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"content": "\u003cp>Damaged. Vengeful. Perverse. Those are a few of the characteristics of the classic femme fatale, which French actress \u003ca href=\"https://www.roxie.com/ai1ec_event/midsummer-nightmare/?instance_id=28408\" target=\"_blank\" rel=\"noopener\">Andrée Clément\u003c/a> exuded even when she was playing a chambermaid with a mousy exterior. Resurrected by local programmer Don Malcolm for a Roxie double bill culled from the dozen-odd movies she made between 1943 and her premature death in 1954, Clément possessed an unpredictability and instinctiveness that gave her a wild-card quality. Especially in the crime-slash-relationship dramas on view July 26, she seems perpetually on the verge of breaking some convention of (im)polite society.\u003c/p>\n\u003cp>In \u003cem>La Fille du Diable\u003c/em> (\u003cem>Devil’s Daughter\u003c/em>), Clément plays a despised juvenile delinquent in a small village that thrives on the maintenance of appearances. Her dismal outsider existence is enlivened by the arrival of an impostor: an infamous criminal (Pierre Fresnay) passing himself off as the ne’er-do-well who left home 20-odd years ago, struck it rich in America and has returned to the fold. The 1946 film is rife with smart characters and satisfying dialogue, and is wise to the French propensity for cover stories and silence following the Occupation and the liberation.\u003c/p>\n\u003cfigure id=\"attachment_13837528\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200.jpg\" alt=\"Still from 'Macadam,' 1946.\" width=\"1200\" height=\"868\" class=\"size-full wp-image-13837528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-768x556.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-1020x738.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-1180x854.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-960x694.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-240x174.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-375x271.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-520x376.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Macadam,’ 1946. \u003ccite>(Courtesy of Roxie Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Released the same year, \u003cem>Macadam\u003c/em> (\u003cem>Back Streets of Paris\u003c/em>) unfolds in a down-on-its-heels hotel on the outskirts of Paris operated by a certain Madame Rose (Francoise Rosay). Her daughter, Simone (played by Clément), is a bit like Cinderella: She’s compelled to do the lowliest chores from dawn to dark. And, like that fairy-tale lass, one day she meets a prince. Well, a street hustler, but there’s no difference ‘tween the two to Simone.\u003c/p>\n\u003cp>\u003cem>Macadam\u003c/em> takes unseemly pleasure in its litany of con-job seductions, double-crosses and betrayals, which every noir enthusiast will delight in (and see coming from a kilometer away). The movie teases us with romantic ideas of happily-ever-after and justice shall prevail, but we know, from the first sight of Andrée Clément’s face, that nothing good will ever happen to this girl. Nonetheless, Simone comes to an appreciably better end than Andrée herself, who succumbed to tuberculosis at 35. The great thing about the movies, of course, is everyone lives forever.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Inscrutable behind his shades, Abbas Kiarostami reveled in being an enigma. The world-renowned Iranian director’s refusal to be categorized was apparent from his neorealist masterpieces, such as \u003cem>Taste of Cherry\u003c/em> and \u003cem>The Wind Will Carry Us\u003c/em>, that employed novice or nonprofessional actors to blur the parameters signifying (and separating) fiction and nonfiction. However, although the art house world recognized Kiarostami as an iconoclast and a humanist, his predisposition to experiment often went unnoticed.\u003c/p>\n\u003cp>His final film, \u003cem>24 Frames\u003c/em>, completed under the supervision of his son Ahmad after Kiarostami’s death in July 2016, spotlights both the filmmaker’s acuity with short filmmaking and his fascination with nature photography. Working primarily from his own pictures of landscapes and wildlife, Kiarostami used CGI to depict what could have happened before or after the moment of exposure. The result is two dozen exquisitely shaped shorts that range from ephemeral episodes to esoteric experiments to meditative interludes.\u003c/p>\n\u003cfigure id=\"attachment_13826976\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/29399id_004_1200.jpg\" alt=\"Still from Abbas Kiarostami's '24 Frames,' 2017.\" width=\"1200\" height=\"680\" class=\"size-full wp-image-13826976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-1020x578.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-1180x669.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-960x544.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-375x213.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-520x295.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Abbas Kiarostami’s ’24 Frames,’ 2017. \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>24 Frames\u003c/em>, opening Friday, March 16 at the \u003ca href=\"http://www.roxie.com/ai1ec_event/24-frames/?instance_id=26056\" rel=\"noopener\" target=\"_blank\">Roxie\u003c/a>, is a rare and rarefied filmgoing experience. Now, a certain delicacy and poignancy accompanies the last work of a major director, but the waters run even deeper: \u003cem>24 Frames\u003c/em> proves, beyond all debate, that Abbas Kiarostami was not merely a great filmmaker but a major artist. Ahmad Kiarostami will be at the Roxie with writer and distributor Jonathan Marlow for a Q&A session after the 6:30pm screening on Saturday, March 17.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>’24 Frames’ plays at San Francisco’s Roxie Theater March 16-22. For tickets and more information, \u003ca href=\"http://www.roxie.com/ai1ec_event/24-frames/?instance_id=\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Inscrutable behind his shades, Abbas Kiarostami reveled in being an enigma. The world-renowned Iranian director’s refusal to be categorized was apparent from his neorealist masterpieces, such as \u003cem>Taste of Cherry\u003c/em> and \u003cem>The Wind Will Carry Us\u003c/em>, that employed novice or nonprofessional actors to blur the parameters signifying (and separating) fiction and nonfiction. However, although the art house world recognized Kiarostami as an iconoclast and a humanist, his predisposition to experiment often went unnoticed.\u003c/p>\n\u003cp>His final film, \u003cem>24 Frames\u003c/em>, completed under the supervision of his son Ahmad after Kiarostami’s death in July 2016, spotlights both the filmmaker’s acuity with short filmmaking and his fascination with nature photography. Working primarily from his own pictures of landscapes and wildlife, Kiarostami used CGI to depict what could have happened before or after the moment of exposure. The result is two dozen exquisitely shaped shorts that range from ephemeral episodes to esoteric experiments to meditative interludes.\u003c/p>\n\u003cfigure id=\"attachment_13826976\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/29399id_004_1200.jpg\" alt=\"Still from Abbas Kiarostami's '24 Frames,' 2017.\" width=\"1200\" height=\"680\" class=\"size-full wp-image-13826976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-1020x578.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-1180x669.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-960x544.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-375x213.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-520x295.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Abbas Kiarostami’s ’24 Frames,’ 2017. \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>24 Frames\u003c/em>, opening Friday, March 16 at the \u003ca href=\"http://www.roxie.com/ai1ec_event/24-frames/?instance_id=26056\" rel=\"noopener\" target=\"_blank\">Roxie\u003c/a>, is a rare and rarefied filmgoing experience. Now, a certain delicacy and poignancy accompanies the last work of a major director, but the waters run even deeper: \u003cem>24 Frames\u003c/em> proves, beyond all debate, that Abbas Kiarostami was not merely a great filmmaker but a major artist. Ahmad Kiarostami will be at the Roxie with writer and distributor Jonathan Marlow for a Q&A session after the 6:30pm screening on Saturday, March 17.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>’24 Frames’ plays at San Francisco’s Roxie Theater March 16-22. For tickets and more information, \u003ca href=\"http://www.roxie.com/ai1ec_event/24-frames/?instance_id=\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The frenetic film scene takes something of a hiatus through New Year’s, as specialty programmers allow for the seasonal demands of shopping, schlepping, schmoozing and boozing. They also recognize (and partake in themselves) the family holiday traditions of a) piling on the couch with the clan to watch vintage favorites from \u003cem>It’s a Wonderful Life\u003c/em> to \u003cem>Die Hard\u003c/em> and b) trekking to the multiplex on or about Christmas day to check out what Hollywood left under the tree.\u003c/p>\n\u003cp>With respect to a), if you’re in the mood to expand your time-honored shortlist of Christmas movies I enthusiastically recommend Ingmar Bergman’s epic \u003cem>Fanny and Alexander\u003c/em> (1982) and John Huston’s raucous and melancholy adaptation of James Joyce’s \u003cem>The Dead\u003c/em> (1987). On a lighter note, adopt Chris and Paul Weitz’s funny and touching \u003cem>About a Boy\u003c/em> (2002), from Nick Hornby’s clever novel, or embark on \u003cem>Holiday Affair\u003c/em> (1949), buoyed by witty dialogue and Robert Mitchum’s rumpled charm.\u003c/p>\n\u003cfigure id=\"attachment_13817156\" class=\"wp-caption alignright\" style=\"max-width: 368px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13817156\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/kodachrome-elegies1.jpg\" alt=\"Still from Jay Rosenblatt's, 'The Kodachrome Elegies.'\" width=\"368\" height=\"256\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/kodachrome-elegies1.jpg 368w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/kodachrome-elegies1-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/kodachrome-elegies1-240x167.jpg 240w\" sizes=\"(max-width: 368px) 100vw, 368px\">\u003cfigcaption class=\"wp-caption-text\">Still from Jay Rosenblatt’s ‘The Kodachrome Elegies.’\u003c/figcaption>\u003c/figure>\n\u003cp>As ‘tis always the season to ring the bells for local filmmakers, the Roxie brings together an assortment of established and young artists Thursday, Dec. 14 in \u003ca href=\"http://www.roxie.com/ai1ec_event/roxie-mixtape-4/?instance_id=24517\" target=\"_blank\" rel=\"noopener\">The Roxie Mixtape #4\u003c/a>, a genre-spanning program of short films. The contemporary political, economic and racial reality inspired \u003cem>The Beautiful Truth\u003c/em>, which combines DeMareon Gipson’s poetry with SFSU student Alex Ajayi’s animation. Haunting personal experience is the wounded heart and sensitive soul of Luz Olivia’s black-and-white, hand-processed 16mm \u003cem>Nothing to Write Home About\u003c/em> as well as Brett Kashmere’s \u003cem>Ghosts of Empire\u003c/em>, which pairs audio interviews with ex-football players with vestigial images of NFL action.\u003c/p>\n\u003cp>Marian Wallace’s \u003cem>Project Y, \u003c/em>shot in 1983 (in part by the late Dean Snider) and including glimpses of Third Street before its present-day makeover, is a blissfully fragmented telling of an absurdist episode: a couple looks for a misplaced (and never identified) item. The film fits right in with our impulse to look back at this time of year, as does award-winning experimental filmmaker Jay Rosenblatt’s \u003cem>The Kodachrome Elegies\u003c/em>. From home movies of his parents to well-chosen found-footage sequences to, finally, a handful of devastating frames shot by a certain amateur cameraman on Nov. 22, 1963, the film evokes mixed feelings about the people and events that formed its maker, and us.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The frenetic film scene takes something of a hiatus through New Year’s, as specialty programmers allow for the seasonal demands of shopping, schlepping, schmoozing and boozing. They also recognize (and partake in themselves) the family holiday traditions of a) piling on the couch with the clan to watch vintage favorites from \u003cem>It’s a Wonderful Life\u003c/em> to \u003cem>Die Hard\u003c/em> and b) trekking to the multiplex on or about Christmas day to check out what Hollywood left under the tree.\u003c/p>\n\u003cp>With respect to a), if you’re in the mood to expand your time-honored shortlist of Christmas movies I enthusiastically recommend Ingmar Bergman’s epic \u003cem>Fanny and Alexander\u003c/em> (1982) and John Huston’s raucous and melancholy adaptation of James Joyce’s \u003cem>The Dead\u003c/em> (1987). On a lighter note, adopt Chris and Paul Weitz’s funny and touching \u003cem>About a Boy\u003c/em> (2002), from Nick Hornby’s clever novel, or embark on \u003cem>Holiday Affair\u003c/em> (1949), buoyed by witty dialogue and Robert Mitchum’s rumpled charm.\u003c/p>\n\u003cfigure id=\"attachment_13817156\" class=\"wp-caption alignright\" style=\"max-width: 368px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13817156\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/kodachrome-elegies1.jpg\" alt=\"Still from Jay Rosenblatt's, 'The Kodachrome Elegies.'\" width=\"368\" height=\"256\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/kodachrome-elegies1.jpg 368w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/kodachrome-elegies1-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/kodachrome-elegies1-240x167.jpg 240w\" sizes=\"(max-width: 368px) 100vw, 368px\">\u003cfigcaption class=\"wp-caption-text\">Still from Jay Rosenblatt’s ‘The Kodachrome Elegies.’\u003c/figcaption>\u003c/figure>\n\u003cp>As ‘tis always the season to ring the bells for local filmmakers, the Roxie brings together an assortment of established and young artists Thursday, Dec. 14 in \u003ca href=\"http://www.roxie.com/ai1ec_event/roxie-mixtape-4/?instance_id=24517\" target=\"_blank\" rel=\"noopener\">The Roxie Mixtape #4\u003c/a>, a genre-spanning program of short films. The contemporary political, economic and racial reality inspired \u003cem>The Beautiful Truth\u003c/em>, which combines DeMareon Gipson’s poetry with SFSU student Alex Ajayi’s animation. Haunting personal experience is the wounded heart and sensitive soul of Luz Olivia’s black-and-white, hand-processed 16mm \u003cem>Nothing to Write Home About\u003c/em> as well as Brett Kashmere’s \u003cem>Ghosts of Empire\u003c/em>, which pairs audio interviews with ex-football players with vestigial images of NFL action.\u003c/p>\n\u003cp>Marian Wallace’s \u003cem>Project Y, \u003c/em>shot in 1983 (in part by the late Dean Snider) and including glimpses of Third Street before its present-day makeover, is a blissfully fragmented telling of an absurdist episode: a couple looks for a misplaced (and never identified) item. The film fits right in with our impulse to look back at this time of year, as does award-winning experimental filmmaker Jay Rosenblatt’s \u003cem>The Kodachrome Elegies\u003c/em>. From home movies of his parents to well-chosen found-footage sequences to, finally, a handful of devastating frames shot by a certain amateur cameraman on Nov. 22, 1963, the film evokes mixed feelings about the people and events that formed its maker, and us.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In 2016, the vast majority of feature films have, in fact, very little to do with film. Movies are now overwhelmingly both shot and projected digitally, which means a screening starts with the simple push of a button. But in a dwindling number of beloved theaters around the world, reel-to-reel film projection is still an art form and a job — and one that carries a lot of pride for its practitioners.\u003c/p>\n\u003cp>KQED Arts visited the historic \u003ca href=\"http://www.roxie.com/\" target=\"_blank\" rel=\"noopener\">Roxie Theater\u003c/a> in San Francisco’s Mission District for a behind-the-scenes look at what, exactly, goes on in that little room upstairs. Meet Isaac Sherman, Jim Lung and Linda Scobie: two generations of film projectionists devoted to keeping this endangered craft alive. \u003cem>— Emma Silvers\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2016, the vast majority of feature films have, in fact, very little to do with film. Movies are now overwhelmingly both shot and projected digitally, which means a screening starts with the simple push of a button. But in a dwindling number of beloved theaters around the world, reel-to-reel film projection is still an art form and a job — and one that carries a lot of pride for its practitioners.\u003c/p>\n\u003cp>KQED Arts visited the historic \u003ca href=\"http://www.roxie.com/\" target=\"_blank\" rel=\"noopener\">Roxie Theater\u003c/a> in San Francisco’s Mission District for a behind-the-scenes look at what, exactly, goes on in that little room upstairs. Meet Isaac Sherman, Jim Lung and Linda Scobie: two generations of film projectionists devoted to keeping this endangered craft alive. \u003cem>— Emma Silvers\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"soldout": {
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