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"content": "\u003cp>The French director Claire Denis grew up in colonial West Africa, where she learned what it’s like being privileged, resented and an outsider. She sensuously evoked that hothouse of emotions in her semi-autobiographical 1988 debut, \u003cem>Chocolat\u003c/em>, one of several Africa-set films she’s made over the course of her career. But even in the heart of Paris, where the protagonist of \u003cem>Friday Night\u003c/em> (2002) is locked in a symphonic traffic jam at a pivotal juncture in her relationship, Denis can convey passion along with the sense of being utterly alone.\u003c/p>\n\u003cp>\u003cem>Friday Night\u003c/em> (Feb. 1) and \u003cem>Chocolat\u003c/em> (Feb. 2) are the perfect openers for \u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-claire-denis/#more-upcoming-events-89117\" rel=\"noopener\" target=\"_blank\">Claire Denis: Seeing Is Believing\u003c/a> (Feb. 1–18 at SFMOMA), the latest and most profound of the Modern Cinema programs curated by the museum and SFFILM. Each series explores one contemporary director across three weekends through several works as well as those of influential predecessors (Ozu, Godard, Fassbinder, Cassavetes and Djibril Diop Mambety, among others, in this case).\u003c/p>\n\u003cfigure id=\"attachment_13820331\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Chocolat-1200.jpg\" alt=\"Still from Claire Denis' 'Chocolat.'\" width=\"1200\" height=\"806\" class=\"size-full wp-image-13820331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-1020x685.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-1180x793.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-960x645.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-520x349.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Claire Denis’ ‘Chocolat.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The lineup is brilliantly chosen from beginning to end, though I am surprised at the omission of the late Maurice Pialat, the unflinching, unsentimental French director whom Denis seems most akin to. Her films are about people trying to cross over, to find a home of their own, to connect with another human being, in a world devised around baser motivations. The opening weekend includes Denis’ entry in last year’s Cannes Film Festival, \u003cem>Let the Sunshine In\u003c/em> (Feb. 3), an intimate study of a new divorcee (Juliette Binoche) assiduously embracing her freedom. Like so many of Denis’ characters, she’s willing to take exceptional risks to get what she needs.\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 fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The French director Claire Denis grew up in colonial West Africa, where she learned what it’s like being privileged, resented and an outsider. She sensuously evoked that hothouse of emotions in her semi-autobiographical 1988 debut, \u003cem>Chocolat\u003c/em>, one of several Africa-set films she’s made over the course of her career. But even in the heart of Paris, where the protagonist of \u003cem>Friday Night\u003c/em> (2002) is locked in a symphonic traffic jam at a pivotal juncture in her relationship, Denis can convey passion along with the sense of being utterly alone.\u003c/p>\n\u003cp>\u003cem>Friday Night\u003c/em> (Feb. 1) and \u003cem>Chocolat\u003c/em> (Feb. 2) are the perfect openers for \u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-claire-denis/#more-upcoming-events-89117\" rel=\"noopener\" target=\"_blank\">Claire Denis: Seeing Is Believing\u003c/a> (Feb. 1–18 at SFMOMA), the latest and most profound of the Modern Cinema programs curated by the museum and SFFILM. Each series explores one contemporary director across three weekends through several works as well as those of influential predecessors (Ozu, Godard, Fassbinder, Cassavetes and Djibril Diop Mambety, among others, in this case).\u003c/p>\n\u003cfigure id=\"attachment_13820331\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Chocolat-1200.jpg\" alt=\"Still from Claire Denis' 'Chocolat.'\" width=\"1200\" height=\"806\" class=\"size-full wp-image-13820331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-1020x685.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-1180x793.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-960x645.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-520x349.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Claire Denis’ ‘Chocolat.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The lineup is brilliantly chosen from beginning to end, though I am surprised at the omission of the late Maurice Pialat, the unflinching, unsentimental French director whom Denis seems most akin to. Her films are about people trying to cross over, to find a home of their own, to connect with another human being, in a world devised around baser motivations. The opening weekend includes Denis’ entry in last year’s Cannes Film Festival, \u003cem>Let the Sunshine In\u003c/em> (Feb. 3), an intimate study of a new divorcee (Juliette Binoche) assiduously embracing her freedom. Like so many of Denis’ characters, she’s willing to take exceptional risks to get what she needs.\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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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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