. 18, 2024. \u003ca href=\"https://roxie.com/film/catvideofest-2024/\">Check the cinema’s website for details\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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},
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"airtime": "SUN 7:30pm-8pm",
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},
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"info": "Inside Europe, a one-hour weekly news magazine hosted by Helen Seeney and Keith Walker, explores the topical issues shaping the continent. No other part of the globe has experienced such dynamic political and social change in recent years.",
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},
"latino-usa": {
"id": "latino-usa",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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},
"live-from-here-highlights": {
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"title": "Live from Here Highlights",
"info": "Chris Thile steps to the mic as the host of Live from Here (formerly A Prairie Home Companion), a live public radio variety show. Download Chris’s Song of the Week plus other highlights from the broadcast. Produced by American Public Media.",
"airtime": "SAT 6pm-8pm, SUN 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Live-From-Here-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.livefromhere.org/",
"meta": {
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"link": "/radio/program/live-from-here-highlights",
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"rss": "https://feeds.publicradio.org/public_feeds/a-prairie-home-companion-highlights/rss/rss"
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"marketplace": {
"id": "marketplace",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"officialWebsiteLink": "/mindshift/",
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"order": 13
},
"link": "/podcasts/mindshift",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"order": 12
},
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
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},
"our-body-politic": {
"id": "our-body-politic",
"title": "Our Body Politic",
"info": "Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.",
"airtime": "SAT 6pm-7pm, SUN 1am-2am",
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"meta": {
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},
"link": "/radio/program/our-body-politic",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw",
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},
"perspectives": {
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"officialWebsiteLink": "/perspectives/",
"meta": {
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"order": 15
},
"link": "/perspectives",
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"planet-money": {
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"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"politicalbreakdown": {
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/politicalbreakdown",
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"order": 6
},
"link": "/podcasts/politicalbreakdown",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5Nzk2MzI2MTEx",
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"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
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