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"content": "\n\u003cp>Every new Sam Green documentary is an event. It has a lot to do with his unique in-person presentation/performance of works like \u003cem>\u003ca href=\"https://utopiainfourmovements.com/\">Utopia in Four Movements\u003c/a>\u003c/em> (2010), \u003cem>\u003ca href=\"https://buckminsterfullerfilm.com/\">The Love Song of R. Buckminster Fuller\u003c/a>\u003c/em> (2012, with live accompaniment by Yo La Tengo), \u003cem>\u003ca href=\"https://athousandthoughts.film/\">A Thousand Thoughts\u003c/a>\u003c/em> (2018, live with Kronos Quartet) and \u003cem>\u003ca href=\"https://www.kqed.org/arts/13931594/32-sounds-sam-green-documentary-live-film\">32 Sounds\u003c/a>\u003c/em> (2022, live with JD Samson).\u003c/p>\n\n\n\n\u003cp>Another special quality of Green’s films, though, is that they proffer a genuine invitation — wide open, no obligation — into curious crannies and nooks of our life on Earth. As interviewer and narrator, Green is an empathetic and acutely nonjudgmental witness of whoever is in front of his camera. He oozes both wonder and respect at his subjects’ singular passions or off-the-wall perspectives.\u003c/p>\n\n\n\n\u003cp>His narrator persona is Curious Everyman Philosopher, and I imagine Green’s mantra to be something like, “Life — no, \u003cem>people\u003c/em> — are stranger and deeper and richer than I could have ever imagined, and I am so lucky that I found a job that pays me to meet them.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1200\" height=\"800\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Director-Sam-Green-in-studio_credit-Catalina-Kulczar.jpg\" alt=\"white man with gray hair smiles in front of wall covered in movie posters and photographs\" class=\"wp-image-13994033\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Director-Sam-Green-in-studio_credit-Catalina-Kulczar.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Director-Sam-Green-in-studio_credit-Catalina-Kulczar-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Director-Sam-Green-in-studio_credit-Catalina-Kulczar-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\" />\u003cfigcaption class=\"wp-element-caption\">Director Sam Green in his studio. (Catalina Kulczar)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>While that is the Sam Green that comes through in his films, I also knew him personally during his pivotal years in the vibrant local documentary scene after he got a master’s degree in journalism at UC Berkeley in the 1990s. He made the remarkable \u003cem>\u003ca href=\"https://archive.org/details/rainbowman\">The Rainbow Man/John 3:16\u003c/a>\u003c/em> and the 2004 Academy Award-nominated \u003cem>\u003ca href=\"http://www.theweatherunderground.info/\">The Weather Underground\u003c/a>\u003c/em> in the Bay Area before moving back to the East Coast, and it’s fair to say he developed his collaborative skills as well as his voice here.\u003c/p>\n\n\n\n\n\n\u003cp>One of the corollaries of Green being a lovely guy is that his films are designed and constructed to continually allow each viewer space for their own experience. That can involve a prompt (the surprising audio slices that comprise the brilliant \u003cem>32 Sounds\u003c/em>, for example) that makes us remember a departed loved one, or that triggers a free-associating reverie that (speaking from personal experience) evokes the ephemeral, mysterious sensation of being human and alive.\u003c/p>\n\n\n\n\u003cp>While Green was our guide through his last several films, he casts himself as the protagonist of his latest work, \u003cem>\u003ca href=\"https://www.theoldestperson.com/\">The Oldest Person in the World\u003c/a>\u003c/em> (screening around the Bay Area Sept. 20–22, with the filmmaker in person at all shows). The new film, which premiered (like nearly all his films) at Sundance and screened at SFFILM in April, is the director’s most personal work, incorporating his young son, deceased brother and nonagenarian mother. It is also, to me, his least compelling film.\u003c/p>\n\n\n\n\u003cp>For more than a decade, Green has filmed the current (and inevitably temporary) holder of the Guinness World Record for \u003ca href=\"https://www.guinnessworldrecords.com/world-records/84549-oldest-person-living\">oldest person in the world\u003c/a>. He found a poignant way to insert a segment on the subject into a previous film; here he places that pursuit at the center of the proceedings, beginning with Brooklyn resident Susannah Mushatt Jones in 2015 and continuing to the present.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1600\" height=\"1026\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Still-3-Susannah-Mushatt-Jones-age-116_credit-Yoni-Brook.jpg\" alt=\"old Black woman faces large birthday cake with poeple around her\" class=\"wp-image-13994035\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Still-3-Susannah-Mushatt-Jones-age-116_credit-Yoni-Brook.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Still-3-Susannah-Mushatt-Jones-age-116_credit-Yoni-Brook-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Still-3-Susannah-Mushatt-Jones-age-116_credit-Yoni-Brook-768x492.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Still-3-Susannah-Mushatt-Jones-age-116_credit-Yoni-Brook-1536x985.jpg 1536w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\" />\u003cfigcaption class=\"wp-element-caption\">Susannah Mushatt Jones at 116. (Yoni Brook)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>The problem is that while our first response to most Guinness records is “Yowsa! That’s incredible!,” our next thought is, “OK, but what does it actually mean? What does that cool factoid tell us about our world?” The answer, in most cases, is not much.\u003c/p>\n\n\n\n\u003cp>For some reason, Green asks the oldest living people the same pedestrian question that every TV reporter asks: “What’s your secret?” That proves to be another dead end, as nobody has an illuminating or satisfying answer.\u003c/p>\n\n\n\n\u003cp>Green realizes that he isn’t looking for lessons to live by from these folks so much as probing why the rest of us — generally in our active primes with ample possibilities to pick from—are fascinated by and seemingly envious of their longevity. (Green doesn’t comment on their frailty, diminished mobility, proximate need for round-the-clock care, the circumscribed routine of their day-to-day — none of which we look forward to.)\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1600\" height=\"1280\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Still-2-Emma-Morano-age-114_2013_credit-Roberto-Masiero.jpg\" alt=\"old smiling woman in knit shawl next to framed pictures of younger woman and baby\" class=\"wp-image-13994034\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Still-2-Emma-Morano-age-114_2013_credit-Roberto-Masiero.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Still-2-Emma-Morano-age-114_2013_credit-Roberto-Masiero-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Still-2-Emma-Morano-age-114_2013_credit-Roberto-Masiero-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Still-2-Emma-Morano-age-114_2013_credit-Roberto-Masiero-1536x1229.jpg 1536w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\" />\u003cfigcaption class=\"wp-element-caption\">Emma Morano, age 114 in 2013. (Roberto Masiero)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>I think he’s reaching for our default setting that life is precious and finite and cherished. To that end, the filmmaker grapples with the loss of his brother by suicide 15 years earlier, and the arrival of his first child some 10 years ago. Green has never been a sentimentalist, though, and his voice-over, to my ears, wavers without finding the right through line between hard knocks and soft-centered.\u003c/p>\n\n\n\n\u003cp>The sticky, tricky truth about life — both living it and looking back on it — is that the profound and the banal go hand in hand. The same could be said of moviemaking. The relative success of turning a rare snippet of decades-old home-movie footage of Green and his brother, or of Green’s small kid saying the “darndest” things in response to his dad’s questions, into an emotional or dramatic moment is, for better and worse, in the eye of the beholder.\u003c/p>\n\n\n\n\u003cp>Consequently, as with all of his films, watching \u003cem>The Oldest Person in the World\u003c/em> is a personal experience. Green’s musings about presence and absence, and film’s ability to freeze moments and memorialize the dead, will speak to many people. In my case, cinematic immortality works better with Greta Garbo and Tim Curry than with my family.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>‘The Oldest Person in the World’ screens Sept. 19 at 2:30 pm at the \u003ca href=\"https://rialtocinemas.com/now-playing-elm/the-oldest-person-in-the-world-elm/\">Rialto Elmwood\u003c/a> (2966 College Ave., Berkeley); Sept. 20 and 22, 2026 at the \u003ca href=\"https://roxie.com/film/the-oldest-person-in-the-world/\">Roxie Theater\u003c/a> (3116 16th St., San Francisco); and Sept. 20 at the \u003ca href=\"https://cinema.cafilm.org/film/the-oldest-person-in-the-world\">Smith Rafael Film Center\u003c/a> in (1118 Fourth St., San Rafael).\u003c/em>\u003c/p>\n\n\n\n\u003cp>\u003cem>Sam Green will be in person for Q&As after each screening.\u003c/em>\u003c/p>\n\n\n\n\u003cp>\u003c/p>\n",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Director-Sam-Green-in-studio_credit-Catalina-Kulczar.jpg\" alt=\"white man with gray hair smiles in front of wall covered in movie posters and photographs\" class=\"wp-image-13994033\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Director-Sam-Green-in-studio_credit-Catalina-Kulczar.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Director-Sam-Green-in-studio_credit-Catalina-Kulczar-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Director-Sam-Green-in-studio_credit-Catalina-Kulczar-768x512.jpg 768w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Director Sam Green in his studio.\u003ccite class=\"wp-inline-image-credit\"> (Catalina Kulczar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>While that is the Sam Green that comes through in his films, I also knew him personally during his pivotal years in the vibrant local documentary scene after he got a master’s degree in journalism at UC Berkeley in the 1990s. He made the remarkable \u003cem>\u003ca href=\"https://archive.org/details/rainbowman\">The Rainbow Man/John 3:16\u003c/a>\u003c/em> and the 2004 Academy Award-nominated \u003cem>\u003ca href=\"http://www.theweatherunderground.info/\">The Weather Underground\u003c/a>\u003c/em> in the Bay Area before moving back to the East Coast, and it’s fair to say he developed his collaborative skills as well as his voice here.\u003c/p>\n",
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"innerHTML": "\n\u003cp>One of the corollaries of Green being a lovely guy is that his films are designed and constructed to continually allow each viewer space for their own experience. That can involve a prompt (the surprising audio slices that comprise the brilliant \u003cem>32 Sounds\u003c/em>, for example) that makes us remember a departed loved one, or that triggers a free-associating reverie that (speaking from personal experience) evokes the ephemeral, mysterious sensation of being human and alive.\u003c/p>\n",
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"innerHTML": "\n\u003cp>While Green was our guide through his last several films, he casts himself as the protagonist of his latest work, \u003cem>\u003ca href=\"https://www.theoldestperson.com/\">The Oldest Person in the World\u003c/a>\u003c/em> (screening around the Bay Area Sept. 20–22, with the filmmaker in person at all shows). The new film, which premiered (like nearly all his films) at Sundance and screened at SFFILM in April, is the director’s most personal work, incorporating his young son, deceased brother and nonagenarian mother. It is also, to me, his least compelling film.\u003c/p>\n",
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"\n\u003cp>While Green was our guide through his last several films, he casts himself as the protagonist of his latest work, \u003cem>\u003ca href=\"https://www.theoldestperson.com/\">The Oldest Person in the World\u003c/a>\u003c/em> (screening around the Bay Area Sept. 20–22, with the filmmaker in person at all shows). The new film, which premiered (like nearly all his films) at Sundance and screened at SFFILM in April, is the director’s most personal work, incorporating his young son, deceased brother and nonagenarian mother. It is also, to me, his least compelling film.\u003c/p>\n"
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"innerHTML": "\n\u003cp>For more than a decade, Green has filmed the current (and inevitably temporary) holder of the Guinness World Record for \u003ca href=\"https://www.guinnessworldrecords.com/world-records/84549-oldest-person-living\">oldest person in the world\u003c/a>. He found a poignant way to insert a segment on the subject into a previous film; here he places that pursuit at the center of the proceedings, beginning with Brooklyn resident Susannah Mushatt Jones in 2015 and continuing to the present.\u003c/p>\n",
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"\n\u003cp>For more than a decade, Green has filmed the current (and inevitably temporary) holder of the Guinness World Record for \u003ca href=\"https://www.guinnessworldrecords.com/world-records/84549-oldest-person-living\">oldest person in the world\u003c/a>. He found a poignant way to insert a segment on the subject into a previous film; here he places that pursuit at the center of the proceedings, beginning with Brooklyn resident Susannah Mushatt Jones in 2015 and continuing to the present.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Still-3-Susannah-Mushatt-Jones-age-116_credit-Yoni-Brook.jpg\" alt=\"old Black woman faces large birthday cake with poeple around her\" class=\"wp-image-13994035\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Still-3-Susannah-Mushatt-Jones-age-116_credit-Yoni-Brook.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Still-3-Susannah-Mushatt-Jones-age-116_credit-Yoni-Brook-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Still-3-Susannah-Mushatt-Jones-age-116_credit-Yoni-Brook-768x492.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Still-3-Susannah-Mushatt-Jones-age-116_credit-Yoni-Brook-1536x985.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\"> Susannah Mushatt Jones at 116.\u003ccite class=\"wp-inline-image-credit\"> (Yoni Brook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Still-3-Susannah-Mushatt-Jones-age-116_credit-Yoni-Brook.jpg\" alt=\"old Black woman faces large birthday cake with poeple around her\" class=\"wp-image-13994035\"/>\u003cfigcaption class=\"wp-element-caption\"> Susannah Mushatt Jones at 116.\u003ccite class=\"wp-inline-image-credit\"> (Yoni Brook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>The problem is that while our first response to most Guinness records is “Yowsa! That’s incredible!,” our next thought is, “OK, but what does it actually mean? What does that cool factoid tell us about our world?” The answer, in most cases, is not much.\u003c/p>\n",
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"\n\u003cp>The problem is that while our first response to most Guinness records is “Yowsa! That’s incredible!,” our next thought is, “OK, but what does it actually mean? What does that cool factoid tell us about our world?” The answer, in most cases, is not much.\u003c/p>\n"
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"innerHTML": "\n\u003cp>For some reason, Green asks the oldest living people the same pedestrian question that every TV reporter asks: “What’s your secret?” That proves to be another dead end, as nobody has an illuminating or satisfying answer.\u003c/p>\n",
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"\n\u003cp>For some reason, Green asks the oldest living people the same pedestrian question that every TV reporter asks: “What’s your secret?” That proves to be another dead end, as nobody has an illuminating or satisfying answer.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Green realizes that he isn’t looking for lessons to live by from these folks so much as probing why the rest of us — generally in our active primes with ample possibilities to pick from—are fascinated by and seemingly envious of their longevity. (Green doesn’t comment on their frailty, diminished mobility, proximate need for round-the-clock care, the circumscribed routine of their day-to-day — none of which we look forward to.)\u003c/p>\n",
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"\n\u003cp>Green realizes that he isn’t looking for lessons to live by from these folks so much as probing why the rest of us — generally in our active primes with ample possibilities to pick from—are fascinated by and seemingly envious of their longevity. (Green doesn’t comment on their frailty, diminished mobility, proximate need for round-the-clock care, the circumscribed routine of their day-to-day — none of which we look forward to.)\u003c/p>\n"
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"innerHTML": "\n\u003cp>I think he’s reaching for our default setting that life is precious and finite and cherished. To that end, the filmmaker grapples with the loss of his brother by suicide 15 years earlier, and the arrival of his first child some 10 years ago. Green has never been a sentimentalist, though, and his voice-over, to my ears, wavers without finding the right through line between hard knocks and soft-centered.\u003c/p>\n",
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"\n\u003cp>I think he’s reaching for our default setting that life is precious and finite and cherished. To that end, the filmmaker grapples with the loss of his brother by suicide 15 years earlier, and the arrival of his first child some 10 years ago. Green has never been a sentimentalist, though, and his voice-over, to my ears, wavers without finding the right through line between hard knocks and soft-centered.\u003c/p>\n"
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"innerHTML": "\n\u003cp>The sticky, tricky truth about life — both living it and looking back on it — is that the profound and the banal go hand in hand. The same could be said of moviemaking. The relative success of turning a rare snippet of decades-old home-movie footage of Green and his brother, or of Green’s small kid saying the “darndest” things in response to his dad’s questions, into an emotional or dramatic moment is, for better and worse, in the eye of the beholder.\u003c/p>\n",
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"\n\u003cp>The sticky, tricky truth about life — both living it and looking back on it — is that the profound and the banal go hand in hand. The same could be said of moviemaking. The relative success of turning a rare snippet of decades-old home-movie footage of Green and his brother, or of Green’s small kid saying the “darndest” things in response to his dad’s questions, into an emotional or dramatic moment is, for better and worse, in the eye of the beholder.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Consequently, as with all of his films, watching \u003cem>The Oldest Person in the World\u003c/em> is a personal experience. Green’s musings about presence and absence, and film’s ability to freeze moments and memorialize the dead, will speak to many people. In my case, cinematic immortality works better with Greta Garbo and Tim Curry than with my family.\u003c/p>\n",
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"\n\u003cp>Consequently, as with all of his films, watching \u003cem>The Oldest Person in the World\u003c/em> is a personal experience. Green’s musings about presence and absence, and film’s ability to freeze moments and memorialize the dead, will speak to many people. In my case, cinematic immortality works better with Greta Garbo and Tim Curry than with my family.\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cem>‘The Oldest Person in the World’ screens Sept. 19 at 2:30 pm at the \u003ca href=\"https://rialtocinemas.com/now-playing-elm/the-oldest-person-in-the-world-elm/\">Rialto Elmwood\u003c/a> (2966 College Ave., Berkeley); Sept. 20 and 22, 2026 at the \u003ca href=\"https://roxie.com/film/the-oldest-person-in-the-world/\">Roxie Theater\u003c/a> (3116 16th St., San Francisco); and Sept. 20 at the \u003ca href=\"https://cinema.cafilm.org/film/the-oldest-person-in-the-world\">Smith Rafael Film Center\u003c/a> in (1118 Fourth St., San Rafael).\u003c/em>\u003c/p>\n",
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"excerpt": "In ‘The Oldest Person in the World,’ the filmmaker grapples with aging, mortality and life’s other great mysteries.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Every new Sam Green documentary is an event. It has a lot to do with his unique in-person presentation/performance of works like \u003cem>\u003ca href=\"https://utopiainfourmovements.com/\">Utopia in Four Movements\u003c/a>\u003c/em> (2010), \u003cem>\u003ca href=\"https://buckminsterfullerfilm.com/\">The Love Song of R. Buckminster Fuller\u003c/a>\u003c/em> (2012, with live accompaniment by Yo La Tengo), \u003cem>\u003ca href=\"https://athousandthoughts.film/\">A Thousand Thoughts\u003c/a>\u003c/em> (2018, live with Kronos Quartet) and \u003cem>\u003ca href=\"https://www.kqed.org/arts/13931594/32-sounds-sam-green-documentary-live-film\">32 Sounds\u003c/a>\u003c/em> (2022, live with JD Samson).\u003c/p>\n\n\n\n\u003cp>Another special quality of Green’s films, though, is that they proffer a genuine invitation — wide open, no obligation — into curious crannies and nooks of our life on Earth. As interviewer and narrator, Green is an empathetic and acutely nonjudgmental witness of whoever is in front of his camera. He oozes both wonder and respect at his subjects’ singular passions or off-the-wall perspectives.\u003c/p>\n\n\n\n\u003cp>His narrator persona is Curious Everyman Philosopher, and I imagine Green’s mantra to be something like, “Life — no, \u003cem>people\u003c/em> — are stranger and deeper and richer than I could have ever imagined, and I am so lucky that I found a job that pays me to meet them.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1200\" height=\"800\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Director-Sam-Green-in-studio_credit-Catalina-Kulczar.jpg\" alt=\"white man with gray hair smiles in front of wall covered in movie posters and photographs\" class=\"wp-image-13994033\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Director-Sam-Green-in-studio_credit-Catalina-Kulczar.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Director-Sam-Green-in-studio_credit-Catalina-Kulczar-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Director-Sam-Green-in-studio_credit-Catalina-Kulczar-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\" />\u003cfigcaption class=\"wp-element-caption\">Director Sam Green in his studio. (Catalina Kulczar)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>While that is the Sam Green that comes through in his films, I also knew him personally during his pivotal years in the vibrant local documentary scene after he got a master’s degree in journalism at UC Berkeley in the 1990s. He made the remarkable \u003cem>\u003ca href=\"https://archive.org/details/rainbowman\">The Rainbow Man/John 3:16\u003c/a>\u003c/em> and the 2004 Academy Award-nominated \u003cem>\u003ca href=\"http://www.theweatherunderground.info/\">The Weather Underground\u003c/a>\u003c/em> in the Bay Area before moving back to the East Coast, and it’s fair to say he developed his collaborative skills as well as his voice here.\u003c/p>\n\n\n\n\n\n\u003cp>One of the corollaries of Green being a lovely guy is that his films are designed and constructed to continually allow each viewer space for their own experience. That can involve a prompt (the surprising audio slices that comprise the brilliant \u003cem>32 Sounds\u003c/em>, for example) that makes us remember a departed loved one, or that triggers a free-associating reverie that (speaking from personal experience) evokes the ephemeral, mysterious sensation of being human and alive.\u003c/p>\n\n\n\n\u003cp>While Green was our guide through his last several films, he casts himself as the protagonist of his latest work, \u003cem>\u003ca href=\"https://www.theoldestperson.com/\">The Oldest Person in the World\u003c/a>\u003c/em> (screening around the Bay Area Sept. 20–22, with the filmmaker in person at all shows). The new film, which premiered (like nearly all his films) at Sundance and screened at SFFILM in April, is the director’s most personal work, incorporating his young son, deceased brother and nonagenarian mother. It is also, to me, his least compelling film.\u003c/p>\n\n\n\n\u003cp>For more than a decade, Green has filmed the current (and inevitably temporary) holder of the Guinness World Record for \u003ca href=\"https://www.guinnessworldrecords.com/world-records/84549-oldest-person-living\">oldest person in the world\u003c/a>. He found a poignant way to insert a segment on the subject into a previous film; here he places that pursuit at the center of the proceedings, beginning with Brooklyn resident Susannah Mushatt Jones in 2015 and continuing to the present.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1600\" height=\"1026\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Still-3-Susannah-Mushatt-Jones-age-116_credit-Yoni-Brook.jpg\" alt=\"old Black woman faces large birthday cake with poeple around her\" class=\"wp-image-13994035\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Still-3-Susannah-Mushatt-Jones-age-116_credit-Yoni-Brook.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Still-3-Susannah-Mushatt-Jones-age-116_credit-Yoni-Brook-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Still-3-Susannah-Mushatt-Jones-age-116_credit-Yoni-Brook-768x492.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Still-3-Susannah-Mushatt-Jones-age-116_credit-Yoni-Brook-1536x985.jpg 1536w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\" />\u003cfigcaption class=\"wp-element-caption\">Susannah Mushatt Jones at 116. (Yoni Brook)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>The problem is that while our first response to most Guinness records is “Yowsa! That’s incredible!,” our next thought is, “OK, but what does it actually mean? What does that cool factoid tell us about our world?” The answer, in most cases, is not much.\u003c/p>\n\n\n\n\u003cp>For some reason, Green asks the oldest living people the same pedestrian question that every TV reporter asks: “What’s your secret?” That proves to be another dead end, as nobody has an illuminating or satisfying answer.\u003c/p>\n\n\n\n\u003cp>Green realizes that he isn’t looking for lessons to live by from these folks so much as probing why the rest of us — generally in our active primes with ample possibilities to pick from—are fascinated by and seemingly envious of their longevity. (Green doesn’t comment on their frailty, diminished mobility, proximate need for round-the-clock care, the circumscribed routine of their day-to-day — none of which we look forward to.)\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1600\" height=\"1280\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Still-2-Emma-Morano-age-114_2013_credit-Roberto-Masiero.jpg\" alt=\"old smiling woman in knit shawl next to framed pictures of younger woman and baby\" class=\"wp-image-13994034\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Still-2-Emma-Morano-age-114_2013_credit-Roberto-Masiero.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Still-2-Emma-Morano-age-114_2013_credit-Roberto-Masiero-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Still-2-Emma-Morano-age-114_2013_credit-Roberto-Masiero-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Still-2-Emma-Morano-age-114_2013_credit-Roberto-Masiero-1536x1229.jpg 1536w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\" />\u003cfigcaption class=\"wp-element-caption\">Emma Morano, age 114 in 2013. (Roberto Masiero)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>I think he’s reaching for our default setting that life is precious and finite and cherished. To that end, the filmmaker grapples with the loss of his brother by suicide 15 years earlier, and the arrival of his first child some 10 years ago. Green has never been a sentimentalist, though, and his voice-over, to my ears, wavers without finding the right through line between hard knocks and soft-centered.\u003c/p>\n\n\n\n\u003cp>The sticky, tricky truth about life — both living it and looking back on it — is that the profound and the banal go hand in hand. The same could be said of moviemaking. The relative success of turning a rare snippet of decades-old home-movie footage of Green and his brother, or of Green’s small kid saying the “darndest” things in response to his dad’s questions, into an emotional or dramatic moment is, for better and worse, in the eye of the beholder.\u003c/p>\n\n\n\n\u003cp>Consequently, as with all of his films, watching \u003cem>The Oldest Person in the World\u003c/em> is a personal experience. Green’s musings about presence and absence, and film’s ability to freeze moments and memorialize the dead, will speak to many people. In my case, cinematic immortality works better with Greta Garbo and Tim Curry than with my family.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>‘The Oldest Person in the World’ screens Sept. 19 at 2:30 pm at the \u003ca href=\"https://rialtocinemas.com/now-playing-elm/the-oldest-person-in-the-world-elm/\">Rialto Elmwood\u003c/a> (2966 College Ave., Berkeley); Sept. 20 and 22, 2026 at the \u003ca href=\"https://roxie.com/film/the-oldest-person-in-the-world/\">Roxie Theater\u003c/a> (3116 16th St., San Francisco); and Sept. 20 at the \u003ca href=\"https://cinema.cafilm.org/film/the-oldest-person-in-the-world\">Smith Rafael Film Center\u003c/a> in (1118 Fourth St., San Rafael).\u003c/em>\u003c/p>\n\n\n\n\u003cp>\u003cem>Sam Green will be in person for Q&As after each screening.\u003c/em>\u003c/p>\n\n\n\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "luis-valdez-claims-the-spotlight-in-american-pachuco",
"title": "Luis Valdez Claims the Spotlight in ‘American Pachuco’",
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"content": "\u003cp>Luis Valdez was just a young boy when he landed his first theatrical role. Before he could join his classmates on stage, however, his family was evicted on short notice, and forced to move.\u003c/p>\n\n\n\n\u003cp>All these years later, Valdez, one of 10 children of California migrant farmworkers, still remembers the pain. He could have slipped down the hole of disappointment. Instead, he says, “It became the hungry mouth of my creativity.”\u003c/p>\n\n\n\n\u003cp>In David Alvarado’s crisply entertaining documentary \u003cem>American Pachuco: The Legend of Luis Valdez\u003c/em>, ample justice is given to a gifted artist who transcended his circumstances and carved new trails. The film, which earlier this year won an Audience Award at Sundance, opens Friday, July 31 at the Roxie Theater with director David Alvarado and Valdez himself on hand.\u003c/p>\n\n\n\n\u003cp>The Delano, California-born Valdez wrote and directed plays for El Teatro Campesino (The Farm Workers Theatre), which he founded in his early 20s and led for decades. His major works include \u003cem>Zoot Suit\u003c/em> (the first Chicano play on Broadway, later adapted into a film) and \u003cem>Corridos! Tales of Passion and Revolution\u003c/em>, a hit at San Francisco’s Marines Memorial Theater in the early ’80s (and which Valdez adapted a few years later for PBS).\u003c/p>\n\n\n\n\u003cp>Valdez’s most widely seen work, however, is \u003cem>La Bamba\u003c/em>, the 1987 biopic of Chicano rock ‘n’ roller Richie Valens that Valdez researched, wrote and directed. (Among its other lasting merits, the film also yielded Los Lobos’ hit cover of the title track.)\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1125\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_02.jpg\" alt=\"Four men, outdoors and seen from below, act out a scene dressed in simple clothes and wearing signs around their neck to indicate which group they belong to.\" class=\"wp-image-13992059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_02.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_02-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_02-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_02-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_02-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Luis Valdez (center) performing with El Teatro Campensino with Felipe Cantu (left) and Danny Valdez (right) in a scene from the documentary ‘American Pachuco: The Legend of Luis Valdez.’ (Courtesy of the Tom & Ethel Bradley Center at California State University, Northridge)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>\u003cem>American Pachuco: The Legend of Luis Valdez\u003c/em> employs two narrators. Valdez, sharp and jovial in his mid-80s, recalls his youthful stint with the San Francisco Mime Troupe before getting involved in the nascent National Farm Workers Association (NFWA) founded by Cesar Chavez in 1962. The Mime Troupe’s influence colors Valdez’s early plays like \u003cem>The Shrunken Head of Pancho Villa\u003c/em>, which used absurdist comedy to depict the economic and social situation of Mexican and Mexican-American laborers and their families.\u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>During the catalytic NFWA march to Sacramento in the spring of 1966, El Teatro Campesino performed in many places along the route, attracting new participants to the cause. Chavez, meanwhile, decided he needed organizers and activists for NFWA’s expanding national campaign more than he needed actors, and Valdez and his cohorts set off on their own, making San Juan Bautista their base.\u003c/p>\n\n\n\n\u003cp>David Alvarado illustrates this splendid oral history with acres of compelling archival footage — the young Valdez, sporting an omnipresent Che Guevara-esque cigar, is charming and charismatic. Alvarado bolsters this through interviews with NFWA luminary Dolores Huerta, as well as Valdez’s brother and wife, who performed with El Teatro Campesino.\u003c/p>\n\n\n\n\u003cp>Alvarado also makes an unexpected and rather risky choice. He invites a second narrator, a streetwise commentator, to this genially mannered affair: a pachuco, similar to the swaggering L.A. protagonist of \u003cem>Zoot Suit\u003c/em>, a 1940s “street cat with style.”\u003c/p>\n\n\n\n\u003cp>For that play, Valdez drew on grim, forgotten events in Southern California history, namely the Sleepy Lagoon murder that preceded the Zoot Suit Riots of 1943. The riots consisted of servicemen and sailors attacking Mexican-American youths and ripping off their clothes – their justification being that zoot suits used an excessive and “unpatriotic” amount of fabric during wartime rationing.\u003c/p>\n\n\n\n\u003cp>It was blatant racism, of course. The zoot suit, in the ’40s and in Valdez’s play, was an expression of identity and style. It was adopted by guys whose parents worked menial jobs to make a better life for their kids. (Like the fieldwork of the ’60s and the stockyard labor of today, the jobs were essential, arduous and largely performed by immigrants.)\u003c/p>\n\n\n\n\u003cp>This is the quintessential American phenomenon — children of immigrants navigating racist treatment on the slow path to assimilation. The zoot suiters of the ’40s, just like the newly minted Chicanos of the ’60s, were simply trying to make their way.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1125\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_03.jpg\" alt=\"An older latino man in a Black jacket and glasses sits inside a high-ceiling church-like building, with chandeliers and wooden features\" class=\"wp-image-13992061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_03.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_03-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_03-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_03-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_03-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Luis Valdez being interviewed in a scene from the documentary ‘American Pachuco: The Legend of Luis Valdez.’ \u003cbr> (Frasier Bradshaw)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>A recurring thread of \u003cem>American Pachuco\u003c/em> is the divergent path of Luis Valdez’s older brother Frank, a science whiz who became an Air Force engineer. Frank believed that achieving the American dream was his ticket to burying and denying his roots as a child of farmworkers. No matter what he accomplished, though, the racism he encountered reminded him that many people saw him as Mexican, not American.\u003c/p>\n\n\n\n\u003cp>One of the functions of the documentary’s pachuco commentator (voiced by \u003cem>Zoot Suit\u003c/em> star Edward James Olmos) is to mirror Valdez’s affection for knocking down the fourth wall separating the audience from the performers. His early plays included improvisation and audience participation. The protagonist of \u003cem>Zoot Suit\u003c/em> famously addresses and confronts the audience directly.\u003c/p>\n\n\n\n\u003cp>By including the pachuco, I think Alvarado is nodding to Valdez’s sophistication as a writer and director. He was not only well-versed in the dynamics of agitprop and commedia del’arte, but in the theory and philosophy of theater. This intellectual component of Valdez’s practice — alluded to when the visionary director Peter Brook visits El Teatro Campesino — is downplayed in the documentary, as if it might distract us from the hard lessons of the fields and the streets. \u003c/p>\n\n\n\n\u003cp>The second half of \u003cem>American Pachuco\u003c/em> walks us backstage for Valdez’s greatest hits, \u003cem>Zoot Suit\u003c/em> and \u003cem>La Bamba\u003c/em>. The L.A. triumph of \u003cem>Zoot Suit\u003c/em> is the film’s highpoint, a moment of public celebration of Chicanos as well as of Valdez, while the New York reviewers’ failure to connect with the culture and language led to them criticizing what they couldn’t understand.\u003c/p>\n\n\n\n\u003cp>In the wake of the \u003cem>pachucos\u003c/em>, Richie Valens emerged in the ’50s with, as one interviewee notes, “Different threads. Different beats. But he had the same swagger.” It’s fair to say that Luis Valdez got past his devastating childhood letdown the same way: through talent and swagger.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003cem>‘American Pachuco: The Legend of Luis Valdez’ opens Friday, July 31, at the \u003ca href=\"https://roxie.com/film/american-pachuco-the-legend-of-luis-valdez/\">Roxie Theater\u003c/a> (3116 16th St., San Francisco). Following the 6:10 p.m. screening, Roberto Hernandez moderates a Q&A with Luis Valdez and filmmakers David Alvarado, Everett Katigbak and Lauren DeFilippo.\u003c/em>\u003c/p>\n\n\n\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Further Q&As with Alvarado take place on Saturday, Aug. 1 at the \u003ca href=\"https://rafaelfilm.cafilm.org/american-pachuco/\">Smith Rafael Film Center\u003c/a> in San Rafael; Saturday and Sunday, Aug. 1 and 2, at \u003ca href=\"https://rialtocinemas.com/now-playing-elm/american-pachuco-elm/\">Rialto Cinemas Elmwood\u003c/a> in Berkeley; and Sunday, Aug. 2, again at the Roxie\u003c/em>.\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>In David Alvarado’s crisply entertaining documentary \u003cem>American Pachuco: The Legend of Luis Valdez\u003c/em>, ample justice is given to a gifted artist who transcended his circumstances and carved new trails. The film, which earlier this year won an Audience Award at Sundance, opens Friday, July 31 at the Roxie Theater with director David Alvarado and Valdez himself on hand.\u003c/p>\n",
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"innerHTML": "\n\u003cp>The Delano, California-born Valdez wrote and directed plays for El Teatro Campesino (The Farm Workers Theatre), which he founded in his early 20s and led for decades. His major works include \u003cem>Zoot Suit\u003c/em> (the first Chicano play on Broadway, later adapted into a film) and \u003cem>Corridos! Tales of Passion and Revolution\u003c/em>, a hit at San Francisco’s Marines Memorial Theater in the early ’80s (and which Valdez adapted a few years later for PBS).\u003c/p>\n",
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"innerHTML": "\n\u003cp>Valdez’s most widely seen work, however, is \u003cem>La Bamba\u003c/em>, the 1987 biopic of Chicano rock ‘n’ roller Richie Valens that Valdez researched, wrote and directed. (Among its other lasting merits, the film also yielded Los Lobos’ hit cover of the title track.)\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>American Pachuco: The Legend of Luis Valdez\u003c/em> employs two narrators. Valdez, sharp and jovial in his mid-80s, recalls his youthful stint with the San Francisco Mime Troupe before getting involved in the nascent National Farm Workers Association (NFWA) founded by Cesar Chavez in 1962. The Mime Troupe’s influence colors Valdez’s early plays like \u003cem>The Shrunken Head of Pancho Villa\u003c/em>, which used absurdist comedy to depict the economic and social situation of Mexican and Mexican-American laborers and their families.\u003c/p>\n",
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"\n\u003cp>\u003cem>American Pachuco: The Legend of Luis Valdez\u003c/em> employs two narrators. Valdez, sharp and jovial in his mid-80s, recalls his youthful stint with the San Francisco Mime Troupe before getting involved in the nascent National Farm Workers Association (NFWA) founded by Cesar Chavez in 1962. The Mime Troupe’s influence colors Valdez’s early plays like \u003cem>The Shrunken Head of Pancho Villa\u003c/em>, which used absurdist comedy to depict the economic and social situation of Mexican and Mexican-American laborers and their families.\u003c/p>\n"
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"innerHTML": "\n\u003cp>During the catalytic NFWA march to Sacramento in the spring of 1966, El Teatro Campesino performed in many places along the route, attracting new participants to the cause. Chavez, meanwhile, decided he needed organizers and activists for NFWA’s expanding national campaign more than he needed actors, and Valdez and his cohorts set off on their own, making San Juan Bautista their base.\u003c/p>\n",
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"\n\u003cp>During the catalytic NFWA march to Sacramento in the spring of 1966, El Teatro Campesino performed in many places along the route, attracting new participants to the cause. Chavez, meanwhile, decided he needed organizers and activists for NFWA’s expanding national campaign more than he needed actors, and Valdez and his cohorts set off on their own, making San Juan Bautista their base.\u003c/p>\n"
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"innerHTML": "\n\u003cp>David Alvarado illustrates this splendid oral history with acres of compelling archival footage — the young Valdez, sporting an omnipresent Che Guevara-esque cigar, is charming and charismatic. Alvarado bolsters this through interviews with NFWA luminary Dolores Huerta, as well as Valdez’s brother and wife, who performed with El Teatro Campesino.\u003c/p>\n",
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"\n\u003cp>David Alvarado illustrates this splendid oral history with acres of compelling archival footage — the young Valdez, sporting an omnipresent Che Guevara-esque cigar, is charming and charismatic. Alvarado bolsters this through interviews with NFWA luminary Dolores Huerta, as well as Valdez’s brother and wife, who performed with El Teatro Campesino.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Alvarado also makes an unexpected and rather risky choice. He invites a second narrator, a streetwise commentator, to this genially mannered affair: a pachuco, similar to the swaggering L.A. protagonist of \u003cem>Zoot Suit\u003c/em>, a 1940s “street cat with style.”\u003c/p>\n",
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"\n\u003cp>Alvarado also makes an unexpected and rather risky choice. He invites a second narrator, a streetwise commentator, to this genially mannered affair: a pachuco, similar to the swaggering L.A. protagonist of \u003cem>Zoot Suit\u003c/em>, a 1940s “street cat with style.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>For that play, Valdez drew on grim, forgotten events in Southern California history, namely the Sleepy Lagoon murder that preceded the Zoot Suit Riots of 1943. The riots consisted of servicemen and sailors attacking Mexican-American youths and ripping off their clothes – their justification being that zoot suits used an excessive and “unpatriotic” amount of fabric during wartime rationing.\u003c/p>\n",
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"\n\u003cp>For that play, Valdez drew on grim, forgotten events in Southern California history, namely the Sleepy Lagoon murder that preceded the Zoot Suit Riots of 1943. The riots consisted of servicemen and sailors attacking Mexican-American youths and ripping off their clothes – their justification being that zoot suits used an excessive and “unpatriotic” amount of fabric during wartime rationing.\u003c/p>\n"
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"innerHTML": "\n\u003cp>It was blatant racism, of course. The zoot suit, in the ’40s and in Valdez’s play, was an expression of identity and style. It was adopted by guys whose parents worked menial jobs to make a better life for their kids. (Like the fieldwork of the ’60s and the stockyard labor of today, the jobs were essential, arduous and largely performed by immigrants.)\u003c/p>\n",
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"\n\u003cp>It was blatant racism, of course. The zoot suit, in the ’40s and in Valdez’s play, was an expression of identity and style. It was adopted by guys whose parents worked menial jobs to make a better life for their kids. (Like the fieldwork of the ’60s and the stockyard labor of today, the jobs were essential, arduous and largely performed by immigrants.)\u003c/p>\n"
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"innerHTML": "\n\u003cp>This is the quintessential American phenomenon — children of immigrants navigating racist treatment on the slow path to assimilation. The zoot suiters of the ’40s, just like the newly minted Chicanos of the ’60s, were simply trying to make their way.\u003c/p>\n",
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"\n\u003cp>This is the quintessential American phenomenon — children of immigrants navigating racist treatment on the slow path to assimilation. The zoot suiters of the ’40s, just like the newly minted Chicanos of the ’60s, were simply trying to make their way.\u003c/p>\n"
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_03.jpg\" alt=\"An older latino man in a Black jacket and glasses sits inside a high-ceiling church-like building, with chandeliers and wooden features\" class=\"wp-image-13992061\"/>\u003cfigcaption class=\"wp-element-caption\">Luis Valdez being interviewed in a scene from the documentary ‘American Pachuco: The Legend of Luis Valdez.’ \u003cbr>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>A recurring thread of \u003cem>American Pachuco\u003c/em> is the divergent path of Luis Valdez’s older brother Frank, a science whiz who became an Air Force engineer. Frank believed that achieving the American dream was his ticket to burying and denying his roots as a child of farmworkers. No matter what he accomplished, though, the racism he encountered reminded him that many people saw him as Mexican, not American.\u003c/p>\n",
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"\n\u003cp>A recurring thread of \u003cem>American Pachuco\u003c/em> is the divergent path of Luis Valdez’s older brother Frank, a science whiz who became an Air Force engineer. Frank believed that achieving the American dream was his ticket to burying and denying his roots as a child of farmworkers. No matter what he accomplished, though, the racism he encountered reminded him that many people saw him as Mexican, not American.\u003c/p>\n"
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"innerHTML": "\n\u003cp>One of the functions of the documentary’s pachuco commentator (voiced by \u003cem>Zoot Suit\u003c/em> star Edward James Olmos) is to mirror Valdez’s affection for knocking down the fourth wall separating the audience from the performers. His early plays included improvisation and audience participation. The protagonist of \u003cem>Zoot Suit\u003c/em> famously addresses and confronts the audience directly.\u003c/p>\n",
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"\n\u003cp>One of the functions of the documentary’s pachuco commentator (voiced by \u003cem>Zoot Suit\u003c/em> star Edward James Olmos) is to mirror Valdez’s affection for knocking down the fourth wall separating the audience from the performers. His early plays included improvisation and audience participation. The protagonist of \u003cem>Zoot Suit\u003c/em> famously addresses and confronts the audience directly.\u003c/p>\n"
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"innerHTML": "\n\u003cp>By including the pachuco, I think Alvarado is nodding to Valdez’s sophistication as a writer and director. He was not only well-versed in the dynamics of agitprop and commedia del’arte, but in the theory and philosophy of theater. This intellectual component of Valdez’s practice — alluded to when the visionary director Peter Brook visits El Teatro Campesino — is downplayed in the documentary, as if it might distract us from the hard lessons of the fields and the streets. \u003c/p>\n",
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"\n\u003cp>By including the pachuco, I think Alvarado is nodding to Valdez’s sophistication as a writer and director. He was not only well-versed in the dynamics of agitprop and commedia del’arte, but in the theory and philosophy of theater. This intellectual component of Valdez’s practice — alluded to when the visionary director Peter Brook visits El Teatro Campesino — is downplayed in the documentary, as if it might distract us from the hard lessons of the fields and the streets. \u003c/p>\n"
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"innerHTML": "\n\u003cp>The second half of \u003cem>American Pachuco\u003c/em> walks us backstage for Valdez’s greatest hits, \u003cem>Zoot Suit\u003c/em> and \u003cem>La Bamba\u003c/em>. The L.A. triumph of \u003cem>Zoot Suit\u003c/em> is the film’s highpoint, a moment of public celebration of Chicanos as well as of Valdez, while the New York reviewers’ failure to connect with the culture and language led to them criticizing what they couldn’t understand.\u003c/p>\n",
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"\n\u003cp>The second half of \u003cem>American Pachuco\u003c/em> walks us backstage for Valdez’s greatest hits, \u003cem>Zoot Suit\u003c/em> and \u003cem>La Bamba\u003c/em>. The L.A. triumph of \u003cem>Zoot Suit\u003c/em> is the film’s highpoint, a moment of public celebration of Chicanos as well as of Valdez, while the New York reviewers’ failure to connect with the culture and language led to them criticizing what they couldn’t understand.\u003c/p>\n"
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"innerHTML": "\n\u003cp>In the wake of the \u003cem>pachucos\u003c/em>, Richie Valens emerged in the ’50s with, as one interviewee notes, “Different threads. Different beats. But he had the same swagger.” It’s fair to say that Luis Valdez got past his devastating childhood letdown the same way: through talent and swagger.\u003c/p>\n",
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"\n\u003cp>In the wake of the \u003cem>pachucos\u003c/em>, Richie Valens emerged in the ’50s with, as one interviewee notes, “Different threads. Different beats. But he had the same swagger.” It’s fair to say that Luis Valdez got past his devastating childhood letdown the same way: through talent and swagger.\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cem>‘American Pachuco: The Legend of Luis Valdez’ opens Friday, July 31, at the \u003ca href=\"https://roxie.com/film/american-pachuco-the-legend-of-luis-valdez/\">Roxie Theater\u003c/a> (3116 16th St., San Francisco). Following the 6:10 p.m. screening, Roberto Hernandez moderates a Q&A with Luis Valdez and filmmakers David Alvarado, Everett Katigbak and Lauren DeFilippo.\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>‘American Pachuco: The Legend of Luis Valdez’ opens Friday, July 31, at the \u003ca href=\"https://roxie.com/film/american-pachuco-the-legend-of-luis-valdez/\">Roxie Theater\u003c/a> (3116 16th St., San Francisco). Following the 6:10 p.m. screening, Roberto Hernandez moderates a Q&A with Luis Valdez and filmmakers David Alvarado, Everett Katigbak and Lauren DeFilippo.\u003c/em>\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cem>Further Q&As with Alvarado take place on Saturday, Aug. 1 at the \u003ca href=\"https://rafaelfilm.cafilm.org/american-pachuco/\">Smith Rafael Film Center\u003c/a> in San Rafael; Saturday and Sunday, Aug. 1 and 2, at \u003ca href=\"https://rialtocinemas.com/now-playing-elm/american-pachuco-elm/\">Rialto Cinemas Elmwood\u003c/a> in Berkeley; and Sunday, Aug. 2, again at the Roxie\u003c/em>.\u003c/p>\n",
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"\n\u003cp>\u003cem>Further Q&As with Alvarado take place on Saturday, Aug. 1 at the \u003ca href=\"https://rafaelfilm.cafilm.org/american-pachuco/\">Smith Rafael Film Center\u003c/a> in San Rafael; Saturday and Sunday, Aug. 1 and 2, at \u003ca href=\"https://rialtocinemas.com/now-playing-elm/american-pachuco-elm/\">Rialto Cinemas Elmwood\u003c/a> in Berkeley; and Sunday, Aug. 2, again at the Roxie\u003c/em>.\u003c/p>\n"
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"excerpt": "The writer-director of ‘La Bamba’ and ‘Zoot Suit’ was also the first Chicano playwright on Broadway.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Luis Valdez was just a young boy when he landed his first theatrical role. Before he could join his classmates on stage, however, his family was evicted on short notice, and forced to move.\u003c/p>\n\n\n\n\u003cp>All these years later, Valdez, one of 10 children of California migrant farmworkers, still remembers the pain. He could have slipped down the hole of disappointment. Instead, he says, “It became the hungry mouth of my creativity.”\u003c/p>\n\n\n\n\u003cp>In David Alvarado’s crisply entertaining documentary \u003cem>American Pachuco: The Legend of Luis Valdez\u003c/em>, ample justice is given to a gifted artist who transcended his circumstances and carved new trails. The film, which earlier this year won an Audience Award at Sundance, opens Friday, July 31 at the Roxie Theater with director David Alvarado and Valdez himself on hand.\u003c/p>\n\n\n\n\u003cp>The Delano, California-born Valdez wrote and directed plays for El Teatro Campesino (The Farm Workers Theatre), which he founded in his early 20s and led for decades. His major works include \u003cem>Zoot Suit\u003c/em> (the first Chicano play on Broadway, later adapted into a film) and \u003cem>Corridos! Tales of Passion and Revolution\u003c/em>, a hit at San Francisco’s Marines Memorial Theater in the early ’80s (and which Valdez adapted a few years later for PBS).\u003c/p>\n\n\n\n\u003cp>Valdez’s most widely seen work, however, is \u003cem>La Bamba\u003c/em>, the 1987 biopic of Chicano rock ‘n’ roller Richie Valens that Valdez researched, wrote and directed. (Among its other lasting merits, the film also yielded Los Lobos’ hit cover of the title track.)\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1125\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_02.jpg\" alt=\"Four men, outdoors and seen from below, act out a scene dressed in simple clothes and wearing signs around their neck to indicate which group they belong to.\" class=\"wp-image-13992059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_02.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_02-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_02-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_02-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_02-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Luis Valdez (center) performing with El Teatro Campensino with Felipe Cantu (left) and Danny Valdez (right) in a scene from the documentary ‘American Pachuco: The Legend of Luis Valdez.’ (Courtesy of the Tom & Ethel Bradley Center at California State University, Northridge)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>\u003cem>American Pachuco: The Legend of Luis Valdez\u003c/em> employs two narrators. Valdez, sharp and jovial in his mid-80s, recalls his youthful stint with the San Francisco Mime Troupe before getting involved in the nascent National Farm Workers Association (NFWA) founded by Cesar Chavez in 1962. The Mime Troupe’s influence colors Valdez’s early plays like \u003cem>The Shrunken Head of Pancho Villa\u003c/em>, which used absurdist comedy to depict the economic and social situation of Mexican and Mexican-American laborers and their families.\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>During the catalytic NFWA march to Sacramento in the spring of 1966, El Teatro Campesino performed in many places along the route, attracting new participants to the cause. Chavez, meanwhile, decided he needed organizers and activists for NFWA’s expanding national campaign more than he needed actors, and Valdez and his cohorts set off on their own, making San Juan Bautista their base.\u003c/p>\n\n\n\n\u003cp>David Alvarado illustrates this splendid oral history with acres of compelling archival footage — the young Valdez, sporting an omnipresent Che Guevara-esque cigar, is charming and charismatic. Alvarado bolsters this through interviews with NFWA luminary Dolores Huerta, as well as Valdez’s brother and wife, who performed with El Teatro Campesino.\u003c/p>\n\n\n\n\u003cp>Alvarado also makes an unexpected and rather risky choice. He invites a second narrator, a streetwise commentator, to this genially mannered affair: a pachuco, similar to the swaggering L.A. protagonist of \u003cem>Zoot Suit\u003c/em>, a 1940s “street cat with style.”\u003c/p>\n\n\n\n\u003cp>For that play, Valdez drew on grim, forgotten events in Southern California history, namely the Sleepy Lagoon murder that preceded the Zoot Suit Riots of 1943. The riots consisted of servicemen and sailors attacking Mexican-American youths and ripping off their clothes – their justification being that zoot suits used an excessive and “unpatriotic” amount of fabric during wartime rationing.\u003c/p>\n\n\n\n\u003cp>It was blatant racism, of course. The zoot suit, in the ’40s and in Valdez’s play, was an expression of identity and style. It was adopted by guys whose parents worked menial jobs to make a better life for their kids. (Like the fieldwork of the ’60s and the stockyard labor of today, the jobs were essential, arduous and largely performed by immigrants.)\u003c/p>\n\n\n\n\u003cp>This is the quintessential American phenomenon — children of immigrants navigating racist treatment on the slow path to assimilation. The zoot suiters of the ’40s, just like the newly minted Chicanos of the ’60s, were simply trying to make their way.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1125\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_03.jpg\" alt=\"An older latino man in a Black jacket and glasses sits inside a high-ceiling church-like building, with chandeliers and wooden features\" class=\"wp-image-13992061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_03.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_03-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_03-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_03-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_03-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Luis Valdez being interviewed in a scene from the documentary ‘American Pachuco: The Legend of Luis Valdez.’ \u003cbr> (Frasier Bradshaw)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>A recurring thread of \u003cem>American Pachuco\u003c/em> is the divergent path of Luis Valdez’s older brother Frank, a science whiz who became an Air Force engineer. Frank believed that achieving the American dream was his ticket to burying and denying his roots as a child of farmworkers. No matter what he accomplished, though, the racism he encountered reminded him that many people saw him as Mexican, not American.\u003c/p>\n\n\n\n\u003cp>One of the functions of the documentary’s pachuco commentator (voiced by \u003cem>Zoot Suit\u003c/em> star Edward James Olmos) is to mirror Valdez’s affection for knocking down the fourth wall separating the audience from the performers. His early plays included improvisation and audience participation. The protagonist of \u003cem>Zoot Suit\u003c/em> famously addresses and confronts the audience directly.\u003c/p>\n\n\n\n\u003cp>By including the pachuco, I think Alvarado is nodding to Valdez’s sophistication as a writer and director. He was not only well-versed in the dynamics of agitprop and commedia del’arte, but in the theory and philosophy of theater. This intellectual component of Valdez’s practice — alluded to when the visionary director Peter Brook visits El Teatro Campesino — is downplayed in the documentary, as if it might distract us from the hard lessons of the fields and the streets. \u003c/p>\n\n\n\n\u003cp>The second half of \u003cem>American Pachuco\u003c/em> walks us backstage for Valdez’s greatest hits, \u003cem>Zoot Suit\u003c/em> and \u003cem>La Bamba\u003c/em>. The L.A. triumph of \u003cem>Zoot Suit\u003c/em> is the film’s highpoint, a moment of public celebration of Chicanos as well as of Valdez, while the New York reviewers’ failure to connect with the culture and language led to them criticizing what they couldn’t understand.\u003c/p>\n\n\n\n\u003cp>In the wake of the \u003cem>pachucos\u003c/em>, Richie Valens emerged in the ’50s with, as one interviewee notes, “Different threads. Different beats. But he had the same swagger.” It’s fair to say that Luis Valdez got past his devastating childhood letdown the same way: through talent and swagger.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003cem>‘American Pachuco: The Legend of Luis Valdez’ opens Friday, July 31, at the \u003ca href=\"https://roxie.com/film/american-pachuco-the-legend-of-luis-valdez/\">Roxie Theater\u003c/a> (3116 16th St., San Francisco). Following the 6:10 p.m. screening, Roberto Hernandez moderates a Q&A with Luis Valdez and filmmakers David Alvarado, Everett Katigbak and Lauren DeFilippo.\u003c/em>\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Further Q&As with Alvarado take place on Saturday, Aug. 1 at the \u003ca href=\"https://rafaelfilm.cafilm.org/american-pachuco/\">Smith Rafael Film Center\u003c/a> in San Rafael; Saturday and Sunday, Aug. 1 and 2, at \u003ca href=\"https://rialtocinemas.com/now-playing-elm/american-pachuco-elm/\">Rialto Cinemas Elmwood\u003c/a> in Berkeley; and Sunday, Aug. 2, again at the Roxie\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "ada-anniversary-celebration-the-roxie-glbt-historical-society-504-viviens-wild-ride-pbs",
"title": "Celebrating the Americans With Disabilities Act in San Francisco",
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"content": "\u003cp>On July 26, 1990, President George H.W. Bush signed the \u003ca href=\"https://www.kqed.org/news/tag/americans-with-disabilities-act\">Americans With Disabilities Act\u003c/a> into law, declaring: “Let the shameful wall of exclusion finally come tumbling down.” \u003c/p>\n\n\n\n\u003cp>The law had been hard-fought, with disability rights activists working for more than a decade to get it passed. An important core group of those activists, including \u003ca href=\"https://www.kqed.org/arts/13966861/judith-heumann-disability-rights-uc-berkeley-center-independent-living\">Judy Heumann\u003c/a> and \u003ca href=\"https://www.kqed.org/forum/2010101863500/disability-rights-advocates-recognized-on-ed-roberts-day\">Ed Roberts\u003c/a>, were based in the Bay Area, and had proved to be an unstoppable force.\u003c/p>\n\n\n\n\u003cp>Thirteen years earlier, they led more than 100 disability rights protesters in a 26-day occupation of the Department of Health, Education and Welfare inside San Francisco’s Federal Building. They demanded that Section 504 of 1973’s Rehabilitation Act finally be signed, so that any organization receiving federal funds would be compeled to make buildings accessible for the disabled.\u003c/p>\n\n\n\n\u003cp>The sit-in was brought to wider attention in 2020, thanks to the acclaimed Netflix documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13877373/now-playing-crip-camp-recalls-coming-of-age-through-activism\">Crip Camp\u003c/a>\u003c/em>. This weekend, meanwhile, offers an opportunity to see the federal building occupation from a whole new angle.\u003c/p>\n\n\n\n\u003cp>To mark the 36th anniversary of the ADA’s passage, the GLBT Historical Society will screen its own short film about the protest at San Francisco’s \u003ca href=\"https://www.kqed.org/arts/tag/roxie-theater\">Roxie Theater\u003c/a>. \u003cem>Sign 504 Now!\u003c/em> lasts a swift 30 minutes, comprised of on-the-ground insider footage. The short, sometimes grainy black-and-white film offers an immersive view into what really went on behind the scenes during the grueling sit-in.\u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Inside the federal building, we see the squatters navigating overcrowded and inaccessible conditions using only a collective sense of righteousness, a tenacious dedication to organizing and — grabbing joy where they can — a surprising amount of singing and bubble-blowing. Holed up in the offices, the protesters pass the time engaged in philosophical debates, or discussing the erasure of disabled folks from pop culture. They also express gratitude for the support the protest receives from Black Panthers, union organizers and LGBTQ advocates, among many others.\u003c/p>\n\n\n\n\n\n\u003cp>Near the federal building’s front doors, we see supporters gathering, passionate speeches being made, and protest musicians demanding in song (accompanied by an ASL translator, of course) that 504 be signed. After almost a month of the federal building occupation, Secretary of Health, Education and Welfare Joseph Califano finally caved and 504 was enacted.\u003c/p>\n\n\n\n\u003cp>It marked a triumphant win for the protesters. Once their work was done, however, they soon regrouped and began campaigning for what would later become the ADA.\u003c/p>\n\n\n\n\u003cp>\u003cem>Sign 504 Now!\u003c/em> captures both the hardship and hardiness of the protesters during what was, at the time, the longest nonviolent occupation of a federal building in U.S. history. In 2026, their story serves as an inspiring reminder of what can happen when ordinary people fight back against oppression in large enough numbers.\u003c/p>\n\n\n\n\u003cp>At the Roxie Theater, which \u003ca href=\"https://www.kqed.org/arts/13899598/bay-area-historic-movie-theaters-move-towards-greater-accessibility\">made its own ADA upgrades\u003c/a> during the pandemic’s downtime, the \u003cem>Sign 504 Now!\u003c/em> screening will be followed by a panel discussion, moderated by \u003cem>Crip Camp\u003c/em> director Jim LeBrecht. Disability rights experts \u003ca href=\"https://www.pinedafoundation.org/\">Dr. Victor Santiago Pineda\u003c/a> and \u003ca href=\"https://med.stanford.edu/profiles/kevin-mintz\">Dr. Kevin Mintz\u003c/a> join as guests, along with renowned Bay Area film editor Vivien Hillgrove.\u003c/p>\n\n\n\n\u003cp>Following the conversation is a screening of Hillgrove’s own documentary, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13974577/viviens-wild-ride-documentary-review\">Vivien’s Wild Ride\u003c/a>\u003c/em>. Self-directed, the film charts her struggles with macular degeneration and sight loss. As her disability progresses, Hillgrove mentally retreats into her past to examine the strengths she formed and lessons she learned in the 1960s as a single teen mom forced to give her child up for adoption. Like \u003cem>Sign 504 Now!\u003c/em>, Hillgrove’s story is one of resilience and disability, and also features fantastic footage of a bygone San Francisco.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=VstYZ5DVLWY\n\u003c/div>\u003c/figure>\n\n\n\n\u003cp>The Roxie and GLBT Historical Society joined forces with the California State Council on Developmental Disabilities, and the Center for Independent Living for the double-feature event. It is a fitting way to celebrate the existence of the ADA, to remember what life might be like without it, and remember the tenacious activists who made the law a reality.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://roxie.com/film/ada-celebration-viviens-wild-ride-sign-504-now/\">The Roxie’s ADA Celebration\u003c/a>, featuring ‘Sign 504 Now!’\u003c/em> and \u003cem>‘Vivien’s Wild Ride,’ takes place at the Roxie (3117 16th St., San Francisco) on July 26, 2026, at 1 p.m.\u003c/em>\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>To mark the 36th anniversary of the ADA’s passage, the GLBT Historical Society will screen its own short film about the protest at San Francisco’s \u003ca href=\"https://www.kqed.org/arts/tag/roxie-theater\">Roxie Theater\u003c/a>. \u003cem>Sign 504 Now!\u003c/em> lasts a swift 30 minutes, comprised of on-the-ground insider footage. The short, sometimes grainy black-and-white film offers an immersive view into what really went on behind the scenes during the grueling sit-in.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Near the federal building’s front doors, we see supporters gathering, passionate speeches being made, and protest musicians demanding in song (accompanied by an ASL translator, of course) that 504 be signed. After almost a month of the federal building occupation, Secretary of Health, Education and Welfare Joseph Califano finally caved and 504 was enacted.\u003c/p>\n",
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"innerHTML": "\n\u003cp>At the Roxie Theater, which \u003ca href=\"https://www.kqed.org/arts/13899598/bay-area-historic-movie-theaters-move-towards-greater-accessibility\">made its own ADA upgrades\u003c/a> during the pandemic’s downtime, the \u003cem>Sign 504 Now!\u003c/em> screening will be followed by a panel discussion, moderated by \u003cem>Crip Camp\u003c/em> director Jim LeBrecht. Disability rights experts \u003ca href=\"https://www.pinedafoundation.org/\">Dr. Victor Santiago Pineda\u003c/a> and \u003ca href=\"https://med.stanford.edu/profiles/kevin-mintz\">Dr. Kevin Mintz\u003c/a> join as guests, along with renowned Bay Area film editor Vivien Hillgrove.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Following the conversation is a screening of Hillgrove’s own documentary, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13974577/viviens-wild-ride-documentary-review\">Vivien’s Wild Ride\u003c/a>\u003c/em>. Self-directed, the film charts her struggles with macular degeneration and sight loss. As her disability progresses, Hillgrove mentally retreats into her past to examine the strengths she formed and lessons she learned in the 1960s as a single teen mom forced to give her child up for adoption. Like \u003cem>Sign 504 Now!\u003c/em>, Hillgrove’s story is one of resilience and disability, and also features fantastic footage of a bygone San Francisco.\u003c/p>\n",
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"innerHTML": "\n\u003cp>The Roxie and GLBT Historical Society joined forces with the California State Council on Developmental Disabilities, and the Center for Independent Living for the double-feature event. It is a fitting way to celebrate the existence of the ADA, to remember what life might be like without it, and remember the tenacious activists who made the law a reality.\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>\u003ca href=\"https://roxie.com/film/ada-celebration-viviens-wild-ride-sign-504-now/\">The Roxie’s ADA Celebration\u003c/a>, featuring ‘Sign 504 Now!’\u003c/em> and \u003cem>‘Vivien’s Wild Ride,’ takes place at the Roxie (3117 16th St., San Francisco) on July 26, 2026, at 1 p.m.\u003c/em>\u003c/p>\n",
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"excerpt": "Roxie Theater screenings of ‘Sign 504 Now!’ and ‘Vivien’s Wild Ride’ are accompanied by a panel discussion.",
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"title": "The Roxie Celebrates the 36th Anniversary of the ADA | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On July 26, 1990, President George H.W. Bush signed the \u003ca href=\"https://www.kqed.org/news/tag/americans-with-disabilities-act\">Americans With Disabilities Act\u003c/a> into law, declaring: “Let the shameful wall of exclusion finally come tumbling down.” \u003c/p>\n\n\n\n\u003cp>The law had been hard-fought, with disability rights activists working for more than a decade to get it passed. An important core group of those activists, including \u003ca href=\"https://www.kqed.org/arts/13966861/judith-heumann-disability-rights-uc-berkeley-center-independent-living\">Judy Heumann\u003c/a> and \u003ca href=\"https://www.kqed.org/forum/2010101863500/disability-rights-advocates-recognized-on-ed-roberts-day\">Ed Roberts\u003c/a>, were based in the Bay Area, and had proved to be an unstoppable force.\u003c/p>\n\n\n\n\u003cp>Thirteen years earlier, they led more than 100 disability rights protesters in a 26-day occupation of the Department of Health, Education and Welfare inside San Francisco’s Federal Building. They demanded that Section 504 of 1973’s Rehabilitation Act finally be signed, so that any organization receiving federal funds would be compeled to make buildings accessible for the disabled.\u003c/p>\n\n\n\n\u003cp>The sit-in was brought to wider attention in 2020, thanks to the acclaimed Netflix documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13877373/now-playing-crip-camp-recalls-coming-of-age-through-activism\">Crip Camp\u003c/a>\u003c/em>. This weekend, meanwhile, offers an opportunity to see the federal building occupation from a whole new angle.\u003c/p>\n\n\n\n\u003cp>To mark the 36th anniversary of the ADA’s passage, the GLBT Historical Society will screen its own short film about the protest at San Francisco’s \u003ca href=\"https://www.kqed.org/arts/tag/roxie-theater\">Roxie Theater\u003c/a>. \u003cem>Sign 504 Now!\u003c/em> lasts a swift 30 minutes, comprised of on-the-ground insider footage. The short, sometimes grainy black-and-white film offers an immersive view into what really went on behind the scenes during the grueling sit-in.\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Inside the federal building, we see the squatters navigating overcrowded and inaccessible conditions using only a collective sense of righteousness, a tenacious dedication to organizing and — grabbing joy where they can — a surprising amount of singing and bubble-blowing. Holed up in the offices, the protesters pass the time engaged in philosophical debates, or discussing the erasure of disabled folks from pop culture. They also express gratitude for the support the protest receives from Black Panthers, union organizers and LGBTQ advocates, among many others.\u003c/p>\n\n\n\n\n\n\u003cp>Near the federal building’s front doors, we see supporters gathering, passionate speeches being made, and protest musicians demanding in song (accompanied by an ASL translator, of course) that 504 be signed. After almost a month of the federal building occupation, Secretary of Health, Education and Welfare Joseph Califano finally caved and 504 was enacted.\u003c/p>\n\n\n\n\u003cp>It marked a triumphant win for the protesters. Once their work was done, however, they soon regrouped and began campaigning for what would later become the ADA.\u003c/p>\n\n\n\n\u003cp>\u003cem>Sign 504 Now!\u003c/em> captures both the hardship and hardiness of the protesters during what was, at the time, the longest nonviolent occupation of a federal building in U.S. history. In 2026, their story serves as an inspiring reminder of what can happen when ordinary people fight back against oppression in large enough numbers.\u003c/p>\n\n\n\n\u003cp>At the Roxie Theater, which \u003ca href=\"https://www.kqed.org/arts/13899598/bay-area-historic-movie-theaters-move-towards-greater-accessibility\">made its own ADA upgrades\u003c/a> during the pandemic’s downtime, the \u003cem>Sign 504 Now!\u003c/em> screening will be followed by a panel discussion, moderated by \u003cem>Crip Camp\u003c/em> director Jim LeBrecht. Disability rights experts \u003ca href=\"https://www.pinedafoundation.org/\">Dr. Victor Santiago Pineda\u003c/a> and \u003ca href=\"https://med.stanford.edu/profiles/kevin-mintz\">Dr. Kevin Mintz\u003c/a> join as guests, along with renowned Bay Area film editor Vivien Hillgrove.\u003c/p>\n\n\n\n\u003cp>Following the conversation is a screening of Hillgrove’s own documentary, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13974577/viviens-wild-ride-documentary-review\">Vivien’s Wild Ride\u003c/a>\u003c/em>. Self-directed, the film charts her struggles with macular degeneration and sight loss. As her disability progresses, Hillgrove mentally retreats into her past to examine the strengths she formed and lessons she learned in the 1960s as a single teen mom forced to give her child up for adoption. Like \u003cem>Sign 504 Now!\u003c/em>, Hillgrove’s story is one of resilience and disability, and also features fantastic footage of a bygone San Francisco.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\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/VstYZ5DVLWY'\n title='//www.youtube.com/embed/VstYZ5DVLWY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\u003c/figure>\n\n\n\n\u003cp>The Roxie and GLBT Historical Society joined forces with the California State Council on Developmental Disabilities, and the Center for Independent Living for the double-feature event. It is a fitting way to celebrate the existence of the ADA, to remember what life might be like without it, and remember the tenacious activists who made the law a reality.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://roxie.com/film/ada-celebration-viviens-wild-ride-sign-504-now/\">The Roxie’s ADA Celebration\u003c/a>, featuring ‘Sign 504 Now!’\u003c/em> and \u003cem>‘Vivien’s Wild Ride,’ takes place at the Roxie (3117 16th St., San Francisco) on July 26, 2026, at 1 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Golden Age of Moviegoing Returns at Oakland’s Paramount Theatre",
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"content": "\u003cp>Two different film series on opposite sides of the Bay are partway through their runs, and both are can’t-miss affairs for different reasons.\u003c/p>\n\n\n\n\u003cp>At the Paramount Theatre in Oakland, it’s all about the atmosphere. For the first time since 2018, \u003ca href=\"https://www.paramountoakland.org/events/movie-classics\">Paramount Movie Classics\u003c/a> are back at the beautifully restored 1930s movie palace.\u003c/p>\n\n\n\n\n\n\u003cp>The series, dedicated to 35 millimeter film, leans into the auditorium’s time-travel ambiance with movies from the past 100 years of film. Before a recent screening of \u003cem>Purple Rain\u003c/em>, starring Prince, a pipe organist played standards like “Something’s Gotta Give,” and the screen showed trailers for films like \u003cem>Casablanca\u003c/em> and \u003cem>Rear Window\u003c/em>.\u003c/p>\n\n\n\n\u003cp>In a further throwback to the golden age of Hollywood, the theater also hosted a round of “Dec-O-Win,” a spin-the-wheel game that awarded prizes from Oakland businesses to the audience, replete with a carnival-barker host and his assistants.\u003c/p>\n\n\n\n\u003cp>Prince \u003ca href=\"https://www.kqed.org/arts/11368285/live-review-prince-alone-with-a-piano-at-the-paramount-theatre-in-oakland\">performed at the Paramount\u003c/a> just months before his death in 2016, and the sizable crowd, many dressed in purple, appeared eager resurrected his spirit. During the live performances in the film, they sang along and cheered just as if he were on the Paramount stage.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1124\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/13b669_b315bda779a54943a214a15c6ae99a89mv2.jpg\" alt=\"\" class=\"wp-image-13991529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/13b669_b315bda779a54943a214a15c6ae99a89mv2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/13b669_b315bda779a54943a214a15c6ae99a89mv2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/13b669_b315bda779a54943a214a15c6ae99a89mv2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/13b669_b315bda779a54943a214a15c6ae99a89mv2-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/13b669_b315bda779a54943a214a15c6ae99a89mv2-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">A scene from ‘The Maltese Falcon’ (1941), with Peter Lorre, Humphrey Bogart and Sydney Greenstreet (clockwise from top left). (Warner Bros. Pictures)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Jason Blackwell, general manager of the Paramount, \u003ca href=\"https://oaklandside.org/2026/05/08/oakland-paramount-movie-classics-relaunch/\">told Oaklandside in May\u003c/a> that this year’s relaunch will serve as a test to “gauge audience interest.” Paramount Movie Classics continue through the end of the month, with \u003cem>Mrs. Doubtfire\u003c/em> (July 10), \u003cem>The Mark of Zorro\u003c/em> (July 17) and \u003cem>The Maltese Falcon\u003c/em> (July 24).\u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meanwhile, at the Roxie Theater in San Francisco, it’s all about cross-pollination. The \u003ca href=\"https://fraenkelgallery.com/exhibitions/fraenkel-film-festival-2026\">Fraenkel Film Festival\u003c/a>, running through July 18, screens movies picked by visual artists associated with Fraenkel Gallery.\u003c/p>\n\n\n\n\u003cp>Now in its third year, the festival so far has featured films like the neo-horror \u003cem>Get Out\u003c/em>, chosen by interdisciplinary artist Carrie Mae Weems, and the 1950s film noir \u003cem>Pickup on South Street\u003c/em>, chosen by photographer and activist Nan Goldin.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"843\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/solaris-1972-featured-1400x590-1.jpg\" alt=\"\" class=\"wp-image-13991530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/solaris-1972-featured-1400x590-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/solaris-1972-featured-1400x590-1-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/solaris-1972-featured-1400x590-1-768x324.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/solaris-1972-featured-1400x590-1-1536x647.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">A scene from ‘Solaris’ (1972), with (L–R) Natalya Bondarchuk and Donatas Banionis. (Mosfilm)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>For those familiar with each artists’ work, the program invites deeper viewing through their eyes. What does photographer Lee Friedlander see in Hitchcock’s \u003cem>North By Northwest \u003c/em>(July 11)? Why does \u003cem>Grey Gardens\u003c/em> (July 18) resonate with artist Sophie Calle?\u003c/p>\n\n\n\n\u003cp>The upcoming lineup includes films like \u003cem>Solaris\u003c/em>, \u003cem>Klute\u003c/em> and \u003cem>Mystery Train\u003c/em>, worthy of seeing in any context. But for a film like \u003cem>Princess Mononoke \u003c/em>(July 10), one can’t help but think of the artist and actress Martine Gutierrez’s remarks that “the ethereal realm is what matters, and every day we are convinced otherwise.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.paramountoakland.org/events/movie-classics\">\u003cem>Paramount Movie Classics\u003c/em>\u003c/a>\u003cem> run Fridays through July 24 at the Paramount Theatre (2025 Broadway, Oakland); \u003c/em>\u003ca href=\"https://www.paramountoakland.org/events/movie-classics\">\u003cem>program and details here\u003c/em>\u003c/a>\u003cem>. The \u003c/em>\u003ca href=\"https://roxie.com/series/fraenkel-film-festival-2026/\">\u003cem>Fraenkel Film Festival\u003c/em>\u003c/a>\u003cem> runs through Saturday, July 18 at the Roxie Theater (3125 16th Street, San Francisco); \u003c/em>\u003ca href=\"https://roxie.com/series/fraenkel-film-festival-2026/\">\u003cem>program and details here\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>Jason Blackwell, general manager of the Paramount, \u003ca href=\"https://oaklandside.org/2026/05/08/oakland-paramount-movie-classics-relaunch/\">told Oaklandside in May\u003c/a> that this year’s relaunch will serve as a test to “gauge audience interest.” Paramount Movie Classics continue through the end of the month, with \u003cem>Mrs. Doubtfire\u003c/em> (July 10), \u003cem>The Mark of Zorro\u003c/em> (July 17) and \u003cem>The Maltese Falcon\u003c/em> (July 24).\u003c/p>\n",
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"innerHTML": "\n\u003cp>Meanwhile, at the Roxie Theater in San Francisco, it’s all about cross-pollination. The \u003ca href=\"https://fraenkelgallery.com/exhibitions/fraenkel-film-festival-2026\">Fraenkel Film Festival\u003c/a>, running through July 18, screens movies picked by visual artists associated with Fraenkel Gallery.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Now in its third year, the festival so far has featured films like the neo-horror \u003cem>Get Out\u003c/em>, chosen by interdisciplinary artist Carrie Mae Weems, and the 1950s film noir \u003cem>Pickup on South Street\u003c/em>, chosen by photographer and activist Nan Goldin.\u003c/p>\n",
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"innerHTML": "\n\u003cp>For those familiar with each artists’ work, the program invites deeper viewing through their eyes. What does photographer Lee Friedlander see in Hitchcock’s \u003cem>North By Northwest \u003c/em>(July 11)? Why does \u003cem>Grey Gardens\u003c/em> (July 18) resonate with artist Sophie Calle?\u003c/p>\n",
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"innerHTML": "\n\u003cp>The upcoming lineup includes films like \u003cem>Solaris\u003c/em>, \u003cem>Klute\u003c/em> and \u003cem>Mystery Train\u003c/em>, worthy of seeing in any context. But for a film like \u003cem>Princess Mononoke \u003c/em>(July 10), one can’t help but think of the artist and actress Martine Gutierrez’s remarks that “the ethereal realm is what matters, and every day we are convinced otherwise.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003ca href=\"https://www.paramountoakland.org/events/movie-classics\">\u003cem>Paramount Movie Classics\u003c/em>\u003c/a>\u003cem> run Fridays through July 24 at the Paramount Theatre (2025 Broadway, Oakland); \u003c/em>\u003ca href=\"https://www.paramountoakland.org/events/movie-classics\">\u003cem>program and details here\u003c/em>\u003c/a>\u003cem>. The \u003c/em>\u003ca href=\"https://roxie.com/series/fraenkel-film-festival-2026/\">\u003cem>Fraenkel Film Festival\u003c/em>\u003c/a>\u003cem> runs through Saturday, July 18 at the Roxie Theater (3125 16th Street, San Francisco); \u003c/em>\u003ca href=\"https://roxie.com/series/fraenkel-film-festival-2026/\">\u003cem>program and details here\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n",
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"excerpt": "Paramount Movie Classics are back; also, artists choose the films at the Roxie's Fraenkel Film Festival.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two different film series on opposite sides of the Bay are partway through their runs, and both are can’t-miss affairs for different reasons.\u003c/p>\n\n\n\n\u003cp>At the Paramount Theatre in Oakland, it’s all about the atmosphere. For the first time since 2018, \u003ca href=\"https://www.paramountoakland.org/events/movie-classics\">Paramount Movie Classics\u003c/a> are back at the beautifully restored 1930s movie palace.\u003c/p>\n\n\n\n\n\n\u003cp>The series, dedicated to 35 millimeter film, leans into the auditorium’s time-travel ambiance with movies from the past 100 years of film. Before a recent screening of \u003cem>Purple Rain\u003c/em>, starring Prince, a pipe organist played standards like “Something’s Gotta Give,” and the screen showed trailers for films like \u003cem>Casablanca\u003c/em> and \u003cem>Rear Window\u003c/em>.\u003c/p>\n\n\n\n\u003cp>In a further throwback to the golden age of Hollywood, the theater also hosted a round of “Dec-O-Win,” a spin-the-wheel game that awarded prizes from Oakland businesses to the audience, replete with a carnival-barker host and his assistants.\u003c/p>\n\n\n\n\u003cp>Prince \u003ca href=\"https://www.kqed.org/arts/11368285/live-review-prince-alone-with-a-piano-at-the-paramount-theatre-in-oakland\">performed at the Paramount\u003c/a> just months before his death in 2016, and the sizable crowd, many dressed in purple, appeared eager resurrected his spirit. During the live performances in the film, they sang along and cheered just as if he were on the Paramount stage.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1124\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/13b669_b315bda779a54943a214a15c6ae99a89mv2.jpg\" alt=\"\" class=\"wp-image-13991529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/13b669_b315bda779a54943a214a15c6ae99a89mv2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/13b669_b315bda779a54943a214a15c6ae99a89mv2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/13b669_b315bda779a54943a214a15c6ae99a89mv2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/13b669_b315bda779a54943a214a15c6ae99a89mv2-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/13b669_b315bda779a54943a214a15c6ae99a89mv2-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">A scene from ‘The Maltese Falcon’ (1941), with Peter Lorre, Humphrey Bogart and Sydney Greenstreet (clockwise from top left). (Warner Bros. Pictures)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Jason Blackwell, general manager of the Paramount, \u003ca href=\"https://oaklandside.org/2026/05/08/oakland-paramount-movie-classics-relaunch/\">told Oaklandside in May\u003c/a> that this year’s relaunch will serve as a test to “gauge audience interest.” Paramount Movie Classics continue through the end of the month, with \u003cem>Mrs. Doubtfire\u003c/em> (July 10), \u003cem>The Mark of Zorro\u003c/em> (July 17) and \u003cem>The Maltese Falcon\u003c/em> (July 24).\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meanwhile, at the Roxie Theater in San Francisco, it’s all about cross-pollination. The \u003ca href=\"https://fraenkelgallery.com/exhibitions/fraenkel-film-festival-2026\">Fraenkel Film Festival\u003c/a>, running through July 18, screens movies picked by visual artists associated with Fraenkel Gallery.\u003c/p>\n\n\n\n\u003cp>Now in its third year, the festival so far has featured films like the neo-horror \u003cem>Get Out\u003c/em>, chosen by interdisciplinary artist Carrie Mae Weems, and the 1950s film noir \u003cem>Pickup on South Street\u003c/em>, chosen by photographer and activist Nan Goldin.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"843\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/solaris-1972-featured-1400x590-1.jpg\" alt=\"\" class=\"wp-image-13991530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/solaris-1972-featured-1400x590-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/solaris-1972-featured-1400x590-1-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/solaris-1972-featured-1400x590-1-768x324.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/solaris-1972-featured-1400x590-1-1536x647.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">A scene from ‘Solaris’ (1972), with (L–R) Natalya Bondarchuk and Donatas Banionis. (Mosfilm)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>For those familiar with each artists’ work, the program invites deeper viewing through their eyes. What does photographer Lee Friedlander see in Hitchcock’s \u003cem>North By Northwest \u003c/em>(July 11)? Why does \u003cem>Grey Gardens\u003c/em> (July 18) resonate with artist Sophie Calle?\u003c/p>\n\n\n\n\u003cp>The upcoming lineup includes films like \u003cem>Solaris\u003c/em>, \u003cem>Klute\u003c/em> and \u003cem>Mystery Train\u003c/em>, worthy of seeing in any context. But for a film like \u003cem>Princess Mononoke \u003c/em>(July 10), one can’t help but think of the artist and actress Martine Gutierrez’s remarks that “the ethereal realm is what matters, and every day we are convinced otherwise.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.paramountoakland.org/events/movie-classics\">\u003cem>Paramount Movie Classics\u003c/em>\u003c/a>\u003cem> run Fridays through July 24 at the Paramount Theatre (2025 Broadway, Oakland); \u003c/em>\u003ca href=\"https://www.paramountoakland.org/events/movie-classics\">\u003cem>program and details here\u003c/em>\u003c/a>\u003cem>. The \u003c/em>\u003ca href=\"https://roxie.com/series/fraenkel-film-festival-2026/\">\u003cem>Fraenkel Film Festival\u003c/em>\u003c/a>\u003cem> runs through Saturday, July 18 at the Roxie Theater (3125 16th Street, San Francisco); \u003c/em>\u003ca href=\"https://roxie.com/series/fraenkel-film-festival-2026/\">\u003cem>program and details here\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "best-summer-movies-film-festivals-sf-berkeley-2026",
"title": "11 of the Best Movies and Film Festivals to See This Summer",
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"content": "\u003cp>\u003cem>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/summer-guide-2026\">2026 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/em>\u003c/p>\n\u003cp>After 10 years of unbridled lunacy on a national scale, I am reminded of a pleasurable childhood lesson: Movies are a fantastic means of escape. I confess I have sniffed, scoffed and sneered at mainstream flicks — an occupational hazard — for a good long while, but now I comprehend the need to tune out the news for (at least) a couple hours. I suspect you have reached that point as well.\u003c/p>\n\u003cp>So you have my blessing to submerge yourself in any of the blithering, blubbering, eardrum-blasting flicks that Hollywood has lined up for our summer entertainment. Nerve-plucking horror, adolescent superhero shtick, impossible action-adventure, implausible romantic fantasy — live it up, friends.\u003c/p>\n\u003cp>Now, if you’re looking for a deep dive into the shlock de la saison, you walked into the wrong bistro, er, soapbox. Although I’ve included a few tentpoles below, if you own a television the studios will make sure you see the menu. So here are suggestions for lower-profile, higher-order escapism.\u003c/p>\n\u003cfigure id=\"attachment_13989704\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989704\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Anarchy-in-High-Heels_2000.jpg\" alt=\"women in costumes with signs\" width=\"2000\" height=\"1361\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Anarchy-in-High-Heels_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Anarchy-in-High-Heels_2000-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Anarchy-in-High-Heels_2000-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Anarchy-in-High-Heels_2000-1536x1045.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Nickelettes in June 1974. \u003ccite>(Betsy Newman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfdocfest2026.eventive.org/welcome\">DocFest\u003c/a>\u003c/h2>\n\u003cp>\u003ci>May 28–June 7, 2026\u003cbr>\nRoxie Theater, San Francisco\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nonfiction is the pathway to vicariously living other lives — some more precarious – for a little while. The expansive 25th edition of DocFest hosts the world premieres of a pair of prison-themed films by Oakland filmmakers, \u003ca href=\"https://sfdocfest2026.eventive.org/schedule/69c2b1f04f4f536bedc7cc8e\">\u003cem>The Surrender of Waymond Hall\u003c/em>\u003c/a> and \u003ca href=\"https://sfdocfest2026.eventive.org/schedule/69c2b2ce7d35348a5d1e4455\">\u003cem>The End of Isolation\u003c/em>\u003c/a>. Hitting a lighter musical note, the festival opens with the NOFX doc \u003ca href=\"https://sfdocfest2026.eventive.org/schedule/69c801087edb042bb5e3975a\">\u003cem>40 Years of Fuckin’ Up\u003c/em>\u003c/a> and debuts \u003ca href=\"https://sfdocfest2026.eventive.org/schedule/69e22e22e5214d1cb3267a32\">\u003cem>Anarchy in High Heels: The Story of Les Nickelettes\u003c/em>\u003c/a>. DocFest revisits its roots, and the immortal \u003ca href=\"https://sfdocfest2026.eventive.org/films/69ace874858aeadeab6936b4\">Atomic Ed\u003c/a> and \u003ca href=\"https://sfdocfest2026.eventive.org/films/69ad97cc66714431517e6eaf\">Cynthia Plaster Caster\u003c/a>, with a trio of films from the festival’s inaugural 2001 year (with tickets at 2001 prices!).\u003c/p>\n\u003cfigure id=\"attachment_13989708\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/P_11544_R_rgb_2000.jpg\" alt=\"two men face each other over typewriter\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13989708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/P_11544_R_rgb_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/P_11544_R_rgb_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/P_11544_R_rgb_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/P_11544_R_rgb_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Scott as Captain James Stagg and Chris Messina as Irving P. Krick in director Anthony Maras’ ‘Pressure.’ \u003ccite>(Alex Bailey/Focus Features/STUDIOCANAL)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Pressure’\u003c/h2>\n\u003cp>\u003ci>Opens May 29, 2026\u003c/i>\u003c/p>\n\u003cp>Anthony Maras’s behind-the-scenes World War II drama is of particular interest to history buffs and tech workers. Meteorologists Scottish (a splendid Andrew Scott) and American (Chris Messina, as the erstwhile villain of the piece) square off in a high-stakes, digital v. analog debate over the optimal date for D-Day. Brendan Fraser and Kerry Condon (as Gen. Dwight D. Eisenhower and his personal secretary Kay Summersby) round out the cast.\u003c/p>\n\u003cfigure id=\"attachment_13919010\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/19-130.jpg\" alt=\"A teenage girl, green light glowing across her eyes, looks at something off in the distance with great horror.\" width=\"1280\" height=\"720\" class=\"size-full wp-image-13919010\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/19-130.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/19-130-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/19-130-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/19-130-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/19-130-768x432.jpg 768w\" sizes=\"auto, (max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Winona Ryder in Tim Burton’s 1988 film ‘Beetlejuice,’ playing Oct 16. at Crane Cove Park.\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfstandard.com/sundown-cinema/\">Sundown Cinema\u003c/a>\u003c/h2>\n\u003cp>\u003ci>June 12–Oct. 16, 2026\u003cbr>\nVarious San Francisco locations\u003c/i>\u003c/p>\n\u003cp>Following last year’s truncated schedule, the free outdoor screening series returns with a full slate. The lineup won’t get your pulse racing — it’s geared toward families rather than the date crowd — which is what it takes sometimes to spend a summer evening in the elements hereabouts. The late Rob Reiner’s \u003cem>The Princess Bride\u003c/em> is the curtain-raiser, with Pixar’s \u003cem>Inside Out\u003c/em>, \u003cem>The Parent Trap\u003c/em>, \u003cem>School of Rock\u003c/em> and \u003cem>Beetlejuice\u003c/em> in the wings. Bundle up, kiddos!\u003c/p>\n\u003cfigure id=\"attachment_13989703\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989703\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Kubrick_The-Shining_003_2000.jpg\" alt=\"woman screams as axe head comes through door\" width=\"2000\" height=\"1360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Kubrick_The-Shining_003_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Kubrick_The-Shining_003_2000-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Kubrick_The-Shining_003_2000-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Kubrick_The-Shining_003_2000-1536x1044.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shelley Duvall in a scene from Stanley Kubrick’s 1980 film ‘The Shining,’ playing July 26 and 31 at BAMPFA. \u003ccite>(BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://bampfa.org/program/complete-stanley-kubrick\">A Complete Stanley Kubrick\u003c/a>\u003c/h2>\n\u003cp>\u003ci>June 12–Aug. 30, 2026\u003cbr>\nBerkeley Art Museum and Pacific Film Archive\u003c/i>\u003c/p>\n\u003cp>Coincidentally, Steven Spielberg’s latest hunk of speculative pulp fiction, \u003cem>Disclosure Day\u003c/em>, opens the same day this monumental retrospective begins. The directors are inextricably linked by \u003cem>\u003ca href=\"https://bampfa.org/event/ai-artificial-intelligence\">A.I. Artificial Intelligence\u003c/a>\u003c/em> (Aug. 20) which Kubrick developed and Spielberg directed in 2001. Resist the tempting timeliness of that title and catch up instead with the former photojournalist’s black-and-white masterpieces \u003cem>\u003ca href=\"https://bampfa.org/event/killing\">The Killing\u003c/a>\u003c/em>, \u003cem>\u003ca href=\"https://bampfa.org/event/paths-glory\">Paths of Glory\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://bampfa.org/event/dr-strangelove-or-how-i-learned-stop-worrying-and-love-bomb\">Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\u003c/a>\u003c/em>. Actually, see everything on the big screen that the brilliant perfectionist made.\u003c/p>\n\u003cfigure id=\"attachment_13989714\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Lady-Champagne-2_D_Arcy-Drollinger_2000.jpg\" alt=\"blonde person in heavy makeup peers through jungle foliage\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13989714\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Lady-Champagne-2_D_Arcy-Drollinger_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Lady-Champagne-2_D_Arcy-Drollinger_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Lady-Champagne-2_D_Arcy-Drollinger_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Lady-Champagne-2_D_Arcy-Drollinger_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">D’Arcy Drollinger in ‘Lady Champagne,’ playing June 17 as Frameline’s opening night film. \u003ccite>(Frameline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.frameline.org/festival\">Frameline50\u003c/a>\u003c/h2>\n\u003cp>\u003ci>June 17–27, 2026\u003cbr>\nVarious locations\u003c/i>\u003c/p>\n\u003cp>Queer summer launches in theaters with the campy disaster comedy \u003cem>Stop! That! Train!\u003c/em> (opening June 12) and Hayley Kiyoko’s coming-of-age saga \u003cem>\u003ca href=\"https://www.frameline.org/films/frameline50/girls-like-girls\">Girls Like Girls\u003c/a>\u003c/em> (June 19). Then the San Francisco International LGBTQ+ Film Festival rolls out the gold carpet with a massive celebration of the present and past of gay and lesbian cinema. Local multihyphenate D’Arcy Drollinger kick-starts the festivities with the hoot-and-holler drag comedy \u003cem>\u003ca href=\"https://www.frameline.org/films/frameline50/lady-champagne\">Lady Champagne\u003c/a>\u003c/em>, while documentary ace Jennifer M. Kroot launches Pride weekend with \u003cem>\u003ca href=\"https://www.frameline.org/films/frameline50/hunky-jesus\">Hunky Jesus\u003c/a>\u003c/em>, a profile of San Francisco’s altogether wonderful Sisters of Perpetual Indulgence. (If you’ve somehow never seen the landmark doc \u003cem>\u003ca href=\"https://bampfa.org/event/times-harvey-milk\">The Times of Harvey Milk\u003c/a>\u003c/em>, BAMPFA shows it July 10.)\u003c/p>\n\u003cfigure id=\"attachment_13989713\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/TOY-STORY5-2000.jpg\" alt=\"toy cowboy and toy astronaut crawl on flood of child's bedroom looking anxious\" width=\"2000\" height=\"1074\" class=\"size-full wp-image-13989713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/TOY-STORY5-2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/TOY-STORY5-2000-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/TOY-STORY5-2000-768x412.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/TOY-STORY5-2000-1536x825.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Woody and Buzz Lightyear in Disney and Pixar’s ‘Toy Story 5.’ \u003ccite>(Pixar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Toy Story 5’\u003c/h2>\n\u003cp>\u003ci>Opens June 19, 2026\u003c/i>\u003c/p>\n\u003cp>Emeryville’s Disney House has already scored one hit this year with \u003cem>Hoppers\u003c/em>. This Buzz and Woody and Bonnie and Jessie sequel to the sequel to the sequel, etc., arriving seven years to the weekend after the last installment, will rake in even more moolah. First, because it’s good, and second because it really might mark the end of the beloved animated franchise.\u003c/p>\n\u003cfigure id=\"attachment_13989865\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/get-out_2000.jpg\" alt=\"Black man frozen in terror with tears in eyes\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13989865\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/get-out_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/get-out_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/get-out_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/get-out_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/get-out_2000-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Kaluuya in a scene from Jordan Peele’s 2017 film ‘Get Out,’ playing July 9 at the Roxie. \u003ccite>(Courtesy of Fraenkel Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://roxie.com/series/fraenkel-film-festival-2026/\">Fraenkel Film Festival 2026\u003c/a>\u003c/h2>\n\u003cp>\u003ci>July 8–18, 2026\u003cbr>\nRoxie Theater, San Francisco\u003c/i>\u003c/p>\n\u003cp>Curated by visual artists represented by San Francisco’s Fraenkel Gallery, this now-annual program is refreshingly unpredictable and eclectic. Brian De Palma’s timeless shocker \u003cem>\u003ca href=\"https://roxie.com/film/carrie/\">Carrie\u003c/a>\u003c/em>, chosen by Christian Marclay, kicks off the series with a scream while Jim Jarmusch’s haunted \u003cem>\u003ca href=\"https://roxie.com/film/mystery-train-35mm/\">Mystery Train\u003c/a>\u003c/em> (Alec Soth’s pick) wraps things up with Screamin’ Jay Hawkins. Sandwiched in between you’ll find savory treats like Ingmar Bergman’s \u003cem>\u003ca href=\"https://roxie.com/film/persona/\">Persona\u003c/a>\u003c/em> (selected by Robert Adams), Claude Chabrol’s \u003cem>\u003ca href=\"https://roxie.com/film/la-ceremonie/\">La Cérémonie\u003c/a>\u003c/em> (Katy Grannan) and Alfred Hitchcock’s \u003cem>\u003ca href=\"https://roxie.com/film/north-by-northwest-35mm/\">North by Northwest\u003c/a>\u003c/em> (Lee Friedlander).\u003c/p>\n\u003cfigure id=\"attachment_13989711\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Still_Dust_Bowls_and_Jewish_Souls_Another_Side_of_Woody_Guthrie.jpg\" alt=\"close-up of man with tipped back hat and plaid shirt\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13989711\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Still_Dust_Bowls_and_Jewish_Souls_Another_Side_of_Woody_Guthrie.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Still_Dust_Bowls_and_Jewish_Souls_Another_Side_of_Woody_Guthrie-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Still_Dust_Bowls_and_Jewish_Souls_Another_Side_of_Woody_Guthrie-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Still_Dust_Bowls_and_Jewish_Souls_Another_Side_of_Woody_Guthrie-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Still_Dust_Bowls_and_Jewish_Souls_Another_Side_of_Woody_Guthrie-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Dust Bowls and Jewish Souls: Another Side of Woody Guthrie,’ directed by Steven Pressman. \u003ccite>(SFJFF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://jfi.org/2026-film-festival\">San Francisco Jewish Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>July 16–Aug. 2, 2026\u003cbr>\nVarious locations\u003c/i>\u003c/p>\n\u003cp>One of the gutsiest film festivals in this time zone — by mission, by choice and by the circumstances of current events — SFJFF cultivates a space for discussion, debate and, yes, co-existence. It’s trickier to predict the program this year with Israeli filmmakers dealing with unprecedented levels of government opposition, but we can still expect a couple gut-punching documentaries along with French rom-coms and American explorations of identity.\u003c/p>\n\u003cp>https://youtu.be/f_bKjZeJBBI?si=3PD3G_YorquA3mnl\u003c/p>\n\u003ch2>‘The Odyssey’\u003c/h2>\n\u003cp>\u003ci>Opens July 17, 2026\u003c/i>\u003c/p>\n\u003cp>Christopher Nolan (\u003cem>Oppenheimer\u003c/em>), the self-anointed Philosopher King of Blockbuster Cinema, spent a quarter of a billion dollars of Universal’s money to adapt Homer’s epic. Bland-as-beans Matt Damon plays the Greek king Odysseus with an American accent and a natural beard. Anne Hathaway portrays Queen Penelope with an American accent and (presumably) no musical numbers. I’m rooting for Nolan’s turgid sword-and-sandal saga to resolve the historical mystery of how and where beach volleyball was invented, but I fear my hopes shall be dashed.\u003c/p>\n\u003cfigure id=\"attachment_13989706\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989706\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IWYS_2000.jpg\" alt=\"\" width=\"2000\" height=\"1081\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IWYS_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IWYS_2000-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IWYS_2000-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IWYS_2000-1536x830.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Wilde and Cooper Hoffman in a scene from Gregg Araki’s ‘I Want Your Sex.’ \u003ccite>(Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘I Want Your Sex’\u003c/h2>\n\u003cp>\u003ci>Opens July 31, 2026\u003c/i>\u003c/p>\n\u003cp>Its come-hither title notwithstanding, Gregg Araki’s return to the big screen isn’t destined to be a multiplex phenomenon. Or maybe I’m completely off base, for LA’s gutter-glorious punk provocateur of the ’90s describes his new film as “a sex-positive love letter for Gen Z.” Cooper Hoffman plays a newbie hired by artist Olivia Wilde to be her quote-unquote sexual muse. Our hero embarks on an odyssey that presumably encompasses the siren call of lust, the rocky shoals of love, the green-eyed beast of jealousy and other mythic creatures. Daveed Diggs, Margaret Cho and Charli xcx join the tongue-in-cheek fun.\u003c/p>\n\u003cfigure id=\"attachment_13989709\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Riggs_Tongues-Untied_003_2000.jpg\" alt=\"close group of Black men pose together\" width=\"2000\" height=\"1287\" class=\"size-full wp-image-13989709\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Riggs_Tongues-Untied_003_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Riggs_Tongues-Untied_003_2000-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Riggs_Tongues-Untied_003_2000-768x494.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Riggs_Tongues-Untied_003_2000-1536x988.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Marlon Riggs, ‘Tongues Untied,’ 1989, playing Aug. 29 at BAMPFA. \u003ccite>(BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://bampfa.org/program/made-berkeley-house-zaentz-built\">Made in Berkeley: The House That Zaentz Built\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Aug. 1–30, 2026\u003cbr>\nBerkeley Art Museum and Pacific Film Archive\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Back in the 1980s, Creedence Clearwater Revival leader John Fogerty wrote a song called “\u003ca href=\"https://www.youtube.com/watch?v=qeMlRzw1saw\">Zanz Kant Danz\u003c/a>” inspired by his furious legal battles with Fantasy Records owner Saul Zaentz. You may remember Zaentz as the Oscar-winning producer of \u003cem>Amadeus\u003c/em> and \u003cem>One Flew Over the Cuckoo’s Nest\u003c/em>. The countless local documentary filmmakers with offices in the Fantasy Building saw Zaentz as a generally beneficent figure. This succinct series, co-presented with the Berkeley Film Foundation and featuring Marlon Riggs’ \u003cem>\u003ca href=\"https://bampfa.org/event/tongues-untied\">Tongues Untied\u003c/a>\u003c/em>, Steven Okazaki’s \u003cem>\u003ca href=\"https://bampfa.org/event/white-light-black-rain\">White Light/Black Rain\u003c/a>\u003c/em> and Vivian Kleiman’s \u003cem>\u003ca href=\"https://bampfa.org/event/no-straight-lines\">No Straight Lines\u003c/a>\u003c/em>, honors the legacies of an erstwhile patron and singular artists.\u003c/p>\n\n",
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"excerpt": "From Bay Area festivals to retrospectives to big-budget blockbusters, here are the not-to-miss movies. ",
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"title": "Bay Area Summer Movie Guide: Films and Fests Not to Miss | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/summer-guide-2026\">2026 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/em>\u003c/p>\n\u003cp>After 10 years of unbridled lunacy on a national scale, I am reminded of a pleasurable childhood lesson: Movies are a fantastic means of escape. I confess I have sniffed, scoffed and sneered at mainstream flicks — an occupational hazard — for a good long while, but now I comprehend the need to tune out the news for (at least) a couple hours. I suspect you have reached that point as well.\u003c/p>\n\u003cp>So you have my blessing to submerge yourself in any of the blithering, blubbering, eardrum-blasting flicks that Hollywood has lined up for our summer entertainment. Nerve-plucking horror, adolescent superhero shtick, impossible action-adventure, implausible romantic fantasy — live it up, friends.\u003c/p>\n\u003cp>Now, if you’re looking for a deep dive into the shlock de la saison, you walked into the wrong bistro, er, soapbox. Although I’ve included a few tentpoles below, if you own a television the studios will make sure you see the menu. So here are suggestions for lower-profile, higher-order escapism.\u003c/p>\n\u003cfigure id=\"attachment_13989704\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989704\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Anarchy-in-High-Heels_2000.jpg\" alt=\"women in costumes with signs\" width=\"2000\" height=\"1361\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Anarchy-in-High-Heels_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Anarchy-in-High-Heels_2000-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Anarchy-in-High-Heels_2000-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Anarchy-in-High-Heels_2000-1536x1045.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Nickelettes in June 1974. \u003ccite>(Betsy Newman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfdocfest2026.eventive.org/welcome\">DocFest\u003c/a>\u003c/h2>\n\u003cp>\u003ci>May 28–June 7, 2026\u003cbr>\nRoxie Theater, San Francisco\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nonfiction is the pathway to vicariously living other lives — some more precarious – for a little while. The expansive 25th edition of DocFest hosts the world premieres of a pair of prison-themed films by Oakland filmmakers, \u003ca href=\"https://sfdocfest2026.eventive.org/schedule/69c2b1f04f4f536bedc7cc8e\">\u003cem>The Surrender of Waymond Hall\u003c/em>\u003c/a> and \u003ca href=\"https://sfdocfest2026.eventive.org/schedule/69c2b2ce7d35348a5d1e4455\">\u003cem>The End of Isolation\u003c/em>\u003c/a>. Hitting a lighter musical note, the festival opens with the NOFX doc \u003ca href=\"https://sfdocfest2026.eventive.org/schedule/69c801087edb042bb5e3975a\">\u003cem>40 Years of Fuckin’ Up\u003c/em>\u003c/a> and debuts \u003ca href=\"https://sfdocfest2026.eventive.org/schedule/69e22e22e5214d1cb3267a32\">\u003cem>Anarchy in High Heels: The Story of Les Nickelettes\u003c/em>\u003c/a>. DocFest revisits its roots, and the immortal \u003ca href=\"https://sfdocfest2026.eventive.org/films/69ace874858aeadeab6936b4\">Atomic Ed\u003c/a> and \u003ca href=\"https://sfdocfest2026.eventive.org/films/69ad97cc66714431517e6eaf\">Cynthia Plaster Caster\u003c/a>, with a trio of films from the festival’s inaugural 2001 year (with tickets at 2001 prices!).\u003c/p>\n\u003cfigure id=\"attachment_13989708\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/P_11544_R_rgb_2000.jpg\" alt=\"two men face each other over typewriter\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13989708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/P_11544_R_rgb_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/P_11544_R_rgb_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/P_11544_R_rgb_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/P_11544_R_rgb_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Scott as Captain James Stagg and Chris Messina as Irving P. Krick in director Anthony Maras’ ‘Pressure.’ \u003ccite>(Alex Bailey/Focus Features/STUDIOCANAL)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Pressure’\u003c/h2>\n\u003cp>\u003ci>Opens May 29, 2026\u003c/i>\u003c/p>\n\u003cp>Anthony Maras’s behind-the-scenes World War II drama is of particular interest to history buffs and tech workers. Meteorologists Scottish (a splendid Andrew Scott) and American (Chris Messina, as the erstwhile villain of the piece) square off in a high-stakes, digital v. analog debate over the optimal date for D-Day. Brendan Fraser and Kerry Condon (as Gen. Dwight D. Eisenhower and his personal secretary Kay Summersby) round out the cast.\u003c/p>\n\u003cfigure id=\"attachment_13919010\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/19-130.jpg\" alt=\"A teenage girl, green light glowing across her eyes, looks at something off in the distance with great horror.\" width=\"1280\" height=\"720\" class=\"size-full wp-image-13919010\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/19-130.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/19-130-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/19-130-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/19-130-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/19-130-768x432.jpg 768w\" sizes=\"auto, (max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Winona Ryder in Tim Burton’s 1988 film ‘Beetlejuice,’ playing Oct 16. at Crane Cove Park.\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfstandard.com/sundown-cinema/\">Sundown Cinema\u003c/a>\u003c/h2>\n\u003cp>\u003ci>June 12–Oct. 16, 2026\u003cbr>\nVarious San Francisco locations\u003c/i>\u003c/p>\n\u003cp>Following last year’s truncated schedule, the free outdoor screening series returns with a full slate. The lineup won’t get your pulse racing — it’s geared toward families rather than the date crowd — which is what it takes sometimes to spend a summer evening in the elements hereabouts. The late Rob Reiner’s \u003cem>The Princess Bride\u003c/em> is the curtain-raiser, with Pixar’s \u003cem>Inside Out\u003c/em>, \u003cem>The Parent Trap\u003c/em>, \u003cem>School of Rock\u003c/em> and \u003cem>Beetlejuice\u003c/em> in the wings. Bundle up, kiddos!\u003c/p>\n\u003cfigure id=\"attachment_13989703\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989703\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Kubrick_The-Shining_003_2000.jpg\" alt=\"woman screams as axe head comes through door\" width=\"2000\" height=\"1360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Kubrick_The-Shining_003_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Kubrick_The-Shining_003_2000-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Kubrick_The-Shining_003_2000-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Kubrick_The-Shining_003_2000-1536x1044.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shelley Duvall in a scene from Stanley Kubrick’s 1980 film ‘The Shining,’ playing July 26 and 31 at BAMPFA. \u003ccite>(BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://bampfa.org/program/complete-stanley-kubrick\">A Complete Stanley Kubrick\u003c/a>\u003c/h2>\n\u003cp>\u003ci>June 12–Aug. 30, 2026\u003cbr>\nBerkeley Art Museum and Pacific Film Archive\u003c/i>\u003c/p>\n\u003cp>Coincidentally, Steven Spielberg’s latest hunk of speculative pulp fiction, \u003cem>Disclosure Day\u003c/em>, opens the same day this monumental retrospective begins. The directors are inextricably linked by \u003cem>\u003ca href=\"https://bampfa.org/event/ai-artificial-intelligence\">A.I. Artificial Intelligence\u003c/a>\u003c/em> (Aug. 20) which Kubrick developed and Spielberg directed in 2001. Resist the tempting timeliness of that title and catch up instead with the former photojournalist’s black-and-white masterpieces \u003cem>\u003ca href=\"https://bampfa.org/event/killing\">The Killing\u003c/a>\u003c/em>, \u003cem>\u003ca href=\"https://bampfa.org/event/paths-glory\">Paths of Glory\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://bampfa.org/event/dr-strangelove-or-how-i-learned-stop-worrying-and-love-bomb\">Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\u003c/a>\u003c/em>. Actually, see everything on the big screen that the brilliant perfectionist made.\u003c/p>\n\u003cfigure id=\"attachment_13989714\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Lady-Champagne-2_D_Arcy-Drollinger_2000.jpg\" alt=\"blonde person in heavy makeup peers through jungle foliage\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13989714\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Lady-Champagne-2_D_Arcy-Drollinger_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Lady-Champagne-2_D_Arcy-Drollinger_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Lady-Champagne-2_D_Arcy-Drollinger_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Lady-Champagne-2_D_Arcy-Drollinger_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">D’Arcy Drollinger in ‘Lady Champagne,’ playing June 17 as Frameline’s opening night film. \u003ccite>(Frameline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.frameline.org/festival\">Frameline50\u003c/a>\u003c/h2>\n\u003cp>\u003ci>June 17–27, 2026\u003cbr>\nVarious locations\u003c/i>\u003c/p>\n\u003cp>Queer summer launches in theaters with the campy disaster comedy \u003cem>Stop! That! Train!\u003c/em> (opening June 12) and Hayley Kiyoko’s coming-of-age saga \u003cem>\u003ca href=\"https://www.frameline.org/films/frameline50/girls-like-girls\">Girls Like Girls\u003c/a>\u003c/em> (June 19). Then the San Francisco International LGBTQ+ Film Festival rolls out the gold carpet with a massive celebration of the present and past of gay and lesbian cinema. Local multihyphenate D’Arcy Drollinger kick-starts the festivities with the hoot-and-holler drag comedy \u003cem>\u003ca href=\"https://www.frameline.org/films/frameline50/lady-champagne\">Lady Champagne\u003c/a>\u003c/em>, while documentary ace Jennifer M. Kroot launches Pride weekend with \u003cem>\u003ca href=\"https://www.frameline.org/films/frameline50/hunky-jesus\">Hunky Jesus\u003c/a>\u003c/em>, a profile of San Francisco’s altogether wonderful Sisters of Perpetual Indulgence. (If you’ve somehow never seen the landmark doc \u003cem>\u003ca href=\"https://bampfa.org/event/times-harvey-milk\">The Times of Harvey Milk\u003c/a>\u003c/em>, BAMPFA shows it July 10.)\u003c/p>\n\u003cfigure id=\"attachment_13989713\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/TOY-STORY5-2000.jpg\" alt=\"toy cowboy and toy astronaut crawl on flood of child's bedroom looking anxious\" width=\"2000\" height=\"1074\" class=\"size-full wp-image-13989713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/TOY-STORY5-2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/TOY-STORY5-2000-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/TOY-STORY5-2000-768x412.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/TOY-STORY5-2000-1536x825.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Woody and Buzz Lightyear in Disney and Pixar’s ‘Toy Story 5.’ \u003ccite>(Pixar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Toy Story 5’\u003c/h2>\n\u003cp>\u003ci>Opens June 19, 2026\u003c/i>\u003c/p>\n\u003cp>Emeryville’s Disney House has already scored one hit this year with \u003cem>Hoppers\u003c/em>. This Buzz and Woody and Bonnie and Jessie sequel to the sequel to the sequel, etc., arriving seven years to the weekend after the last installment, will rake in even more moolah. First, because it’s good, and second because it really might mark the end of the beloved animated franchise.\u003c/p>\n\u003cfigure id=\"attachment_13989865\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/get-out_2000.jpg\" alt=\"Black man frozen in terror with tears in eyes\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13989865\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/get-out_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/get-out_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/get-out_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/get-out_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/get-out_2000-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Kaluuya in a scene from Jordan Peele’s 2017 film ‘Get Out,’ playing July 9 at the Roxie. \u003ccite>(Courtesy of Fraenkel Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://roxie.com/series/fraenkel-film-festival-2026/\">Fraenkel Film Festival 2026\u003c/a>\u003c/h2>\n\u003cp>\u003ci>July 8–18, 2026\u003cbr>\nRoxie Theater, San Francisco\u003c/i>\u003c/p>\n\u003cp>Curated by visual artists represented by San Francisco’s Fraenkel Gallery, this now-annual program is refreshingly unpredictable and eclectic. Brian De Palma’s timeless shocker \u003cem>\u003ca href=\"https://roxie.com/film/carrie/\">Carrie\u003c/a>\u003c/em>, chosen by Christian Marclay, kicks off the series with a scream while Jim Jarmusch’s haunted \u003cem>\u003ca href=\"https://roxie.com/film/mystery-train-35mm/\">Mystery Train\u003c/a>\u003c/em> (Alec Soth’s pick) wraps things up with Screamin’ Jay Hawkins. Sandwiched in between you’ll find savory treats like Ingmar Bergman’s \u003cem>\u003ca href=\"https://roxie.com/film/persona/\">Persona\u003c/a>\u003c/em> (selected by Robert Adams), Claude Chabrol’s \u003cem>\u003ca href=\"https://roxie.com/film/la-ceremonie/\">La Cérémonie\u003c/a>\u003c/em> (Katy Grannan) and Alfred Hitchcock’s \u003cem>\u003ca href=\"https://roxie.com/film/north-by-northwest-35mm/\">North by Northwest\u003c/a>\u003c/em> (Lee Friedlander).\u003c/p>\n\u003cfigure id=\"attachment_13989711\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Still_Dust_Bowls_and_Jewish_Souls_Another_Side_of_Woody_Guthrie.jpg\" alt=\"close-up of man with tipped back hat and plaid shirt\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13989711\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Still_Dust_Bowls_and_Jewish_Souls_Another_Side_of_Woody_Guthrie.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Still_Dust_Bowls_and_Jewish_Souls_Another_Side_of_Woody_Guthrie-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Still_Dust_Bowls_and_Jewish_Souls_Another_Side_of_Woody_Guthrie-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Still_Dust_Bowls_and_Jewish_Souls_Another_Side_of_Woody_Guthrie-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Still_Dust_Bowls_and_Jewish_Souls_Another_Side_of_Woody_Guthrie-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Dust Bowls and Jewish Souls: Another Side of Woody Guthrie,’ directed by Steven Pressman. \u003ccite>(SFJFF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://jfi.org/2026-film-festival\">San Francisco Jewish Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>July 16–Aug. 2, 2026\u003cbr>\nVarious locations\u003c/i>\u003c/p>\n\u003cp>One of the gutsiest film festivals in this time zone — by mission, by choice and by the circumstances of current events — SFJFF cultivates a space for discussion, debate and, yes, co-existence. It’s trickier to predict the program this year with Israeli filmmakers dealing with unprecedented levels of government opposition, but we can still expect a couple gut-punching documentaries along with French rom-coms and American explorations of identity.\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/f_bKjZeJBBI'\n title='//www.youtube.com/embed/f_bKjZeJBBI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘The Odyssey’\u003c/h2>\n\u003cp>\u003ci>Opens July 17, 2026\u003c/i>\u003c/p>\n\u003cp>Christopher Nolan (\u003cem>Oppenheimer\u003c/em>), the self-anointed Philosopher King of Blockbuster Cinema, spent a quarter of a billion dollars of Universal’s money to adapt Homer’s epic. Bland-as-beans Matt Damon plays the Greek king Odysseus with an American accent and a natural beard. Anne Hathaway portrays Queen Penelope with an American accent and (presumably) no musical numbers. I’m rooting for Nolan’s turgid sword-and-sandal saga to resolve the historical mystery of how and where beach volleyball was invented, but I fear my hopes shall be dashed.\u003c/p>\n\u003cfigure id=\"attachment_13989706\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989706\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IWYS_2000.jpg\" alt=\"\" width=\"2000\" height=\"1081\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IWYS_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IWYS_2000-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IWYS_2000-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IWYS_2000-1536x830.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Wilde and Cooper Hoffman in a scene from Gregg Araki’s ‘I Want Your Sex.’ \u003ccite>(Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘I Want Your Sex’\u003c/h2>\n\u003cp>\u003ci>Opens July 31, 2026\u003c/i>\u003c/p>\n\u003cp>Its come-hither title notwithstanding, Gregg Araki’s return to the big screen isn’t destined to be a multiplex phenomenon. Or maybe I’m completely off base, for LA’s gutter-glorious punk provocateur of the ’90s describes his new film as “a sex-positive love letter for Gen Z.” Cooper Hoffman plays a newbie hired by artist Olivia Wilde to be her quote-unquote sexual muse. Our hero embarks on an odyssey that presumably encompasses the siren call of lust, the rocky shoals of love, the green-eyed beast of jealousy and other mythic creatures. Daveed Diggs, Margaret Cho and Charli xcx join the tongue-in-cheek fun.\u003c/p>\n\u003cfigure id=\"attachment_13989709\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Riggs_Tongues-Untied_003_2000.jpg\" alt=\"close group of Black men pose together\" width=\"2000\" height=\"1287\" class=\"size-full wp-image-13989709\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Riggs_Tongues-Untied_003_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Riggs_Tongues-Untied_003_2000-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Riggs_Tongues-Untied_003_2000-768x494.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Riggs_Tongues-Untied_003_2000-1536x988.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Marlon Riggs, ‘Tongues Untied,’ 1989, playing Aug. 29 at BAMPFA. \u003ccite>(BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://bampfa.org/program/made-berkeley-house-zaentz-built\">Made in Berkeley: The House That Zaentz Built\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Aug. 1–30, 2026\u003cbr>\nBerkeley Art Museum and Pacific Film Archive\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Back in the 1980s, Creedence Clearwater Revival leader John Fogerty wrote a song called “\u003ca href=\"https://www.youtube.com/watch?v=qeMlRzw1saw\">Zanz Kant Danz\u003c/a>” inspired by his furious legal battles with Fantasy Records owner Saul Zaentz. You may remember Zaentz as the Oscar-winning producer of \u003cem>Amadeus\u003c/em> and \u003cem>One Flew Over the Cuckoo’s Nest\u003c/em>. The countless local documentary filmmakers with offices in the Fantasy Building saw Zaentz as a generally beneficent figure. This succinct series, co-presented with the Berkeley Film Foundation and featuring Marlon Riggs’ \u003cem>\u003ca href=\"https://bampfa.org/event/tongues-untied\">Tongues Untied\u003c/a>\u003c/em>, Steven Okazaki’s \u003cem>\u003ca href=\"https://bampfa.org/event/white-light-black-rain\">White Light/Black Rain\u003c/a>\u003c/em> and Vivian Kleiman’s \u003cem>\u003ca href=\"https://bampfa.org/event/no-straight-lines\">No Straight Lines\u003c/a>\u003c/em>, honors the legacies of an erstwhile patron and singular artists.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "At the Roxie, ‘Fútbol on Film’ Celebrates Soccer as the People’s Sport",
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"content": "\u003cp>When the FIFA Men’s \u003ca href=\"https://www.kqed.org/forum/2010101913251/the-world-cup-heads-to-california\">World Cup\u003c/a> comes to the Bay Area in June and July, much of the conversation will revolve around the economic benefits of hosting these mega sporting events. \u003c/p>\n\u003cp>But for soccer fans like Daniel Díaz, a purely monetary focus misses the mark. On Sunday, March 29, Díaz, via the documentary platform CiNEOLA, will present a program at the Roxie called “\u003ca href=\"https://roxie.com/film/futbol-on-film/\">Fútbol on film\u003c/a>.”\u003c/p>\n\u003cp>“We wanted to put together a program that spoke to football in a way that really focuses on the good, the people, the humanity around the sport,” he tells KQED. The goal, he says, is to look at the sport from an “anti-capitalist, anti-imperialist lens.”\u003c/p>\n\u003cfigure id=\"attachment_13987803\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BaggioStill_jpg4_2000.jpg\" alt=\"tv screen showing soccer game in darkened space\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13987803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BaggioStill_jpg4_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BaggioStill_jpg4_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BaggioStill_jpg4_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BaggioStill_jpg4_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BaggioStill_jpg4_2000-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Henrique Cartaxo’s short film ‘Roberto Baggio,’ 2023. \u003ccite>(Courtesy of the artist and CiNEOLA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 90-minute program starts at noon with a series of three short documentaries focused on Latin American football: RJ Sanchez’s \u003ci>Barra brava\u003c/i>, a 16mm film about Colombia’s devoted soccer fans; \u003ci>Roberto Baggio\u003c/i>, about filmmaker Henrique Cartaxo’s memories of Brazil’s 1994 World Cup victory; and Díaz’s own short \u003ci>Junior tu papá\u003c/i>, which revisits memories of a 1993 championship game played in Barranquilla, Colombia 17 days after Pablo Escobar’s death.\u003c/p>\n\u003cp>But the main event of the day for many in attendance will be a teaser of Díaz’s current project, a feature-length documentary about \u003ca href=\"https://sfcityfc.com/\">San Francisco City Football Club\u003c/a>, the oldest community-owned soccer club in the United States.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The team, which has been around since 2001 and competes in the semi-professional USL League Two, has long played its home games at Kezar Stadium. Over two decades, SF City FC has gathered an ardent fan base of local supporters, people who fill the stands with black and gold gear, drums and flags, chanting “Oh when the fog / comes rolling in.” (Sponsored by Muni, the team has some of the \u003ca href=\"https://www.kqed.org/arts/13952578/san-francisco-soccer-team-city-fc-muni-hollis-callas-collaboration\">best jerseys in the game\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_13987804\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFCityFC_MUNDIAL-06_2000.jpg\" alt=\"three men in soccer jerseys against green screen\" width=\"2000\" height=\"1326\" class=\"size-full wp-image-13987804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFCityFC_MUNDIAL-06_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFCityFC_MUNDIAL-06_2000-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFCityFC_MUNDIAL-06_2000-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFCityFC_MUNDIAL-06_2000-1536x1018.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Filmmaker Daniel Díaz with SF City FC Creative Director Ian Blackley and Director of Operations Tyler Hinman at SF COMMONS. \u003ccite>(Daniel Díaz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But in May 2025, \u003ca href=\"https://www.instagram.com/p/DJb3KiHxwKh/\">Mayor Daniel Lurie announced\u003c/a> a new minor league soccer team founded by financial executives Geoff Oltmans and Marc Rohrer — the confusingly named Golden City FC — would be coming to San Francisco. Shortly after, the Board of Supervisors voted to give the nonexistent team a \u003ca href=\"https://sfrecpark.org/m/newsflash/home/detail/2285\">15-year-contract at Kezar\u003c/a> (with the option of three five-year extensions) in exchange for $10 million worth of renovations to the stadium.\u003c/p>\n\u003cp>[aside postID='news_12076503' hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/IMG_1406-2000x1500.jpg']SF City FC was blindsided. The deal meant they would be able to play just one game a season on what had been their home field. Nearly a year later, Golden City FC has yet to materialize, and the team’s website is \u003ca href=\"https://goldencityfootballclub.org/\">now broken\u003c/a>.\u003c/p>\n\u003cp>All of this provides plenty of dramatic fodder for Díaz’s \u003ci>Roll Fog\u003c/i>, which he will continue to film through the team’s 2026 season, which opens with \u003ca href=\"https://sfcityfc.com/schedule/san-juan-home\">a home game\u003c/a> at San Francisco State University’s Cox Stadium on May 3. \u003c/p>\n\u003cp>“This is going to be the first time we’re showing anything publicly for the project,” Díaz says of the 12-minute teaser screening at the Roxie. “We’re using it as an opportunity to introduce this project to the community that it is for and it’s about and that is ultimately participating in the production of it.”\u003c/p>\n\u003cp>A Q&A after will include a conversation between Díaz and Rei Dorwart of \u003ca href=\"https://www.kqed.org/arts/13972889/marco-jacques-joga-jax-sf-city-football-club-futbol-by-the-bay\">Fútbol by the Bay\u003c/a> (which runs youth soccer clinics, among other activities), and members of SF City FC supporter groups the \u003ca href=\"https://www.instagram.com/northsiderssfcityfc/\">Northsiders\u003c/a>, \u003ca href=\"https://www.instagram.com/kezarunionsf/\">Kezar Union\u003c/a> and \u003ca href=\"https://www.instagram.com/faultlineoffenders/\">Fault Line Offenders\u003c/a>.\u003c/p>\n\u003cp>“This is a project that we want to really be through the fans’ point of view,” Díaz says. In that spirit, attendees are encouraged to wear their teams’ jerseys, and to bring scarves and flags to the screening. At the Roxie, Díaz says he hopes to create a “match day atmosphere” emblematic of how soccer brings disparate groups together in support of the sport.\u003c/p>\n\u003cp>“It’s about replicating everything that’s so great about the city that we’re in,” he says, “and how, at least in my mind, SF City FC does that as well.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/film/futbol-on-film/\">Fútbol on film\u003c/a>’ screens at the Roxie Theater (3125 16th St., San Francisco) on Sunday, March 29 at 12 p.m.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the FIFA Men’s \u003ca href=\"https://www.kqed.org/forum/2010101913251/the-world-cup-heads-to-california\">World Cup\u003c/a> comes to the Bay Area in June and July, much of the conversation will revolve around the economic benefits of hosting these mega sporting events. \u003c/p>\n\u003cp>But for soccer fans like Daniel Díaz, a purely monetary focus misses the mark. On Sunday, March 29, Díaz, via the documentary platform CiNEOLA, will present a program at the Roxie called “\u003ca href=\"https://roxie.com/film/futbol-on-film/\">Fútbol on film\u003c/a>.”\u003c/p>\n\u003cp>“We wanted to put together a program that spoke to football in a way that really focuses on the good, the people, the humanity around the sport,” he tells KQED. The goal, he says, is to look at the sport from an “anti-capitalist, anti-imperialist lens.”\u003c/p>\n\u003cfigure id=\"attachment_13987803\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BaggioStill_jpg4_2000.jpg\" alt=\"tv screen showing soccer game in darkened space\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13987803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BaggioStill_jpg4_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BaggioStill_jpg4_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BaggioStill_jpg4_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BaggioStill_jpg4_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BaggioStill_jpg4_2000-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Henrique Cartaxo’s short film ‘Roberto Baggio,’ 2023. \u003ccite>(Courtesy of the artist and CiNEOLA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 90-minute program starts at noon with a series of three short documentaries focused on Latin American football: RJ Sanchez’s \u003ci>Barra brava\u003c/i>, a 16mm film about Colombia’s devoted soccer fans; \u003ci>Roberto Baggio\u003c/i>, about filmmaker Henrique Cartaxo’s memories of Brazil’s 1994 World Cup victory; and Díaz’s own short \u003ci>Junior tu papá\u003c/i>, which revisits memories of a 1993 championship game played in Barranquilla, Colombia 17 days after Pablo Escobar’s death.\u003c/p>\n\u003cp>But the main event of the day for many in attendance will be a teaser of Díaz’s current project, a feature-length documentary about \u003ca href=\"https://sfcityfc.com/\">San Francisco City Football Club\u003c/a>, the oldest community-owned soccer club in the United States.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The team, which has been around since 2001 and competes in the semi-professional USL League Two, has long played its home games at Kezar Stadium. Over two decades, SF City FC has gathered an ardent fan base of local supporters, people who fill the stands with black and gold gear, drums and flags, chanting “Oh when the fog / comes rolling in.” (Sponsored by Muni, the team has some of the \u003ca href=\"https://www.kqed.org/arts/13952578/san-francisco-soccer-team-city-fc-muni-hollis-callas-collaboration\">best jerseys in the game\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_13987804\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFCityFC_MUNDIAL-06_2000.jpg\" alt=\"three men in soccer jerseys against green screen\" width=\"2000\" height=\"1326\" class=\"size-full wp-image-13987804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFCityFC_MUNDIAL-06_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFCityFC_MUNDIAL-06_2000-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFCityFC_MUNDIAL-06_2000-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFCityFC_MUNDIAL-06_2000-1536x1018.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Filmmaker Daniel Díaz with SF City FC Creative Director Ian Blackley and Director of Operations Tyler Hinman at SF COMMONS. \u003ccite>(Daniel Díaz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But in May 2025, \u003ca href=\"https://www.instagram.com/p/DJb3KiHxwKh/\">Mayor Daniel Lurie announced\u003c/a> a new minor league soccer team founded by financial executives Geoff Oltmans and Marc Rohrer — the confusingly named Golden City FC — would be coming to San Francisco. Shortly after, the Board of Supervisors voted to give the nonexistent team a \u003ca href=\"https://sfrecpark.org/m/newsflash/home/detail/2285\">15-year-contract at Kezar\u003c/a> (with the option of three five-year extensions) in exchange for $10 million worth of renovations to the stadium.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>SF City FC was blindsided. The deal meant they would be able to play just one game a season on what had been their home field. Nearly a year later, Golden City FC has yet to materialize, and the team’s website is \u003ca href=\"https://goldencityfootballclub.org/\">now broken\u003c/a>.\u003c/p>\n\u003cp>All of this provides plenty of dramatic fodder for Díaz’s \u003ci>Roll Fog\u003c/i>, which he will continue to film through the team’s 2026 season, which opens with \u003ca href=\"https://sfcityfc.com/schedule/san-juan-home\">a home game\u003c/a> at San Francisco State University’s Cox Stadium on May 3. \u003c/p>\n\u003cp>“This is going to be the first time we’re showing anything publicly for the project,” Díaz says of the 12-minute teaser screening at the Roxie. “We’re using it as an opportunity to introduce this project to the community that it is for and it’s about and that is ultimately participating in the production of it.”\u003c/p>\n\u003cp>A Q&A after will include a conversation between Díaz and Rei Dorwart of \u003ca href=\"https://www.kqed.org/arts/13972889/marco-jacques-joga-jax-sf-city-football-club-futbol-by-the-bay\">Fútbol by the Bay\u003c/a> (which runs youth soccer clinics, among other activities), and members of SF City FC supporter groups the \u003ca href=\"https://www.instagram.com/northsiderssfcityfc/\">Northsiders\u003c/a>, \u003ca href=\"https://www.instagram.com/kezarunionsf/\">Kezar Union\u003c/a> and \u003ca href=\"https://www.instagram.com/faultlineoffenders/\">Fault Line Offenders\u003c/a>.\u003c/p>\n\u003cp>“This is a project that we want to really be through the fans’ point of view,” Díaz says. In that spirit, attendees are encouraged to wear their teams’ jerseys, and to bring scarves and flags to the screening. At the Roxie, Díaz says he hopes to create a “match day atmosphere” emblematic of how soccer brings disparate groups together in support of the sport.\u003c/p>\n\u003cp>“It’s about replicating everything that’s so great about the city that we’re in,” he says, “and how, at least in my mind, SF City FC does that as well.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/film/futbol-on-film/\">Fútbol on film\u003c/a>’ screens at the Roxie Theater (3125 16th St., San Francisco) on Sunday, March 29 at 12 p.m.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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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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"title": "‘Orwell: 2+2=5’ Makes a Persuasive Point That Our World Is Only Getting Worse",
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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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"title": "In ‘Olas de Recuerdo,’ a Filmmaker Uncovers Her Family’s Antifascist Legacy",
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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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"headline": "In ‘Olas de Recuerdo,’ a Filmmaker Uncovers Her Family’s Antifascist Legacy",
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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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"excerpt": "The arthouse theater has launched a fundraising campaign to stay in the Mission District permanently.",
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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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"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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