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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/sffilm\">SFFILM\u003c/a> has awarded $543,000 in grants to film filmmakers from around the world. The funding, \u003ca href=\"https://sffilm.org/sffilm-announces-543k-in-grants-for-filmmakers/\">announced today\u003c/a>, will support over 30 projects ranging from short films to full-length documentaries.\u003c/p>\n\u003cp>While the artistic development grants support filmmakers as far away as Haiti, Honduras, Ghana and Guatemala, a handful of recipients have Bay Area ties — and are telling Bay Area stories. San Francisco-based \u003ca href=\"https://snikflix.com/about\">Sahand Nikoukar\u003c/a>, Berkeley filmmaker \u003ca href=\"https://www.eliviashaw.com/\">Elivia Shaw\u003c/a>, and Stanford professor \u003ca href=\"https://art.stanford.edu/people/jamie-meltzer\">Jamie Meltzer\u003c/a>, as well as San Francisco born-and-raised artist \u003ca href=\"https://www.bravenewfilms.org/roisin_isner\">Róisín Isner\u003c/a> and Richmond’s own \u003ca href=\"https://mariavictoriaponce.com/\">Vicky Ponce\u003c/a> are all SFFILM grantees.\u003c/p>\n\u003cp>Ponce says the funds will assist her with post-production for her comical coming-of-age film, \u003cem>Juan Po and The Last Day of School\u003c/em>.\u003c/p>\n\u003cp>The story, written by Ponce, centers on a 13-year-old boy who wants to impress his teacher, so he gets an in-home perm done by his pops — and then the teenager has to manage the hairy situation that comes thereafter.\u003c/p>\n\u003cp>“It’s about Sierreño music, broccoli haircuts and all the things all the kids are into,” says Ponce during a phone call. A filmmaker whose \u003ca href=\"https://www.kqed.org/arts/13921773/maria-victoria-ponce\">past works\u003c/a> explore the awkward stages of youth and the importance of family connections, she says this feel-good tale is both universal and very grounded in the Bay Area.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She says having a good story, one that will capture audiences, is just part of the equation when she’s looking for funding these days. After \u003ca href=\"https://www.kqed.org/arts/13975921/national-endowment-for-the-arts-grant-cancellations\">major cuts to national arts funding\u003c/a> this year, “the pot has become smaller,” Ponce says. “People are applying for the same things.” \u003c/p>\n\u003cp>Her saving grace as a full-time filmmaker has come from local grants like the one she just received, the SFFILM/San Francisco Conservatory of Music Sound and Cinema Fellowship, which specifically helps develop an original soundtrack.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s exciting get to save $6,000–$10,000, not having to worry about someone creating my post-music,” says Ponce. “It’s exciting that there are still some grants out there for Bay Area artists.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/sffilm\">SFFILM\u003c/a> has awarded $543,000 in grants to film filmmakers from around the world. The funding, \u003ca href=\"https://sffilm.org/sffilm-announces-543k-in-grants-for-filmmakers/\">announced today\u003c/a>, will support over 30 projects ranging from short films to full-length documentaries.\u003c/p>\n\u003cp>While the artistic development grants support filmmakers as far away as Haiti, Honduras, Ghana and Guatemala, a handful of recipients have Bay Area ties — and are telling Bay Area stories. San Francisco-based \u003ca href=\"https://snikflix.com/about\">Sahand Nikoukar\u003c/a>, Berkeley filmmaker \u003ca href=\"https://www.eliviashaw.com/\">Elivia Shaw\u003c/a>, and Stanford professor \u003ca href=\"https://art.stanford.edu/people/jamie-meltzer\">Jamie Meltzer\u003c/a>, as well as San Francisco born-and-raised artist \u003ca href=\"https://www.bravenewfilms.org/roisin_isner\">Róisín Isner\u003c/a> and Richmond’s own \u003ca href=\"https://mariavictoriaponce.com/\">Vicky Ponce\u003c/a> are all SFFILM grantees.\u003c/p>\n\u003cp>Ponce says the funds will assist her with post-production for her comical coming-of-age film, \u003cem>Juan Po and The Last Day of School\u003c/em>.\u003c/p>\n\u003cp>The story, written by Ponce, centers on a 13-year-old boy who wants to impress his teacher, so he gets an in-home perm done by his pops — and then the teenager has to manage the hairy situation that comes thereafter.\u003c/p>\n\u003cp>“It’s about Sierreño music, broccoli haircuts and all the things all the kids are into,” says Ponce during a phone call. A filmmaker whose \u003ca href=\"https://www.kqed.org/arts/13921773/maria-victoria-ponce\">past works\u003c/a> explore the awkward stages of youth and the importance of family connections, she says this feel-good tale is both universal and very grounded in the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She says having a good story, one that will capture audiences, is just part of the equation when she’s looking for funding these days. After \u003ca href=\"https://www.kqed.org/arts/13975921/national-endowment-for-the-arts-grant-cancellations\">major cuts to national arts funding\u003c/a> this year, “the pot has become smaller,” Ponce says. “People are applying for the same things.” \u003c/p>\n\u003cp>Her saving grace as a full-time filmmaker has come from local grants like the one she just received, the SFFILM/San Francisco Conservatory of Music Sound and Cinema Fellowship, which specifically helps develop an original soundtrack.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s exciting get to save $6,000–$10,000, not having to worry about someone creating my post-music,” says Ponce. “It’s exciting that there are still some grants out there for Bay Area artists.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When \u003ca href=\"https://www.latajhweaver.com/\">LaTajh Simmons-Weaver\u003c/a> was a kid, their stoop was their front-row seat to the dramas of their North Oakland neighborhood. “My grandma would call it people watching,” they say. “I’ve always been very intrigued by the way people move through the world.”\u003c/p>\n\u003cp>They didn’t realize it back then, but they were honing what would later become their signature style as a filmmaker: quiet scenes where the audience becomes a fly on the wall, absorbing the characters’ facial expressions as they enter their emotional world. [aside postid='arts_13973675']\u003c/p>\n\u003cp>Simmons-Weaver’s new short film \u003ca href=\"https://sffilm.org/event/two-people-exchanging-saliva-110-budget-paradise/\">\u003ci>Budget Paradise\u003c/i>\u003c/a> debuts at the San Francisco International Film Festival on April 26. It follows a Black nonbinary painter named Chester as they roam through Oakland, facing rejection after rejection as they look for a quiet place to paint. It’s in those still moments that viewers connect to Chester’s yearning for creative freedom, their tender affection for a painting subject and their frustration at feeling like a stranger in their gentrifying hometown.\u003c/p>\n\u003cp>“I feel the artists are trying to keep up with what Oakland has become,” Simmons-Weaver reflects. “This city has become bigger than what we could have ever imagined, and we gotta find our place in it now.”\u003c/p>\n\u003cfigure id=\"attachment_13975062\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975062\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/000146820016.jpg\" alt=\"A director looks into a camera facing an Oakland street, with a film crew behind them.\" width=\"1920\" height=\"1273\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/000146820016.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/000146820016-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/000146820016-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/000146820016-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/000146820016-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/000146820016-1536x1018.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">LaTajh Simmons-Weaver on set for ‘Budget Paradise.’ \u003ccite>(Ryland Walker Knight)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like Chester, Simmons-Weaver has faced their fair share of obstacles on their creative path. Their recent filmmaking success is the product of a relentless grind that began over a decade ago, when they started working as a production assistant — a notoriously low-paid, grueling role on set — while writing their own scripts on the side. After their last PA gig in 2017 on \u003ca href=\"https://www.kqed.org/arts/tag/boots-riley\">Boots Riley\u003c/a>’s bizarro anti-capitalist thriller \u003ci>Sorry to Bother You\u003c/i>, Simmons-Weaver decided, despite their nerves and imposter syndrome, that it was time to step into the role of director.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Taking a chance on themself paid off. In 2023, their quirky short film \u003ci>Companion\u003c/i>, about the special yet strange ways cats love their humans, made it into Philadelphia’s BlackStar Film Festival and a handful of others around the country. That same year, they became an SFFILM FilmHouse Resident. They were also a producer on Savannah Leaf’s BAFTA Award-winning film \u003ca href=\"https://www.kqed.org/forum/2010101893927/savannah-leafs-film-earth-mama-navigates-race-class-and-motherhood-in-oakland\">\u003ci>Earth Mama\u003c/i>\u003c/a>, starring Oakland rapper-turned-actress \u003ca href=\"https://www.kqed.org/arts/13925905/tia-nomore-earth-mama-a24-savanah-leaf\">Tia Nomore\u003c/a> as a young mother in danger of losing custody of her kids.\u003c/p>\n\u003cp>Just a few months after \u003ci>Earth Mama\u003c/i> premiered, Boots Riley once again made waves with \u003ci>I’m a Virgo\u003c/i>, his Oakland-set, satirical sci-fi series about a 13-foot-tall man and his crew of friends who face off against a crime-fighting “hero” who isn’t what he seems. Simmons-Weaver’s connection to the show came about in an unexpected way. After Riley stopped them on the street to compliment their fashion and take their photo, their nonbinary swag became Riley’s inspiration for Jones, the queer character who rallies the masses against corrupt corporate forces.\u003c/p>\n\u003cp>https://youtu.be/mp_NErEYNb8?si=wl8EL0Cs3brPgYQP\u003c/p>\n\u003cp>After working behind the scenes on so many projects that have put Oakland cinema on the map, Simmons-Weaver is now making their mark as a filmmaker on the rise. \u003ci>Hold Me Close\u003c/i>, a short documentary they co-directed with their partner, Aurora Brachman, premiered at Sundance this year. The gorgeously slow-paced film offers an intimate look into the home life of a queer, Black couple, Corrine and Tiana, as they navigate starting a family, explaining their identities to their parents and figuring out how to feel safe in the world.\u003c/p>\n\u003cp>\u003ca href=\"https://glaad.org/hold-me-close-held-tight-at-sundance/\">GLAAD praised the film\u003c/a> for its nuanced depiction of Black, queer love. “I’m just interested in telling the different ways in which you could be Black and queer,” says Simmons-Weaver. “I think there’s just a mainstream queer story of coming out or getting a crush, but there’s so much more.”\u003c/p>\n\u003cp>Another new short documentary that Brachman directed and Simmons-Weaver produced, w\u003ci>hen the revolution doesn’t come\u003c/i>, follows several adult children of Black Panther activists. They grapple with the complicated experience of having parents who sacrificed their lives to a revolutionary cause.\u003c/p>\n\u003cp>https://youtu.be/fql4jvVrxPA?si=WMiGpBsdeBBJyDfs\u003c/p>\n\u003cp>Oakland’s unique culture — the activism, the artistry, but also the occasional element of danger — continues to inspire Simmons-Weaver, even though they, Brachman and their three cats have relocated to Los Angeles.\u003c/p>\n\u003cp>“I am truly dedicated to always making my films in Oakland,” they say. “Oakland is such a cool place, but it’s so weird. … There’s the violent side. There’s the artsy side. And it’s not big enough for those things to be separate. … It could really pop off at any time, which is scary, but it’s also so fun that you’re like, ‘I’ma risk it for the party.’” [aside postid='arts_13974689,arts_13974810']\u003c/p>\n\u003cp>Up next, Simmons-Weaver is working on their most ambitious project yet, a narrative feature called \u003ci>No One Turned Away for Lack of Funds: A Queer Inclusive Memoir.\u003c/i> It takes on the drama of the Oakland queer scene and how its radical politics can sometimes feed into cancel culture. The main character, Silas, designs escape rooms to pay their rent.\u003c/p>\n\u003cp>To develop the script, Simmons-Weaver received a prestigious SFFILM Rainin Grant, which has supported projects like Sean Wang’s Fremont-set film about adolescence, \u003ca href=\"https://www.kqed.org/forum/2010101906515/sean-wang-and-joan-chen-reflect-on-didi-%e5%bc%9f%e5%bc%9f-their-coming-of-age-film-set-in-fremont\">\u003ci>Dìdi\u003c/i>\u003c/a>; Joe Talbot’s meditation on gentrification, \u003ca href=\"https://www.kqed.org/arts/13858829/the-last-black-man-in-san-francisco-hits-home-in-oakland\">\u003ci>The Last Black Man in San Francisco\u003c/i>\u003c/a>; and \u003ca href=\"https://www.kqed.org/arts/tag/ryan-coogler\">Ryan Coogler\u003c/a>’s biopic of \u003ca href=\"https://www.kqed.org/arts/13847704/after-oscar-grant-oakland-artists-inspired-a-new-generation-of-activists\">Oscar Grant\u003c/a>, \u003ci>Fruitvale Station\u003c/i>. With the Bay Area’s growing reputation as a powerhouse of thoughtful, left-of-center cinema, Simmons-Weaver is well poised to add their contribution to the region’s growing filmography.\u003c/p>\n\u003cp>“It makes it feel like all the hard work is paying off,” Simmons-Weaver says. “[To go from] doing it with no money — like none, like zero, like negative money — and then just having people be like, ‘Oh yeah, we see what you’re doing, let me support you in this way.’ It’s just — man, I’m speechless about it.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>LaTajh Simmons-Weaver’s ‘Budget Paradise’ screens April 26 at Marina Theatre as part of the San Francisco International Film Festival. \u003ca href=\"https://sffilm.org/event/two-people-exchanging-saliva-110-budget-paradise/\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Simmons-Weaver’s new short film \u003ca href=\"https://sffilm.org/event/two-people-exchanging-saliva-110-budget-paradise/\">\u003ci>Budget Paradise\u003c/i>\u003c/a> debuts at the San Francisco International Film Festival on April 26. It follows a Black nonbinary painter named Chester as they roam through Oakland, facing rejection after rejection as they look for a quiet place to paint. It’s in those still moments that viewers connect to Chester’s yearning for creative freedom, their tender affection for a painting subject and their frustration at feeling like a stranger in their gentrifying hometown.\u003c/p>\n\u003cp>“I feel the artists are trying to keep up with what Oakland has become,” Simmons-Weaver reflects. “This city has become bigger than what we could have ever imagined, and we gotta find our place in it now.”\u003c/p>\n\u003cfigure id=\"attachment_13975062\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975062\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/000146820016.jpg\" alt=\"A director looks into a camera facing an Oakland street, with a film crew behind them.\" width=\"1920\" height=\"1273\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/000146820016.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/000146820016-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/000146820016-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/000146820016-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/000146820016-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/000146820016-1536x1018.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">LaTajh Simmons-Weaver on set for ‘Budget Paradise.’ \u003ccite>(Ryland Walker Knight)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like Chester, Simmons-Weaver has faced their fair share of obstacles on their creative path. Their recent filmmaking success is the product of a relentless grind that began over a decade ago, when they started working as a production assistant — a notoriously low-paid, grueling role on set — while writing their own scripts on the side. After their last PA gig in 2017 on \u003ca href=\"https://www.kqed.org/arts/tag/boots-riley\">Boots Riley\u003c/a>’s bizarro anti-capitalist thriller \u003ci>Sorry to Bother You\u003c/i>, Simmons-Weaver decided, despite their nerves and imposter syndrome, that it was time to step into the role of director.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Taking a chance on themself paid off. In 2023, their quirky short film \u003ci>Companion\u003c/i>, about the special yet strange ways cats love their humans, made it into Philadelphia’s BlackStar Film Festival and a handful of others around the country. That same year, they became an SFFILM FilmHouse Resident. They were also a producer on Savannah Leaf’s BAFTA Award-winning film \u003ca href=\"https://www.kqed.org/forum/2010101893927/savannah-leafs-film-earth-mama-navigates-race-class-and-motherhood-in-oakland\">\u003ci>Earth Mama\u003c/i>\u003c/a>, starring Oakland rapper-turned-actress \u003ca href=\"https://www.kqed.org/arts/13925905/tia-nomore-earth-mama-a24-savanah-leaf\">Tia Nomore\u003c/a> as a young mother in danger of losing custody of her kids.\u003c/p>\n\u003cp>Just a few months after \u003ci>Earth Mama\u003c/i> premiered, Boots Riley once again made waves with \u003ci>I’m a Virgo\u003c/i>, his Oakland-set, satirical sci-fi series about a 13-foot-tall man and his crew of friends who face off against a crime-fighting “hero” who isn’t what he seems. Simmons-Weaver’s connection to the show came about in an unexpected way. After Riley stopped them on the street to compliment their fashion and take their photo, their nonbinary swag became Riley’s inspiration for Jones, the queer character who rallies the masses against corrupt corporate forces.\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/mp_NErEYNb8'\n title='//www.youtube.com/embed/mp_NErEYNb8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After working behind the scenes on so many projects that have put Oakland cinema on the map, Simmons-Weaver is now making their mark as a filmmaker on the rise. \u003ci>Hold Me Close\u003c/i>, a short documentary they co-directed with their partner, Aurora Brachman, premiered at Sundance this year. The gorgeously slow-paced film offers an intimate look into the home life of a queer, Black couple, Corrine and Tiana, as they navigate starting a family, explaining their identities to their parents and figuring out how to feel safe in the world.\u003c/p>\n\u003cp>\u003ca href=\"https://glaad.org/hold-me-close-held-tight-at-sundance/\">GLAAD praised the film\u003c/a> for its nuanced depiction of Black, queer love. “I’m just interested in telling the different ways in which you could be Black and queer,” says Simmons-Weaver. “I think there’s just a mainstream queer story of coming out or getting a crush, but there’s so much more.”\u003c/p>\n\u003cp>Another new short documentary that Brachman directed and Simmons-Weaver produced, w\u003ci>hen the revolution doesn’t come\u003c/i>, follows several adult children of Black Panther activists. They grapple with the complicated experience of having parents who sacrificed their lives to a revolutionary cause.\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/fql4jvVrxPA'\n title='//www.youtube.com/embed/fql4jvVrxPA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Oakland’s unique culture — the activism, the artistry, but also the occasional element of danger — continues to inspire Simmons-Weaver, even though they, Brachman and their three cats have relocated to Los Angeles.\u003c/p>\n\u003cp>“I am truly dedicated to always making my films in Oakland,” they say. “Oakland is such a cool place, but it’s so weird. … There’s the violent side. There’s the artsy side. And it’s not big enough for those things to be separate. … It could really pop off at any time, which is scary, but it’s also so fun that you’re like, ‘I’ma risk it for the party.’” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Up next, Simmons-Weaver is working on their most ambitious project yet, a narrative feature called \u003ci>No One Turned Away for Lack of Funds: A Queer Inclusive Memoir.\u003c/i> It takes on the drama of the Oakland queer scene and how its radical politics can sometimes feed into cancel culture. The main character, Silas, designs escape rooms to pay their rent.\u003c/p>\n\u003cp>To develop the script, Simmons-Weaver received a prestigious SFFILM Rainin Grant, which has supported projects like Sean Wang’s Fremont-set film about adolescence, \u003ca href=\"https://www.kqed.org/forum/2010101906515/sean-wang-and-joan-chen-reflect-on-didi-%e5%bc%9f%e5%bc%9f-their-coming-of-age-film-set-in-fremont\">\u003ci>Dìdi\u003c/i>\u003c/a>; Joe Talbot’s meditation on gentrification, \u003ca href=\"https://www.kqed.org/arts/13858829/the-last-black-man-in-san-francisco-hits-home-in-oakland\">\u003ci>The Last Black Man in San Francisco\u003c/i>\u003c/a>; and \u003ca href=\"https://www.kqed.org/arts/tag/ryan-coogler\">Ryan Coogler\u003c/a>’s biopic of \u003ca href=\"https://www.kqed.org/arts/13847704/after-oscar-grant-oakland-artists-inspired-a-new-generation-of-activists\">Oscar Grant\u003c/a>, \u003ci>Fruitvale Station\u003c/i>. With the Bay Area’s growing reputation as a powerhouse of thoughtful, left-of-center cinema, Simmons-Weaver is well poised to add their contribution to the region’s growing filmography.\u003c/p>\n\u003cp>“It makes it feel like all the hard work is paying off,” Simmons-Weaver says. “[To go from] doing it with no money — like none, like zero, like negative money — and then just having people be like, ‘Oh yeah, we see what you’re doing, let me support you in this way.’ It’s just — man, I’m speechless about it.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>LaTajh Simmons-Weaver’s ‘Budget Paradise’ screens April 26 at Marina Theatre as part of the San Francisco International Film Festival. \u003ca href=\"https://sffilm.org/event/two-people-exchanging-saliva-110-budget-paradise/\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "2025-sffilm-festival-preview-guide",
"title": "Must-See Screenings at the 2025 SFFILM Festival",
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"headTitle": "Must-See Screenings at the 2025 SFFILM Festival | KQED",
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"content": "\u003cp>After flirting with a \u003ca href=\"https://www.kqed.org/arts/13954872/sffilm-2024-bay-area-filmmakers-films-guide\">five-day program in 2024\u003c/a>, the San Francisco International Film Festival returns to an 11-day run this year for its 68th iteration, April 17–27. \u003c/p>\n\u003cp>Filmgoers who thrill at having too many options to choose from can once again \u003ca href=\"https://sffilm.org/2025-festival-program/\">assiduously plot their schedules\u003c/a>, even if it involves some tight layovers. As SFFILM Executive Director Anne Lai said during the March 26 program announcement, “We like to see people running.”\u003c/p>\n\u003cp>Like last year, most programming will take place in the Marina and Presidio neighborhoods and at the Berkeley Art Museum and Pacific Archive.\u003c/p>\n\u003cp>Boasting over 150 films from over 50 countries, this year’s festival is packed with world premieres, films with local ties, feature-length debuts and special appearances. Here are five not-to-miss events to seek out when festival tickets go on sale to the general public on Friday, March 28 at 10 a.m.\u003c/p>\n\u003cfigure id=\"attachment_13973681\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000.jpg\" alt=\"Adult and young girl stand on street corner\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13973681\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Asia Kate Dillon and Ridley Asha Bateman in a scene from Elena Oxman’s ‘Outerlands.’ \u003ccite>(SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/closing-night-outerlands/\">Outerlands\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 27, 5 p.m. at Premier Theater\u003cbr>\nApril 27, 6 p.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>No, this is not a documentary about the popular Outer Sunset restaurant, though the narrative feature \u003ci>was\u003c/i> filmed in San Francisco’s Outer Sunset and Richmond neighborhoods. \u003ci>Outerlands\u003c/i>, the festival’s closing-night film, follows Cass (played by Asia Kate Dillon), a recent transplant to San Francisco. Cass is cautiously patching together a life when they unexpectedly become the caretaker of a coworker’s 11-year-old daughter, Ari. As the days stretch on, the two bristle and bond, their interactions shaped by their shared experiences of childhood abandonment.\u003c/p>\n\u003cp>Bonus: Director Elena Oxman will speak at \u003ca href=\"https://sffilm.org/event/festival-talk-filming-in-san-francisco-a-case-study-with-outerlands-and-film-sf/\">a free event on April 25\u003c/a> about filming in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13973680\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TEXAS_CHAIN_SAW_MASSACRE_1.jpg\" alt=\"silhouette of man wielding chainsaw against sunset\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13973680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TEXAS_CHAIN_SAW_MASSACRE_1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TEXAS_CHAIN_SAW_MASSACRE_1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TEXAS_CHAIN_SAW_MASSACRE_1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TEXAS_CHAIN_SAW_MASSACRE_1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TEXAS_CHAIN_SAW_MASSACRE_1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TEXAS_CHAIN_SAW_MASSACRE_1-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘The Texas Chain Saw Massacre’ is part of a a six-film retrospective of classic horror films. \u003ccite>(SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Horror highlights\u003c/h2>\n\u003cp>SFFILM generally has a few “midnight films” on the program, but this year they’ve leaned into horror classics. Spread across the festival run, this mini-retrospective kicks off with John Carpenter’s \u003ci>\u003ca href=\"https://sffilm.org/event/they-live/\">They Live\u003c/a>\u003c/i>, followed by \u003ci>\u003ca href=\"https://sffilm.org/event/the-texas-chain-saw-massacre/\">The Texas Chainsaw Massacre\u003c/a>\u003c/i> (preceded by the documentary \u003ci>\u003ca href=\"https://sffilm.org/event/chain-reactions/\">Chain Reaction\u003c/a>\u003c/i>, charting the 1974 film’s lasting influence), Jennifer Kent’s \u003ci>\u003ca href=\"https://sffilm.org/event/the-babadook/\">The Babadook\u003c/a>\u003c/i>, a potentially foggy outdoor screening of Carpenter’s \u003ci>\u003ca href=\"https://sffilm.org/event/sundown-cinema-outdoor-screening-the-fog/\">The Fog\u003c/a>\u003c/i> and Herk Harvey’s haunting \u003ci>\u003ca href=\"https://sffilm.org/event/carnival-of-souls/\">Carnival of Souls\u003c/a>\u003c/i>. \u003c/p>\n\u003cp>For a taste of contemporary features and shorts following in these genre footsteps, check out \u003ci>\u003ca href=\"https://sffilm.org/event/40-acres/\">40 Acres\u003c/a>\u003c/i> (cannibals!), \u003ci>\u003ca href=\"https://sffilm.org/event/cloud/\">Cloud\u003c/a>\u003c/i> and the shorts block “\u003ca href=\"https://sffilm.org/event/shorts-3-dark-waves-stranger-tides/\">Dark Waves & Stranger Tides\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13973683\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000.jpg\" alt=\"circular image of crashing waves on black background\" width=\"2000\" height=\"1056\" class=\"size-full wp-image-13973683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000-1020x539.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000-768x406.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000-1536x811.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000-1920x1014.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Sky Hopinka’s ‘maɬni – towards the ocean, towards the shore,’ 2020. \u003ccite>(SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A celebration of Sky Hopinka\u003c/h2>\n\u003cp>\u003ci>\u003ca href=\"https://sffilm.org/event/pov-award-sky-hopinka-ma%c9%acni-towards-the-ocean-towards-the-shore/\">Persistence of Vision Award + ‘maɬni – towards the ocean, towards the shore’\u003c/a>\u003cbr>\nApril 24, 7 p.m. at BAMPFA\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://sffilm.org/event/sky-hopinka-shorts-a-proposition-of-memory/\">Sky Hopinka Shorts: a proposition of memory\u003c/a>\u003cbr>\nApril 25, 6 p.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cp>Five years ago, filmmaker Sky Hopinka was set to screen his debut feature \u003ci>maɬni – towards the ocean, towards the shore\u003c/i> at the 2020 SFFILM festival — an event completely canceled due to the pandemic. Now SFFILM is honoring Hopinka, a member of the Ho-Chunk Nation and a descendant of the Pechanga Band of Luiseño Indians, with the festival’s Persistence of Vision award, alongside a screening of his experimental documentary, at long last. \u003c/p>\n\u003cp>\u003ci>maɬni – towards the ocean, towards the shore\u003c/i> follows two people as they wander through nature and share their personal reflections on identity, language and the spirit world, promising to be “a layered art piece that challenges the positioning of Indigenous culture in American society.”\u003c/p>\n\u003cp>If that sells out, which it likely will, there are two other opportunities to engage with Hopinka’s lush, beautifully shot work. A program of Hopinka’s shorts plays on April 25, and BAMPFA is showing \u003ci>\u003ca href=\"https://bampfa.org/program/collection-focus-sky-hopinka-sunflower-siege-engine\">Sunflower Siege Engine\u003c/a>\u003c/i> through Aug. 17, a 2022 film featuring footage of Richard Oakes reading “Proclamation: To the Great White Father and All His People” at the Alcatraz occupation. \u003c/p>\n\u003cfigure id=\"attachment_13973682\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ON_HEALING_LAND_BIRDS_PERCH_1.jpg\" alt=\"distorted illustration of birds flying\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13973682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ON_HEALING_LAND_BIRDS_PERCH_1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ON_HEALING_LAND_BIRDS_PERCH_1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ON_HEALING_LAND_BIRDS_PERCH_1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ON_HEALING_LAND_BIRDS_PERCH_1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ON_HEALING_LAND_BIRDS_PERCH_1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ON_HEALING_LAND_BIRDS_PERCH_1-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Naja Pham Lockwood’s mid-length documentary ‘On Healing Land, Birds Perch,’ 2025, part of a three-film program. \u003ccite>(SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/on-healing-land-birds-perch-roots-that-reach-toward-the-sky-we-were-the-scenery/\">On Healing Land, Birds Perch\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 25, 6:15 p.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cp>In another welcome programming change, 2025 also marks the return of mid-length films, which weren’t included in last year’s festival. A highlight is Naja Pham Lockwood’s 33-minute film \u003ci>On Healing Land, Birds Perch\u003c/i>, focused on what happened after Eddie Adams photographed South Vietnamese general Nguyễn Ngọc Loan killing Viet Cong captain Nguyễn Văn Lém in the Pulitzer Prize-winning image “\u003ca href=\"https://www.npr.org/2009/03/24/102112403/the-vietnam-war-through-eddie-adams-lens\">Saigon Execution\u003c/a>.” The film gathers the children of General Loan and Captain Lém, along with the son of a family Lém executed, all now living in the United States. Their complicated and conflicting views of their forebears — and the war — are depicted in candid detail. \u003c/p>\n\u003cp>Lockwood’s film screens with two others: Jess X. Snow’s \u003ci>Roots That Reach Toward the Sky\u003c/i> and Christopher Radcliff’s \u003ci>We Were the Scenery\u003c/i> (about two Vietnamese refugees in the Philippines who became extras in \u003ci>Apocalypse Now\u003c/i>).\u003c/p>\n\u003cfigure id=\"attachment_13973679\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IDIOTKA_1.jpg\" alt=\"woman with hands on face in shocked gesture\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13973679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IDIOTKA_1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IDIOTKA_1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IDIOTKA_1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IDIOTKA_1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IDIOTKA_1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IDIOTKA_1-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Anna Baryshnikov stars in Nastasya Popov’s ‘Idiotka.’ \u003ccite>(SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/idiotka/\">Idiotka\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 22, 6 p.m. at Premier Theater\u003c/i>\u003c/p>\n\u003cp>So far this list has leaned toward the serious stuff (with a delightful side of gore), but the festival is not without its lighthearted fare! May I present \u003ci>Idiotka\u003c/i>, writer-director Nastasya Popov’s zany debut film. Fans of \u003ci>\u003ca href=\"https://www.kqed.org/arts/13953601/love-lies-bleeding-review-kristen-stewart-ed-harris-kate-glass\">Love Lies Bleeding\u003c/a>\u003c/i> may remember lead actress Anna Baryshnikov as the clingy, wannabe girlfriend caught on the wrong side of Kristen Stewart and Katy O’Brian’s true love. (Who could forget those teeth?) \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Here, Baryshnikov plays Margarita, an emerging fashion designer attaching high-end tags to her own work to sell pieces online. Much of the film’s comedy comes from her chaotic life with her extended Russian Jewish family in West Hollywood. When a reality fashion show called \u003ci>Slay, Serve and Survive\u003c/i> comes calling, Margarita signs on to save — and/or escape — the family home.\u003c/p>\n\n",
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"excerpt": "Five recommendations for big-ticket items and under-the-radar offerings at this year’s film festival.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After flirting with a \u003ca href=\"https://www.kqed.org/arts/13954872/sffilm-2024-bay-area-filmmakers-films-guide\">five-day program in 2024\u003c/a>, the San Francisco International Film Festival returns to an 11-day run this year for its 68th iteration, April 17–27. \u003c/p>\n\u003cp>Filmgoers who thrill at having too many options to choose from can once again \u003ca href=\"https://sffilm.org/2025-festival-program/\">assiduously plot their schedules\u003c/a>, even if it involves some tight layovers. As SFFILM Executive Director Anne Lai said during the March 26 program announcement, “We like to see people running.”\u003c/p>\n\u003cp>Like last year, most programming will take place in the Marina and Presidio neighborhoods and at the Berkeley Art Museum and Pacific Archive.\u003c/p>\n\u003cp>Boasting over 150 films from over 50 countries, this year’s festival is packed with world premieres, films with local ties, feature-length debuts and special appearances. Here are five not-to-miss events to seek out when festival tickets go on sale to the general public on Friday, March 28 at 10 a.m.\u003c/p>\n\u003cfigure id=\"attachment_13973681\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000.jpg\" alt=\"Adult and young girl stand on street corner\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13973681\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Asia Kate Dillon and Ridley Asha Bateman in a scene from Elena Oxman’s ‘Outerlands.’ \u003ccite>(SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/closing-night-outerlands/\">Outerlands\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 27, 5 p.m. at Premier Theater\u003cbr>\nApril 27, 6 p.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>No, this is not a documentary about the popular Outer Sunset restaurant, though the narrative feature \u003ci>was\u003c/i> filmed in San Francisco’s Outer Sunset and Richmond neighborhoods. \u003ci>Outerlands\u003c/i>, the festival’s closing-night film, follows Cass (played by Asia Kate Dillon), a recent transplant to San Francisco. Cass is cautiously patching together a life when they unexpectedly become the caretaker of a coworker’s 11-year-old daughter, Ari. As the days stretch on, the two bristle and bond, their interactions shaped by their shared experiences of childhood abandonment.\u003c/p>\n\u003cp>Bonus: Director Elena Oxman will speak at \u003ca href=\"https://sffilm.org/event/festival-talk-filming-in-san-francisco-a-case-study-with-outerlands-and-film-sf/\">a free event on April 25\u003c/a> about filming in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13973680\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TEXAS_CHAIN_SAW_MASSACRE_1.jpg\" alt=\"silhouette of man wielding chainsaw against sunset\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13973680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TEXAS_CHAIN_SAW_MASSACRE_1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TEXAS_CHAIN_SAW_MASSACRE_1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TEXAS_CHAIN_SAW_MASSACRE_1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TEXAS_CHAIN_SAW_MASSACRE_1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TEXAS_CHAIN_SAW_MASSACRE_1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TEXAS_CHAIN_SAW_MASSACRE_1-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘The Texas Chain Saw Massacre’ is part of a a six-film retrospective of classic horror films. \u003ccite>(SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Horror highlights\u003c/h2>\n\u003cp>SFFILM generally has a few “midnight films” on the program, but this year they’ve leaned into horror classics. Spread across the festival run, this mini-retrospective kicks off with John Carpenter’s \u003ci>\u003ca href=\"https://sffilm.org/event/they-live/\">They Live\u003c/a>\u003c/i>, followed by \u003ci>\u003ca href=\"https://sffilm.org/event/the-texas-chain-saw-massacre/\">The Texas Chainsaw Massacre\u003c/a>\u003c/i> (preceded by the documentary \u003ci>\u003ca href=\"https://sffilm.org/event/chain-reactions/\">Chain Reaction\u003c/a>\u003c/i>, charting the 1974 film’s lasting influence), Jennifer Kent’s \u003ci>\u003ca href=\"https://sffilm.org/event/the-babadook/\">The Babadook\u003c/a>\u003c/i>, a potentially foggy outdoor screening of Carpenter’s \u003ci>\u003ca href=\"https://sffilm.org/event/sundown-cinema-outdoor-screening-the-fog/\">The Fog\u003c/a>\u003c/i> and Herk Harvey’s haunting \u003ci>\u003ca href=\"https://sffilm.org/event/carnival-of-souls/\">Carnival of Souls\u003c/a>\u003c/i>. \u003c/p>\n\u003cp>For a taste of contemporary features and shorts following in these genre footsteps, check out \u003ci>\u003ca href=\"https://sffilm.org/event/40-acres/\">40 Acres\u003c/a>\u003c/i> (cannibals!), \u003ci>\u003ca href=\"https://sffilm.org/event/cloud/\">Cloud\u003c/a>\u003c/i> and the shorts block “\u003ca href=\"https://sffilm.org/event/shorts-3-dark-waves-stranger-tides/\">Dark Waves & Stranger Tides\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13973683\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000.jpg\" alt=\"circular image of crashing waves on black background\" width=\"2000\" height=\"1056\" class=\"size-full wp-image-13973683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000-1020x539.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000-768x406.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000-1536x811.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000-1920x1014.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Sky Hopinka’s ‘maɬni – towards the ocean, towards the shore,’ 2020. \u003ccite>(SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A celebration of Sky Hopinka\u003c/h2>\n\u003cp>\u003ci>\u003ca href=\"https://sffilm.org/event/pov-award-sky-hopinka-ma%c9%acni-towards-the-ocean-towards-the-shore/\">Persistence of Vision Award + ‘maɬni – towards the ocean, towards the shore’\u003c/a>\u003cbr>\nApril 24, 7 p.m. at BAMPFA\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://sffilm.org/event/sky-hopinka-shorts-a-proposition-of-memory/\">Sky Hopinka Shorts: a proposition of memory\u003c/a>\u003cbr>\nApril 25, 6 p.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cp>Five years ago, filmmaker Sky Hopinka was set to screen his debut feature \u003ci>maɬni – towards the ocean, towards the shore\u003c/i> at the 2020 SFFILM festival — an event completely canceled due to the pandemic. Now SFFILM is honoring Hopinka, a member of the Ho-Chunk Nation and a descendant of the Pechanga Band of Luiseño Indians, with the festival’s Persistence of Vision award, alongside a screening of his experimental documentary, at long last. \u003c/p>\n\u003cp>\u003ci>maɬni – towards the ocean, towards the shore\u003c/i> follows two people as they wander through nature and share their personal reflections on identity, language and the spirit world, promising to be “a layered art piece that challenges the positioning of Indigenous culture in American society.”\u003c/p>\n\u003cp>If that sells out, which it likely will, there are two other opportunities to engage with Hopinka’s lush, beautifully shot work. A program of Hopinka’s shorts plays on April 25, and BAMPFA is showing \u003ci>\u003ca href=\"https://bampfa.org/program/collection-focus-sky-hopinka-sunflower-siege-engine\">Sunflower Siege Engine\u003c/a>\u003c/i> through Aug. 17, a 2022 film featuring footage of Richard Oakes reading “Proclamation: To the Great White Father and All His People” at the Alcatraz occupation. \u003c/p>\n\u003cfigure id=\"attachment_13973682\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ON_HEALING_LAND_BIRDS_PERCH_1.jpg\" alt=\"distorted illustration of birds flying\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13973682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ON_HEALING_LAND_BIRDS_PERCH_1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ON_HEALING_LAND_BIRDS_PERCH_1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ON_HEALING_LAND_BIRDS_PERCH_1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ON_HEALING_LAND_BIRDS_PERCH_1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ON_HEALING_LAND_BIRDS_PERCH_1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ON_HEALING_LAND_BIRDS_PERCH_1-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Naja Pham Lockwood’s mid-length documentary ‘On Healing Land, Birds Perch,’ 2025, part of a three-film program. \u003ccite>(SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/on-healing-land-birds-perch-roots-that-reach-toward-the-sky-we-were-the-scenery/\">On Healing Land, Birds Perch\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 25, 6:15 p.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cp>In another welcome programming change, 2025 also marks the return of mid-length films, which weren’t included in last year’s festival. A highlight is Naja Pham Lockwood’s 33-minute film \u003ci>On Healing Land, Birds Perch\u003c/i>, focused on what happened after Eddie Adams photographed South Vietnamese general Nguyễn Ngọc Loan killing Viet Cong captain Nguyễn Văn Lém in the Pulitzer Prize-winning image “\u003ca href=\"https://www.npr.org/2009/03/24/102112403/the-vietnam-war-through-eddie-adams-lens\">Saigon Execution\u003c/a>.” The film gathers the children of General Loan and Captain Lém, along with the son of a family Lém executed, all now living in the United States. Their complicated and conflicting views of their forebears — and the war — are depicted in candid detail. \u003c/p>\n\u003cp>Lockwood’s film screens with two others: Jess X. Snow’s \u003ci>Roots That Reach Toward the Sky\u003c/i> and Christopher Radcliff’s \u003ci>We Were the Scenery\u003c/i> (about two Vietnamese refugees in the Philippines who became extras in \u003ci>Apocalypse Now\u003c/i>).\u003c/p>\n\u003cfigure id=\"attachment_13973679\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IDIOTKA_1.jpg\" alt=\"woman with hands on face in shocked gesture\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13973679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IDIOTKA_1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IDIOTKA_1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IDIOTKA_1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IDIOTKA_1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IDIOTKA_1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IDIOTKA_1-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Anna Baryshnikov stars in Nastasya Popov’s ‘Idiotka.’ \u003ccite>(SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/idiotka/\">Idiotka\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 22, 6 p.m. at Premier Theater\u003c/i>\u003c/p>\n\u003cp>So far this list has leaned toward the serious stuff (with a delightful side of gore), but the festival is not without its lighthearted fare! May I present \u003ci>Idiotka\u003c/i>, writer-director Nastasya Popov’s zany debut film. Fans of \u003ci>\u003ca href=\"https://www.kqed.org/arts/13953601/love-lies-bleeding-review-kristen-stewart-ed-harris-kate-glass\">Love Lies Bleeding\u003c/a>\u003c/i> may remember lead actress Anna Baryshnikov as the clingy, wannabe girlfriend caught on the wrong side of Kristen Stewart and Katy O’Brian’s true love. (Who could forget those teeth?) \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Here, Baryshnikov plays Margarita, an emerging fashion designer attaching high-end tags to her own work to sell pieces online. Much of the film’s comedy comes from her chaotic life with her extended Russian Jewish family in West Hollywood. When a reality fashion show called \u003ci>Slay, Serve and Survive\u003c/i> comes calling, Margarita signs on to save — and/or escape — the family home.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Lumumba Lives! Alongside Max, Abbey, Dizzy and Duke in ‘Soundtrack for a Coup d’Etat’",
"headTitle": "Lumumba Lives! Alongside Max, Abbey, Dizzy and Duke in ‘Soundtrack for a Coup d’Etat’ | KQED",
"content": "\u003cp>In the hands of Johan Grimonprez, archival footage carries a 200-volt charge. That dusty patina and musty aroma that envelops most period documentaries? Not a whiff in Grimonprez’s work, which crackles, buzzes and stings like a live wire hitched to the pulse of history.\u003c/p>\n\u003cp>The Belgian filmmaker and visual essayist’s bracing, relentless \u003cem>\u003ca href=\"https://sffilm.org/event/persistence-of-vision-award-johan-grimonprez-soundtrack-for-a-coup-detat/\">Soundtrack for a Coup d’Etat\u003c/a>\u003c/em>, which premiered at Sundance and screens Thursday, April 25 at the Berkeley Art Museum and Pacific Film Archive as part of the San Francisco International Film Festival (April 24–28), takes us back to the mid-1950s through mid-1960s when Africa’s continent-wide movement for independence and solidarity coincided with the Cold War between jousting superpowers as well as the emerging Civil Rights Movement in the United States.\u003c/p>\n\u003cp>[aside postID='arts_13954872,arts_13956111']The film’s through line is Patrice Lumumba, a beer salesman in the Belgian colony of the Congo and skilled public speaker who emerged to lead the successful campaign for independence. In June 1960 he was elected the first prime minister of the Republic of the Congo; seven months later, following a U.S. and Belgium-backed coup by Col. Joseph Mobutu, Lumumba was murdered with two political allies. He was 35.\u003c/p>\n\u003cp>Raoul Peck (\u003cem>I Am Not Your Negro\u003c/em>) made an essential but hard-to-find documentary, \u003cem>Lumumba: Death of a Prophet\u003c/em> (1991), as well as the 2000 biopic \u003cem>Lumumba\u003c/em> (streaming for free on \u003ca href=\"https://www.kanopy.com/en/product/lumumba-2\">Kanopy\u003c/a>). Grimonprez doesn’t retrace Peck’s steps (let alone revisit 19th-century Belgian atrocities) so much as re-cast Lumumba’s visionary pan-Africanism — portrayed by the international media of the time as radical, primitive, violent and Communist-leaning — as reasonable Black expression.\u003c/p>\n\u003cp>To put it another way, the filmmaker is less concerned with the injustice and tragedy of Lumumba’s death than how the white power structure (President Dwight Eisenhower, Director of Central Intelligence Allen Dulles, Belgian and U.S. business interests and European mercenaries) exerted its will, protected its mineral and commercial holdings and changed the path of African history. (I shouldn’t limit myself to the past tense, as Grimonprez’s inclusion of color Tesla and Apple iPhone ads in the black-and-white flow reminds us.)\u003c/p>\n\u003cfigure id=\"attachment_13956485\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-scaled.jpg\" alt=\"Black and white photo of parade with flags and onlookers, two men standing in back of car\" width=\"2560\" height=\"1705\" class=\"size-full wp-image-13956485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-2048x1364.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-1920x1279.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Soundtrack for a Coup d’Etat.’ \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I apologize for withholding until now the “soundtrack” that Grimonprez deploys as poignant, pleasurable counterpoint to the shadowy narrative of devious ambassadors and smug spooks, and cowed United Nations Secretary-General Dag Hammarskjöld. It is vintage, wall-to-wall jazz, beginning with Max Roach and Abbey Lincoln, who will reappear at a climactic UN Security Council meeting in the wake of Lumumba’s murder.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The precise starting point, though, is Louis Armstrong, who toured the world as a goodwill ambassador in the decades after World War II. In fact, the State Department sponsored his trips to Africa in the 1950s. Even without seeing \u003cem>Soundtrack for a Coup d’Etat\u003c/em>, you can imagine Satchmo’s pleasure at his reception in pre-independence Ghana, his fury at the racism and violence that Black Americans experienced at the same time, and his distaste for being used by his government to “Blackwash” its domestic policies abroad.\u003c/p>\n\u003cp>[aside postID='arts_13955977']Grimonprez, who is receiving SFFILM’s annual Persistence of Vision Award presented to a non-narrative filmmaker (previous winners include Trinh T. Minh-ha, Kenneth Anger and Heddy Honigmann), has a rare, ephemeral talent with news footage and vintage interviews that allows us to experience — while the story is moving forward, albeit with digressions — how broadcasters and cameramen framed their subjects at the time. The condescension and racism are palpable.\u003c/p>\n\u003cp>In the event you can’t catch \u003cem>Soundtrack for a Coup d’Etat\u003c/em> at the festival, and even if you can, Kanopy has an earlier, even more visceral Grimonprez foray into moving-image archives. \u003cem>\u003ca href=\"https://www.kanopy.com/en/product/5959289?vp=torontopl\">dial H-I-S-T-O-R-Y\u003c/a>\u003c/em> (1997) is an often-shocking compilation from the ’70s heyday of commercial airline hijackings by terrorists of various stripes that finds the horror in the banality of distanced, objective news footage.\u003c/p>\n\u003cp>One of the pleasures of the new film is the way in which time, context and a skillful editor shift our perspectives of historical figures. Long before Benetton, Nikita Khrushchev (First Secretary of the Communist Party of the Soviet Union and Chairman of the Council of Ministers) and Cuban Prime Minister Fidel Castro are aware of the performative and symbolic value of their public appearances.\u003c/p>\n\u003cp>Every appearance and word in this film by Malcolm X, meanwhile, sparkles with wisdom, insight and courage. He is beyond direct; he’s a genuine prophet. Yet in his lifetime, the media portrayed him as a dangerous fringe figure. How might the world look today if Lumumba and Malcolm had lived longer? Would the promise of African self-rule have come to fruition? Would Johan Grimonprez be in the Bay Area this week with a film called \u003cem>Soundtrack for a Revolution\u003c/em>?\u003c/p>\n\u003cp>Grimonprez doesn’t pose those questions, at least not directly. But they are woven into the film, in the soulful notes of Duke Ellington, Dizzy Gillespie, Thelonius Monk, John Coltrane, Nina Simone, Art Blakey and Ornette Coleman.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The presentation of SFFILM’s Persistence of Vision Award begins at 6:30 p.m. on April 25 at the Berkeley Art Museum and Pacific Film Archive with director Johan Grimonprez and presenter Fumi Okiji expected to attend. ‘Soundtrack for a Coup d’Etat’ plays at 7 p.m. \u003ca href=\"https://sffilm.org/event/persistence-of-vision-award-johan-grimonprez-soundtrack-for-a-coup-detat/\">Find tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the hands of Johan Grimonprez, archival footage carries a 200-volt charge. That dusty patina and musty aroma that envelops most period documentaries? Not a whiff in Grimonprez’s work, which crackles, buzzes and stings like a live wire hitched to the pulse of history.\u003c/p>\n\u003cp>The Belgian filmmaker and visual essayist’s bracing, relentless \u003cem>\u003ca href=\"https://sffilm.org/event/persistence-of-vision-award-johan-grimonprez-soundtrack-for-a-coup-detat/\">Soundtrack for a Coup d’Etat\u003c/a>\u003c/em>, which premiered at Sundance and screens Thursday, April 25 at the Berkeley Art Museum and Pacific Film Archive as part of the San Francisco International Film Festival (April 24–28), takes us back to the mid-1950s through mid-1960s when Africa’s continent-wide movement for independence and solidarity coincided with the Cold War between jousting superpowers as well as the emerging Civil Rights Movement in the United States.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The film’s through line is Patrice Lumumba, a beer salesman in the Belgian colony of the Congo and skilled public speaker who emerged to lead the successful campaign for independence. In June 1960 he was elected the first prime minister of the Republic of the Congo; seven months later, following a U.S. and Belgium-backed coup by Col. Joseph Mobutu, Lumumba was murdered with two political allies. He was 35.\u003c/p>\n\u003cp>Raoul Peck (\u003cem>I Am Not Your Negro\u003c/em>) made an essential but hard-to-find documentary, \u003cem>Lumumba: Death of a Prophet\u003c/em> (1991), as well as the 2000 biopic \u003cem>Lumumba\u003c/em> (streaming for free on \u003ca href=\"https://www.kanopy.com/en/product/lumumba-2\">Kanopy\u003c/a>). Grimonprez doesn’t retrace Peck’s steps (let alone revisit 19th-century Belgian atrocities) so much as re-cast Lumumba’s visionary pan-Africanism — portrayed by the international media of the time as radical, primitive, violent and Communist-leaning — as reasonable Black expression.\u003c/p>\n\u003cp>To put it another way, the filmmaker is less concerned with the injustice and tragedy of Lumumba’s death than how the white power structure (President Dwight Eisenhower, Director of Central Intelligence Allen Dulles, Belgian and U.S. business interests and European mercenaries) exerted its will, protected its mineral and commercial holdings and changed the path of African history. (I shouldn’t limit myself to the past tense, as Grimonprez’s inclusion of color Tesla and Apple iPhone ads in the black-and-white flow reminds us.)\u003c/p>\n\u003cfigure id=\"attachment_13956485\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-scaled.jpg\" alt=\"Black and white photo of parade with flags and onlookers, two men standing in back of car\" width=\"2560\" height=\"1705\" class=\"size-full wp-image-13956485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-2048x1364.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-1920x1279.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Soundtrack for a Coup d’Etat.’ \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I apologize for withholding until now the “soundtrack” that Grimonprez deploys as poignant, pleasurable counterpoint to the shadowy narrative of devious ambassadors and smug spooks, and cowed United Nations Secretary-General Dag Hammarskjöld. It is vintage, wall-to-wall jazz, beginning with Max Roach and Abbey Lincoln, who will reappear at a climactic UN Security Council meeting in the wake of Lumumba’s murder.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The precise starting point, though, is Louis Armstrong, who toured the world as a goodwill ambassador in the decades after World War II. In fact, the State Department sponsored his trips to Africa in the 1950s. Even without seeing \u003cem>Soundtrack for a Coup d’Etat\u003c/em>, you can imagine Satchmo’s pleasure at his reception in pre-independence Ghana, his fury at the racism and violence that Black Americans experienced at the same time, and his distaste for being used by his government to “Blackwash” its domestic policies abroad.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Grimonprez, who is receiving SFFILM’s annual Persistence of Vision Award presented to a non-narrative filmmaker (previous winners include Trinh T. Minh-ha, Kenneth Anger and Heddy Honigmann), has a rare, ephemeral talent with news footage and vintage interviews that allows us to experience — while the story is moving forward, albeit with digressions — how broadcasters and cameramen framed their subjects at the time. The condescension and racism are palpable.\u003c/p>\n\u003cp>In the event you can’t catch \u003cem>Soundtrack for a Coup d’Etat\u003c/em> at the festival, and even if you can, Kanopy has an earlier, even more visceral Grimonprez foray into moving-image archives. \u003cem>\u003ca href=\"https://www.kanopy.com/en/product/5959289?vp=torontopl\">dial H-I-S-T-O-R-Y\u003c/a>\u003c/em> (1997) is an often-shocking compilation from the ’70s heyday of commercial airline hijackings by terrorists of various stripes that finds the horror in the banality of distanced, objective news footage.\u003c/p>\n\u003cp>One of the pleasures of the new film is the way in which time, context and a skillful editor shift our perspectives of historical figures. Long before Benetton, Nikita Khrushchev (First Secretary of the Communist Party of the Soviet Union and Chairman of the Council of Ministers) and Cuban Prime Minister Fidel Castro are aware of the performative and symbolic value of their public appearances.\u003c/p>\n\u003cp>Every appearance and word in this film by Malcolm X, meanwhile, sparkles with wisdom, insight and courage. He is beyond direct; he’s a genuine prophet. Yet in his lifetime, the media portrayed him as a dangerous fringe figure. How might the world look today if Lumumba and Malcolm had lived longer? Would the promise of African self-rule have come to fruition? Would Johan Grimonprez be in the Bay Area this week with a film called \u003cem>Soundtrack for a Revolution\u003c/em>?\u003c/p>\n\u003cp>Grimonprez doesn’t pose those questions, at least not directly. But they are woven into the film, in the soulful notes of Duke Ellington, Dizzy Gillespie, Thelonius Monk, John Coltrane, Nina Simone, Art Blakey and Ornette Coleman.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The presentation of SFFILM’s Persistence of Vision Award begins at 6:30 p.m. on April 25 at the Berkeley Art Museum and Pacific Film Archive with director Johan Grimonprez and presenter Fumi Okiji expected to attend. ‘Soundtrack for a Coup d’Etat’ plays at 7 p.m. \u003ca href=\"https://sffilm.org/event/persistence-of-vision-award-johan-grimonprez-soundtrack-for-a-coup-detat/\">Find tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Young Director’s Dreamlike Portrait of Asian American Artists at SFFILM",
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"content": "\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> This story is part of KQED’s \u003ca href=\"https://www.kqed.org/youthtakeover\">Youth Takeover\u003c/a>. Throughout the week of April 22-26, we’re publishing content by high school students from all over the Bay Area. \u003c/em>\u003c/p>\n\u003cp>Walking into \u003ca href=\"https://www.ageliobatle.com/\">Agelio Batle\u003c/a>’s San Leandro art studio, Kaiya Jordan heard an idea that stuck with her: that art should be “like a stone or flower.” \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/anaya.sm_.greyscale.rev_.jpg\" alt=\"\" width=\"160\" height=\"184\">\u003c/p>\n\u003cp>The Berkeley High School student originally set out to make a straightforward documentary, but her plans shifted dramatically after her conversation with the painter and sculptor. They spoke for hours about what art means to them and how to translate their innermost emotions for viewers.\u003c/p>\n\u003cp>“[Batle] is working on these mirrors [with] gold frames, and it’s representing the impact of war on his childhood in the Philippines and how that impacted family dynamics,” says Jordan. “He was the one that inspired the whole idea behind the film.”\u003c/p>\n\u003cp>Jordan uses film as a means to push the boundaries of storytelling. Her latest short film, \u003cem>like a stone or flower\u003c/em>, was inspired by her conversation with Batle and two other Asian American artists of different generations: the dancer-visual artist \u003ca href=\"https://theroadswewalktogether.org/\">Tamara Chu\u003c/a> and illustrator Mika Jordan, who is Jordan’s 14-year-old sister. Jordan’s work often blends film with animation, and her latest piece uses multimedia elements to go beyond a typical documentary and spark reflection in the viewer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think utilizing various different photographs and paintings and animation and incorporating that into my film is freeing in how I’m able to express myself and tell the stories that I want to tell,” she says.\u003c/p>\n\u003cp>\u003cem>like a stone or flower\u003c/em> will premiere at the \u003ca href=\"https://sffilm.org/event/shorts-6-youth-works-2024/\">Youth Works\u003c/a> screening at the Marina Theatre on April 28 as part of the San Francisco International Film Festival. The student director is an alum of SFFILM’s Youth FilmHouse Residency. She also honed her skills at \u003ca href=\"https://problemlibrary.org/\">Problem Library\u003c/a>’s Problem Children, another mentorship program for young Bay Area artists.\u003c/p>\n\u003cfigure id=\"attachment_13956300\" class=\"wp-caption alignright\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956300\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/kaiyas-senior-portrait-scaled.jpeg\" alt=\"\" width=\"2048\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/kaiyas-senior-portrait-scaled.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/kaiyas-senior-portrait-800x1000.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/kaiyas-senior-portrait-1020x1275.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/kaiyas-senior-portrait-160x200.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/kaiyas-senior-portrait-768x960.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/kaiyas-senior-portrait-1229x1536.jpeg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/kaiyas-senior-portrait-1638x2048.jpeg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/kaiyas-senior-portrait-1920x2400.jpeg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Kaiya Jordan is a Berkeley High School senior. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During her time at Youth FilmHouse Residency, Jordan connected with professional filmmakers, and \u003ca href=\"https://www.danieljensenfreeman.com/\">Daniel Freeman\u003c/a>’s experimental approach became an inspiration for \u003cem>like a stone or flower\u003c/em>. “He was the first one to show me how to blend documentary and narrative films in a way where you’re capturing real stories, but then you’re also embedding your own opinion and thoughts and story into the broader documentary itself,” Jordan says.\u003c/p>\n\u003cp>Jordan edited nine hours of interview footage down to just nine minutes, creating a short but thought-provoking film. Jordan wanted to better connect with her own identity as an Asian American artist by seeking out others with similar backgrounds.\u003c/p>\n\u003cp>“Since I was able to interview those three artists, I was really able to understand how their own heritage and community and culture had affected their art,” she says. “Even with my sister, too, we talked about [how] … we’re both half Chinese and half white, and I think that sometimes we both feel that we’re somewhat white-presenting. So I think it can be tough to grapple with that.”\u003c/p>\n\u003cp>As her interview with Batle continued, the need for structured questions melted away, and Jordan allowed the conversation to continue to more philosophical ideas around art. This is reflected in the film, which Jordan says “transcends rationality and logic” in a series of dreamlike montages overlaid with the artists’ speaking about their processes. She intersperses clips from each interview with images of the artists’ work. The film takes on complex questions of artistic motivation and answers them with interwoven, highly personal reflections on self-expression.\u003c/p>\n\u003cfigure id=\"attachment_13956299\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956299\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-2.png\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-2.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-2-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-2-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-2-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-2-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-2-1536x864.png 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Drawings by 14-year-old Mika Jordan, as featured in Kaiya Jordan’s ‘like a stone or flower.’ \u003ccite>(Courtesy of SF Film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All three artists speak about their artistic instincts: Chu’s everyday inspiration, Batle’s serendipitous sculptures and Mika Jordan’s emotional characters. Chu takes abstract photos of “alien landscapes,” rippling scenes of light cast from her windows. She wants her art to allow the viewer to “enter [a] magical land where things that shouldn’t be able to happen are happening,” which is how she feels when light sparks her imagination. She hangs these photos over a lime-green chaise in her cozy and eclectic home, which also provides a set for her dance.\u003c/p>\n\u003cp>The youngest artist, Mika Jordan, draws anime-inspired characters with bold personalities to amplify hidden parts of herself. Her room is covered in posters, and she says at one point that artists are “like superheroes.”\u003c/p>\n\u003cp>“I think that was a particularly impactful moment in the interview process because it was seeing someone so close to me have this moment of realization that I could definitely connect with,” Kaiya Jordan says.\u003c/p>\n\u003cfigure id=\"attachment_13956298\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956298\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-5.png\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-5.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-5-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-5-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-5-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-5-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-5-1536x864.png 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The artists featured in ‘like a stone or flower’ discuss how they share their inner worlds through their work. \u003ccite>(Courtesy of SF Film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Batle comes across as wise and experienced, and focuses on the complexity of art above all else. His studio is filled with mementos of his process: a bright orange geometric structure, glass bell jars, black paper covered in golden grids and finished artwork on the walls. His metaphors for art guide how we interpret the rest of the film.\u003c/p>\n\u003cp>After she finished the filmmaking process, Jordan discovered more about herself, but not in the way she had anticipated. Though she hasn’t chosen her college yet, she plans to continue her journey by studying film production at a four-year university. When reflecting on creating \u003cem>like a stone or flower\u003c/em>, Jordan remembers the “transformative experience” of collaborating in a setting where all ideas were equally respected, regardless of the creator’s age or experience.\u003c/p>\n\u003cp>“I had previously thought of being a youth filmmaker as something that is sort of inferior to adults who have more access to the industry,” she says. “But I think with the help of SFFILM and Problem Library, I’ve been able to understand the importance and beauty of being a youth and having access to adults who will both understand your perspective, but also be there to mentor you. The connection and the community between youth filmmakers is pretty powerful.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘like a stone or flower’ premieres at the San Francisco International Film Festival on April 28. \u003ca href=\"https://sffilm.org/event/shorts-6-youth-works-2024/\">Details and tickets here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Anaya Ertz is currently a sophomore at Marin Academy. She enjoys reading, writing and dancing.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Kaiya Jordan’s short film, ‘like a stone or flower,’ premieres April 28 at Marin Theatre. ",
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"title": "A Young Director’s Dreamlike Portrait of Asian American Artists at SFFILM | KQED",
"description": "Kaiya Jordan’s short film, ‘like a stone or flower,’ premieres April 28 at Marin Theatre. ",
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"headline": "A Young Director’s Dreamlike Portrait of Asian American Artists at SFFILM",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> This story is part of KQED’s \u003ca href=\"https://www.kqed.org/youthtakeover\">Youth Takeover\u003c/a>. Throughout the week of April 22-26, we’re publishing content by high school students from all over the Bay Area. \u003c/em>\u003c/p>\n\u003cp>Walking into \u003ca href=\"https://www.ageliobatle.com/\">Agelio Batle\u003c/a>’s San Leandro art studio, Kaiya Jordan heard an idea that stuck with her: that art should be “like a stone or flower.” \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/anaya.sm_.greyscale.rev_.jpg\" alt=\"\" width=\"160\" height=\"184\">\u003c/p>\n\u003cp>The Berkeley High School student originally set out to make a straightforward documentary, but her plans shifted dramatically after her conversation with the painter and sculptor. They spoke for hours about what art means to them and how to translate their innermost emotions for viewers.\u003c/p>\n\u003cp>“[Batle] is working on these mirrors [with] gold frames, and it’s representing the impact of war on his childhood in the Philippines and how that impacted family dynamics,” says Jordan. “He was the one that inspired the whole idea behind the film.”\u003c/p>\n\u003cp>Jordan uses film as a means to push the boundaries of storytelling. Her latest short film, \u003cem>like a stone or flower\u003c/em>, was inspired by her conversation with Batle and two other Asian American artists of different generations: the dancer-visual artist \u003ca href=\"https://theroadswewalktogether.org/\">Tamara Chu\u003c/a> and illustrator Mika Jordan, who is Jordan’s 14-year-old sister. Jordan’s work often blends film with animation, and her latest piece uses multimedia elements to go beyond a typical documentary and spark reflection in the viewer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think utilizing various different photographs and paintings and animation and incorporating that into my film is freeing in how I’m able to express myself and tell the stories that I want to tell,” she says.\u003c/p>\n\u003cp>\u003cem>like a stone or flower\u003c/em> will premiere at the \u003ca href=\"https://sffilm.org/event/shorts-6-youth-works-2024/\">Youth Works\u003c/a> screening at the Marina Theatre on April 28 as part of the San Francisco International Film Festival. The student director is an alum of SFFILM’s Youth FilmHouse Residency. She also honed her skills at \u003ca href=\"https://problemlibrary.org/\">Problem Library\u003c/a>’s Problem Children, another mentorship program for young Bay Area artists.\u003c/p>\n\u003cfigure id=\"attachment_13956300\" class=\"wp-caption alignright\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956300\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/kaiyas-senior-portrait-scaled.jpeg\" alt=\"\" width=\"2048\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/kaiyas-senior-portrait-scaled.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/kaiyas-senior-portrait-800x1000.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/kaiyas-senior-portrait-1020x1275.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/kaiyas-senior-portrait-160x200.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/kaiyas-senior-portrait-768x960.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/kaiyas-senior-portrait-1229x1536.jpeg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/kaiyas-senior-portrait-1638x2048.jpeg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/kaiyas-senior-portrait-1920x2400.jpeg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Kaiya Jordan is a Berkeley High School senior. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During her time at Youth FilmHouse Residency, Jordan connected with professional filmmakers, and \u003ca href=\"https://www.danieljensenfreeman.com/\">Daniel Freeman\u003c/a>’s experimental approach became an inspiration for \u003cem>like a stone or flower\u003c/em>. “He was the first one to show me how to blend documentary and narrative films in a way where you’re capturing real stories, but then you’re also embedding your own opinion and thoughts and story into the broader documentary itself,” Jordan says.\u003c/p>\n\u003cp>Jordan edited nine hours of interview footage down to just nine minutes, creating a short but thought-provoking film. Jordan wanted to better connect with her own identity as an Asian American artist by seeking out others with similar backgrounds.\u003c/p>\n\u003cp>“Since I was able to interview those three artists, I was really able to understand how their own heritage and community and culture had affected their art,” she says. “Even with my sister, too, we talked about [how] … we’re both half Chinese and half white, and I think that sometimes we both feel that we’re somewhat white-presenting. So I think it can be tough to grapple with that.”\u003c/p>\n\u003cp>As her interview with Batle continued, the need for structured questions melted away, and Jordan allowed the conversation to continue to more philosophical ideas around art. This is reflected in the film, which Jordan says “transcends rationality and logic” in a series of dreamlike montages overlaid with the artists’ speaking about their processes. She intersperses clips from each interview with images of the artists’ work. The film takes on complex questions of artistic motivation and answers them with interwoven, highly personal reflections on self-expression.\u003c/p>\n\u003cfigure id=\"attachment_13956299\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956299\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-2.png\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-2.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-2-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-2-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-2-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-2-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-2-1536x864.png 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Drawings by 14-year-old Mika Jordan, as featured in Kaiya Jordan’s ‘like a stone or flower.’ \u003ccite>(Courtesy of SF Film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All three artists speak about their artistic instincts: Chu’s everyday inspiration, Batle’s serendipitous sculptures and Mika Jordan’s emotional characters. Chu takes abstract photos of “alien landscapes,” rippling scenes of light cast from her windows. She wants her art to allow the viewer to “enter [a] magical land where things that shouldn’t be able to happen are happening,” which is how she feels when light sparks her imagination. She hangs these photos over a lime-green chaise in her cozy and eclectic home, which also provides a set for her dance.\u003c/p>\n\u003cp>The youngest artist, Mika Jordan, draws anime-inspired characters with bold personalities to amplify hidden parts of herself. Her room is covered in posters, and she says at one point that artists are “like superheroes.”\u003c/p>\n\u003cp>“I think that was a particularly impactful moment in the interview process because it was seeing someone so close to me have this moment of realization that I could definitely connect with,” Kaiya Jordan says.\u003c/p>\n\u003cfigure id=\"attachment_13956298\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956298\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-5.png\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-5.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-5-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-5-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-5-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-5-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-5-1536x864.png 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The artists featured in ‘like a stone or flower’ discuss how they share their inner worlds through their work. \u003ccite>(Courtesy of SF Film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Batle comes across as wise and experienced, and focuses on the complexity of art above all else. His studio is filled with mementos of his process: a bright orange geometric structure, glass bell jars, black paper covered in golden grids and finished artwork on the walls. His metaphors for art guide how we interpret the rest of the film.\u003c/p>\n\u003cp>After she finished the filmmaking process, Jordan discovered more about herself, but not in the way she had anticipated. Though she hasn’t chosen her college yet, she plans to continue her journey by studying film production at a four-year university. When reflecting on creating \u003cem>like a stone or flower\u003c/em>, Jordan remembers the “transformative experience” of collaborating in a setting where all ideas were equally respected, regardless of the creator’s age or experience.\u003c/p>\n\u003cp>“I had previously thought of being a youth filmmaker as something that is sort of inferior to adults who have more access to the industry,” she says. “But I think with the help of SFFILM and Problem Library, I’ve been able to understand the importance and beauty of being a youth and having access to adults who will both understand your perspective, but also be there to mentor you. The connection and the community between youth filmmakers is pretty powerful.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘like a stone or flower’ premieres at the San Francisco International Film Festival on April 28. \u003ca href=\"https://sffilm.org/event/shorts-6-youth-works-2024/\">Details and tickets here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Anaya Ertz is currently a sophomore at Marin Academy. She enjoys reading, writing and dancing.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Your Extremely Bay Area Guide to the 2024 SFFILM Festival",
"headTitle": "Your Extremely Bay Area Guide to the 2024 SFFILM Festival | KQED",
"content": "\u003cp>The time has come to excitedly pore over the \u003ca href=\"https://sffilm.org/2024-festival-program/\">just-announced program for the 67th San Francisco International Film Festival\u003c/a>, taking place April 24–28 at six San Francisco venues and its traditional East Bay outpost, the Berkeley Art Museum and Pacific Film Archive. \u003c/p>\n\u003cp>But first, some changes. You may have clocked the shortened time frame? This year’s five-day festival is less than half the length of last year’s 11-day fest, but the programming remains just as robust, with 82 films screening in total. \u003c/p>\n\u003cp>Anne Lai, SFFILM’s executive director, said Wednesday morning that the new schedule is an experiment in the festival feel and experience. With a more densely packed program, festival goers might bump into each other more often, or take advantage of a neighborhood’s charms without rushing across the width of the city.\u003c/p>\n\u003cp>On that front, the 2024 festival is centered in the Marina and Presidio, at the Premier Theater, Marina Theatre, Walt Disney Family Museum and Vogue Theatre, with special presentations at Dolby Cinema, SFMOMA and Fort Mason’s Gallery 308. In an “Encore Days” presentation, the Roxie Theater will screen a selection of titles curated from the full festival May 2–4, including audience award winners.\u003c/p>\n\u003cp>Now on to the good stuff: a Fremont-made feature, a celebration of Joan Chen, the future of local filmmaking, and so much more! Here’s your guide to five extremely Bay Area screenings to seek out when festival tickets go on sale to the general public on Friday, March 29 at 10 a.m.\u003c/p>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/opening-night-didi/\">Dìdi (弟弟)\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 24, 7:00 p.m. at Premier Theater\u003cbr>\nApril 24, 8 p.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fremont-born Sean Wang is on a roll. \u003cem>Nǎi Nai and Wài Pó\u003c/em>, his charming portrait of his grandmothers, was nominated for \u003ca href=\"https://www.kqed.org/arts/13952306/sean-wang-oscars-grandma-movie-fremont-wai-po-nai-nai\">best documentary short at the Academy Awards\u003c/a>, and \u003ci>Dìdi (弟弟)\u003c/i>, his feature debut, won two audience awards at Sundance. Now, it’s gracing SFFILM’s opening night. \u003c/p>\n\u003cp>Filmed in Fremont and starring mostly first-time actors from the Bay Area, the semi-autobiographical story is set in 2008 (picture AIM chats and MySpace) and follows a 13-year-old Taiwanese American in the awkward and earnest months leading up to freshman year. \u003c/p>\n\u003cp>As a bonus, Wang will take the stage on April 25 at the SFFILM Festival Lounge to \u003ca href=\"https://sffilm.org/event/festival-talk-filmmaking-in-the-bay-area-and-didi-%e5%bc%9f%e5%bc%9f/\">talk about filmmaking in the Bay Area\u003c/a>.\u003c/p>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/seeking-mavis-beacon/\">Seeking Mavis Beacon\u003c/a>’\u003c/h2>\n\u003cfigure id=\"attachment_13954884\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000.jpg\" alt=\"Figure leans over light table to look at slide images with magnifying loupe\" width=\"2000\" height=\"1055\" class=\"size-full wp-image-13954884\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000-1536x810.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000-1920x1013.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Jazmin Renée Jones’ ‘Seeking Mavis Beacon.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>April 26, 7:00 p.m. at BAMPFA\u003cbr>\nApril 27, 4 p.m. at Premier Theatre\u003c/i>\u003c/p>\n\u003cp>Yes, \u003ci>that\u003c/i> Mavis Beacon. She of the smiling computer software packaging, who taught typing skills to youngsters of a very particular (*cough, millennial*) generation. Director Jazmin Renée Jones picks up the question of “What ever happened to Mavis Beacon?” in this documentary feature, using novel visual approaches in a “spellbinding cyberspace adventure” that looks at issues of representation, feminism and digital personas while celebrating the beauty of glitch art. \u003c/p>\n\u003ch2>\u003ca href=\"https://sffilm.org/event/a-tribute-to-joan-chen-xiu-xiu-the-sent-down-girl/\">A Tribute to Joan Chen + ‘Xiu Xiu: The Sent Down Girl’\u003c/a>\u003c/h2>\n\u003cfigure id=\"attachment_13954886\" class=\"wp-caption aligncenter\" style=\"max-width: 2255px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1.jpeg\" alt=\"Young person smiles while laying on grass\" width=\"2255\" height=\"1421\" class=\"size-full wp-image-13954886\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1.jpeg 2255w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1-800x504.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1-1020x643.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1-160x101.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1-768x484.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1-1536x968.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1-2048x1291.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1-1920x1210.jpeg 1920w\" sizes=\"(max-width: 2255px) 100vw, 2255px\">\u003cfigcaption class=\"wp-caption-text\">A still from Joan Chen’s ‘Xiu Xiu: The Sent Down Girl.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>April 28, 1 p.m. at Premier Theater\u003c/i>\u003c/p>\n\u003cp>San Francisco legend Joan Chen is more than worthy of a tribute night. The actor, screenwriter, producer and director has double-billing at this year’s festival, playing the role of a mother in \u003ci>Dìdi (弟弟)\u003c/i> (which she also executive produced), and getting her flowers alongside a rare 35mm print of her debut directorial feature, 1998’s \u003ci>Xiu Xiu: The Sent Down Girl\u003c/i>. This coming-of-age melodrama, set at the end of the Cultural Revolution, centers on a young girl left in a bleak Tibetan landscape to learn horse breeding. It was described by Jason Sanders in the 1998 SFFILM program as “austere, uncluttered … \u003ci>Xiu Xiu\u003c/i> achieves a purity of vision not found in most contemporary cinema.”\t\u003c/p>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/counted-out/\">Counted Out\u003c/a>’\u003c/h2>\n\u003cfigure id=\"attachment_13954887\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000.jpg\" alt=\"Students around table in classroom\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13954887\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Vicki Abeles’ ‘Counted Out.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>April 28, 5:00 p.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cp>Bay Area filmmaker Vicki Abeles, once a Wall Street lawyer, made her documentary directing debut with 2010’s \u003ci>Race to Nowhere\u003c/i>, about students pushed to their limits by the pressure to achieve academically. Now, she’s turned her lens toward the power of math to determine a child’s future in our increasingly algorithm- and data-driven economy. According to SFFILM, \u003ci>Counted Out\u003c/i> debunks the idea of “math people” and shows what can happen for students when the subject becomes more inclusive.\u003c/p>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/shorts-3-lineages-of-love/\">Shorts 3: Lineages of Love\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 28, 1:30 p.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13954888\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/We-Exist-in-Memory_1.jpg\" alt=\"Older person and young person cuddle in water while swimming\" width=\"1620\" height=\"1080\" class=\"size-full wp-image-13954888\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/We-Exist-in-Memory_1.jpg 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/We-Exist-in-Memory_1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/We-Exist-in-Memory_1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/We-Exist-in-Memory_1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/We-Exist-in-Memory_1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/We-Exist-in-Memory_1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">A still from Darian Woehr’s ‘We Exist in Memory.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We’ve got two Bay Area titles in this shorts program, which centers stories about love bringing people (and animals!) together even when the powers that be would seek to keep them apart. María Luisa Santos’ \u003ci>a film is a goodbye that never ends\u003c/i> is about a woman waiting for a U.S. visa who befriends a dog named Turbo. And San Francisco-based documentary filmmaker Darian Woehr’s \u003ci>We Exist in Memory\u003c/i> centers on conversations between a displaced grandmother and grandchild. Both Santos and Woehr are expected to attend the screening in person.\u003c/p>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/shorts-5-family-films-2024/\">Shorts 6: Family Films\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 27 at 10 a.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cp>Note the family-friendly early start time of this program! The program includes a new Pixar short — Searit Kahsay Huluf’s \u003ci>Self\u003c/i>, featuring a blend of stop-motion and computer-generated animation. And San Francisco-based Japanese animator Daisuke ‘Dice’ Tsutsumi has \u003ci>Bottle George\u003c/i>, a sensitive depiction of alcoholism in a family. Both directors are expected to attend the screening in person.\t\t\t\t\u003c/p>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/shorts-6-youth-works-2024/\">Shorts 6: Youth Works\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 28, 11 a.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Last but absolutely not least, catch this shorts program for a peek at the future of Bay Area filmmaking. Locals Kayen Manovil (\u003ci>FATALE\u003c/i>), Kaiya Jordan (\u003ci>like a stone or flower\u003c/i>) and Kea Morshed (\u003ci>Majid, the Muslim Rapper\u003c/i>) bring their attention to teenage femininity, Asian American artists and an up-and-coming Oakland rapper, respectively. All three directors are expected to attend the screening.\u003c/p>\n\n",
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"excerpt": "A Fremont-made feature opens the festival, with appearances by Joan Chen and a slate of locally made shorts.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The time has come to excitedly pore over the \u003ca href=\"https://sffilm.org/2024-festival-program/\">just-announced program for the 67th San Francisco International Film Festival\u003c/a>, taking place April 24–28 at six San Francisco venues and its traditional East Bay outpost, the Berkeley Art Museum and Pacific Film Archive. \u003c/p>\n\u003cp>But first, some changes. You may have clocked the shortened time frame? This year’s five-day festival is less than half the length of last year’s 11-day fest, but the programming remains just as robust, with 82 films screening in total. \u003c/p>\n\u003cp>Anne Lai, SFFILM’s executive director, said Wednesday morning that the new schedule is an experiment in the festival feel and experience. With a more densely packed program, festival goers might bump into each other more often, or take advantage of a neighborhood’s charms without rushing across the width of the city.\u003c/p>\n\u003cp>On that front, the 2024 festival is centered in the Marina and Presidio, at the Premier Theater, Marina Theatre, Walt Disney Family Museum and Vogue Theatre, with special presentations at Dolby Cinema, SFMOMA and Fort Mason’s Gallery 308. In an “Encore Days” presentation, the Roxie Theater will screen a selection of titles curated from the full festival May 2–4, including audience award winners.\u003c/p>\n\u003cp>Now on to the good stuff: a Fremont-made feature, a celebration of Joan Chen, the future of local filmmaking, and so much more! Here’s your guide to five extremely Bay Area screenings to seek out when festival tickets go on sale to the general public on Friday, March 29 at 10 a.m.\u003c/p>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/opening-night-didi/\">Dìdi (弟弟)\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 24, 7:00 p.m. at Premier Theater\u003cbr>\nApril 24, 8 p.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fremont-born Sean Wang is on a roll. \u003cem>Nǎi Nai and Wài Pó\u003c/em>, his charming portrait of his grandmothers, was nominated for \u003ca href=\"https://www.kqed.org/arts/13952306/sean-wang-oscars-grandma-movie-fremont-wai-po-nai-nai\">best documentary short at the Academy Awards\u003c/a>, and \u003ci>Dìdi (弟弟)\u003c/i>, his feature debut, won two audience awards at Sundance. Now, it’s gracing SFFILM’s opening night. \u003c/p>\n\u003cp>Filmed in Fremont and starring mostly first-time actors from the Bay Area, the semi-autobiographical story is set in 2008 (picture AIM chats and MySpace) and follows a 13-year-old Taiwanese American in the awkward and earnest months leading up to freshman year. \u003c/p>\n\u003cp>As a bonus, Wang will take the stage on April 25 at the SFFILM Festival Lounge to \u003ca href=\"https://sffilm.org/event/festival-talk-filmmaking-in-the-bay-area-and-didi-%e5%bc%9f%e5%bc%9f/\">talk about filmmaking in the Bay Area\u003c/a>.\u003c/p>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/seeking-mavis-beacon/\">Seeking Mavis Beacon\u003c/a>’\u003c/h2>\n\u003cfigure id=\"attachment_13954884\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000.jpg\" alt=\"Figure leans over light table to look at slide images with magnifying loupe\" width=\"2000\" height=\"1055\" class=\"size-full wp-image-13954884\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000-1536x810.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000-1920x1013.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Jazmin Renée Jones’ ‘Seeking Mavis Beacon.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>April 26, 7:00 p.m. at BAMPFA\u003cbr>\nApril 27, 4 p.m. at Premier Theatre\u003c/i>\u003c/p>\n\u003cp>Yes, \u003ci>that\u003c/i> Mavis Beacon. She of the smiling computer software packaging, who taught typing skills to youngsters of a very particular (*cough, millennial*) generation. Director Jazmin Renée Jones picks up the question of “What ever happened to Mavis Beacon?” in this documentary feature, using novel visual approaches in a “spellbinding cyberspace adventure” that looks at issues of representation, feminism and digital personas while celebrating the beauty of glitch art. \u003c/p>\n\u003ch2>\u003ca href=\"https://sffilm.org/event/a-tribute-to-joan-chen-xiu-xiu-the-sent-down-girl/\">A Tribute to Joan Chen + ‘Xiu Xiu: The Sent Down Girl’\u003c/a>\u003c/h2>\n\u003cfigure id=\"attachment_13954886\" class=\"wp-caption aligncenter\" style=\"max-width: 2255px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1.jpeg\" alt=\"Young person smiles while laying on grass\" width=\"2255\" height=\"1421\" class=\"size-full wp-image-13954886\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1.jpeg 2255w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1-800x504.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1-1020x643.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1-160x101.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1-768x484.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1-1536x968.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1-2048x1291.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1-1920x1210.jpeg 1920w\" sizes=\"(max-width: 2255px) 100vw, 2255px\">\u003cfigcaption class=\"wp-caption-text\">A still from Joan Chen’s ‘Xiu Xiu: The Sent Down Girl.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>April 28, 1 p.m. at Premier Theater\u003c/i>\u003c/p>\n\u003cp>San Francisco legend Joan Chen is more than worthy of a tribute night. The actor, screenwriter, producer and director has double-billing at this year’s festival, playing the role of a mother in \u003ci>Dìdi (弟弟)\u003c/i> (which she also executive produced), and getting her flowers alongside a rare 35mm print of her debut directorial feature, 1998’s \u003ci>Xiu Xiu: The Sent Down Girl\u003c/i>. This coming-of-age melodrama, set at the end of the Cultural Revolution, centers on a young girl left in a bleak Tibetan landscape to learn horse breeding. It was described by Jason Sanders in the 1998 SFFILM program as “austere, uncluttered … \u003ci>Xiu Xiu\u003c/i> achieves a purity of vision not found in most contemporary cinema.”\t\u003c/p>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/counted-out/\">Counted Out\u003c/a>’\u003c/h2>\n\u003cfigure id=\"attachment_13954887\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000.jpg\" alt=\"Students around table in classroom\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13954887\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Vicki Abeles’ ‘Counted Out.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>April 28, 5:00 p.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cp>Bay Area filmmaker Vicki Abeles, once a Wall Street lawyer, made her documentary directing debut with 2010’s \u003ci>Race to Nowhere\u003c/i>, about students pushed to their limits by the pressure to achieve academically. Now, she’s turned her lens toward the power of math to determine a child’s future in our increasingly algorithm- and data-driven economy. According to SFFILM, \u003ci>Counted Out\u003c/i> debunks the idea of “math people” and shows what can happen for students when the subject becomes more inclusive.\u003c/p>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/shorts-3-lineages-of-love/\">Shorts 3: Lineages of Love\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 28, 1:30 p.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13954888\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/We-Exist-in-Memory_1.jpg\" alt=\"Older person and young person cuddle in water while swimming\" width=\"1620\" height=\"1080\" class=\"size-full wp-image-13954888\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/We-Exist-in-Memory_1.jpg 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/We-Exist-in-Memory_1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/We-Exist-in-Memory_1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/We-Exist-in-Memory_1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/We-Exist-in-Memory_1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/We-Exist-in-Memory_1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">A still from Darian Woehr’s ‘We Exist in Memory.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We’ve got two Bay Area titles in this shorts program, which centers stories about love bringing people (and animals!) together even when the powers that be would seek to keep them apart. María Luisa Santos’ \u003ci>a film is a goodbye that never ends\u003c/i> is about a woman waiting for a U.S. visa who befriends a dog named Turbo. And San Francisco-based documentary filmmaker Darian Woehr’s \u003ci>We Exist in Memory\u003c/i> centers on conversations between a displaced grandmother and grandchild. Both Santos and Woehr are expected to attend the screening in person.\u003c/p>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/shorts-5-family-films-2024/\">Shorts 6: Family Films\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 27 at 10 a.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cp>Note the family-friendly early start time of this program! The program includes a new Pixar short — Searit Kahsay Huluf’s \u003ci>Self\u003c/i>, featuring a blend of stop-motion and computer-generated animation. And San Francisco-based Japanese animator Daisuke ‘Dice’ Tsutsumi has \u003ci>Bottle George\u003c/i>, a sensitive depiction of alcoholism in a family. Both directors are expected to attend the screening in person.\t\t\t\t\u003c/p>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/shorts-6-youth-works-2024/\">Shorts 6: Youth Works\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 28, 11 a.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Last but absolutely not least, catch this shorts program for a peek at the future of Bay Area filmmaking. Locals Kayen Manovil (\u003ci>FATALE\u003c/i>), Kaiya Jordan (\u003ci>like a stone or flower\u003c/i>) and Kea Morshed (\u003ci>Majid, the Muslim Rapper\u003c/i>) bring their attention to teenage femininity, Asian American artists and an up-and-coming Oakland rapper, respectively. All three directors are expected to attend the screening.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Greta Gerwig Wants to Make Two More Movies About Sacramento",
"headTitle": "Greta Gerwig Wants to Make Two More Movies About Sacramento | KQED",
"content": "\u003cp>At the SFFILM Awards Night on Monday, \u003cem>Barbie\u003c/em> director Greta Gerwig said she has two more movies about her hometown of Sacramento that she’d like to make. \u003c/p>\n\u003cp>“All filmmakers have a fantasy baseball team of movies they hope to make. And there’s actually two other movies I’d like to make in Sacramento, in the future,” she told KQED. Gerwig’s acclaimed 2017 film \u003cem>Lady Bird\u003c/em> was set and filmed in Sacramento. \u003c/p>\n\u003cp>As for any details on the films, “I have little inklings. But I have to keep them to myself. If I expose them to air, they’ll run away from me,” Gerwig said.\u003c/p>\n\u003cfigure id=\"attachment_13938913\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED.jpg\" alt=\"A person in a suit.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actor Ryan Gosling poses on the red carpet at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Gosling presented the Irving M. Levin Award for Film Direction to director Greta Gerwig, who he worked with on the Barbie movie. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Introduced later by \u003cem>Barbie\u003c/em> star Ryan Gosling, Gerwig joined \u003cem>American Fiction\u003c/em> director Cord Jefferson and Roger Ross Williams as the three directors were honored at the SFFILM Awards Night, held at the Yerba Buena Center for the Arts on Monday. SFFILM also honored Nicolas Cage with a lifetime achievement award for acting during the annual ceremony.\u003c/p>\n\u003ch2>Greta Gerwig’s Bay Area Nostalgia\u003c/h2>\n\u003cp>Amidst a steady flow of booze and a crowd with hundreds of thousands of dollars in donations at the ready, Ryan Gosling described Gerwig to the crowd in a sentence as imaginative as it was befuddling. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Working with Greta Gerwig is like getting a private tour of the Louvre, but you have total access to the Cheesecake Factory menu,” he said. \u003c/p>\n\u003cfigure id=\"attachment_13938917\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED.jpg\" alt=\"A person wearing earrings speaks in front of a row of cameras and microphones.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Director and actress Greta Gerwig speaks to the press at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Gerwig received the Irving M. Levin Award for Film Direction on Monday. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet the description holds up, in a way. Gerwig is known for striking a balance between high art and salt-of-the-Earth, Sacramento realness — where there is in fact a Cheesecake Factory a few miles from where she grew up.\u003c/p>\n\u003cp>Gerwig, who accepted the Irving M. Levin award for film direction, reminisced about seeing plays at Berkeley Repertory Theatre with her parents and thinking San Francisco was “the coolest place ever.” \u003c/p>\n\u003cp>“San Francisco and the East Bay — it was like the place you’d go if you’d cut class senior year and got on Amtrak to Richmond, and then you got on BART, and then you’d go to City Lights bookstore,” she said.\u003c/p>\n\u003ch2>Nicolas Cage on Broadway?\u003c/h2>\n\u003cp>Nicolas Cage, who owned a house on Russian Hill up until the early 2000s, also shared some Bay Area stories on the carpet. He remembered Charlie Sheen’s request when he visited to eat “square tube pasta” at Cafe Tiramisu in downtown San Francisco, and was introduced at the ceremony by the normally reclusive songwriter and singer Tom Waits, who lives in Sonoma County.\u003c/p>\n\u003cfigure id=\"attachment_13938911\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED.jpg\" alt=\"A person in a suit.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938911\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actor Nicolas Cage talks to the media at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Cage received the Maria Manetti Shrem Lifetime Achievement award for his work as an actor. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cage has played roles ranging from rogue treasure hunter to a satirical version of himself, and currently stars as a biology professor in the surreal \u003cem>Dream Scenario\u003c/em>. But there’s another role he’d want to tackle in the future.\u003c/p>\n\u003cp>“I think it would be interesting to try one of these reverse-time things where you’re a child in an adult body, like \u003cem>Big\u003c/em>,” he told KQED. “I remember I loved Martin Short in \u003cem>Clifford\u003c/em> — something like that.”\u003c/p>\n\u003cfigure id=\"attachment_13938912\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED.jpg\" alt=\"A person in a suit in front of a row of cameras and microphones.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938912\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actor Nicolas Cage talks to the media at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Cage received the Maria Manetti Shrem Lifetime Achievement award for his work as an actor. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cage added that he wants to pivot away from movies.\u003c/p>\n\u003cp>“I’ve pretty much said what I’ve wanted to say with screen acting,” he said. “I’m about ready to try my hand at television or Broadway — we’ll see what happens.”\u003c/p>\n\u003ch2>A Gate-Kept Industry for Black Directors\u003c/h2>\n\u003cp>\u003cem>Cassandro\u003c/em> director and storytelling award recipient Roger Ross Williams contributed his own Bay Area memories to the mix, including the premiere of his film at the Castro Theatre and the “incomparable San Francisco audience” in attendance.\u003c/p>\n\u003cp>“The response was so tremendous that it really made us feel that we had something special with this film,” he said. “And I have an incredible relationship with the San Francisco community.”\u003c/p>\n\u003cfigure id=\"attachment_13938914\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED.jpg\" alt='Two people wearing sport coats in front of a backdrop with the words \"SFFILM\" written on it.' width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938914\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Raúl Castillo (left) and Roger Ross Williams (right) pose on the red carpet at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Castillo presented Williams with the Nion McEvoy & Leslie Berriman Award for Storytelling on Monday. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Williams was also Celebrity Grand Marshal for the 2013 San Francisco Pride parade, which he remembers as a deeply powerful moment. Since then, he’s directed nine films, including \u003cem>God Loves Uganda\u003c/em>, \u003cem>Life, Animated\u003c/em> and \u003cem>Love to Love You, Donna Summer\u003c/em>.\u003c/p>\n\u003cp>“I never thought [as] a gay Black man from a small town in Pennsylvania this would ever be possible for someone like me,” Williams said. \u003c/p>\n\u003cp>Williams also reflected on being the first-ever Black director to win an Oscar, in 2010 for the documentary short \u003cem>Music By Prudence\u003c/em>, and explained why he feels it’s a shame.\u003c/p>\n\u003cp>“This to me is a sin considering all the incredible Black directors that came before me should’ve won an Oscar,” he said. “The fact of the matter is the gatekeepers in this business didn’t really see someone like me — my phone didn’t ring after I got that Oscar, no agents called, no managers called.”\u003c/p>\n\u003cfigure id=\"attachment_13938916\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED.jpg\" alt='Two people wearing sport coats in front of a backdrop with the words \"SFFILM\" written on it.' width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actor John Ortiz (left) and director Cord Jefferson (right) pose on the red carpet at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Ortiz presented Jefferson with the George Gund III Award for Virtuosity on Monday. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>American Fiction\u003c/em> director and Award for Virtuosity recipient Cord Jefferson echoed Williams’ sentiment when he described the process for pitching the movie, due to be released Dec. 15, that stars Jeffrey Wright.\u003c/p>\n\u003cp>[aside postID='arts_13932865']“I had several people tell me that this was one of the best scripts they’d read in years,” Jefferson said. “When I asked those same people to give me money to make the film, the vast majority of them — all but one, in fact — said no.”\u003c/p>\n\u003cp>Jefferson was told “it was just too risky,” underscoring a disparity in the speeches of the award recipients. Both Black directors dedicated time to explain how difficult it was to get their movies made, telling stories of structural inequity and discrimination that were not at all present in the speeches of their white counterparts. \u003c/p>\n\u003cfigure id=\"attachment_13938935\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/GettyImages-1832758409.jpg\" alt=\"A man in a black shirt, tousled hair and glasses speaks at a podium.\" width=\"1000\" height=\"683\" class=\"size-full wp-image-13938935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1832758409.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1832758409-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1832758409-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1832758409-768x525.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Musician Tom Waits presents a Lifetime Achievement Award for Acting to Nicolas Cage at the 2023 SFFILM Awards Night on Dec. 4, 2023 in San Francisco, California. \u003ccite>(Steve Jennings/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Filmmakers of the Future\u003c/h2>\n\u003cp>The awards ceremony generated hundreds of thousands of dollars in donations for the nonprofit, including $20,000 each from Gerwig and Gosling. Throughout the night, award recipients and SFFILM staff underscored the need to fund the filmmakers of the future.\u003c/p>\n\u003cp>The night concluded with an earnest and tearful message from Gerwig.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It’s such a gift to make movies,” she said. “It’s the gift of my life, and it’s such a gift to be a part of this community.”\u003c/p>\n\n",
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"excerpt": "The 'Barbie' director was honored at the SFFILM Awards in San Francisco, along with Nicolas Cage, Roger Ross Williams and Cord Jefferson.",
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"title": "Greta Gerwig Wants to Make Two More Movies About Sacramento | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the SFFILM Awards Night on Monday, \u003cem>Barbie\u003c/em> director Greta Gerwig said she has two more movies about her hometown of Sacramento that she’d like to make. \u003c/p>\n\u003cp>“All filmmakers have a fantasy baseball team of movies they hope to make. And there’s actually two other movies I’d like to make in Sacramento, in the future,” she told KQED. Gerwig’s acclaimed 2017 film \u003cem>Lady Bird\u003c/em> was set and filmed in Sacramento. \u003c/p>\n\u003cp>As for any details on the films, “I have little inklings. But I have to keep them to myself. If I expose them to air, they’ll run away from me,” Gerwig said.\u003c/p>\n\u003cfigure id=\"attachment_13938913\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED.jpg\" alt=\"A person in a suit.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actor Ryan Gosling poses on the red carpet at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Gosling presented the Irving M. Levin Award for Film Direction to director Greta Gerwig, who he worked with on the Barbie movie. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Introduced later by \u003cem>Barbie\u003c/em> star Ryan Gosling, Gerwig joined \u003cem>American Fiction\u003c/em> director Cord Jefferson and Roger Ross Williams as the three directors were honored at the SFFILM Awards Night, held at the Yerba Buena Center for the Arts on Monday. SFFILM also honored Nicolas Cage with a lifetime achievement award for acting during the annual ceremony.\u003c/p>\n\u003ch2>Greta Gerwig’s Bay Area Nostalgia\u003c/h2>\n\u003cp>Amidst a steady flow of booze and a crowd with hundreds of thousands of dollars in donations at the ready, Ryan Gosling described Gerwig to the crowd in a sentence as imaginative as it was befuddling. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Working with Greta Gerwig is like getting a private tour of the Louvre, but you have total access to the Cheesecake Factory menu,” he said. \u003c/p>\n\u003cfigure id=\"attachment_13938917\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED.jpg\" alt=\"A person wearing earrings speaks in front of a row of cameras and microphones.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Director and actress Greta Gerwig speaks to the press at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Gerwig received the Irving M. Levin Award for Film Direction on Monday. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet the description holds up, in a way. Gerwig is known for striking a balance between high art and salt-of-the-Earth, Sacramento realness — where there is in fact a Cheesecake Factory a few miles from where she grew up.\u003c/p>\n\u003cp>Gerwig, who accepted the Irving M. Levin award for film direction, reminisced about seeing plays at Berkeley Repertory Theatre with her parents and thinking San Francisco was “the coolest place ever.” \u003c/p>\n\u003cp>“San Francisco and the East Bay — it was like the place you’d go if you’d cut class senior year and got on Amtrak to Richmond, and then you got on BART, and then you’d go to City Lights bookstore,” she said.\u003c/p>\n\u003ch2>Nicolas Cage on Broadway?\u003c/h2>\n\u003cp>Nicolas Cage, who owned a house on Russian Hill up until the early 2000s, also shared some Bay Area stories on the carpet. He remembered Charlie Sheen’s request when he visited to eat “square tube pasta” at Cafe Tiramisu in downtown San Francisco, and was introduced at the ceremony by the normally reclusive songwriter and singer Tom Waits, who lives in Sonoma County.\u003c/p>\n\u003cfigure id=\"attachment_13938911\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED.jpg\" alt=\"A person in a suit.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938911\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actor Nicolas Cage talks to the media at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Cage received the Maria Manetti Shrem Lifetime Achievement award for his work as an actor. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cage has played roles ranging from rogue treasure hunter to a satirical version of himself, and currently stars as a biology professor in the surreal \u003cem>Dream Scenario\u003c/em>. But there’s another role he’d want to tackle in the future.\u003c/p>\n\u003cp>“I think it would be interesting to try one of these reverse-time things where you’re a child in an adult body, like \u003cem>Big\u003c/em>,” he told KQED. “I remember I loved Martin Short in \u003cem>Clifford\u003c/em> — something like that.”\u003c/p>\n\u003cfigure id=\"attachment_13938912\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED.jpg\" alt=\"A person in a suit in front of a row of cameras and microphones.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938912\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actor Nicolas Cage talks to the media at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Cage received the Maria Manetti Shrem Lifetime Achievement award for his work as an actor. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cage added that he wants to pivot away from movies.\u003c/p>\n\u003cp>“I’ve pretty much said what I’ve wanted to say with screen acting,” he said. “I’m about ready to try my hand at television or Broadway — we’ll see what happens.”\u003c/p>\n\u003ch2>A Gate-Kept Industry for Black Directors\u003c/h2>\n\u003cp>\u003cem>Cassandro\u003c/em> director and storytelling award recipient Roger Ross Williams contributed his own Bay Area memories to the mix, including the premiere of his film at the Castro Theatre and the “incomparable San Francisco audience” in attendance.\u003c/p>\n\u003cp>“The response was so tremendous that it really made us feel that we had something special with this film,” he said. “And I have an incredible relationship with the San Francisco community.”\u003c/p>\n\u003cfigure id=\"attachment_13938914\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED.jpg\" alt='Two people wearing sport coats in front of a backdrop with the words \"SFFILM\" written on it.' width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938914\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Raúl Castillo (left) and Roger Ross Williams (right) pose on the red carpet at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Castillo presented Williams with the Nion McEvoy & Leslie Berriman Award for Storytelling on Monday. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Williams was also Celebrity Grand Marshal for the 2013 San Francisco Pride parade, which he remembers as a deeply powerful moment. Since then, he’s directed nine films, including \u003cem>God Loves Uganda\u003c/em>, \u003cem>Life, Animated\u003c/em> and \u003cem>Love to Love You, Donna Summer\u003c/em>.\u003c/p>\n\u003cp>“I never thought [as] a gay Black man from a small town in Pennsylvania this would ever be possible for someone like me,” Williams said. \u003c/p>\n\u003cp>Williams also reflected on being the first-ever Black director to win an Oscar, in 2010 for the documentary short \u003cem>Music By Prudence\u003c/em>, and explained why he feels it’s a shame.\u003c/p>\n\u003cp>“This to me is a sin considering all the incredible Black directors that came before me should’ve won an Oscar,” he said. “The fact of the matter is the gatekeepers in this business didn’t really see someone like me — my phone didn’t ring after I got that Oscar, no agents called, no managers called.”\u003c/p>\n\u003cfigure id=\"attachment_13938916\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED.jpg\" alt='Two people wearing sport coats in front of a backdrop with the words \"SFFILM\" written on it.' width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actor John Ortiz (left) and director Cord Jefferson (right) pose on the red carpet at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Ortiz presented Jefferson with the George Gund III Award for Virtuosity on Monday. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>American Fiction\u003c/em> director and Award for Virtuosity recipient Cord Jefferson echoed Williams’ sentiment when he described the process for pitching the movie, due to be released Dec. 15, that stars Jeffrey Wright.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I had several people tell me that this was one of the best scripts they’d read in years,” Jefferson said. “When I asked those same people to give me money to make the film, the vast majority of them — all but one, in fact — said no.”\u003c/p>\n\u003cp>Jefferson was told “it was just too risky,” underscoring a disparity in the speeches of the award recipients. Both Black directors dedicated time to explain how difficult it was to get their movies made, telling stories of structural inequity and discrimination that were not at all present in the speeches of their white counterparts. \u003c/p>\n\u003cfigure id=\"attachment_13938935\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/GettyImages-1832758409.jpg\" alt=\"A man in a black shirt, tousled hair and glasses speaks at a podium.\" width=\"1000\" height=\"683\" class=\"size-full wp-image-13938935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1832758409.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1832758409-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1832758409-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1832758409-768x525.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Musician Tom Waits presents a Lifetime Achievement Award for Acting to Nicolas Cage at the 2023 SFFILM Awards Night on Dec. 4, 2023 in San Francisco, California. \u003ccite>(Steve Jennings/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Filmmakers of the Future\u003c/h2>\n\u003cp>The awards ceremony generated hundreds of thousands of dollars in donations for the nonprofit, including $20,000 each from Gerwig and Gosling. Throughout the night, award recipients and SFFILM staff underscored the need to fund the filmmakers of the future.\u003c/p>\n\u003cp>The night concluded with an earnest and tearful message from Gerwig.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s such a gift to make movies,” she said. “It’s the gift of my life, and it’s such a gift to be a part of this community.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "castro-theatre-film-festivals-rental-costs",
"title": "Higher Rental Costs at Castro Theatre Put Small Film Festivals Under Strain",
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"headTitle": "Higher Rental Costs at Castro Theatre Put Small Film Festivals Under Strain | KQED",
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"content": "\u003cp>\u003cem>This report contains a clarification.\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">Castro Theatre\u003c/a> was where Joe Talbot got his very first film job. He was 19, had just dropped out of high school and was hired by \u003ca href=\"https://www.noircity.com/\">Noir City film festival\u003c/a> founder Eddie Muller to make a documentary about the festival’s history at the Castro.\u003c/p>\n\u003cp>Almost 10 years later, Talbot returned to the Castro Theatre — this time in a double-breasted gray suit and Giants cap — for the premiere of his 2019 film \u003ca href=\"https://www.kqed.org/pop/112325/the-last-black-man-in-san-francisco-is-about-who-belongs-in-the-city\" target=\"_blank\" rel=\"noopener\">\u003cem>The Last Black Man in San Francisco\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13917362']For Talbot, the most memorable part of the theater, which was a formative part of his childhood and his film education, is its velvety red seats.\u003c/p>\n\u003cp>But in June, the \u003ca href=\"https://www.kqed.org/news/11952358/sf-supes-ok-effort-renovate-castro-theater\" target=\"_blank\" rel=\"noopener\">San Francisco Board of Supervisors approved a controversial renovation plan\u003c/a> by the theater’s new management, the live music promoter Another Planet Entertainment (APE), to replace the Castro Theatre’s seating and raked floor with multi-level flat tiers suited for standing-room concerts. While APE has said the Castro Theatre will still show film, it will do so far less frequently, and moviegoers will have to sit on temporary chairs.\u003c/p>\n\u003cfigure id=\"attachment_10622105\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2015/05/JoeJimmie.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10622105\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/05/JoeJimmie-800x450.jpg\" alt=\"a white man in a suit and a Black man in a green jacket sit on a sidewalk looking at the camera\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/JoeJimmie.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/JoeJimmie-400x225.jpg 400w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joe Talbot and Jimmie Fails on the set of ‘The Last Black Man in San Francisco.’ \u003ccite>(Courtesy of 'The Last Black Man in San Francisco')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s more, higher rental costs under the new management — and fewer seats for which to sell tickets — have put some local film festivals, like the one Talbot made his first paid film about, in jeopardy.\u003c/p>\n\u003cp>“I’m not a fan of it — it’s a big loss,” Talbot said. “It’s a bummer to have people occupying such a wonderful space that don’t appreciate its history or understand its importance.”\u003c/p>\n\u003ch2>‘Like a temple’\u003c/h2>\n\u003cp>Eddie Muller, the founder of the Noir City film festival who gave Talbot the job, has abandoned hope of a future at the Castro Theatre altogether.\u003c/p>\n\u003cp>“Taking out the seats reduces capacity, forces us to upcharge on tickets and makes it inhospitable for film festivals,” Muller said. “They’re changing the whole basic operational strategy of the venue.”\u003c/p>\n\u003cp>For those small festivals that have wanted to stay at the Castro, “now all the accouterments of film festivals are added costs, like hiring someone to operate the projectors, which used to be built in.”\u003c/p>\n\u003cp>Asked if festivals were being asked to shoulder additional costs for a projector and house manager, APE spokesperson David Perry said, “Yes, that is true.”\u003c/p>\n\u003cfigure id=\"attachment_13932962\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/ddieMuller.Castro.jpg\" alt=\"\" width=\"480\" height=\"321\" class=\"size-full wp-image-13932962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ddieMuller.Castro.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ddieMuller.Castro-160x107.jpg 160w\" sizes=\"auto, (max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Eddie Muller introduces a film at the Noir City film festival at the Castro Theatre. Having called San Francisco home since 2003, it moved to Oakland’s Grand Lake Theatre in 2022 after new management took over the Castro Theatre. \u003ccite>(Noir City )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the latest installment of her film festival, \u003ca href=\"http://www.cinemaitaliasf.com/\">Cinema Italia\u003c/a>, Amelia Antonucci looked up at the illuminated grand ceiling of the Castro Theatre as she stood at the mezzanine and thought to herself, “this is magical.”\u003c/p>\n\u003cp>“The Castro is like a temple for classic Italian movies,” Antonucci said of its breathtaking and eccentric mishmash of Art Deco, Renaissance and Spanish architecture. “It’s the only place in San Francisco that has this kind of magic.”\u003c/p>\n\u003cp>For the past 10 years, Antonucci has organized the annual and sometimes biannual celebration of Italian film with the help of the Italian Consulate. But the 2022 festival might have been her last.\u003c/p>\n\u003cp>“Now only the festivals that can afford new costs, like Frameline, will continue,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13932964\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-57540368.jpg\" alt=\"(L-R) Actors Robin Williams, Virginia Madsen and Lily Tomlin arrive at the Castro theater for the closing night of the 2006 San Francisco International Film Festival (now known as SFFILM). \" width=\"1024\" height=\"683\" class=\"size-full wp-image-13932964\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-768x512.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Actors Robin Williams, Virginia Madsen and Lily Tomlin arrive at the Castro theater for the closing night of the 2006 San Francisco International Film Festival (now known as SFFILM). \u003ccite>(David Paul Morris/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Antonucci hosted her latest festival — her first under the theater’s new management — there were unexpected extra costs, she says, in addition to existing ones like venue rental fees and film licensing fees. Rather than allow her to use only volunteers as she had in the past, Antonucci said, APE required her to pay additional fees for their staff.\u003c/p>\n\u003cp>“APE said the price was the same, but that wasn’t true,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13917446\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917446\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-800x533.jpg\" alt=\"red seats in a beloved movie palace\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The interior of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perry said that APE’s higher rental fees and expenses for the Castro are “totally in line” with other similarly sized venues, adding that, due to “artificially low” rent and fees, the Castro Theatre had not broken even for 10 years. \u003c/p>\n\u003cp>But as the physical space of the Castro Theatre changes to accommodate concerts and performances, festivals like Cinema Italia are under even more strain to meet costs.\u003c/p>\n\u003cp>With the reducing seating and increased rental fees, “I’m worried what that will mean for festivals like mine,” Antonucci said.\u003c/p>\n\u003ch2>An unsure future for some festivals\u003c/h2>\n\u003cp>The outlook is indeed brighter for Frameline. A festival representative told KQED in an email that the festival “will be at the venue for the entirety of APE’s 20-year lease.”\u003c/p>\n\u003cp>But for others, the future is still unclear. Even the smallest film festivals involve many moving parts and funding sources that have to be coordinated months — if not a year — in advance.\u003c/p>\n\u003cp>Berlin & Beyond Festival Director Sophoan Sorn told KQED in an email that the Castro Theatre was “unavailable” for his 2023 festival and that he has had no communication with APE about the 2024 festival. A representative for CAAMFest declined to comment, but added that the festival hasn’t had recent communication with APE.\u003c/p>\n\u003cp>The Jewish Film Festival declined to comment, while 3rd i, the Arab Film Festival and the Silent Film Festival could not be reached for comment.\u003c/p>\n\u003cfigure id=\"attachment_13932948\" class=\"wp-caption aligncenter\" style=\"max-width: 683px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1388628758.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932948\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1388628758.jpg\" alt=\"The Castro Theatre marquee reads 'SFFILM festival welcome back to the movies'\" width=\"683\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388628758.jpg 683w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388628758-160x240.jpg 160w\" sizes=\"auto, (max-width: 683px) 100vw, 683px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Castro Theatre, was the venue for the 65th annual SFFILM Festival in 2022, but in 2023, following APE’s acquisition, the festival moved to other theaters. SFFILM Executive Director Anne Lai said the 2024 festival will be elsewhere due to renovations. \u003ccite>(Miikka Skaffari/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SFFILM Executive Director Anne Lai told KQED in an email that the Castro won’t be available for SFFILM’s 2024 festival, presumably because of renovation.\u003c/p>\n\u003cp>“What we are more eager to learn from them is what the rental costs and booking availability will be post-renovation so that we can accurately plan and budget,” she wrote.\u003c/p>\n\u003cp>[aside postid='arts_13929572']In a December \u003ca href=\"https://sffilm.org/a-letter-from-sffilm-executive-director-anne-lai/\" target=\"_blank\" rel=\"noopener\">statement\u003c/a>, Lai had expressed concerns about increased cost but also about accessibility and the theater’s importance in San Francisco’s queer history and culture.\u003c/p>\n\u003cp>Muller is skeptical about how APE will preserve the queer roots and community of the Castro Theatre. But he’s optimistic about Noir City’s new home across the Bay at Oakland’s Grand Lake Theatre, despite having to raise ticket prices to make up for the theater’s smaller capacity. The greater loss is a cultural and community one, Muller says.\u003c/p>\n\u003cp>“I honestly don’t feel sorry for myself — I feel sorry for the city,” he said. “The Castro was the last single-screen movie palace in San Francisco, and by changing it into a concert venue, you’re saying that San Francisco is giving up on movies.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Aug. 27: The story has been updated to more accurately reflect the additional expenses of renting the Castro for Cinema Italia.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This report contains a clarification.\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">Castro Theatre\u003c/a> was where Joe Talbot got his very first film job. He was 19, had just dropped out of high school and was hired by \u003ca href=\"https://www.noircity.com/\">Noir City film festival\u003c/a> founder Eddie Muller to make a documentary about the festival’s history at the Castro.\u003c/p>\n\u003cp>Almost 10 years later, Talbot returned to the Castro Theatre — this time in a double-breasted gray suit and Giants cap — for the premiere of his 2019 film \u003ca href=\"https://www.kqed.org/pop/112325/the-last-black-man-in-san-francisco-is-about-who-belongs-in-the-city\" target=\"_blank\" rel=\"noopener\">\u003cem>The Last Black Man in San Francisco\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For Talbot, the most memorable part of the theater, which was a formative part of his childhood and his film education, is its velvety red seats.\u003c/p>\n\u003cp>But in June, the \u003ca href=\"https://www.kqed.org/news/11952358/sf-supes-ok-effort-renovate-castro-theater\" target=\"_blank\" rel=\"noopener\">San Francisco Board of Supervisors approved a controversial renovation plan\u003c/a> by the theater’s new management, the live music promoter Another Planet Entertainment (APE), to replace the Castro Theatre’s seating and raked floor with multi-level flat tiers suited for standing-room concerts. While APE has said the Castro Theatre will still show film, it will do so far less frequently, and moviegoers will have to sit on temporary chairs.\u003c/p>\n\u003cfigure id=\"attachment_10622105\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2015/05/JoeJimmie.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10622105\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/05/JoeJimmie-800x450.jpg\" alt=\"a white man in a suit and a Black man in a green jacket sit on a sidewalk looking at the camera\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/JoeJimmie.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/JoeJimmie-400x225.jpg 400w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joe Talbot and Jimmie Fails on the set of ‘The Last Black Man in San Francisco.’ \u003ccite>(Courtesy of 'The Last Black Man in San Francisco')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s more, higher rental costs under the new management — and fewer seats for which to sell tickets — have put some local film festivals, like the one Talbot made his first paid film about, in jeopardy.\u003c/p>\n\u003cp>“I’m not a fan of it — it’s a big loss,” Talbot said. “It’s a bummer to have people occupying such a wonderful space that don’t appreciate its history or understand its importance.”\u003c/p>\n\u003ch2>‘Like a temple’\u003c/h2>\n\u003cp>Eddie Muller, the founder of the Noir City film festival who gave Talbot the job, has abandoned hope of a future at the Castro Theatre altogether.\u003c/p>\n\u003cp>“Taking out the seats reduces capacity, forces us to upcharge on tickets and makes it inhospitable for film festivals,” Muller said. “They’re changing the whole basic operational strategy of the venue.”\u003c/p>\n\u003cp>For those small festivals that have wanted to stay at the Castro, “now all the accouterments of film festivals are added costs, like hiring someone to operate the projectors, which used to be built in.”\u003c/p>\n\u003cp>Asked if festivals were being asked to shoulder additional costs for a projector and house manager, APE spokesperson David Perry said, “Yes, that is true.”\u003c/p>\n\u003cfigure id=\"attachment_13932962\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/ddieMuller.Castro.jpg\" alt=\"\" width=\"480\" height=\"321\" class=\"size-full wp-image-13932962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ddieMuller.Castro.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ddieMuller.Castro-160x107.jpg 160w\" sizes=\"auto, (max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Eddie Muller introduces a film at the Noir City film festival at the Castro Theatre. Having called San Francisco home since 2003, it moved to Oakland’s Grand Lake Theatre in 2022 after new management took over the Castro Theatre. \u003ccite>(Noir City )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the latest installment of her film festival, \u003ca href=\"http://www.cinemaitaliasf.com/\">Cinema Italia\u003c/a>, Amelia Antonucci looked up at the illuminated grand ceiling of the Castro Theatre as she stood at the mezzanine and thought to herself, “this is magical.”\u003c/p>\n\u003cp>“The Castro is like a temple for classic Italian movies,” Antonucci said of its breathtaking and eccentric mishmash of Art Deco, Renaissance and Spanish architecture. “It’s the only place in San Francisco that has this kind of magic.”\u003c/p>\n\u003cp>For the past 10 years, Antonucci has organized the annual and sometimes biannual celebration of Italian film with the help of the Italian Consulate. But the 2022 festival might have been her last.\u003c/p>\n\u003cp>“Now only the festivals that can afford new costs, like Frameline, will continue,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13932964\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-57540368.jpg\" alt=\"(L-R) Actors Robin Williams, Virginia Madsen and Lily Tomlin arrive at the Castro theater for the closing night of the 2006 San Francisco International Film Festival (now known as SFFILM). \" width=\"1024\" height=\"683\" class=\"size-full wp-image-13932964\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-768x512.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Actors Robin Williams, Virginia Madsen and Lily Tomlin arrive at the Castro theater for the closing night of the 2006 San Francisco International Film Festival (now known as SFFILM). \u003ccite>(David Paul Morris/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Antonucci hosted her latest festival — her first under the theater’s new management — there were unexpected extra costs, she says, in addition to existing ones like venue rental fees and film licensing fees. Rather than allow her to use only volunteers as she had in the past, Antonucci said, APE required her to pay additional fees for their staff.\u003c/p>\n\u003cp>“APE said the price was the same, but that wasn’t true,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13917446\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917446\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-800x533.jpg\" alt=\"red seats in a beloved movie palace\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The interior of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perry said that APE’s higher rental fees and expenses for the Castro are “totally in line” with other similarly sized venues, adding that, due to “artificially low” rent and fees, the Castro Theatre had not broken even for 10 years. \u003c/p>\n\u003cp>But as the physical space of the Castro Theatre changes to accommodate concerts and performances, festivals like Cinema Italia are under even more strain to meet costs.\u003c/p>\n\u003cp>With the reducing seating and increased rental fees, “I’m worried what that will mean for festivals like mine,” Antonucci said.\u003c/p>\n\u003ch2>An unsure future for some festivals\u003c/h2>\n\u003cp>The outlook is indeed brighter for Frameline. A festival representative told KQED in an email that the festival “will be at the venue for the entirety of APE’s 20-year lease.”\u003c/p>\n\u003cp>But for others, the future is still unclear. Even the smallest film festivals involve many moving parts and funding sources that have to be coordinated months — if not a year — in advance.\u003c/p>\n\u003cp>Berlin & Beyond Festival Director Sophoan Sorn told KQED in an email that the Castro Theatre was “unavailable” for his 2023 festival and that he has had no communication with APE about the 2024 festival. A representative for CAAMFest declined to comment, but added that the festival hasn’t had recent communication with APE.\u003c/p>\n\u003cp>The Jewish Film Festival declined to comment, while 3rd i, the Arab Film Festival and the Silent Film Festival could not be reached for comment.\u003c/p>\n\u003cfigure id=\"attachment_13932948\" class=\"wp-caption aligncenter\" style=\"max-width: 683px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1388628758.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932948\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1388628758.jpg\" alt=\"The Castro Theatre marquee reads 'SFFILM festival welcome back to the movies'\" width=\"683\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388628758.jpg 683w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388628758-160x240.jpg 160w\" sizes=\"auto, (max-width: 683px) 100vw, 683px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Castro Theatre, was the venue for the 65th annual SFFILM Festival in 2022, but in 2023, following APE’s acquisition, the festival moved to other theaters. SFFILM Executive Director Anne Lai said the 2024 festival will be elsewhere due to renovations. \u003ccite>(Miikka Skaffari/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SFFILM Executive Director Anne Lai told KQED in an email that the Castro won’t be available for SFFILM’s 2024 festival, presumably because of renovation.\u003c/p>\n\u003cp>“What we are more eager to learn from them is what the rental costs and booking availability will be post-renovation so that we can accurately plan and budget,” she wrote.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In a December \u003ca href=\"https://sffilm.org/a-letter-from-sffilm-executive-director-anne-lai/\" target=\"_blank\" rel=\"noopener\">statement\u003c/a>, Lai had expressed concerns about increased cost but also about accessibility and the theater’s importance in San Francisco’s queer history and culture.\u003c/p>\n\u003cp>Muller is skeptical about how APE will preserve the queer roots and community of the Castro Theatre. But he’s optimistic about Noir City’s new home across the Bay at Oakland’s Grand Lake Theatre, despite having to raise ticket prices to make up for the theater’s smaller capacity. The greater loss is a cultural and community one, Muller says.\u003c/p>\n\u003cp>“I honestly don’t feel sorry for myself — I feel sorry for the city,” he said. “The Castro was the last single-screen movie palace in San Francisco, and by changing it into a concert venue, you’re saying that San Francisco is giving up on movies.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Aug. 27: The story has been updated to more accurately reflect the additional expenses of renting the Castro for Cinema Italia.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A Gripping View of Life in San Francisco’s SROs",
"headTitle": "A Gripping View of Life in San Francisco’s SROs | KQED",
"content": "\u003cp>“Before coming here from China, I thought that American homes were large, beautiful and luxurious, from the television,” says Christina, a mother who’s newly single after leaving her abusive husband.\u003c/p>\n\u003cp>She’s crouched on the floor, helping her young daughter get dressed for the day inside their single-room home in San Francisco’s Chinatown. In the 80-square-foot room, piles of folded clothes crowd against a mattress, jammed next to a shelf stacked with toys, boxes, a cooking pot. The bathroom is shared, down the hall.\u003c/p>\n\u003cp>[aside postid='forum_2010101889042']“Had I known the living conditions here,” she says in Cantonese, “I wouldn’t have decided to come to the U.S.”\u003c/p>\n\u003cp>Christina and her daughter are just two of the more than 20,000 people who currently live in San Francisco’s single-room occupancy hotels, commonly referred to as SROs. Theirs is one of five households at the heart of \u003ca href=\"https://www.homeisahotel.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Home Is a Hotel\u003c/em>\u003c/a>, a poignant, powerful documentary about SRO residents from Bay Area filmmaker Kevin Duncan Wong, with co-directors/producers Kar Yin Tham and Todd Sills. Following the film’s premiere at the San Francisco International Film Festival — where it won both the juried Documentary Feature Award and the Audience Award — it makes its non-festival debut at the \u003ca href=\"https://roxie.com/film/home-is-a-hotel/\" target=\"_blank\" rel=\"noopener\">Roxie Theater on Aug. 17. \u003c/a>A second screening at the Roxie is scheduled for \u003ca href=\"https://roxie.com/film/home-is-a-hotel/\" target=\"_blank\" rel=\"noopener\">Aug. 28\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13932822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932822\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-800x450.jpg\" alt=\"a Black woman with braids combs her toddler son's hair\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jacque and her son Zallah at home. \u003ccite>(Courtesy of 'Home Is a Hotel')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shot in and around its subjects’ living spaces in Chinatown, the Mission and the Tenderloin, the character-driven documentary is predicated on a deep, obvious trust between the filmmakers and their housing-insecure subjects. That’s the result, says Wong, of shooting over more than five years.\u003c/p>\n\u003cp>“Part of the challenge, the reason a film like this is hard to make, is it really does require that you spend years getting to know folks and them getting to know you,” says Wong. “You can’t make this kind of film if you’re just parachuting in.”\u003c/p>\n\u003cp>While the viewer gets a basic history of SROs in San Francisco via title cards — they were first introduced here in the ’80s, intended as a temporary way to get people off the street while their names sat on affordable housing waitlists — the filmmakers otherwise let the documentary’s subjects narrate their own stories. Which is smart, because the people in \u003cem>Home Is a Hotel\u003c/em> are compelling, complicated, endearing, tragic, funny and relatable, despite having been dealt some incredibly rough hands.\u003c/p>\n\u003cfigure id=\"attachment_13932823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932823\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-800x450.jpg\" alt=\"three white people sit on the floor of a small room with a dog\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sunbear and Amy with their son Marley inside their SRO. \u003ccite>(Courtesy of 'Home Is a Hotel')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s Jacque, who’s balancing a job and raising a toddler son while searching the city for her older daughter, a teenager who has run away from her foster home. Sylvester, a soft-spoken painter with PTSD, is under house arrest as he awaits a trial for killing a neighbor in self-defense. Esther is an elderly, blind librettist who’s facing eviction. Sunbear and Amy, a former couple in recovery, are trying to do right by their 6-year-old while staying sober, and dealing with a microwave so riddled with cockroaches it’s unusable — not to mention sharing an 80-square-foot home with an ex.\u003c/p>\n\u003cp>“In some ways the entire purpose of the film is about being able to cut through certain things and really reach people at an emotional level,” says Tham, of the filmmakers’ light touch. The severe lack of affordable housing isn’t a political talking point here; it’s the reason a kid is going to school with bedbug bites on his arms.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dicNcmt10DU\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nIn between these intimate, often painful stories, tenderly framed shots of San Francisco provide a moment for the viewer to take a breath — as well as commentary on the staggering inequality that’s come to characterize the city over the last decade. “I really wanted the film to feel like what it feels like to be in San Francisco,” says Wong.\u003c/p>\n\u003cp>That means showing both the beauty and the blight: The city skyline glowing under golden hour sunlight. People dining inside a high-end restaurant while others sleep on the sidewalk outside. Jacque, who is Black, walking the neighborhood with “missing” signs for her daughter, whom she believes is with a child abuser and drug dealer, and noting that “the police don’t seem to give a shit.” Moments later, news blares from a bar TV, reporting that the reward for a missing white woman at the University of Iowa has climbed to $172,000.\u003c/p>\n\u003cp>By the film’s end — again, the narratives span five years — some of the subjects have finally gotten off the Section 8 housing waitlist and into their own homes, modest spaces that feel palatial and triumphant to the viewer after even an hour of watching scenes in SROs. Other subjects are more or less right where we left them. And everyone’s lives have been permanently altered by the pandemic.\u003c/p>\n\u003cfigure id=\"attachment_13932828\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932828\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-800x533.jpg\" alt=\"four people on a stage at a film festival in front of a packed theater\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Filmmakers Kevin Duncan Wong, Kar Yin Tham and Todd Sills spoke with Rod Armstrong, SFFILM’s associate director of programming, at the film festival in April. ‘Home Is a Hotel’ won both the Documentary Feature Award and the Audience Award. \u003ccite>(Tommy Lau, courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They have also been altered in a positive way, the filmmakers hope, by participating in the documentary. Most of the subjects attended the SFFILM premiere in April, and they seemed “touched, and shocked in a good way” by the rapturous applause, says Wong.\u003c/p>\n\u003cp>“Part of the point [of the film] is that this is a population that isn’t listened to very often,” says the director. “So that was probably the most meaningful thing for us, was them being able to feel the audience response, and see how people were responding to their stories.”\u003c/p>\n\u003cp>“It actually gave me more optimism around San Francisco and where we’re headed,” adds Tham. “Because it felt like people really got it, and maybe they left thinking ‘We can do better.’ We can be a different kind of city, you know?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>\u003cem>\u003cspan style=\"font-weight: 400\">‘\u003c/span>Home Is a Hotel\u003cspan style=\"font-weight: 400\">’\u003c/span> screens at 6:30 p.m. on Aug. 17 at the Roxie Theater in San Francisco\u003c/em>. \u003cem>The filmmakers and some documentary participants will be in attendance for a post-screening Q&A. A second screening is scheduled for 6:30 p.m. on Aug. 28. \u003ca href=\"https://roxie.com/film/home-is-a-hotel/\" target=\"_blank\" rel=\"noopener\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Before coming here from China, I thought that American homes were large, beautiful and luxurious, from the television,” says Christina, a mother who’s newly single after leaving her abusive husband.\u003c/p>\n\u003cp>She’s crouched on the floor, helping her young daughter get dressed for the day inside their single-room home in San Francisco’s Chinatown. In the 80-square-foot room, piles of folded clothes crowd against a mattress, jammed next to a shelf stacked with toys, boxes, a cooking pot. The bathroom is shared, down the hall.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Had I known the living conditions here,” she says in Cantonese, “I wouldn’t have decided to come to the U.S.”\u003c/p>\n\u003cp>Christina and her daughter are just two of the more than 20,000 people who currently live in San Francisco’s single-room occupancy hotels, commonly referred to as SROs. Theirs is one of five households at the heart of \u003ca href=\"https://www.homeisahotel.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Home Is a Hotel\u003c/em>\u003c/a>, a poignant, powerful documentary about SRO residents from Bay Area filmmaker Kevin Duncan Wong, with co-directors/producers Kar Yin Tham and Todd Sills. Following the film’s premiere at the San Francisco International Film Festival — where it won both the juried Documentary Feature Award and the Audience Award — it makes its non-festival debut at the \u003ca href=\"https://roxie.com/film/home-is-a-hotel/\" target=\"_blank\" rel=\"noopener\">Roxie Theater on Aug. 17. \u003c/a>A second screening at the Roxie is scheduled for \u003ca href=\"https://roxie.com/film/home-is-a-hotel/\" target=\"_blank\" rel=\"noopener\">Aug. 28\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13932822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932822\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-800x450.jpg\" alt=\"a Black woman with braids combs her toddler son's hair\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jacque and her son Zallah at home. \u003ccite>(Courtesy of 'Home Is a Hotel')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shot in and around its subjects’ living spaces in Chinatown, the Mission and the Tenderloin, the character-driven documentary is predicated on a deep, obvious trust between the filmmakers and their housing-insecure subjects. That’s the result, says Wong, of shooting over more than five years.\u003c/p>\n\u003cp>“Part of the challenge, the reason a film like this is hard to make, is it really does require that you spend years getting to know folks and them getting to know you,” says Wong. “You can’t make this kind of film if you’re just parachuting in.”\u003c/p>\n\u003cp>While the viewer gets a basic history of SROs in San Francisco via title cards — they were first introduced here in the ’80s, intended as a temporary way to get people off the street while their names sat on affordable housing waitlists — the filmmakers otherwise let the documentary’s subjects narrate their own stories. Which is smart, because the people in \u003cem>Home Is a Hotel\u003c/em> are compelling, complicated, endearing, tragic, funny and relatable, despite having been dealt some incredibly rough hands.\u003c/p>\n\u003cfigure id=\"attachment_13932823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932823\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-800x450.jpg\" alt=\"three white people sit on the floor of a small room with a dog\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sunbear and Amy with their son Marley inside their SRO. \u003ccite>(Courtesy of 'Home Is a Hotel')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s Jacque, who’s balancing a job and raising a toddler son while searching the city for her older daughter, a teenager who has run away from her foster home. Sylvester, a soft-spoken painter with PTSD, is under house arrest as he awaits a trial for killing a neighbor in self-defense. Esther is an elderly, blind librettist who’s facing eviction. Sunbear and Amy, a former couple in recovery, are trying to do right by their 6-year-old while staying sober, and dealing with a microwave so riddled with cockroaches it’s unusable — not to mention sharing an 80-square-foot home with an ex.\u003c/p>\n\u003cp>“In some ways the entire purpose of the film is about being able to cut through certain things and really reach people at an emotional level,” says Tham, of the filmmakers’ light touch. The severe lack of affordable housing isn’t a political talking point here; it’s the reason a kid is going to school with bedbug bites on his arms.\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/dicNcmt10DU'\n title='//www.youtube.com/embed/dicNcmt10DU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nIn between these intimate, often painful stories, tenderly framed shots of San Francisco provide a moment for the viewer to take a breath — as well as commentary on the staggering inequality that’s come to characterize the city over the last decade. “I really wanted the film to feel like what it feels like to be in San Francisco,” says Wong.\u003c/p>\n\u003cp>That means showing both the beauty and the blight: The city skyline glowing under golden hour sunlight. People dining inside a high-end restaurant while others sleep on the sidewalk outside. Jacque, who is Black, walking the neighborhood with “missing” signs for her daughter, whom she believes is with a child abuser and drug dealer, and noting that “the police don’t seem to give a shit.” Moments later, news blares from a bar TV, reporting that the reward for a missing white woman at the University of Iowa has climbed to $172,000.\u003c/p>\n\u003cp>By the film’s end — again, the narratives span five years — some of the subjects have finally gotten off the Section 8 housing waitlist and into their own homes, modest spaces that feel palatial and triumphant to the viewer after even an hour of watching scenes in SROs. Other subjects are more or less right where we left them. And everyone’s lives have been permanently altered by the pandemic.\u003c/p>\n\u003cfigure id=\"attachment_13932828\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932828\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-800x533.jpg\" alt=\"four people on a stage at a film festival in front of a packed theater\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Filmmakers Kevin Duncan Wong, Kar Yin Tham and Todd Sills spoke with Rod Armstrong, SFFILM’s associate director of programming, at the film festival in April. ‘Home Is a Hotel’ won both the Documentary Feature Award and the Audience Award. \u003ccite>(Tommy Lau, courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They have also been altered in a positive way, the filmmakers hope, by participating in the documentary. Most of the subjects attended the SFFILM premiere in April, and they seemed “touched, and shocked in a good way” by the rapturous applause, says Wong.\u003c/p>\n\u003cp>“Part of the point [of the film] is that this is a population that isn’t listened to very often,” says the director. “So that was probably the most meaningful thing for us, was them being able to feel the audience response, and see how people were responding to their stories.”\u003c/p>\n\u003cp>“It actually gave me more optimism around San Francisco and where we’re headed,” adds Tham. “Because it felt like people really got it, and maybe they left thinking ‘We can do better.’ We can be a different kind of city, you know?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>\u003cem>\u003cspan style=\"font-weight: 400\">‘\u003c/span>Home Is a Hotel\u003cspan style=\"font-weight: 400\">’\u003c/span> screens at 6:30 p.m. on Aug. 17 at the Roxie Theater in San Francisco\u003c/em>. \u003cem>The filmmakers and some documentary participants will be in attendance for a post-screening Q&A. A second screening is scheduled for 6:30 p.m. on Aug. 28. \u003ca href=\"https://roxie.com/film/home-is-a-hotel/\" target=\"_blank\" rel=\"noopener\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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