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"content": "\u003cp>The \u003ca href=\"https://sffilm.org\" rel=\"noopener\" target=\"_blank\">San Francisco International Film Festival\u003c/a> (SFFILM) continues through April 23, with a few fresh-as-a-daisy oldies stirred into the contemporary state-of-cinema mix. This year, a \u003ca href=\"https://sffilm.org/event/warpaint-live-score-films-by-maya-deren/\" rel=\"noopener\" target=\"_blank\">Castro Theater event on April 19\u003c/a> pairing live music with silent films is typically inspired. It matches live music from Warpaint’s Theresa Wayman and Stella Mozgawa with the immortal Maya Deren’s amazing mid-century works of avant-garde ethnography: \u003cem>At Land\u003c/em>, \u003cem>Meshes of the Afternoon\u003c/em>, \u003cem>Ritual in Transfigured Time\u003c/em> and \u003cem>The Very Eye of Night\u003c/em>. Entrancing, transporting and not to be missed.\u003c/p>\n\u003cp>One of my more memorable, and confounding, experiences at the San Francisco International Film Festival was the 2000 press screening of \u003cem>Wisconsin Death Trip\u003c/em>. I recall James Marsh’s genre-defying adaptation of Michael Lesy’s 1973 cult-fave compilation of 19th century photographs and newspaper accounts of Midwestern self-destruction and suffering as an amalgam of black-and-white poetry, historical curiosity, death tourism (Marsh is British) and bullet-punctuated eulogy. Decide for yourself on Saturday, April 20, when \u003ca href=\"https://bampfa.org/event/wisconsin-death-trip\" rel=\"noopener\" target=\"_blank\">\u003cem>Wisconsin Death Trip\u003c/em> screens at BAMPFA in Berkeley\u003c/a> as part of the Mel Novikoff Award presentation to editor and executive producer Anthony Wall of BBC Arena, the long-running strand of stellar arts documentaries. (James Marsh, incidentally, went on to win the Best Documentary Oscar for \u003cem>Man on Wire\u003c/em> before segueing to narrative features.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Now Playing! Strong Offerings from Bay Area Filmmakers Shine at SFFILM",
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"content": "\u003cp>With \u003cem>Scouts’ Honor\u003c/em> (2001, about a Petaluma teen’s challenge to the Boy Scouts of America’s anti-gay policy) and \u003cem>Knocking\u003c/em> (2006, which detailed the contributions of Jehovah’s Witnesses to U.S. civil rights), Bay Area documentary filmmaker Tom Shepard enrolled viewers in the causes of people they didn’t necessarily identify with or even like. Shepard works similar magic in \u003cem>\u003ca href=\"https://sffilm.org/event/unsettled-seeking-refuge-in-america/\" rel=\"noopener\" target=\"_blank\">Unsettled: Seeking Refuge in America\u003c/a>\u003c/em> (April 17 at the Victoria in San Francisco and April 18 at the Grand Lake in Oakland), tracking the San Francisco travails of four LGBTQ refugees from Angola, Syria and the Congo.\u003c/p>\n\u003cp>[aside postID='arts_13853415' hero='https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/high_life_COVER-1020x574.jpg' target='_blank']\u003c/p>\n\u003cp>\u003cem>Unsettled: Seeking Refuge in America\u003c/em> receives its world premiere at the \u003ca href=\"https://sffilm.org\" target=\"_blank\" rel=\"noopener\">San Francisco International Film Festival\u003c/a>, which launches Wednesday, April 10 and rolls through April 23. It’s the last rodeo hereabouts for executive director Noah Cowan, the doggedly low-key Toronto film-industry vet whose signature contribution in San Francisco was building a stable, high-level grant program for filmmakers.\u003c/p>\n\u003cp>I expect Cowan will be eager to introduce the SFFILM screenings of Bay Area films, whatever their funding sources, including Michael Tolajian’s portrait of San Quentin’s basketball team, \u003cem>\u003ca href=\"https://sffilm.org/event/q-ball/\" rel=\"noopener\" target=\"_blank\">Q Ball\u003c/a>\u003c/em> (April 11 at the Castro, with executive producer Kevin Durant in the house). Armistead Maupin takes the stage to open the festival with Netflix’s updated \u003cem>\u003ca href=\"https://sffilm.org/event/opening-night-film-party-armistead-maupins-tales-of-the-city/\" rel=\"noopener\" target=\"_blank\">Tales of the City\u003c/a>\u003c/em>, and another familiar name, Jennifer Siebel Newsom (a.k.a. the First Lady of California) returns to the festival with her latest probing doc, \u003cem>\u003ca href=\"https://sffilm.org/event/the-great-american-lie/\" rel=\"noopener\" target=\"_blank\">The Great American Lie\u003c/a>\u003c/em> (April 15 and 16), which consults and profiles those working to convert the myth of the American dream into reality for the many people stymied from climbing the ladder.\u003c/p>\n\u003cfigure id=\"attachment_13854477\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Quillian_ConfidenceGame_1200.jpg\" alt=\"Still from Kathleen Quillian's 'Confidence Game.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13854477\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Quillian_ConfidenceGame_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Quillian_ConfidenceGame_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Quillian_ConfidenceGame_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Quillian_ConfidenceGame_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Quillian_ConfidenceGame_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Kathleen Quillian’s ‘Confidence Game.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Boots Riley (\u003cem>Sorry to Bother You\u003c/em>) will pack the Victoria April 13 for the annual \u003ca href=\"https://sffilm.org/event/boots-riley-state-of-cinema-address/\" rel=\"noopener\" target=\"_blank\">State of Cinema address\u003c/a>, while \u003cem>\u003ca href=\"https://sffilm.org/event/ai-weiwei-yours-truly/\" rel=\"noopener\" target=\"_blank\">Ai Weiwei: Yours Truly\u003c/a>\u003c/em> (inspired by the artist’s 2015 installation at Alcatraz, which included a letter-writing campaign to prisoners of conscience around the globe) performs the same feat the next night at the Castro.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Claude Jarman, former child actor (\u003cem>The Yearling\u003c/em>) and director of the festival from the late 1960s to 1980, is feted with a screening of \u003cem>\u003ca href=\"https://sffilm.org/event/claude-jarman-jr-george-gund-iii-award-intruder-in-the-dust/\" rel=\"noopener\" target=\"_blank\">Intruder in the Dust\u003c/a>\u003c/em> from 1949 (April 20). On a different plane, Sara Dosa’s new doc, \u003cem>\u003ca href=\"https://sffilm.org/event/seer-and-the-unseen/\" rel=\"noopener\" target=\"_blank\">The Seer and the Unseen\u003c/a>\u003c/em> (April 13, 17 and 19), hangs out with an Icelandic elf whisperer (my words, not hers). New work by \u003ca href=\"https://sffilm.org/event/shorts-4-animation/\" rel=\"noopener\" target=\"_blank\">Kathleen Quillian\u003c/a>, \u003ca href=\"https://sffilm.org/event/shorts-2/\" rel=\"noopener\" target=\"_blank\">Jonn Herschend\u003c/a> and other local experimental filmmakers and animators is sprinkled throughout the \u003ca href=\"https://sffilm.org/calendar/?tribe_paged=1&tribe_event_display=list&tribe_sffilm_date_start=Wed%2C+Apr+10&tribe_sffilm_date_end=Tue%2C+Apr+23&tribe_sffilm_festival_section=210\" rel=\"noopener\" target=\"_blank\">numerous shorts programs\u003c/a>. Believe it or not, this isn’t the complete list of local artists in SFFILM. Dig into the program, and discover for yourself.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Unsettled: Seeking Refuge in America\u003c/em> receives its world premiere at the \u003ca href=\"https://sffilm.org\" target=\"_blank\" rel=\"noopener\">San Francisco International Film Festival\u003c/a>, which launches Wednesday, April 10 and rolls through April 23. It’s the last rodeo hereabouts for executive director Noah Cowan, the doggedly low-key Toronto film-industry vet whose signature contribution in San Francisco was building a stable, high-level grant program for filmmakers.\u003c/p>\n\u003cp>I expect Cowan will be eager to introduce the SFFILM screenings of Bay Area films, whatever their funding sources, including Michael Tolajian’s portrait of San Quentin’s basketball team, \u003cem>\u003ca href=\"https://sffilm.org/event/q-ball/\" rel=\"noopener\" target=\"_blank\">Q Ball\u003c/a>\u003c/em> (April 11 at the Castro, with executive producer Kevin Durant in the house). Armistead Maupin takes the stage to open the festival with Netflix’s updated \u003cem>\u003ca href=\"https://sffilm.org/event/opening-night-film-party-armistead-maupins-tales-of-the-city/\" rel=\"noopener\" target=\"_blank\">Tales of the City\u003c/a>\u003c/em>, and another familiar name, Jennifer Siebel Newsom (a.k.a. the First Lady of California) returns to the festival with her latest probing doc, \u003cem>\u003ca href=\"https://sffilm.org/event/the-great-american-lie/\" rel=\"noopener\" target=\"_blank\">The Great American Lie\u003c/a>\u003c/em> (April 15 and 16), which consults and profiles those working to convert the myth of the American dream into reality for the many people stymied from climbing the ladder.\u003c/p>\n\u003cfigure id=\"attachment_13854477\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Quillian_ConfidenceGame_1200.jpg\" alt=\"Still from Kathleen Quillian's 'Confidence Game.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13854477\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Quillian_ConfidenceGame_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Quillian_ConfidenceGame_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Quillian_ConfidenceGame_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Quillian_ConfidenceGame_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Quillian_ConfidenceGame_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Kathleen Quillian’s ‘Confidence Game.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Boots Riley (\u003cem>Sorry to Bother You\u003c/em>) will pack the Victoria April 13 for the annual \u003ca href=\"https://sffilm.org/event/boots-riley-state-of-cinema-address/\" rel=\"noopener\" target=\"_blank\">State of Cinema address\u003c/a>, while \u003cem>\u003ca href=\"https://sffilm.org/event/ai-weiwei-yours-truly/\" rel=\"noopener\" target=\"_blank\">Ai Weiwei: Yours Truly\u003c/a>\u003c/em> (inspired by the artist’s 2015 installation at Alcatraz, which included a letter-writing campaign to prisoners of conscience around the globe) performs the same feat the next night at the Castro.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Claude Jarman, former child actor (\u003cem>The Yearling\u003c/em>) and director of the festival from the late 1960s to 1980, is feted with a screening of \u003cem>\u003ca href=\"https://sffilm.org/event/claude-jarman-jr-george-gund-iii-award-intruder-in-the-dust/\" rel=\"noopener\" target=\"_blank\">Intruder in the Dust\u003c/a>\u003c/em> from 1949 (April 20). On a different plane, Sara Dosa’s new doc, \u003cem>\u003ca href=\"https://sffilm.org/event/seer-and-the-unseen/\" rel=\"noopener\" target=\"_blank\">The Seer and the Unseen\u003c/a>\u003c/em> (April 13, 17 and 19), hangs out with an Icelandic elf whisperer (my words, not hers). New work by \u003ca href=\"https://sffilm.org/event/shorts-4-animation/\" rel=\"noopener\" target=\"_blank\">Kathleen Quillian\u003c/a>, \u003ca href=\"https://sffilm.org/event/shorts-2/\" rel=\"noopener\" target=\"_blank\">Jonn Herschend\u003c/a> and other local experimental filmmakers and animators is sprinkled throughout the \u003ca href=\"https://sffilm.org/calendar/?tribe_paged=1&tribe_event_display=list&tribe_sffilm_date_start=Wed%2C+Apr+10&tribe_sffilm_date_end=Tue%2C+Apr+23&tribe_sffilm_festival_section=210\" rel=\"noopener\" target=\"_blank\">numerous shorts programs\u003c/a>. Believe it or not, this isn’t the complete list of local artists in SFFILM. Dig into the program, and discover for yourself.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "10 Hottest Tickets at the 2019 San Francisco International Film Festival",
"headTitle": "10 Hottest Tickets at the 2019 San Francisco International Film Festival | KQED",
"content": "\u003cp>The countdown to the 2019 \u003ca href=\"https://sffilm.org/\" rel=\"noopener\" target=\"_blank\">San Francisco International Film Festival\u003c/a>, taking place April 10–23 in theaters across the Bay Area, begins. What’s different this year? More East Bay engagements. More prints coming from a source called Netflix. And three films that start with the word “midnight” (including the 50th anniversary screening of \u003ci>\u003ca href=\"https://sffilm.org/event/midnight-cowboy-50th-anniversary-screening/\" rel=\"noopener\" target=\"_blank\">Midnight Cowboy\u003c/a>\u003c/i>).\u003c/p>\n\u003cp>Tickets go on sale to the general public Friday, March 22 at 10am. And while the opening night showing of Netflix’s reimagined and contemporary take on \u003ci>\u003ca href=\"https://sffilm.org/event/opening-night-film-party-armistead-maupins-tales-of-the-city/\" rel=\"noopener\" target=\"_blank\">Armistead Maupin’s Tales of the City\u003c/a>\u003c/i> is at rush, there’s still plenty of special appearances, screenings and performances worth snagging a seat for come Friday morn.\u003c/p>\n\u003cfigure id=\"attachment_13853421\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/q_ball_1200.jpg\" alt=\"A scene from Mike Tolajian's film 'Q Ball.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13853421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/q_ball_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/q_ball_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/q_ball_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/q_ball_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/q_ball_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Mike Tolajian’s film ‘Q Ball.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sffilm.org/event/q-ball/\" rel=\"noopener\" target=\"_blank\">‘Q Ball’\u003c/a>\u003c/h2>\n\u003cp>\u003cb>April 11, 7pm / Castro Theatre, San Francisco\u003c/b>\u003cbr>\nIt may surprise many Golden State Warriors fans to learn that a half hour drive from Oracle Arena, a second Warriors team plays inside San Quentin State Prison—a team of dedicated and talented players who also happen to be convicted felons. Michael Tolajian’s documentary follows an about-to-be-paroled squad star who harbors NBA dreams, a lifer who mentors younger inmates, and the team’s head coach, who believes the lessons of basketball help prepare his charges for life outside. The director and executive producers (including Kevin Durant) are expected to attend this world premiere screening.\u003c/p>\n\u003cfigure id=\"attachment_13853420\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/high_life_robert_pattinson_1200.jpg\" alt=\"Robert Pattinson stars in Claire Denis' sci-fi drama 'High Life.'\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13853420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/high_life_robert_pattinson_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/high_life_robert_pattinson_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/high_life_robert_pattinson_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/high_life_robert_pattinson_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/high_life_robert_pattinson_1200-1020x681.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Robert Pattinson stars in Claire Denis’ sci-fi drama ‘High Life.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sffilm.org/event/claire-denis-tribute-high-life/\" rel=\"noopener\" target=\"_blank\">Claire Denis: Tribute + ‘High Life’\u003c/a>\u003c/h2>\n\u003cp>\u003cb>April 11, 8pm / Victoria Theatre, San Francisco\u003c/b>\u003cbr>\nThe French filmmaker joins a conversation on stage after the screening of her latest film (her first English-language feature), starring Robert Pattinson, André Benjamin and Juliette Binoche as a group of death-row inmates on a dangerous space journey. A Denis sci-fi, SFFILM promises, is like no other sci-fi you’ve seen before. \u003c/p>\n\u003cfigure id=\"attachment_13853416\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/boots-riley-1200.jpg\" alt=\"Boots Riley, speaker at the State of Cinema.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13853416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/boots-riley-1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/boots-riley-1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/boots-riley-1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/boots-riley-1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/boots-riley-1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Boots Riley, speaker at the State of Cinema. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sffilm.org/event/boots-riley-state-of-cinema-address/\" rel=\"noopener\" target=\"_blank\">Boots Riley: State of Cinema Address\u003c/a>\u003c/h2>\n\u003cp>\u003cb>April 13, 2pm / Victoria Theatre, San Francisco\u003c/b>\u003cbr>\nWell known to Bay Area denizens as \u003ca href=\"https://www.kqed.org/arts/13851697/boots-riley-spoke-at-the-oakland-teachers-strike-heres-what-he-said\" rel=\"noopener\" target=\"_blank\">an activist\u003c/a>, The Coup front man and that guy \u003ca href=\"https://www.nytimes.com/2018/05/22/magazine/how-boots-riley-infiltrated-hollywood.html\" rel=\"noopener\" target=\"_blank\">everyone in Oakland seems to know\u003c/a>, Riley burst onto the national film scene last year with the \u003ca href=\"https://www.kqed.org/arts/13836455/in-sorry-to-bother-you-an-alternate-universe-oakland-is-still-true-and-familiar\" rel=\"noopener\" target=\"_blank\">so-surreal-it’s-real\u003c/a> \u003ci>Sorry to Bother You\u003c/i>. Riley’s State of Cinema address will keep Bay Area filmmaking at the forefront while he speaks to the ways film responds to current social movements, and vice versa.\u003c/p>\n\u003cfigure id=\"attachment_13853422\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/trial_by_fire_laura_dern_1200.jpg\" alt=\"Laura Dern in a still from Edward Zwick's 'Trial by Fire.'\" width=\"1200\" height=\"647\" class=\"size-full wp-image-13853422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/trial_by_fire_laura_dern_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/trial_by_fire_laura_dern_1200-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/trial_by_fire_laura_dern_1200-800x431.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/trial_by_fire_laura_dern_1200-768x414.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/trial_by_fire_laura_dern_1200-1020x550.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Laura Dern in a still from Edward Zwick’s ‘Trial by Fire.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sffilm.org/event/laura-dern-tribute-trial-by-fire/\" rel=\"noopener\" target=\"_blank\">Laura Dern: Tribute + ‘Trial by Fire’\u003c/a>\u003c/h2>\n\u003cp>\u003cb>April 14, 3:30pm / Castro Theatre, San Francisco\u003c/b>\u003cbr>\nLaura Dern! In person! Need I say more? Following a screening of Edward Zwick’s new drama starring the actress (based on the \u003ca href=\"https://www.newyorker.com/magazine/2009/09/07/trial-by-fire\" rel=\"noopener\" target=\"_blank\">real-life story\u003c/a> of a Texas playwright advocating for a man on death row), Dern discusses her illustrious career on stage at the Castro. So help me, if anyone dares “ask” her anything that “isn’t actually a question,” there’ll be hell to pay.\u003c/p>\n\u003ch2>\u003ca href=\"https://sffilm.org/event/an-evening-with-kahlil-joseph/\" rel=\"noopener\" target=\"_blank\">An Evening with Kahlil Joseph\u003c/a>\u003c/h2>\n\u003cp>\u003cb>April 15, 8pm / Victoria Theatre, San Francisco\u003c/b>\u003cbr>\nJoseph’s moving image work transcends the traditional boundaries of commercial video projects, film and art. Case in point: the co-director of Beyoncé’s \u003ci>Lemonade\u003c/i> is also a participant in this year’s Venice Biennale. He appears on stage to discuss a series of short works (including two new projects), his process and plans for the future.\u003c/p>\n\u003ch2>\u003ca href=\"https://sffilm.org/event/booksmart/\" rel=\"noopener\" target=\"_blank\">‘Booksmart’\u003c/a>\u003c/h2>\n\u003cp>\u003cb>April 16, 7:30pm / Castro Theatre, San Francisco\u003c/b>\u003cbr>\nWhat’re two straight-A students to do on the eve of their high school graduation and with no black marks on their spotless records? Cram all the missed opportunities for misbehavior, bad decisions and hijinks into one wild night, of course. Actress-turned-director Olivia Wilde is expected on stage after the screening.\u003c/p>\n\u003ch2>\u003ca href=\"https://sffilm.org/event/centerpiece-film-the-farewell/\" rel=\"noopener\" target=\"_blank\">Centerpiece Film: ‘The Farewell’\u003c/a>\u003c/h2>\n\u003cp>\u003cb>April 18, 7:30pm / Castro Theatre, San Francisco\u003c/b>\u003cbr>\n“Some people are describing it as the indie version of \u003ci>Crazy Rich Asians\u003c/i>,” one of SFFILM’s programmers said at the press preview, “but it’s so much more than that.” Writer-director Lulu Wang’s feature debut tells the story of an Asian-American artist (Awkwafina) who joins family in China to say goodbye to their dying matriarch—who doesn’t know she’s dying.\u003c/p>\n\u003ch2>\u003ca href=\"https://sffilm.org/event/warpaint-live-score-films-by-maya-deren/\" rel=\"noopener\" target=\"_blank\">Warpaint: Live Score + Films by Maya Deren\u003c/a>\u003c/h2>\n\u003cp>\u003cb>April 19, 8pm / Castro Theatre, San Francisco\u003c/b>\u003cbr>\nTwo members of the LA-based band Warpaint perform a live score for four of avant-garde filmmaker Maya Deren’s signature works, including her landmark 1943 experimental film \u003ci>Meshes of the Afternoon\u003c/i>. See Deren’s pieces in the luxurious setting they deserve (instead of, say, a musty film studies classroom), and with a dreamy post-punk soundtrack I’m pretty sure she would’ve loved.\u003c/p>\n\u003cfigure id=\"attachment_13853417\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/grass_is_greener_1200.jpg\" alt=\"A still from Fab 5 Freddy's 'Grass is Greener.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13853417\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/grass_is_greener_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/grass_is_greener_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/grass_is_greener_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/grass_is_greener_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/grass_is_greener_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A still from Fab 5 Freddy’s ‘Grass is Greener.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sffilm.org/event/grass-is-greener/\" rel=\"noopener\" target=\"_blank\">‘Grass is Greener’\u003c/a>\u003c/h2>\n\u003cp>\u003cb>April 20, 6:30pm / Grand Lake Theater, Oakland\u003c/b>\u003cbr>\nAs mentioned, SFFILM boasts an expanded East Bay program this year (possibly a result of 2018’s sold-out \u003ci>Sorry to Bother You\u003c/i> screening at the Grand Lake), and the billing sure to draw crowds is a documentary about the history of cannabis in America (and its relationship to music and people of color), directed by legendary graffiti artist, rap artist, MTV host and music video director Fab 5 Freddy. \u003c/p>\n\u003cfigure id=\"attachment_13853418\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/hail-satan-penny-lane-1200.jpg\" alt=\"A still from Penny Lane's 'Hail Satan?'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13853418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/hail-satan-penny-lane-1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/hail-satan-penny-lane-1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/hail-satan-penny-lane-1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/hail-satan-penny-lane-1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/hail-satan-penny-lane-1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A still from Penny Lane’s ‘Hail Satan?’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sffilm.org/event/hail-satan/\" rel=\"noopener\" target=\"_blank\">‘Hail Satan?’\u003c/a>\u003c/h2>\n\u003cp>\u003cb>April 20, 6pm / Victoria Theatre, San Francisco\u003cbr>\nApril 23, 8:30pm / Roxie Theater, San Francisco\u003c/b>\u003cbr>\nThere’s two screenings for this one, which might mitigate the “hot ticket” pretense of this list, but it was also the only film mentioned in the festival’s press preview that elicited an actual cheer from the assembled crowd of usually deadpan critics. Nonfiction filmmaker Penny Lane’s latest takes viewers into The Satanic Temple, where a group of Satanists are putting up a rebellious and hilarious fight for religious freedom and against political corruption. (I’d swap that question mark for an exclamation.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The countdown to the 2019 \u003ca href=\"https://sffilm.org/\" rel=\"noopener\" target=\"_blank\">San Francisco International Film Festival\u003c/a>, taking place April 10–23 in theaters across the Bay Area, begins. What’s different this year? More East Bay engagements. More prints coming from a source called Netflix. And three films that start with the word “midnight” (including the 50th anniversary screening of \u003ci>\u003ca href=\"https://sffilm.org/event/midnight-cowboy-50th-anniversary-screening/\" rel=\"noopener\" target=\"_blank\">Midnight Cowboy\u003c/a>\u003c/i>).\u003c/p>\n\u003cp>Tickets go on sale to the general public Friday, March 22 at 10am. And while the opening night showing of Netflix’s reimagined and contemporary take on \u003ci>\u003ca href=\"https://sffilm.org/event/opening-night-film-party-armistead-maupins-tales-of-the-city/\" rel=\"noopener\" target=\"_blank\">Armistead Maupin’s Tales of the City\u003c/a>\u003c/i> is at rush, there’s still plenty of special appearances, screenings and performances worth snagging a seat for come Friday morn.\u003c/p>\n\u003cfigure id=\"attachment_13853421\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/q_ball_1200.jpg\" alt=\"A scene from Mike Tolajian's film 'Q Ball.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13853421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/q_ball_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/q_ball_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/q_ball_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/q_ball_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/q_ball_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Mike Tolajian’s film ‘Q Ball.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sffilm.org/event/q-ball/\" rel=\"noopener\" target=\"_blank\">‘Q Ball’\u003c/a>\u003c/h2>\n\u003cp>\u003cb>April 11, 7pm / Castro Theatre, San Francisco\u003c/b>\u003cbr>\nIt may surprise many Golden State Warriors fans to learn that a half hour drive from Oracle Arena, a second Warriors team plays inside San Quentin State Prison—a team of dedicated and talented players who also happen to be convicted felons. Michael Tolajian’s documentary follows an about-to-be-paroled squad star who harbors NBA dreams, a lifer who mentors younger inmates, and the team’s head coach, who believes the lessons of basketball help prepare his charges for life outside. The director and executive producers (including Kevin Durant) are expected to attend this world premiere screening.\u003c/p>\n\u003cfigure id=\"attachment_13853420\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/high_life_robert_pattinson_1200.jpg\" alt=\"Robert Pattinson stars in Claire Denis' sci-fi drama 'High Life.'\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13853420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/high_life_robert_pattinson_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/high_life_robert_pattinson_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/high_life_robert_pattinson_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/high_life_robert_pattinson_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/high_life_robert_pattinson_1200-1020x681.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Robert Pattinson stars in Claire Denis’ sci-fi drama ‘High Life.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sffilm.org/event/claire-denis-tribute-high-life/\" rel=\"noopener\" target=\"_blank\">Claire Denis: Tribute + ‘High Life’\u003c/a>\u003c/h2>\n\u003cp>\u003cb>April 11, 8pm / Victoria Theatre, San Francisco\u003c/b>\u003cbr>\nThe French filmmaker joins a conversation on stage after the screening of her latest film (her first English-language feature), starring Robert Pattinson, André Benjamin and Juliette Binoche as a group of death-row inmates on a dangerous space journey. A Denis sci-fi, SFFILM promises, is like no other sci-fi you’ve seen before. \u003c/p>\n\u003cfigure id=\"attachment_13853416\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/boots-riley-1200.jpg\" alt=\"Boots Riley, speaker at the State of Cinema.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13853416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/boots-riley-1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/boots-riley-1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/boots-riley-1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/boots-riley-1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/boots-riley-1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Boots Riley, speaker at the State of Cinema. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sffilm.org/event/boots-riley-state-of-cinema-address/\" rel=\"noopener\" target=\"_blank\">Boots Riley: State of Cinema Address\u003c/a>\u003c/h2>\n\u003cp>\u003cb>April 13, 2pm / Victoria Theatre, San Francisco\u003c/b>\u003cbr>\nWell known to Bay Area denizens as \u003ca href=\"https://www.kqed.org/arts/13851697/boots-riley-spoke-at-the-oakland-teachers-strike-heres-what-he-said\" rel=\"noopener\" target=\"_blank\">an activist\u003c/a>, The Coup front man and that guy \u003ca href=\"https://www.nytimes.com/2018/05/22/magazine/how-boots-riley-infiltrated-hollywood.html\" rel=\"noopener\" target=\"_blank\">everyone in Oakland seems to know\u003c/a>, Riley burst onto the national film scene last year with the \u003ca href=\"https://www.kqed.org/arts/13836455/in-sorry-to-bother-you-an-alternate-universe-oakland-is-still-true-and-familiar\" rel=\"noopener\" target=\"_blank\">so-surreal-it’s-real\u003c/a> \u003ci>Sorry to Bother You\u003c/i>. Riley’s State of Cinema address will keep Bay Area filmmaking at the forefront while he speaks to the ways film responds to current social movements, and vice versa.\u003c/p>\n\u003cfigure id=\"attachment_13853422\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/trial_by_fire_laura_dern_1200.jpg\" alt=\"Laura Dern in a still from Edward Zwick's 'Trial by Fire.'\" width=\"1200\" height=\"647\" class=\"size-full wp-image-13853422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/trial_by_fire_laura_dern_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/trial_by_fire_laura_dern_1200-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/trial_by_fire_laura_dern_1200-800x431.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/trial_by_fire_laura_dern_1200-768x414.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/trial_by_fire_laura_dern_1200-1020x550.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Laura Dern in a still from Edward Zwick’s ‘Trial by Fire.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sffilm.org/event/laura-dern-tribute-trial-by-fire/\" rel=\"noopener\" target=\"_blank\">Laura Dern: Tribute + ‘Trial by Fire’\u003c/a>\u003c/h2>\n\u003cp>\u003cb>April 14, 3:30pm / Castro Theatre, San Francisco\u003c/b>\u003cbr>\nLaura Dern! In person! Need I say more? Following a screening of Edward Zwick’s new drama starring the actress (based on the \u003ca href=\"https://www.newyorker.com/magazine/2009/09/07/trial-by-fire\" rel=\"noopener\" target=\"_blank\">real-life story\u003c/a> of a Texas playwright advocating for a man on death row), Dern discusses her illustrious career on stage at the Castro. So help me, if anyone dares “ask” her anything that “isn’t actually a question,” there’ll be hell to pay.\u003c/p>\n\u003ch2>\u003ca href=\"https://sffilm.org/event/an-evening-with-kahlil-joseph/\" rel=\"noopener\" target=\"_blank\">An Evening with Kahlil Joseph\u003c/a>\u003c/h2>\n\u003cp>\u003cb>April 15, 8pm / Victoria Theatre, San Francisco\u003c/b>\u003cbr>\nJoseph’s moving image work transcends the traditional boundaries of commercial video projects, film and art. Case in point: the co-director of Beyoncé’s \u003ci>Lemonade\u003c/i> is also a participant in this year’s Venice Biennale. He appears on stage to discuss a series of short works (including two new projects), his process and plans for the future.\u003c/p>\n\u003ch2>\u003ca href=\"https://sffilm.org/event/booksmart/\" rel=\"noopener\" target=\"_blank\">‘Booksmart’\u003c/a>\u003c/h2>\n\u003cp>\u003cb>April 16, 7:30pm / Castro Theatre, San Francisco\u003c/b>\u003cbr>\nWhat’re two straight-A students to do on the eve of their high school graduation and with no black marks on their spotless records? Cram all the missed opportunities for misbehavior, bad decisions and hijinks into one wild night, of course. Actress-turned-director Olivia Wilde is expected on stage after the screening.\u003c/p>\n\u003ch2>\u003ca href=\"https://sffilm.org/event/centerpiece-film-the-farewell/\" rel=\"noopener\" target=\"_blank\">Centerpiece Film: ‘The Farewell’\u003c/a>\u003c/h2>\n\u003cp>\u003cb>April 18, 7:30pm / Castro Theatre, San Francisco\u003c/b>\u003cbr>\n“Some people are describing it as the indie version of \u003ci>Crazy Rich Asians\u003c/i>,” one of SFFILM’s programmers said at the press preview, “but it’s so much more than that.” Writer-director Lulu Wang’s feature debut tells the story of an Asian-American artist (Awkwafina) who joins family in China to say goodbye to their dying matriarch—who doesn’t know she’s dying.\u003c/p>\n\u003ch2>\u003ca href=\"https://sffilm.org/event/warpaint-live-score-films-by-maya-deren/\" rel=\"noopener\" target=\"_blank\">Warpaint: Live Score + Films by Maya Deren\u003c/a>\u003c/h2>\n\u003cp>\u003cb>April 19, 8pm / Castro Theatre, San Francisco\u003c/b>\u003cbr>\nTwo members of the LA-based band Warpaint perform a live score for four of avant-garde filmmaker Maya Deren’s signature works, including her landmark 1943 experimental film \u003ci>Meshes of the Afternoon\u003c/i>. See Deren’s pieces in the luxurious setting they deserve (instead of, say, a musty film studies classroom), and with a dreamy post-punk soundtrack I’m pretty sure she would’ve loved.\u003c/p>\n\u003cfigure id=\"attachment_13853417\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/grass_is_greener_1200.jpg\" alt=\"A still from Fab 5 Freddy's 'Grass is Greener.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13853417\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/grass_is_greener_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/grass_is_greener_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/grass_is_greener_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/grass_is_greener_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/grass_is_greener_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A still from Fab 5 Freddy’s ‘Grass is Greener.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sffilm.org/event/grass-is-greener/\" rel=\"noopener\" target=\"_blank\">‘Grass is Greener’\u003c/a>\u003c/h2>\n\u003cp>\u003cb>April 20, 6:30pm / Grand Lake Theater, Oakland\u003c/b>\u003cbr>\nAs mentioned, SFFILM boasts an expanded East Bay program this year (possibly a result of 2018’s sold-out \u003ci>Sorry to Bother You\u003c/i> screening at the Grand Lake), and the billing sure to draw crowds is a documentary about the history of cannabis in America (and its relationship to music and people of color), directed by legendary graffiti artist, rap artist, MTV host and music video director Fab 5 Freddy. \u003c/p>\n\u003cfigure id=\"attachment_13853418\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/hail-satan-penny-lane-1200.jpg\" alt=\"A still from Penny Lane's 'Hail Satan?'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13853418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/hail-satan-penny-lane-1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/hail-satan-penny-lane-1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/hail-satan-penny-lane-1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/hail-satan-penny-lane-1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/hail-satan-penny-lane-1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A still from Penny Lane’s ‘Hail Satan?’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sffilm.org/event/hail-satan/\" rel=\"noopener\" target=\"_blank\">‘Hail Satan?’\u003c/a>\u003c/h2>\n\u003cp>\u003cb>April 20, 6pm / Victoria Theatre, San Francisco\u003cbr>\nApril 23, 8:30pm / Roxie Theater, San Francisco\u003c/b>\u003cbr>\nThere’s two screenings for this one, which might mitigate the “hot ticket” pretense of this list, but it was also the only film mentioned in the festival’s press preview that elicited an actual cheer from the assembled crowd of usually deadpan critics. Nonfiction filmmaker Penny Lane’s latest takes viewers into The Satanic Temple, where a group of Satanists are putting up a rebellious and hilarious fight for religious freedom and against political corruption. (I’d swap that question mark for an exclamation.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Now Playing! SFFILM's Hong Kong Cinema Rocks the Vogue",
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"content": "\u003cp>More than 20 years after the handover, Hong Kong is still working out its identity issues. Or so one concludes from its movie industry, which has one eye on the enormous Chinese market and the other on tried-and-true Hollywood storytelling. The result, more often than not, is a well-made piece of escapist entertainment that, if you peer beneath the veneer, has a sharp political point.\u003c/p>\n\u003cp>Take \u003cem>Distinction\u003c/em> (showing 4pm on Sept. 29 at the Vogue), one of seven new and recent titles that comprise the eighth edition of SFFILM’s annual \u003ca href=\"https://www.sffilm.org/screenings-and-events/hong-kong-cinema-2018\" target=\"_blank\" rel=\"noopener\">Hong Kong Cinema\u003c/a> series. Up-and-coming director Jevons Au (who will be in the house) turns our hearts to putty with his story of a special needs school staging a musical while simultaneously critiquing the higher-ups’ ghettoization and marginalization of differently abled youngsters.\u003c/p>\n\u003cfigure id=\"attachment_13841548\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Distinction_1200.jpg\" alt=\"Still from 'Distinction.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13841548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Distinction.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stick around for the boy-band saga \u003cem>House of the Rising Sons\u003c/em> (Sept. 29 at 6:30pm), which tracks the formative years of The Wynners. Set in the early 1970s, and directed by its drummer-turned-actor and director Anthony Chan, the movie conjures the intoxicating brew of youthful ambition, idealism, friendship and freedom. Ah, those innocent days of pre-internet celebrity and fame.\u003c/p>\n\u003cp>\u003cem>The Brink\u003c/em> (Sept. 30 at 7pm) caps the weekend with an incendiary dose of what made Hong Kong films popular ‘round the world back in the ’80s: state of the art suspense and killer action sequences. Jonathan Li’s directorial debut follows a detective in the great tradition of loose cannons on the trail of a gang of gold smugglers. The waterlogged fight scenes set a new standard (and demand to be seen on the big screen), but Li’s main concern is blasting the failed promise of capitalism and the corruption that undergirds contemporary Hong Kong. You’re not buying that, are you? \u003cem>The Brink\u003c/em> is primal, adrenalized moviemaking. Movies are fun, too, you know.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>More than 20 years after the handover, Hong Kong is still working out its identity issues. Or so one concludes from its movie industry, which has one eye on the enormous Chinese market and the other on tried-and-true Hollywood storytelling. The result, more often than not, is a well-made piece of escapist entertainment that, if you peer beneath the veneer, has a sharp political point.\u003c/p>\n\u003cp>Take \u003cem>Distinction\u003c/em> (showing 4pm on Sept. 29 at the Vogue), one of seven new and recent titles that comprise the eighth edition of SFFILM’s annual \u003ca href=\"https://www.sffilm.org/screenings-and-events/hong-kong-cinema-2018\" target=\"_blank\" rel=\"noopener\">Hong Kong Cinema\u003c/a> series. Up-and-coming director Jevons Au (who will be in the house) turns our hearts to putty with his story of a special needs school staging a musical while simultaneously critiquing the higher-ups’ ghettoization and marginalization of differently abled youngsters.\u003c/p>\n\u003cfigure id=\"attachment_13841548\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Distinction_1200.jpg\" alt=\"Still from 'Distinction.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13841548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Distinction.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stick around for the boy-band saga \u003cem>House of the Rising Sons\u003c/em> (Sept. 29 at 6:30pm), which tracks the formative years of The Wynners. Set in the early 1970s, and directed by its drummer-turned-actor and director Anthony Chan, the movie conjures the intoxicating brew of youthful ambition, idealism, friendship and freedom. Ah, those innocent days of pre-internet celebrity and fame.\u003c/p>\n\u003cp>\u003cem>The Brink\u003c/em> (Sept. 30 at 7pm) caps the weekend with an incendiary dose of what made Hong Kong films popular ‘round the world back in the ’80s: state of the art suspense and killer action sequences. Jonathan Li’s directorial debut follows a detective in the great tradition of loose cannons on the trail of a gang of gold smugglers. The waterlogged fight scenes set a new standard (and demand to be seen on the big screen), but Li’s main concern is blasting the failed promise of capitalism and the corruption that undergirds contemporary Hong Kong. You’re not buying that, are you? \u003cem>The Brink\u003c/em> is primal, adrenalized moviemaking. Movies are fun, too, you know.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Nothing succeeds in Hollywood like success. So box office champs Jordan Peele (\u003cem>Get Out\u003c/em>), Ryan Coogler (\u003cem>\u003ca href=\"https://www.kqed.org/arts/13824804/decoding-black-panthers-technocratic-afrofuturist-utopia\" rel=\"noopener\" target=\"_blank\">Black Panther\u003c/a>\u003c/em>) and Ava DuVernay (\u003cem>A Wrinkle in Time\u003c/em>), best picture director Barry Jenkins (\u003cem>Moonlight\u003c/em>) and Oscar nominee Dee Rees (\u003cem>Mudbound\u003c/em>) now have the clout to continue making movies about black people (and anyone else they like). With luck and positive word of mouth, the Oakland-set indie features \u003cem>\u003ca href=\"https://www.kqed.org/arts/13836455/in-sorry-to-bother-you-an-alternate-universe-oakland-is-still-true-and-familiar\" rel=\"noopener\" target=\"_blank\">Sorry to Bother You\u003c/a>\u003c/em> (now in theaters) and \u003cem>Blindspotting\u003c/em> (opening July 20), will click with audiences and launch their creators’ careers.\u003c/p>\n\u003cp>This isn’t the first time a wave of black filmmakers galvanized American movies. \u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-black-powers/#more-upcoming-events-99701\" rel=\"noopener\" target=\"_blank\">Black Powers: Reframing Hollywood\u003c/a> (July 12-29), the sixth edition of SFMOMA and SFFILM’s insightful dialogue between older and contemporary films, isn’t inspired by a single filmmaker (like previous Modern Cinema series centered on Claire Denis, Johnnie To and Todd Haynes) but by an infiltration process: the ebb and flow of black filmmakers past and around the studio greenlighters who serve as de facto gatekeepers.\u003c/p>\n\u003cfigure id=\"attachment_13836750\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200.jpg\" alt=\"Jennifer Beals and Denzel Washington in 'Devil in a Blue Dress,' 1995.\" width=\"1200\" height=\"786\" class=\"size-full wp-image-13836750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-1180x773.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-960x629.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-520x341.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Beals and Denzel Washington in ‘Devil in a Blue Dress,’ 1995. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first weekend of the three-part series boasts an array of landmark films, from the peerless writer-director Oscar Micheaux’s 1925 silent \u003cem>Body and Soul\u003c/em> to Charles Burnett’s 1978 low-key working-class character drama \u003cem>Killer of Sheep\u003c/em> to writer-director-actor Wendell B. Harris’ 1989 fact-based impostor fable \u003cem>Chameleon Street\u003c/em>. Spike Lee’s career-making \u003cem>Do the Right Thing\u003c/em> (a summer 1989 sensation) rounds out the lineup with Jenkins’ delectable S.F.-set 2008 debut \u003cem>Medicine for Melancholy\u003c/em> and last year’s \u003cem>Get Out\u003c/em>.\u003c/p>\n\u003cp>The other two weekends are given over to films that clamor to be re-watched (or discovered) post-Ferguson and post-\u003cem>Black Panther\u003c/em>, augmented with an array of guests (check the lineup). The private-eye movies \u003cem>Shaft\u003c/em> (directed by Gordon Parks) and Carl Franklin’s \u003cem>Devil in a Blue Dress\u003c/em> (the first in what should have been a franchise based on Walter Mosley’s series of Easy Rawlins novels) shouldn’t be underestimated as pulp entertainment. \u003c/p>\n\u003cfigure id=\"attachment_13836751\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200.jpg\" alt=\"Still from 'Watermelon Woman.'\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13836751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Cheryl Dunye’s ‘The Watermelon Woman,’ 1995. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Godfrey Cambridge, an unjustly forgotten comedian and actor, is a brassy pleasure in \u003cem>Watermelon Man\u003c/em> and \u003cem>Cotton Comes to Harlem\u003c/em>. Cheryl Dunye’s 1996 queer classic, \u003cem>The Watermelon Woman\u003c/em>, connects eras in African-American life and cinema, while \u003cem>Pariah\u003c/em>, the 2011 feature debut by Dee Rees, tells an unflinching, sexually charged coming-of-age story.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Some suggest, on the basis of \u003cem>Black Panther\u003c/em>, that directing a superhero movie is the ultimate proof that a black filmmaker has crashed the gates. The route from “Black Powers” to superpowers isn’t easy to trace or follow, but it’s enlightening to try.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nothing succeeds in Hollywood like success. So box office champs Jordan Peele (\u003cem>Get Out\u003c/em>), Ryan Coogler (\u003cem>\u003ca href=\"https://www.kqed.org/arts/13824804/decoding-black-panthers-technocratic-afrofuturist-utopia\" rel=\"noopener\" target=\"_blank\">Black Panther\u003c/a>\u003c/em>) and Ava DuVernay (\u003cem>A Wrinkle in Time\u003c/em>), best picture director Barry Jenkins (\u003cem>Moonlight\u003c/em>) and Oscar nominee Dee Rees (\u003cem>Mudbound\u003c/em>) now have the clout to continue making movies about black people (and anyone else they like). With luck and positive word of mouth, the Oakland-set indie features \u003cem>\u003ca href=\"https://www.kqed.org/arts/13836455/in-sorry-to-bother-you-an-alternate-universe-oakland-is-still-true-and-familiar\" rel=\"noopener\" target=\"_blank\">Sorry to Bother You\u003c/a>\u003c/em> (now in theaters) and \u003cem>Blindspotting\u003c/em> (opening July 20), will click with audiences and launch their creators’ careers.\u003c/p>\n\u003cp>This isn’t the first time a wave of black filmmakers galvanized American movies. \u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-black-powers/#more-upcoming-events-99701\" rel=\"noopener\" target=\"_blank\">Black Powers: Reframing Hollywood\u003c/a> (July 12-29), the sixth edition of SFMOMA and SFFILM’s insightful dialogue between older and contemporary films, isn’t inspired by a single filmmaker (like previous Modern Cinema series centered on Claire Denis, Johnnie To and Todd Haynes) but by an infiltration process: the ebb and flow of black filmmakers past and around the studio greenlighters who serve as de facto gatekeepers.\u003c/p>\n\u003cfigure id=\"attachment_13836750\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200.jpg\" alt=\"Jennifer Beals and Denzel Washington in 'Devil in a Blue Dress,' 1995.\" width=\"1200\" height=\"786\" class=\"size-full wp-image-13836750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-1180x773.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-960x629.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-520x341.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Beals and Denzel Washington in ‘Devil in a Blue Dress,’ 1995. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first weekend of the three-part series boasts an array of landmark films, from the peerless writer-director Oscar Micheaux’s 1925 silent \u003cem>Body and Soul\u003c/em> to Charles Burnett’s 1978 low-key working-class character drama \u003cem>Killer of Sheep\u003c/em> to writer-director-actor Wendell B. Harris’ 1989 fact-based impostor fable \u003cem>Chameleon Street\u003c/em>. Spike Lee’s career-making \u003cem>Do the Right Thing\u003c/em> (a summer 1989 sensation) rounds out the lineup with Jenkins’ delectable S.F.-set 2008 debut \u003cem>Medicine for Melancholy\u003c/em> and last year’s \u003cem>Get Out\u003c/em>.\u003c/p>\n\u003cp>The other two weekends are given over to films that clamor to be re-watched (or discovered) post-Ferguson and post-\u003cem>Black Panther\u003c/em>, augmented with an array of guests (check the lineup). The private-eye movies \u003cem>Shaft\u003c/em> (directed by Gordon Parks) and Carl Franklin’s \u003cem>Devil in a Blue Dress\u003c/em> (the first in what should have been a franchise based on Walter Mosley’s series of Easy Rawlins novels) shouldn’t be underestimated as pulp entertainment. \u003c/p>\n\u003cfigure id=\"attachment_13836751\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200.jpg\" alt=\"Still from 'Watermelon Woman.'\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13836751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Cheryl Dunye’s ‘The Watermelon Woman,’ 1995. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Godfrey Cambridge, an unjustly forgotten comedian and actor, is a brassy pleasure in \u003cem>Watermelon Man\u003c/em> and \u003cem>Cotton Comes to Harlem\u003c/em>. 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"content": "\u003cp>Rachael Myrow here, pinch-hitting for Cy Musiker this week. Naturally, I picked a co-host from Palo Alto — visual artist and salon organizer \u003ca href=\"http://sahbashere.com\" target=\"_blank\" rel=\"noopener\">Sabha Shere\u003c/a> — and we talked about the upcoming concerts and exhibitions we’re most excited about.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6–8\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828634/science-parties-with-pop-culture-at-silicon-valley-comic-con-2018\" target=\"_blank\" rel=\"noopener\">Science Parties With Pop Culture at Silicon Valley Comic Con 2018\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828637/kronos-quartet-plays-live-to-a-found-footage-homage-to-hitchcock\" target=\"_blank\" rel=\"noopener\">Kronos Quartet Plays Live to Green Fog, a Found Footage Homage to Hitchcock\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 9–14: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828645/other-minds-festival-celebrates-cerebral-and-witty-sound-poetry\" target=\"_blank\" rel=\"noopener\">Other Minds Festival Celebrates Cerebral and Witty Sound Poetry\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Mar. 24– Aug. 12\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828651/cult-of-the-machine-explores-the-magnetic-pull-of-industrial-design\" target=\"_blank\" rel=\"noopener\">Cult of the Machine Explores the Magnetic Pull of Industrial Design\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Mar. 30– Apr. 29:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828662/in-a-time-of-economic-extremes-shakespeares-timon-recast-as-a-silicon-valley-ceo\" target=\"_blank\" rel=\"noopener\">In a Time of Economic Extremes, Shakespeare’s Timon Recast as a Silicon Valley CEO\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828695/haim-plays-the-greek-theatre-on-the-road-to-coachella\" target=\"_blank\" rel=\"noopener\">Haim Plays at the Greek Theatre in Berkeley on The Road to Coachella\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 20–22\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828705/the-classic-chicano-novel-reimagined-as-an-opera\" target=\"_blank\" rel=\"noopener\">The Classic Chicano Novel ‘Bless Me, Última’ Reimagined as an Opera\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Apr. 27-28\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828723/epic-tale-from-the-ancient-indian-ramayan-takes-flight-in-san-francisco\" target=\"_blank\" rel=\"noopener\">Epic Tale From the Ancient Indian Ramayan Takes Flight in San Francisco\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rachael Myrow here, pinch-hitting for Cy Musiker this week. Naturally, I picked a co-host from Palo Alto — visual artist and salon organizer \u003ca href=\"http://sahbashere.com\" target=\"_blank\" rel=\"noopener\">Sabha Shere\u003c/a> — and we talked about the upcoming concerts and exhibitions we’re most excited about.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6–8\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828634/science-parties-with-pop-culture-at-silicon-valley-comic-con-2018\" target=\"_blank\" rel=\"noopener\">Science Parties With Pop Culture at Silicon Valley Comic Con 2018\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828637/kronos-quartet-plays-live-to-a-found-footage-homage-to-hitchcock\" target=\"_blank\" rel=\"noopener\">Kronos Quartet Plays Live to Green Fog, a Found Footage Homage to Hitchcock\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 9–14: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828645/other-minds-festival-celebrates-cerebral-and-witty-sound-poetry\" target=\"_blank\" rel=\"noopener\">Other Minds Festival Celebrates Cerebral and Witty Sound Poetry\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Mar. 24– Aug. 12\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828651/cult-of-the-machine-explores-the-magnetic-pull-of-industrial-design\" target=\"_blank\" rel=\"noopener\">Cult of the Machine Explores the Magnetic Pull of Industrial Design\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Mar. 30– Apr. 29:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828662/in-a-time-of-economic-extremes-shakespeares-timon-recast-as-a-silicon-valley-ceo\" target=\"_blank\" rel=\"noopener\">In a Time of Economic Extremes, Shakespeare’s Timon Recast as a Silicon Valley CEO\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828695/haim-plays-the-greek-theatre-on-the-road-to-coachella\" target=\"_blank\" rel=\"noopener\">Haim Plays at the Greek Theatre in Berkeley on The Road to Coachella\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 20–22\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828705/the-classic-chicano-novel-reimagined-as-an-opera\" target=\"_blank\" rel=\"noopener\">The Classic Chicano Novel ‘Bless Me, Última’ Reimagined as an Opera\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Apr. 27-28\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828723/epic-tale-from-the-ancient-indian-ramayan-takes-flight-in-san-francisco\" target=\"_blank\" rel=\"noopener\">Epic Tale From the Ancient Indian Ramayan Takes Flight in San Francisco\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We don’t spend a lot of time these days thinking about San Francisco as an icon of noir, but with the fog and the hills and the crazy quilt-like streets, it was very much that when the great Alfred Hitchcock made the classic 1958 film \u003cem>Vertigo\u003c/em>.\u003c/p>\n\u003cp>So imagine a modern day homage to \u003ci>Vertigo\u003c/i> stitched together from 200-plus snippets of found footage like a crazy quilt. Instead of panels, the quilt it made up of scene from TV and movies that are classic in their own right, like \u003cem>The Lady From Shanghai\u003c/em>, \u003cem>The Conversation\u003c/em>, and \u003cem>Basic Instinct.\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.sffilm.org\" target=\"_blank\" rel=\"noopener\">San Francisco Film Society\u003c/a> and \u003ca href=\"https://live.stanford.edu\" target=\"_blank\" rel=\"noopener\">Stanford Live\u003c/a> co-commissioned \u003cem>Green Fog\u003c/em> from filmmaker \u003ca href=\"https://vimeo.com/user4895266\" target=\"_blank\" rel=\"noopener\">Guy Maddin\u003c/a>, as well as a new score from composer \u003ca href=\"http://jacobgarchik.com/?page_id=8\" target=\"_blank\" rel=\"noopener\">Jacob Garchik\u003c/a> for the \u003ca href=\"http://kronosquartet.org\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a> to play live with the film. The first performance was at the 2017 San Francisco International Film Festival.\u003c/p>\n\u003cp>Chris Lorway, Executive Director says this has been making the film festival rounds for good reason. He says when he and Noah Cowen of SFFilm cooked up this idea a little over a year ago, “we had no requirements but that it had to be a love letter to the city.”\u003c/p>\n\u003cp>As Maddin’s interns combed through archival footage and found lots of chasing across rooftops and steep hills, “they realized they could put together the plot of \u003cem>Vertigo\u003c/em>,” Lorway notes, making \u003cem>Green Fog\u003c/em> a love letter to San Francisco, but also Hitchcock.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J4LTz4OC3pA\u003c/p>\n\u003cp>Lorway also says the new score delivers a tip of the hat to Bernard Hermann, who wrote the soundtrack to \u003cem>Vertigo\u003c/em>. Ummm, maybe? Some critics say you might hurt your brain trying too hard to make the connections between the originals and the homages, but what is unarguable is that you will be entertained.\u003c/p>\n\u003cp>“It’s pretty fun,” Lorway adds. “It’s got a tongue-in-cheek element to it that was a bit surprising to me.”\u003c/p>\n\u003cp>The Kronos Quartet and throat singer Tanya Tagaq perform live with the movie \u003cem>Green Fog\u003c/em> on April 6 at the Bing Concert Hall. \u003ca href=\"https://live.stanford.edu/calendar/april-2018/kronos-quartet\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\n\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Don't go to 'Green Fog' expecting Alfred Hitchcock and Bernard Herman. Go with curiosity to see inspired artists responding to the classic film 'Vertigo.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We don’t spend a lot of time these days thinking about San Francisco as an icon of noir, but with the fog and the hills and the crazy quilt-like streets, it was very much that when the great Alfred Hitchcock made the classic 1958 film \u003cem>Vertigo\u003c/em>.\u003c/p>\n\u003cp>So imagine a modern day homage to \u003ci>Vertigo\u003c/i> stitched together from 200-plus snippets of found footage like a crazy quilt. Instead of panels, the quilt it made up of scene from TV and movies that are classic in their own right, like \u003cem>The Lady From Shanghai\u003c/em>, \u003cem>The Conversation\u003c/em>, and \u003cem>Basic Instinct.\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.sffilm.org\" target=\"_blank\" rel=\"noopener\">San Francisco Film Society\u003c/a> and \u003ca href=\"https://live.stanford.edu\" target=\"_blank\" rel=\"noopener\">Stanford Live\u003c/a> co-commissioned \u003cem>Green Fog\u003c/em> from filmmaker \u003ca href=\"https://vimeo.com/user4895266\" target=\"_blank\" rel=\"noopener\">Guy Maddin\u003c/a>, as well as a new score from composer \u003ca href=\"http://jacobgarchik.com/?page_id=8\" target=\"_blank\" rel=\"noopener\">Jacob Garchik\u003c/a> for the \u003ca href=\"http://kronosquartet.org\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a> to play live with the film. The first performance was at the 2017 San Francisco International Film Festival.\u003c/p>\n\u003cp>Chris Lorway, Executive Director says this has been making the film festival rounds for good reason. He says when he and Noah Cowen of SFFilm cooked up this idea a little over a year ago, “we had no requirements but that it had to be a love letter to the city.”\u003c/p>\n\u003cp>As Maddin’s interns combed through archival footage and found lots of chasing across rooftops and steep hills, “they realized they could put together the plot of \u003cem>Vertigo\u003c/em>,” Lorway notes, making \u003cem>Green Fog\u003c/em> a love letter to San Francisco, but also Hitchcock.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/J4LTz4OC3pA'\n title='//www.youtube.com/embed/J4LTz4OC3pA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Lorway also says the new score delivers a tip of the hat to Bernard Hermann, who wrote the soundtrack to \u003cem>Vertigo\u003c/em>. Ummm, maybe? Some critics say you might hurt your brain trying too hard to make the connections between the originals and the homages, but what is unarguable is that you will be entertained.\u003c/p>\n\u003cp>“It’s pretty fun,” Lorway adds. “It’s got a tongue-in-cheek element to it that was a bit surprising to me.”\u003c/p>\n\u003cp>The Kronos Quartet and throat singer Tanya Tagaq perform live with the movie \u003cem>Green Fog\u003c/em> on April 6 at the Bing Concert Hall. \u003ca href=\"https://live.stanford.edu/calendar/april-2018/kronos-quartet\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\n\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Pssst... We've Got the Best Hidden Gems at SFFILM This Year",
"headTitle": "Pssst… We’ve Got the Best Hidden Gems at SFFILM This Year | KQED",
"content": "\u003cp>With the \u003ca href=\"https://www.sffilm.org/\" rel=\"noopener\" target=\"_blank\">San Francisco International Film Festival\u003c/a>’s usual crush of marquee events and big-ticket premieres — many of them highlighted in KQED’s \u003ca href=\"https://ww2.kqed.org/arts/2018/03/15/tix-not-to-miss-at-the-san-francisco-international-film-festival/\" rel=\"noopener\" target=\"_blank\">hot ticket roundup\u003c/a> — some of the festival’s best films can get lost in the limelight. \u003c/p>\n\u003cp>To be sure, this year features a scruffier slate of special events than usual: \u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/state-of-cinema-guy-maddin\" rel=\"noopener\" target=\"_blank\">Guy Maddin\u003c/a> promises an eccentric take on the typically staid “State of Cinema” address; a suitably chaotic tribute is set for Oddball Films legend \u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/a-celebration-of-oddball-films\" rel=\"noopener\" target=\"_blank\">Stephen Parr\u003c/a>; and San Francisco’s 16mm poet laureate, \u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/pov-award-nathaniel-dorsky\" rel=\"noopener\" target=\"_blank\">Nathaniel Dorsky\u003c/a>, wins a well-deserved Persistence of Vision Award. \u003c/p>\n\u003cp>As always, though, many of the festival’s discoveries require digging deeper into the program guide. Here are a handful of under-the-radar highlights:\u003c/p>\n\u003cfigure id=\"attachment_13828049\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Decoy_1200.jpg\" alt=\"A scene from Alee People's 'Decoy.'\" width=\"1200\" height=\"890\" class=\"size-full wp-image-13828049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-768x570.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-1020x757.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-1180x875.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-960x712.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-520x386.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Alee People’s ‘Decoy.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/the-shape-of-a-surface-experimental-shorts\" rel=\"noopener\" target=\"_blank\">‘Decoy’\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 8, 6pm at BAMPFA / April 11, 6:30pm at Roxie Theater\u003c/strong>\u003cbr>\n \u003c/p>\n\u003cp>A Rubik’s Cube of a film, and a shot in the arm, Alee Peoples’ \u003cem>Decoy\u003c/em> anchors a fine program of recent experimental films selected by curators Kathy Geritz and Vanessa O’Neill. Stimulated by Angela Davis’s remark that “Walls turned sideways are bridges,” Peoples makes like a structural anthropologist and free-associates different figures of these opposed concepts, wall and bridge. In so doing, the film grapples with meaning rather than grasping for it, subjecting the insanities and inanities of the political imagination to a fierce form of play. While not as immediately comic as her earlier pieces, \u003cem>Decoy\u003c/em> is every bit as nimble in its generative juxtapositions and tactile effects. The program also features two lyrical shorts by Paul Clipson, a beloved Bay Area filmmaker who \u003ca href=\"https://www.kqed.org/arts/13823720\" rel=\"noopener\" target=\"_blank\">died last month\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13828052\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Winogrand_1200.jpg\" alt=\"A scene from Sasha Waters Freyer's 'Garry Winogrand: All Things Are Photographable.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13828052\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Sasha Waters Freyer’s ‘Garry Winogrand: All Things Are Photographable.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/garry-winogrand-all-things-are-photographable\" rel=\"noopener\" target=\"_blank\">‘Garry Winogrand: All Things are Photographable’\u003c/a>\u003c/h3>\n\u003cp>\u003cb>April 14, 8pm at SFMOMA / April 15, 1pm at BAMPFA\u003c/b>\u003cbr>\n \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This documentary profile of the seminal street photographer was directed by noted experimental filmmaker Sasha Waters Freyer, and her rhythmic editing is marvelously responsive to the elusive snap of a Winogrand. The \u003cem>American Experience\u003c/em> format has its limitations, to be sure, but Freyer’s doc resists hagiography and comes spiked with surprises like a series of animations by Kelly Gallagher (an intervention that, along with the large number of female curators and photographers addressing Winogrand’s legacy, offers welcome balance in sorting out the photographer’s sexual politics). The SFMOMA screening will be followed by a conversation between Freyer and one of the film’s liveliest speakers, Geoff Dyer. Shutterbugs will be duly inspired to get to work.\u003c/p>\n\u003cfigure id=\"attachment_13828050\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Purge_1200.jpg\" alt=\"A scene from Lee Anne Schmitt's 'Purge This Land.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13828050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Lee Anne Schmitt’s ‘Purge This Land.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/purge-this-land\" rel=\"noopener\" target=\"_blank\">‘Purge This Land’\u003c/a>\u003c/h3>\n\u003cp>\u003cb>April 10, 6pm at YBCA / April 11, 6:30pm at BAMPFA / April 14, 5:30pm at YBCA\u003c/b>\u003cbr>\n \u003c/p>\n\u003cp>Lee Anne Schmitt’s contemplative study of America’s history of racial violence sits uneasily, and pointedly, at the intersection of personal essay and historical documentation. Dedicated to her young son, and scored by her partner Jeff Parker, the intimacy of \u003cem>Purge This Land\u003c/em>’s reckoning flows from Schmitt’s position as a white woman with a biracial child. The film covers a lot of literal ground, cataloging the historical sites of race riots, slave auctions, and police actions in the unadorned documentary style of forbearers like James Benning, John Gianvito, and her own excellent \u003cem>California Company Town\u003c/em> (2008). Freely drawing upon geographic and temporal coincidence, the overall effect is to suggest a land that offers no refuge from racial violence. \u003c/p>\n\u003cp>A few days after seeing \u003cem>Purge This Land\u003c/em>, I’m left wondering why it relies so heavily on well-known incidences of racial violence rather than exhuming unwritten histories; what its streamlined account of John Brown loses in excluding his religiosity; and what exactly it suggests we make of the knowledge of what happened at a particular site. These are productive questions, to be sure, indicative of a film doing its work. \u003c/p>\n\u003cfigure id=\"attachment_13828047\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200.jpg\" alt=\"A scene from Hope Tucker's 'Atomkraftwerk Zwentendorf.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13828047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Hope Tucker’s ‘Atomkraftwerk Zwentendorf.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/shorts-4-new-visions\" rel=\"noopener\" target=\"_blank\">‘Atomkraftwerk Zwentendorf’\u003c/a>\u003c/h3>\n\u003cp>\u003cb>April 7, 7:30pm at Roxie Theater / April 16, 4:30pm at Roxie Theater\u003c/b>\u003cbr>\n \u003c/p>\n\u003cp>The fourth of six shorts programs (“New Visions”) features pieces by Kevin Jerome Everson, Jem Cohen, and this strikingly lucid work of documentary by Hope Tucker. Part of her ongoing Obituary Project, Tucker’s film finds an ambiguous monument in the decommissioned Zwentendorf Nuclear Power Plant. It was never operational, having been voted closed in a 1978 referendum following years of construction and protest. Incorporating archival footage and her own field recordings, Tucker uses the Austrian site as a meditation on various forms of power. While innocuous as a stage set, the site is shadowed by disasters at Three Mile Island, Chernobyl, and Fukushima. The sci-fi flavor of Tucker’s film finally owes as much to her delineation of these alternate realities as to Zwentendorf’s inscrutable gadgetry. \u003c/p>\n\u003cfigure id=\"attachment_13828048\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Claire_1200.jpg\" alt=\"A scene from Hong Sang-soo's 'Claire's Camera.'\" width=\"1200\" height=\"633\" class=\"size-full wp-image-13828048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-1180x622.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-960x506.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-520x274.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Hong Sang-soo’s ‘Claire’s Camera.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/claire%E2%80%99s-camera\" rel=\"noopener\" target=\"_blank\">‘Claire’s Camera’\u003c/a>\u003c/h3>\n\u003cp>\u003cb>April 7, 3:30pm at YBCA / April 9, 4pm at SFMOMA / April 12, 8:30pm at YBCA\u003c/b>\u003cbr>\n \u003c/p>\n\u003cp>The fact that \u003cem>Claire’s Camera\u003c/em> — one of two films Hong Sang-soo films unveiled at Cannes, where it’s also set — is so plainly off-the-cuff only drives home the acuity of the South Korean auteur’s style: He approaches film narrative as a kind of music, all theme and variation, melody and motif. The roundelay here turns on a characteristic love triangle here enlivened by Isabelle Huppert’s titular sprite. The scenes between her and the Korean trio play in halted English, and it’s one measure of Hong’s genius that he sees dramatic possibility in such comically mundane circumstances. Huppert’s photographer says she takes pictures because people are different afterwards, and that little koan ripples throughout this disarmingly transparent movie.\u003cbr>\n \u003c/p>\n\u003cp>Other highlights? What about a trio of docs fresh off Sundance raves (\u003ci>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/shirkers\" rel=\"noopener\" target=\"_blank\">Shirkers\u003c/a>\u003c/i>, \u003ci>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/minding-the-gap\" rel=\"noopener\" target=\"_blank\">Minding the Gap\u003c/a>\u003c/i>, and \u003ci>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/hale-county-this-morning-this-evening\" rel=\"noopener\" target=\"_blank\">Hale County This Morning, This Evening\u003c/a>\u003c/i>), recovering transcendentalist Paul Schrader’s \u003ci>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/first-reformed\" rel=\"noopener\" target=\"_blank\">First Reformed\u003c/a>\u003c/i>, or art-rockers Blonde Redhead thrashing it out to Yasujiro Ozu’s delicate coming-of-age comedy, \u003ci>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/blonde-redhead-with-i-was-born-but\" rel=\"noopener\" target=\"_blank\">I Was Born, But…\u003c/a>\u003c/i> (1932)? That last could well prove a miscalculation, but my curiosity is piqued. Such is festival season.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>The 61st San Francisco International Film Festival takes place April 4-17 in various Bay Area theaters. For tickets and more information, \u003ca href=\"https://www.sffilm.org/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With the \u003ca href=\"https://www.sffilm.org/\" rel=\"noopener\" target=\"_blank\">San Francisco International Film Festival\u003c/a>’s usual crush of marquee events and big-ticket premieres — many of them highlighted in KQED’s \u003ca href=\"https://ww2.kqed.org/arts/2018/03/15/tix-not-to-miss-at-the-san-francisco-international-film-festival/\" rel=\"noopener\" target=\"_blank\">hot ticket roundup\u003c/a> — some of the festival’s best films can get lost in the limelight. \u003c/p>\n\u003cp>To be sure, this year features a scruffier slate of special events than usual: \u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/state-of-cinema-guy-maddin\" rel=\"noopener\" target=\"_blank\">Guy Maddin\u003c/a> promises an eccentric take on the typically staid “State of Cinema” address; a suitably chaotic tribute is set for Oddball Films legend \u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/a-celebration-of-oddball-films\" rel=\"noopener\" target=\"_blank\">Stephen Parr\u003c/a>; and San Francisco’s 16mm poet laureate, \u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/pov-award-nathaniel-dorsky\" rel=\"noopener\" target=\"_blank\">Nathaniel Dorsky\u003c/a>, wins a well-deserved Persistence of Vision Award. \u003c/p>\n\u003cp>As always, though, many of the festival’s discoveries require digging deeper into the program guide. Here are a handful of under-the-radar highlights:\u003c/p>\n\u003cfigure id=\"attachment_13828049\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Decoy_1200.jpg\" alt=\"A scene from Alee People's 'Decoy.'\" width=\"1200\" height=\"890\" class=\"size-full wp-image-13828049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-768x570.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-1020x757.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-1180x875.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-960x712.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-520x386.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Alee People’s ‘Decoy.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/the-shape-of-a-surface-experimental-shorts\" rel=\"noopener\" target=\"_blank\">‘Decoy’\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 8, 6pm at BAMPFA / April 11, 6:30pm at Roxie Theater\u003c/strong>\u003cbr>\n \u003c/p>\n\u003cp>A Rubik’s Cube of a film, and a shot in the arm, Alee Peoples’ \u003cem>Decoy\u003c/em> anchors a fine program of recent experimental films selected by curators Kathy Geritz and Vanessa O’Neill. Stimulated by Angela Davis’s remark that “Walls turned sideways are bridges,” Peoples makes like a structural anthropologist and free-associates different figures of these opposed concepts, wall and bridge. In so doing, the film grapples with meaning rather than grasping for it, subjecting the insanities and inanities of the political imagination to a fierce form of play. While not as immediately comic as her earlier pieces, \u003cem>Decoy\u003c/em> is every bit as nimble in its generative juxtapositions and tactile effects. The program also features two lyrical shorts by Paul Clipson, a beloved Bay Area filmmaker who \u003ca href=\"https://www.kqed.org/arts/13823720\" rel=\"noopener\" target=\"_blank\">died last month\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13828052\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Winogrand_1200.jpg\" alt=\"A scene from Sasha Waters Freyer's 'Garry Winogrand: All Things Are Photographable.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13828052\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Sasha Waters Freyer’s ‘Garry Winogrand: All Things Are Photographable.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/garry-winogrand-all-things-are-photographable\" rel=\"noopener\" target=\"_blank\">‘Garry Winogrand: All Things are Photographable’\u003c/a>\u003c/h3>\n\u003cp>\u003cb>April 14, 8pm at SFMOMA / April 15, 1pm at BAMPFA\u003c/b>\u003cbr>\n \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This documentary profile of the seminal street photographer was directed by noted experimental filmmaker Sasha Waters Freyer, and her rhythmic editing is marvelously responsive to the elusive snap of a Winogrand. The \u003cem>American Experience\u003c/em> format has its limitations, to be sure, but Freyer’s doc resists hagiography and comes spiked with surprises like a series of animations by Kelly Gallagher (an intervention that, along with the large number of female curators and photographers addressing Winogrand’s legacy, offers welcome balance in sorting out the photographer’s sexual politics). The SFMOMA screening will be followed by a conversation between Freyer and one of the film’s liveliest speakers, Geoff Dyer. Shutterbugs will be duly inspired to get to work.\u003c/p>\n\u003cfigure id=\"attachment_13828050\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Purge_1200.jpg\" alt=\"A scene from Lee Anne Schmitt's 'Purge This Land.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13828050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Lee Anne Schmitt’s ‘Purge This Land.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/purge-this-land\" rel=\"noopener\" target=\"_blank\">‘Purge This Land’\u003c/a>\u003c/h3>\n\u003cp>\u003cb>April 10, 6pm at YBCA / April 11, 6:30pm at BAMPFA / April 14, 5:30pm at YBCA\u003c/b>\u003cbr>\n \u003c/p>\n\u003cp>Lee Anne Schmitt’s contemplative study of America’s history of racial violence sits uneasily, and pointedly, at the intersection of personal essay and historical documentation. Dedicated to her young son, and scored by her partner Jeff Parker, the intimacy of \u003cem>Purge This Land\u003c/em>’s reckoning flows from Schmitt’s position as a white woman with a biracial child. The film covers a lot of literal ground, cataloging the historical sites of race riots, slave auctions, and police actions in the unadorned documentary style of forbearers like James Benning, John Gianvito, and her own excellent \u003cem>California Company Town\u003c/em> (2008). Freely drawing upon geographic and temporal coincidence, the overall effect is to suggest a land that offers no refuge from racial violence. \u003c/p>\n\u003cp>A few days after seeing \u003cem>Purge This Land\u003c/em>, I’m left wondering why it relies so heavily on well-known incidences of racial violence rather than exhuming unwritten histories; what its streamlined account of John Brown loses in excluding his religiosity; and what exactly it suggests we make of the knowledge of what happened at a particular site. These are productive questions, to be sure, indicative of a film doing its work. \u003c/p>\n\u003cfigure id=\"attachment_13828047\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200.jpg\" alt=\"A scene from Hope Tucker's 'Atomkraftwerk Zwentendorf.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13828047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Hope Tucker’s ‘Atomkraftwerk Zwentendorf.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/shorts-4-new-visions\" rel=\"noopener\" target=\"_blank\">‘Atomkraftwerk Zwentendorf’\u003c/a>\u003c/h3>\n\u003cp>\u003cb>April 7, 7:30pm at Roxie Theater / April 16, 4:30pm at Roxie Theater\u003c/b>\u003cbr>\n \u003c/p>\n\u003cp>The fourth of six shorts programs (“New Visions”) features pieces by Kevin Jerome Everson, Jem Cohen, and this strikingly lucid work of documentary by Hope Tucker. Part of her ongoing Obituary Project, Tucker’s film finds an ambiguous monument in the decommissioned Zwentendorf Nuclear Power Plant. It was never operational, having been voted closed in a 1978 referendum following years of construction and protest. Incorporating archival footage and her own field recordings, Tucker uses the Austrian site as a meditation on various forms of power. While innocuous as a stage set, the site is shadowed by disasters at Three Mile Island, Chernobyl, and Fukushima. The sci-fi flavor of Tucker’s film finally owes as much to her delineation of these alternate realities as to Zwentendorf’s inscrutable gadgetry. \u003c/p>\n\u003cfigure id=\"attachment_13828048\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Claire_1200.jpg\" alt=\"A scene from Hong Sang-soo's 'Claire's Camera.'\" width=\"1200\" height=\"633\" class=\"size-full wp-image-13828048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-1180x622.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-960x506.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-520x274.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Hong Sang-soo’s ‘Claire’s Camera.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/claire%E2%80%99s-camera\" rel=\"noopener\" target=\"_blank\">‘Claire’s Camera’\u003c/a>\u003c/h3>\n\u003cp>\u003cb>April 7, 3:30pm at YBCA / April 9, 4pm at SFMOMA / April 12, 8:30pm at YBCA\u003c/b>\u003cbr>\n \u003c/p>\n\u003cp>The fact that \u003cem>Claire’s Camera\u003c/em> — one of two films Hong Sang-soo films unveiled at Cannes, where it’s also set — is so plainly off-the-cuff only drives home the acuity of the South Korean auteur’s style: He approaches film narrative as a kind of music, all theme and variation, melody and motif. The roundelay here turns on a characteristic love triangle here enlivened by Isabelle Huppert’s titular sprite. The scenes between her and the Korean trio play in halted English, and it’s one measure of Hong’s genius that he sees dramatic possibility in such comically mundane circumstances. Huppert’s photographer says she takes pictures because people are different afterwards, and that little koan ripples throughout this disarmingly transparent movie.\u003cbr>\n \u003c/p>\n\u003cp>Other highlights? What about a trio of docs fresh off Sundance raves (\u003ci>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/shirkers\" rel=\"noopener\" target=\"_blank\">Shirkers\u003c/a>\u003c/i>, \u003ci>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/minding-the-gap\" rel=\"noopener\" target=\"_blank\">Minding the Gap\u003c/a>\u003c/i>, and \u003ci>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/hale-county-this-morning-this-evening\" rel=\"noopener\" target=\"_blank\">Hale County This Morning, This Evening\u003c/a>\u003c/i>), recovering transcendentalist Paul Schrader’s \u003ci>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/first-reformed\" rel=\"noopener\" target=\"_blank\">First Reformed\u003c/a>\u003c/i>, or art-rockers Blonde Redhead thrashing it out to Yasujiro Ozu’s delicate coming-of-age comedy, \u003ci>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/blonde-redhead-with-i-was-born-but\" rel=\"noopener\" target=\"_blank\">I Was Born, But…\u003c/a>\u003c/i> (1932)? That last could well prove a miscalculation, but my curiosity is piqued. Such is festival season.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>The 61st San Francisco International Film Festival takes place April 4-17 in various Bay Area theaters. For tickets and more information, \u003ca href=\"https://www.sffilm.org/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Theater and music guy Eli Wirtschafter joins me this week as co-host on The Do List, as we celebrate female trios: the three folk singer-songwriters of I’m With Her, the new play from 3Girls Theater Company, the three women singing of the African diaspora at SFJAZZ, and the three girls in iron shoes in a new play at Shotgun. Plus we cover the SF International Film Festival. We hope you like the show, times three.\u003c/p>\n\u003cp>\u003cstrong>April 3 and 4:\u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828123/three-voices-become-one-for-the-singer-songwriters-of-im-with-her\" target=\"_blank\" rel=\"noopener\"> The trio I’m With Her work in perfect harmony in two Bay Area appearances\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 4-17:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828178/bay-area-filmmakers-well-represented-at-the-sf-international-film-festival\" target=\"_blank\" rel=\"noopener\">Plenty of Bay Area movies at the San Francisco International Film Festival \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb. 21-April 29: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828198/vietgone-mines-laughs-and-insight-from-the-lives-of-vietnamese-refugees\" target=\"_blank\" rel=\"noopener\">Humor and heartache in the lives of Vietnamese refugees in the play \u003cem>Vietgone \u003c/em> at ACT’s Strand Theater\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 6-28:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828207/disruption-flips-the-script-on-sexual-harassment\" target=\"_blank\" rel=\"noopener\">The play \u003cem>Disruption\u003c/em> examines sexual harassment from a male employee’s point of view at 3Girls Theater Co.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>March 22-May 6: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828213/walking-a-mile-in-iron-shoes-at-shotgun-players\" target=\"_blank\" rel=\"noopener\">Deconstructing folk tales in the play \u003cem>Iron Shoes\u003c/em> at the Shotgun Players\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 5-8: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828139/african-diaspora-showcase-features-music-from-mali-ethiopia-and-cuba\" target=\"_blank\" rel=\"noopener\">The Bay Area’s Meklit Hadero and Mali’s Fatoumata Diawara \u003c/a>\u003ca href=\"https://www.kqed.org/arts/13828139/african-diaspora-showcase-features-music-from-mali-ethiopia-and-cuba\" target=\"_blank\" rel=\"noopener\">take the lead in a mini-fest of music of the African diaspora at SFJAZZ\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Shoutouts:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>April 8 & 12\u003c/strong>: \u003ca href=\"https://www.livenation.com/artists/200262/gloria-trevi-alejandra-guzman\" target=\"_blank\" rel=\"noopener\">Exuberant Mexican Pop from Gloria Trevi and Alejandra Guzmán at the SAP Center and Golden 1 Center \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 31:\u003c/strong> \u003ca href=\"https://www.phenomenal-anomalies.org/upcoming/\" target=\"_blank\" rel=\"noopener\">The Phenomenal Anomalies do a free dance performance on the Lincoln Steps in San Francisco \u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Theater and music guy Eli Wirtschafter joins me this week as co-host on The Do List, as we celebrate female trios: the three folk singer-songwriters of I’m With Her, the new play from 3Girls Theater Company, the three women singing of the African diaspora at SFJAZZ, and the three girls in iron shoes in a new play at Shotgun. Plus we cover the SF International Film Festival. We hope you like the show, times three.\u003c/p>\n\u003cp>\u003cstrong>April 3 and 4:\u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828123/three-voices-become-one-for-the-singer-songwriters-of-im-with-her\" target=\"_blank\" rel=\"noopener\"> The trio I’m With Her work in perfect harmony in two Bay Area appearances\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 4-17:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828178/bay-area-filmmakers-well-represented-at-the-sf-international-film-festival\" target=\"_blank\" rel=\"noopener\">Plenty of Bay Area movies at the San Francisco International Film Festival \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb. 21-April 29: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828198/vietgone-mines-laughs-and-insight-from-the-lives-of-vietnamese-refugees\" target=\"_blank\" rel=\"noopener\">Humor and heartache in the lives of Vietnamese refugees in the play \u003cem>Vietgone \u003c/em> at ACT’s Strand Theater\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 6-28:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828207/disruption-flips-the-script-on-sexual-harassment\" target=\"_blank\" rel=\"noopener\">The play \u003cem>Disruption\u003c/em> examines sexual harassment from a male employee’s point of view at 3Girls Theater Co.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 22-May 6: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828213/walking-a-mile-in-iron-shoes-at-shotgun-players\" target=\"_blank\" rel=\"noopener\">Deconstructing folk tales in the play \u003cem>Iron Shoes\u003c/em> at the Shotgun Players\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 5-8: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828139/african-diaspora-showcase-features-music-from-mali-ethiopia-and-cuba\" target=\"_blank\" rel=\"noopener\">The Bay Area’s Meklit Hadero and Mali’s Fatoumata Diawara \u003c/a>\u003ca href=\"https://www.kqed.org/arts/13828139/african-diaspora-showcase-features-music-from-mali-ethiopia-and-cuba\" target=\"_blank\" rel=\"noopener\">take the lead in a mini-fest of music of the African diaspora at SFJAZZ\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Shoutouts:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>April 8 & 12\u003c/strong>: \u003ca href=\"https://www.livenation.com/artists/200262/gloria-trevi-alejandra-guzman\" target=\"_blank\" rel=\"noopener\">Exuberant Mexican Pop from Gloria Trevi and Alejandra Guzmán at the SAP Center and Golden 1 Center \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 31:\u003c/strong> \u003ca href=\"https://www.phenomenal-anomalies.org/upcoming/\" target=\"_blank\" rel=\"noopener\">The Phenomenal Anomalies do a free dance performance on the Lincoln Steps in San Francisco \u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bay Area Filmmakers Well Represented at the SF International Film Festival",
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"content": "\u003cp>The San Francisco International Film Festival (SFIFF) opens April 4 with a nearly-endless variety of features, shorts and documentaries from around the world. But despite it having “international” in the name, there’s always a local angle at SFIFF. \u003c/p>\n\u003cp>Opening night is reserved for \u003cem>A Kid Like Jake, \u003c/em>directed by Silas Howard. He was a guitarist with the San Francisco “queercore” punk band Tribe 8, before doing films, and working on the show \u003cem>Transparent\u003c/em>. In an interview at Sundance, Howard described what drew him to this film that stars Clair Danes and Jim Parsons as parents trying to find the right kindergarten for their Gender Fluid child: “I’m very fond of characters saying the wrong thing, and then ultimately doing the right thing. Especially when someone you care about is maybe at risk of being hurt or made fun of.”\u003c/p>\n\u003cfigure id=\"attachment_13828196\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828196\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/still-1-1-800x509.jpg\" alt=\"'A Kid Like Jake' features Claire Danes, Jim Parsons and Leo James Davis in a film directed by Silas Howard\" width=\"800\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-800x509.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-768x489.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-1020x649.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-1180x751.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-960x611.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-240x153.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-375x239.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-520x331.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1.jpg 1650w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘A Kid Like Jake’ features Claire Danes, Jim Parsons and Leo James Davis in a film directed by Silas Howard \u003ccite>(Courtesy of Sundance Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And another local angle, Howard got a grant to help finance this film from SFFILM and San Francisco’s Kenneth Rainin Foundation.\u003c/p>\n\u003cp>Both my co-host and I are most excited about the debut film for Oakland musician Boots Riley, who directed and wrote the film \u003cem>Sorry to Bother You\u003c/em>. It’s a wild comedy set in Oakland about Cassius Green (Lakeith Greenfield), a black man, who gets a job as a telemarketer, and then becomes a phenomenal success by pretending to have a “white voice.” Arnie Hammer, Terry Crews and Bay Area resident Danny Glover co-star, and it looks hilarious and a bit surreal.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XaBGcorkzpk\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Other films with Bay Area connections include \u003cem>Come Inside My Mind, \u003c/em>a documentary about Robin Williams; \u003cem>Endgame\u003c/em>, a film about hospice directed by Bay Area filmmakers Rob Epstein and Jeffrey Friedman. And the festival is honoring Bay Area filmmaker Wayne Wang, who made \u003cem>Smoke\u003c/em>, \u003cem>Chan is Missing\u003c/em>, \u003cem>Dim Sum\u003c/em>, and \u003cem>The Joy Luck Club\u003c/em>. The festival runs April 4-17 at the Castro and other theaters in San Francisco, and the Grand Lake and the PFA in Berkeley. \u003ca href=\"https://www.sffilm.org/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uem9TbvQpFk\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco International Film Festival (SFIFF) opens April 4 with a nearly-endless variety of features, shorts and documentaries from around the world. But despite it having “international” in the name, there’s always a local angle at SFIFF. \u003c/p>\n\u003cp>Opening night is reserved for \u003cem>A Kid Like Jake, \u003c/em>directed by Silas Howard. He was a guitarist with the San Francisco “queercore” punk band Tribe 8, before doing films, and working on the show \u003cem>Transparent\u003c/em>. In an interview at Sundance, Howard described what drew him to this film that stars Clair Danes and Jim Parsons as parents trying to find the right kindergarten for their Gender Fluid child: “I’m very fond of characters saying the wrong thing, and then ultimately doing the right thing. Especially when someone you care about is maybe at risk of being hurt or made fun of.”\u003c/p>\n\u003cfigure id=\"attachment_13828196\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828196\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/still-1-1-800x509.jpg\" alt=\"'A Kid Like Jake' features Claire Danes, Jim Parsons and Leo James Davis in a film directed by Silas Howard\" width=\"800\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-800x509.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-768x489.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-1020x649.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-1180x751.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-960x611.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-240x153.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-375x239.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-520x331.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1.jpg 1650w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘A Kid Like Jake’ features Claire Danes, Jim Parsons and Leo James Davis in a film directed by Silas Howard \u003ccite>(Courtesy of Sundance Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And another local angle, Howard got a grant to help finance this film from SFFILM and San Francisco’s Kenneth Rainin Foundation.\u003c/p>\n\u003cp>Both my co-host and I are most excited about the debut film for Oakland musician Boots Riley, who directed and wrote the film \u003cem>Sorry to Bother You\u003c/em>. It’s a wild comedy set in Oakland about Cassius Green (Lakeith Greenfield), a black man, who gets a job as a telemarketer, and then becomes a phenomenal success by pretending to have a “white voice.” Arnie Hammer, Terry Crews and Bay Area resident Danny Glover co-star, and it looks hilarious and a bit surreal.\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/XaBGcorkzpk'\n title='//www.youtube.com/embed/XaBGcorkzpk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Other films with Bay Area connections include \u003cem>Come Inside My Mind, \u003c/em>a documentary about Robin Williams; \u003cem>Endgame\u003c/em>, a film about hospice directed by Bay Area filmmakers Rob Epstein and Jeffrey Friedman. And the festival is honoring Bay Area filmmaker Wayne Wang, who made \u003cem>Smoke\u003c/em>, \u003cem>Chan is Missing\u003c/em>, \u003cem>Dim Sum\u003c/em>, and \u003cem>The Joy Luck Club\u003c/em>. The festival runs April 4-17 at the Castro and other theaters in San Francisco, and the Grand Lake and the PFA in Berkeley. \u003ca href=\"https://www.sffilm.org/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\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/uem9TbvQpFk'\n title='//www.youtube.com/embed/uem9TbvQpFk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"title": "Tix Not to Miss at the San Francisco International Film Festival",
"headTitle": "Tix Not to Miss at the San Francisco International Film Festival | KQED",
"content": "\u003cp>Like the rest of the film world, the San Francisco International Film Festival has done some soul-searching this year. At the announcement of this year’s program, the watchwords were “diversity and inclusion,” put forth as both Bay Area values and ideals supported within the festival’s schedule. \u003c/p>\n\u003cp>Perhaps this year’s audiences will get a bit more self-reflection from the stars, directors and soon-to-be box office sensations coming to town April 4-17. Barring that, there will be plenty of opportunities for gutsy audience members to ask their own hard-hitting questions at post-screening Q&As. \u003c/p>\n\u003cp>Already chomping at the bit? Tickets for screenings go on sale Friday, March 16 at 10am, and some of them are obviously hot. Some tips for the shows sure to sell out fast:\u003c/p>\n\u003cfigure id=\"attachment_13827379\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Jake_1200.jpg\" alt=\"Claire Danes, Jim Parsons, and Leo James Davis appear in 'A Kid Like Jake' by Silas Howard.\" width=\"1200\" height=\"764\" class=\"size-full wp-image-13827379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-800x509.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-768x489.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-1020x649.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-1180x751.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-960x611.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-240x153.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-375x239.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-520x331.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Claire Danes, Jim Parsons, and Leo James Davis appear in ‘A Kid Like Jake’ by Silas Howard. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/opening-night-a-kid-like-jake\" rel=\"noopener\" target=\"_blank\">Opening Night: ‘A Kid Like Jake’\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 4, 7pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nSetting a tone of openness and vulnerability against an often hateful national discussion is the festival’s kickoff film \u003ci>A Kid Like Jake\u003c/i>. Helmed by Silas Howard (the first trans director of a \u003ci>Transparent\u003c/i> episode), the film follows Jim Parsons and Claire Danes as the parents of a preschool-aged son who likes to engage in “gender-variant play.” Should they use their child’s possible transgender leanings as a “diversity” selling point in their quest for entry into New York’s exclusive private schools? What’s best for Jake?\u003c/p>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/how-to-talk-to-girls-at-parties\" rel=\"noopener\" target=\"_blank\">‘How to Talk to Girls at Parties’\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 6, 9pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nJohn Cameron Mitchell (\u003ci>Hedwig and the Angry Inch\u003c/i>) brings a Neil Gaiman short story to life in this “punk rock 1970s alien invasion film” starring Elle Fanning as a visitor from another planet and Nicole Kidman as a leather-clad club queen. Four words to pique your interest: shape-shifting anal probes. \u003c/p>\n\u003cfigure id=\"attachment_13827382\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/WIlliams_1200.jpg\" alt=\"'Robin Williams: Come Inside My Mind' by Marina Zenovich.\" width=\"1200\" height=\"806\" class=\"size-full wp-image-13827382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-1020x685.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-1180x793.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-960x645.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-520x349.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Robin Williams: Come Inside My Mind’ by Marina Zenovich. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/robin-williams-come-inside-my-mind\" rel=\"noopener\" target=\"_blank\">‘Robin Williams: Come Inside My Mind’\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 7, 2pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nLocal audiences won’t want to miss Marina Zenovich’s sensitive portrait of the late, great comedy hero. Including never-before heard audio tapes recorded by Williams, in which he discusses his life and career, this rousing tribute should have us simultaneously laughing and weeping in our seats. \u003c/p>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/tribute-to-charlize-theron-tully\" rel=\"noopener\" target=\"_blank\">A Tribute to Charlize Theron\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 8, 7:30pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nSFFILM honors Charlize Theron’s impressive career with an on-stage conversation followed by the screening of her latest film, the Diablo Cody-written, Jason Reitman-directed \u003ci>Tully\u003c/i>. As she has with so many of her roles (\u003cem>Monster\u003c/em>, \u003cem>Young Adult\u003c/em>, \u003cem>Mad Max: Fury Road\u003c/em>), Theron shapeshifts into her character — this time to become Marlo, a burned-out mother of three who reluctantly allows her brother to gift her a night nanny, played by Mackenzie Davis. \u003c/p>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/state-of-cinema-guy-maddin\" rel=\"noopener\" target=\"_blank\">State of Cinema: Guy Maddin\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 8, 12:30pm / Victoria Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nThe director behind last year’s closing night — \u003ci>The Green Fog\u003c/i>, a reimagining of Alfred Hitchcock’s \u003ci>Vertigo\u003c/i> using only clips from other Bay Area films (playing at Stanford on \u003ca href=\"https://live.stanford.edu/calendar/april-2018/kronos-quartet\" rel=\"noopener\" target=\"_blank\">April 6\u003c/a>) — brings his mind to bear on the current state of cinema. Maddin’s description of his talk sounds a bit like the plot of \u003ci>Inception\u003c/i> (“What are the limits of the nested trance?”), but he promises “dreamy clips galore” in this mind-bending discussion of dream-states, sleeping actors and elevating cinema to action. \u003c/p>\n\u003cfigure id=\"attachment_13827381\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200.jpg\" alt=\"Marc Capelle & The Red Room Orchestra\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13827381\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marc Capelle & The Red Room Orchestra \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/a-celebration-of-oddball-films-with-marc-capelle%E2%80%99s-red-room-orchestra\" rel=\"noopener\" target=\"_blank\">A Celebration of Oddball Films with Marc Capelle’s Red Room Orchestra\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 9, 8pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nMarc Capelle’s eclectic and versatile group of musicians promise a No Wave/disco score to a selection of clips from Stephen Parr’s legendary Oddball Films collection. Parr, who \u003ca href=\"https://www.kqed.org/arts/13813188\" rel=\"noopener\" target=\"_blank\">passed away last October\u003c/a>, was known for placing the right reel (be it industrial, educational or just plain odd) in the hands of every indie filmmaker, documentarian or big studio director who came to him for material. Let’s hope these types of tributes to him just keep coming.\u003c/p>\n\u003cfigure id=\"attachment_13827380\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Kronos_1200.jpg\" alt=\"A scene from Sam Green and Joe Bini's 'A Thousand Thoughts: A Live Documentary by Sam Green and Kronos Quartet.'\" width=\"1200\" height=\"633\" class=\"size-full wp-image-13827380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-1180x622.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-960x506.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-520x274.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Sam Green and Joe Bini’s ‘A Thousand Thoughts: A Live Documentary by Sam Green and Kronos Quartet.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/a-thousand-thoughts\" rel=\"noopener\" target=\"_blank\">‘A Thousand Thoughts: A Live Documentary by Sam Green and Kronos Quartet’\u003c/a>\n\u003c/h3>\u003cp>\u003cstrong>April 10, 7pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nHow’s this for meta? Bay Area favorite Sam Green focuses his special brand of “live filmmaking” on another set of Bay Area favorites, Kronos Quartet, blending archival footage, interviews and interactive storytelling — all scored live onstage by Kronos Quartet. It seems a bit unfair to have to play during a movie that’s ostensibly about you, but I’m sure the audience will be able to set those feelings aside and simply enjoy this audio-visual treat. \u003c/p>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/rbg\" rel=\"noopener\" target=\"_blank\">‘RBG’\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 14, 1pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nSupreme Court Justice Ruth Bader Ginsburg is 85 today, and she didn’t earn the nickname “Notorious RBG” for nothing. Chronicling her legal career battling gender discrimination cases to her long and storied history with the court, filmmakers Betsy West and Julie Cohen deliver a lively and necessary documentary on a living legend.\u003c/p>\n\u003cfigure id=\"attachment_13827377\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200.jpg\" alt=\"Joaquin Phoenix and Johah Hill appear in 'Don't Worry, He Won't Get Far On Foot,' by Gus Van Sant.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13827377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Joaquin Phoenix and Johah Hill appear in ‘Don’t Worry, He Won’t Get Far On Foot,’ by Gus Van Sant. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/dont-worry-he-wont-get-far-on-foot\" rel=\"noopener\" target=\"_blank\">Closing Night: ‘Don’t Worry He Won’t Get Far on Foot’\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 15, 7pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nGus Van Sant turns his attention to the life and work of celebrated Portland cartoonist, alcoholic and quadriplegic John Callahan, who \u003ca href=\"http://www.nytimes.com/2010/07/28/arts/design/28callahan.html\" rel=\"noopener\" target=\"_blank\">died in 2010\u003c/a> after decades of sparing no one — including the disabled — from his macabre sense of humor. Joaquin Phoenix stars as Callahan, with Jonah Hill (nearly unrecognizable in leisurewear, long hair and a beard) as his AA group leader and Rooney Mara and Jack Black rounding out the supporting cast. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The 61st San Francisco International Film Festival takes place April 4-17 in various Bay Area theaters. For tickets and more information, \u003ca href=\"https://www.sffilm.org/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i> \u003c/p>\n\n",
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"excerpt": "Live performances, special guests and a chat with Furiosa herself are sure to sell quick at this year's fest.",
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"description": "Live performances, special guests and a chat with Furiosa herself are sure to sell quick at this year's fest.",
"title": "Tix Not to Miss at the San Francisco International Film Festival | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like the rest of the film world, the San Francisco International Film Festival has done some soul-searching this year. At the announcement of this year’s program, the watchwords were “diversity and inclusion,” put forth as both Bay Area values and ideals supported within the festival’s schedule. \u003c/p>\n\u003cp>Perhaps this year’s audiences will get a bit more self-reflection from the stars, directors and soon-to-be box office sensations coming to town April 4-17. Barring that, there will be plenty of opportunities for gutsy audience members to ask their own hard-hitting questions at post-screening Q&As. \u003c/p>\n\u003cp>Already chomping at the bit? Tickets for screenings go on sale Friday, March 16 at 10am, and some of them are obviously hot. Some tips for the shows sure to sell out fast:\u003c/p>\n\u003cfigure id=\"attachment_13827379\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Jake_1200.jpg\" alt=\"Claire Danes, Jim Parsons, and Leo James Davis appear in 'A Kid Like Jake' by Silas Howard.\" width=\"1200\" height=\"764\" class=\"size-full wp-image-13827379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-800x509.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-768x489.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-1020x649.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-1180x751.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-960x611.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-240x153.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-375x239.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-520x331.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Claire Danes, Jim Parsons, and Leo James Davis appear in ‘A Kid Like Jake’ by Silas Howard. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/opening-night-a-kid-like-jake\" rel=\"noopener\" target=\"_blank\">Opening Night: ‘A Kid Like Jake’\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 4, 7pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nSetting a tone of openness and vulnerability against an often hateful national discussion is the festival’s kickoff film \u003ci>A Kid Like Jake\u003c/i>. Helmed by Silas Howard (the first trans director of a \u003ci>Transparent\u003c/i> episode), the film follows Jim Parsons and Claire Danes as the parents of a preschool-aged son who likes to engage in “gender-variant play.” Should they use their child’s possible transgender leanings as a “diversity” selling point in their quest for entry into New York’s exclusive private schools? What’s best for Jake?\u003c/p>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/how-to-talk-to-girls-at-parties\" rel=\"noopener\" target=\"_blank\">‘How to Talk to Girls at Parties’\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 6, 9pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nJohn Cameron Mitchell (\u003ci>Hedwig and the Angry Inch\u003c/i>) brings a Neil Gaiman short story to life in this “punk rock 1970s alien invasion film” starring Elle Fanning as a visitor from another planet and Nicole Kidman as a leather-clad club queen. Four words to pique your interest: shape-shifting anal probes. \u003c/p>\n\u003cfigure id=\"attachment_13827382\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/WIlliams_1200.jpg\" alt=\"'Robin Williams: Come Inside My Mind' by Marina Zenovich.\" width=\"1200\" height=\"806\" class=\"size-full wp-image-13827382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-1020x685.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-1180x793.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-960x645.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-520x349.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Robin Williams: Come Inside My Mind’ by Marina Zenovich. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/robin-williams-come-inside-my-mind\" rel=\"noopener\" target=\"_blank\">‘Robin Williams: Come Inside My Mind’\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 7, 2pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nLocal audiences won’t want to miss Marina Zenovich’s sensitive portrait of the late, great comedy hero. Including never-before heard audio tapes recorded by Williams, in which he discusses his life and career, this rousing tribute should have us simultaneously laughing and weeping in our seats. \u003c/p>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/tribute-to-charlize-theron-tully\" rel=\"noopener\" target=\"_blank\">A Tribute to Charlize Theron\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 8, 7:30pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nSFFILM honors Charlize Theron’s impressive career with an on-stage conversation followed by the screening of her latest film, the Diablo Cody-written, Jason Reitman-directed \u003ci>Tully\u003c/i>. As she has with so many of her roles (\u003cem>Monster\u003c/em>, \u003cem>Young Adult\u003c/em>, \u003cem>Mad Max: Fury Road\u003c/em>), Theron shapeshifts into her character — this time to become Marlo, a burned-out mother of three who reluctantly allows her brother to gift her a night nanny, played by Mackenzie Davis. \u003c/p>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/state-of-cinema-guy-maddin\" rel=\"noopener\" target=\"_blank\">State of Cinema: Guy Maddin\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 8, 12:30pm / Victoria Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nThe director behind last year’s closing night — \u003ci>The Green Fog\u003c/i>, a reimagining of Alfred Hitchcock’s \u003ci>Vertigo\u003c/i> using only clips from other Bay Area films (playing at Stanford on \u003ca href=\"https://live.stanford.edu/calendar/april-2018/kronos-quartet\" rel=\"noopener\" target=\"_blank\">April 6\u003c/a>) — brings his mind to bear on the current state of cinema. Maddin’s description of his talk sounds a bit like the plot of \u003ci>Inception\u003c/i> (“What are the limits of the nested trance?”), but he promises “dreamy clips galore” in this mind-bending discussion of dream-states, sleeping actors and elevating cinema to action. \u003c/p>\n\u003cfigure id=\"attachment_13827381\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200.jpg\" alt=\"Marc Capelle & The Red Room Orchestra\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13827381\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marc Capelle & The Red Room Orchestra \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/a-celebration-of-oddball-films-with-marc-capelle%E2%80%99s-red-room-orchestra\" rel=\"noopener\" target=\"_blank\">A Celebration of Oddball Films with Marc Capelle’s Red Room Orchestra\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 9, 8pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nMarc Capelle’s eclectic and versatile group of musicians promise a No Wave/disco score to a selection of clips from Stephen Parr’s legendary Oddball Films collection. Parr, who \u003ca href=\"https://www.kqed.org/arts/13813188\" rel=\"noopener\" target=\"_blank\">passed away last October\u003c/a>, was known for placing the right reel (be it industrial, educational or just plain odd) in the hands of every indie filmmaker, documentarian or big studio director who came to him for material. Let’s hope these types of tributes to him just keep coming.\u003c/p>\n\u003cfigure id=\"attachment_13827380\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Kronos_1200.jpg\" alt=\"A scene from Sam Green and Joe Bini's 'A Thousand Thoughts: A Live Documentary by Sam Green and Kronos Quartet.'\" width=\"1200\" height=\"633\" class=\"size-full wp-image-13827380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-1180x622.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-960x506.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-520x274.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Sam Green and Joe Bini’s ‘A Thousand Thoughts: A Live Documentary by Sam Green and Kronos Quartet.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/a-thousand-thoughts\" rel=\"noopener\" target=\"_blank\">‘A Thousand Thoughts: A Live Documentary by Sam Green and Kronos Quartet’\u003c/a>\n\u003c/h3>\u003cp>\u003cstrong>April 10, 7pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nHow’s this for meta? Bay Area favorite Sam Green focuses his special brand of “live filmmaking” on another set of Bay Area favorites, Kronos Quartet, blending archival footage, interviews and interactive storytelling — all scored live onstage by Kronos Quartet. It seems a bit unfair to have to play during a movie that’s ostensibly about you, but I’m sure the audience will be able to set those feelings aside and simply enjoy this audio-visual treat. \u003c/p>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/rbg\" rel=\"noopener\" target=\"_blank\">‘RBG’\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 14, 1pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nSupreme Court Justice Ruth Bader Ginsburg is 85 today, and she didn’t earn the nickname “Notorious RBG” for nothing. Chronicling her legal career battling gender discrimination cases to her long and storied history with the court, filmmakers Betsy West and Julie Cohen deliver a lively and necessary documentary on a living legend.\u003c/p>\n\u003cfigure id=\"attachment_13827377\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200.jpg\" alt=\"Joaquin Phoenix and Johah Hill appear in 'Don't Worry, He Won't Get Far On Foot,' by Gus Van Sant.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13827377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Joaquin Phoenix and Johah Hill appear in ‘Don’t Worry, He Won’t Get Far On Foot,’ by Gus Van Sant. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/dont-worry-he-wont-get-far-on-foot\" rel=\"noopener\" target=\"_blank\">Closing Night: ‘Don’t Worry He Won’t Get Far on Foot’\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 15, 7pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nGus Van Sant turns his attention to the life and work of celebrated Portland cartoonist, alcoholic and quadriplegic John Callahan, who \u003ca href=\"http://www.nytimes.com/2010/07/28/arts/design/28callahan.html\" rel=\"noopener\" target=\"_blank\">died in 2010\u003c/a> after decades of sparing no one — including the disabled — from his macabre sense of humor. Joaquin Phoenix stars as Callahan, with Jonah Hill (nearly unrecognizable in leisurewear, long hair and a beard) as his AA group leader and Rooney Mara and Jack Black rounding out the supporting cast. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The hotly anticipated feature by musician and now-filmmaker Boots Riley, \u003ci>Sorry to Bother You\u003c/i> — \u003ca href=\"https://www.kqed.org/arts/13747358/danny-glover-patton-oswalt-join-boots-riley-film-in-oakland\" rel=\"noopener\" target=\"_blank\">seen filming around Oakland last summer\u003c/a> — makes its Bay Area debut on April 12 as the Centerpiece event this year’s San Francisco International Film Festival. \u003c/p>\n\u003cp>Scooped up at Sundance by \u003ca href=\"http://variety.com/2018/film/news/sundance-sorry-to-bother-you-annapurna-1202677125/\" rel=\"noopener\" target=\"_blank\">Annapurna Pictures\u003c/a> with the memorable statement, “We f**king love this movie,” the film stars Lakeith Stanfield (\u003cem>Get Out\u003c/em>), Tessa Thompson (\u003cem>Thor: Ragnarok\u003c/em>) and Armie Hammer (\u003cem>Call Me By Your Name\u003c/em>). \u003c/p>\n\u003cp>Based partially on Riley’s experience of working as a telemarketer, \u003ci>Sorry to Bother You\u003c/i> takes place in an alternate reality of present-day Oakland. A black telemarketer (Stanfield) discovers a magical key to professional success — to make his voice sound “white.” Blurring genre lines between comedy, sci-fi and magic realism, the film also features a species of genetically manipulated horse-people named the “Equisapiens.” Expect social satire touching on greed, capitalism and racial dynamics, and plenty of recognizable landmarks. \u003c/p>\n\u003cp>The film screens on Thursday, April 12, at San Francisco’s Castro Theatre at 6:30pm, and the same night at Oakland’s Grand Lake Theatre at 8pm. Riley and cast members (no news on which ones yet) are expected to participate in intros and Q&As.\u003c/p>\n\u003cp>Tickets to \u003cem>Centerpiece: Sorry to Bother You\u003c/em> are $20 for SFFILM members (\u003ca href=\"https://www.sffilm.org/screenings-and-events/sorry-to-bother-you\" rel=\"noopener\" target=\"_blank\">on sale now\u003c/a>) and $25 for the general public (on sale starting Friday, March 9, at 10am).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The hotly anticipated feature by musician and now-filmmaker Boots Riley, \u003ci>Sorry to Bother You\u003c/i> — \u003ca href=\"https://www.kqed.org/arts/13747358/danny-glover-patton-oswalt-join-boots-riley-film-in-oakland\" rel=\"noopener\" target=\"_blank\">seen filming around Oakland last summer\u003c/a> — makes its Bay Area debut on April 12 as the Centerpiece event this year’s San Francisco International Film Festival. \u003c/p>\n\u003cp>Scooped up at Sundance by \u003ca href=\"http://variety.com/2018/film/news/sundance-sorry-to-bother-you-annapurna-1202677125/\" rel=\"noopener\" target=\"_blank\">Annapurna Pictures\u003c/a> with the memorable statement, “We f**king love this movie,” the film stars Lakeith Stanfield (\u003cem>Get Out\u003c/em>), Tessa Thompson (\u003cem>Thor: Ragnarok\u003c/em>) and Armie Hammer (\u003cem>Call Me By Your Name\u003c/em>). \u003c/p>\n\u003cp>Based partially on Riley’s experience of working as a telemarketer, \u003ci>Sorry to Bother You\u003c/i> takes place in an alternate reality of present-day Oakland. A black telemarketer (Stanfield) discovers a magical key to professional success — to make his voice sound “white.” Blurring genre lines between comedy, sci-fi and magic realism, the film also features a species of genetically manipulated horse-people named the “Equisapiens.” Expect social satire touching on greed, capitalism and racial dynamics, and plenty of recognizable landmarks. \u003c/p>\n\u003cp>The film screens on Thursday, April 12, at San Francisco’s Castro Theatre at 6:30pm, and the same night at Oakland’s Grand Lake Theatre at 8pm. Riley and cast members (no news on which ones yet) are expected to participate in intros and Q&As.\u003c/p>\n\u003cp>Tickets to \u003cem>Centerpiece: Sorry to Bother You\u003c/em> are $20 for SFFILM members (\u003ca href=\"https://www.sffilm.org/screenings-and-events/sorry-to-bother-you\" rel=\"noopener\" target=\"_blank\">on sale now\u003c/a>) and $25 for the general public (on sale starting Friday, March 9, at 10am).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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},
"californiareport": {
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
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},
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"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
},
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
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