Three Eye-Opening Documentaries You Can Stream Right Now
Eleanor Coppola, Matriarch of a Filmmaking Family, Dies at 87
A Judee Sill Documentary Ensures Her Musical Genius Won't Be Forgotten
‘Food, Inc. 2’ Revisits Food System, Sees Reason for Frustration and a Little Hope
‘Sasquatch Sunset’ Is an Eco Message Buried Beneath Poop-Flinging Anarchy
In Alex Garland’s Potent ‘Civil War,’ Journalists are America’s Last Hope
‘About Dry Grasses’ Laments the Thwarted Promise of Turkey’s Youth
Dev Patel’s ‘Monkey Man’ Is a Political Allegory Bathed in Blood
Ken Loach, Longtime Chronicler of Social Ills, Seeks a Hopeful Note in ‘The Old Oak’
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The difficulty for someone who might want to check some of them out is that they go by in a blur, and a lot of them have similar-looking titles and promotion. There are still big-ticket entries — on April 21, HBO will premiere a follow-up series to its huge true-crime hit \u003cem>The Jinx\u003c/em> — but there are also a lot of lower-profile projects flying by, so let’s take a moment to check in with a few current ones.\u003c/p>\n\u003ch3>‘\u003ca href=\"https://www.netflix.com/watch/81586385\">What Jennifer Did\u003c/a>’\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=M-ppnYEAqSE\u003c/p>\n\u003cp>A feature-length film about a 2010 home invasion that killed a woman and left her husband in a coma, \u003cem>What Jennifer Did \u003c/em>is mostly told from the point of view of the police who gradually zeroed in on the couple’s daughter, who was home at the time.\u003c/p>\n\u003cp>Police-side crime documentaries tend to be the least interesting to me, and in this case, it feels like there’s a tremendous amount of context missing about the family in favor of a fairly simple “she wanted to be with her boyfriend” narrative. But I say that in part because I have read \u003ca href=\"https://torontolife.com/city/jennifer-pan-revenge/\">the 2015 piece by Karen Ho\u003c/a> in \u003cem>Toronto Life\u003c/em> that considers more broadly what led to this bizarre act.\u003c/p>\n\u003cp>\u003cem>Netflix, available now.\u003c/em>\u003c/p>\n\u003ch3>‘\u003ca href=\"https://play.max.com/video/watch/f0ec4d4e-1b22-431e-8f3d-229103287d3a/511cde7d-1801-4af3-b2dc-d372eaf84791\">Brandy Hellville & the Cult of Fast Fashion\u003c/a>’\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=p1pONvsrBEo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I can honestly tell you I was not very familiar with the Brandy Melville brand before I watched this film, which tells the story of how social media helped make a juggernaut out of a whole lot of nondescript tiny shirts. (It’s more complicated than that, and … also not.)\u003c/p>\n\u003cp>The story of the gross in-store culture (which reminded me a \u003cem>lot\u003c/em> of parts of \u003ca href=\"https://www.netflix.com/title/81323741\">the Netflix film \u003cem>White Hot\u003c/em>, about Abercrombie & Fitch\u003c/a>) is interesting and pretty lively, but I would have preferred a little more time spent on the fast-fashion element, which I do think is ripe for more documentary work.\u003c/p>\n\u003cp>\u003cem>Max, available now.\u003c/em>\u003c/p>\n\u003ch3>‘\u003ca href=\"https://play.max.com/show/a27b5e0a-68eb-48e2-baa6-2b0f01d5b8be\">The Synanon Fix\u003c/a>’\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=Y8Z8xMmly1M\u003c/p>\n\u003cp>Sometimes, it feels like documentaries are their own expanded universe. I was just watching \u003ca href=\"https://www.netflix.com/title/81579761\">an entirely different show\u003c/a> about the “troubled teen” industry and its dark history, and it mentioned how Synanon, which began in California as a program to treat addiction, influenced much of what became the “we will grab your badly behaved teenager from their bed, take them to some secluded location, allow them no contact with anybody, and turn them around” model.\u003c/p>\n\u003cp>And now, Synanon has its own docuseries, which considers whether and when Synanon turned into what you would call a cult. (Was it the head-shaving? The mass weddings? The dictates about reproduction?) But what stands out the most is the consideration of how a program and a community can change shape, and it takes a while for people inside and outside it to register those changes.\u003c/p>\n\u003cp>\u003cem>Max, airing now.\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13954796']We’re only scratching the surface of what’s out there — Netflix’s #1 show as I write this is their \u003ca href=\"https://www.netflix.com/browse?jbv=81476420\">\u003cem>\u003cstrong>Unlocked: A Jail Experiment\u003c/strong>\u003c/em>\u003c/a>, about a “program” that gives incarcerated men more freedom. And I am 100% committed to finding time before it expires on April 20 to watch \u003ca href=\"https://www.pbs.org/video/menus-plaisirs-les-troisgros-rbfnou/\">\u003cem>\u003cstrong>Menus-Plaisirs — Les Troisgros\u003c/strong>\u003c/em>\u003c/a>, the latest from the great documentarian Frederick Wiseman, which is available on PBS.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Three+eye-opening+documentaries+you+can+stream+right+now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"It can be hard keeping track of all the new docs out there. Three currently on Netflix and Max are stand outs.","status":"publish","parent":0,"modified":1713162028,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":683},"headData":{"title":"Best New True Crime Documentaries to Stream | KQED","description":"It can be hard keeping track of all the new docs out there. 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The difficulty for someone who might want to check some of them out is that they go by in a blur, and a lot of them have similar-looking titles and promotion. There are still big-ticket entries — on April 21, HBO will premiere a follow-up series to its huge true-crime hit \u003cem>The Jinx\u003c/em> — but there are also a lot of lower-profile projects flying by, so let’s take a moment to check in with a few current ones.\u003c/p>\n\u003ch3>‘\u003ca href=\"https://www.netflix.com/watch/81586385\">What Jennifer Did\u003c/a>’\u003c/h3>\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/M-ppnYEAqSE'\n title='//www.youtube.com/embed/M-ppnYEAqSE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A feature-length film about a 2010 home invasion that killed a woman and left her husband in a coma, \u003cem>What Jennifer Did \u003c/em>is mostly told from the point of view of the police who gradually zeroed in on the couple’s daughter, who was home at the time.\u003c/p>\n\u003cp>Police-side crime documentaries tend to be the least interesting to me, and in this case, it feels like there’s a tremendous amount of context missing about the family in favor of a fairly simple “she wanted to be with her boyfriend” narrative. But I say that in part because I have read \u003ca href=\"https://torontolife.com/city/jennifer-pan-revenge/\">the 2015 piece by Karen Ho\u003c/a> in \u003cem>Toronto Life\u003c/em> that considers more broadly what led to this bizarre act.\u003c/p>\n\u003cp>\u003cem>Netflix, available now.\u003c/em>\u003c/p>\n\u003ch3>‘\u003ca href=\"https://play.max.com/video/watch/f0ec4d4e-1b22-431e-8f3d-229103287d3a/511cde7d-1801-4af3-b2dc-d372eaf84791\">Brandy Hellville & the Cult of Fast Fashion\u003c/a>’\u003c/h3>\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/p1pONvsrBEo'\n title='//www.youtube.com/embed/p1pONvsrBEo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I can honestly tell you I was not very familiar with the Brandy Melville brand before I watched this film, which tells the story of how social media helped make a juggernaut out of a whole lot of nondescript tiny shirts. (It’s more complicated than that, and … also not.)\u003c/p>\n\u003cp>The story of the gross in-store culture (which reminded me a \u003cem>lot\u003c/em> of parts of \u003ca href=\"https://www.netflix.com/title/81323741\">the Netflix film \u003cem>White Hot\u003c/em>, about Abercrombie & Fitch\u003c/a>) is interesting and pretty lively, but I would have preferred a little more time spent on the fast-fashion element, which I do think is ripe for more documentary work.\u003c/p>\n\u003cp>\u003cem>Max, available now.\u003c/em>\u003c/p>\n\u003ch3>‘\u003ca href=\"https://play.max.com/show/a27b5e0a-68eb-48e2-baa6-2b0f01d5b8be\">The Synanon Fix\u003c/a>’\u003c/h3>\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/Y8Z8xMmly1M'\n title='//www.youtube.com/embed/Y8Z8xMmly1M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sometimes, it feels like documentaries are their own expanded universe. I was just watching \u003ca href=\"https://www.netflix.com/title/81579761\">an entirely different show\u003c/a> about the “troubled teen” industry and its dark history, and it mentioned how Synanon, which began in California as a program to treat addiction, influenced much of what became the “we will grab your badly behaved teenager from their bed, take them to some secluded location, allow them no contact with anybody, and turn them around” model.\u003c/p>\n\u003cp>And now, Synanon has its own docuseries, which considers whether and when Synanon turned into what you would call a cult. (Was it the head-shaving? The mass weddings? The dictates about reproduction?) But what stands out the most is the consideration of how a program and a community can change shape, and it takes a while for people inside and outside it to register those changes.\u003c/p>\n\u003cp>\u003cem>Max, airing now.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954796","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>We’re only scratching the surface of what’s out there — Netflix’s #1 show as I write this is their \u003ca href=\"https://www.netflix.com/browse?jbv=81476420\">\u003cem>\u003cstrong>Unlocked: A Jail Experiment\u003c/strong>\u003c/em>\u003c/a>, about a “program” that gives incarcerated men more freedom. And I am 100% committed to finding time before it expires on April 20 to watch \u003ca href=\"https://www.pbs.org/video/menus-plaisirs-les-troisgros-rbfnou/\">\u003cem>\u003cstrong>Menus-Plaisirs — Les Troisgros\u003c/strong>\u003c/em>\u003c/a>, the latest from the great documentarian Frederick Wiseman, which is available on PBS.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Three+eye-opening+documentaries+you+can+stream+right+now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955948/best-new-documentaries-netflix-hbo-streaming","authors":["byline_arts_13955948"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75","arts_990"],"tags":["arts_13672","arts_20624","arts_3324","arts_769","arts_6427","arts_585","arts_8366"],"affiliates":["arts_137"],"featImg":"arts_13955949","label":"arts_140"},"arts_13955930":{"type":"posts","id":"arts_13955930","meta":{"index":"posts_1591205157","site":"arts","id":"13955930","score":null,"sort":[1712966959000]},"guestAuthors":[],"slug":"eleanor-coppola-matriarch-of-a-filmmaking-family-dies-at-87","title":"Eleanor Coppola, Matriarch of a Filmmaking Family, Dies at 87","publishDate":1712966959,"format":"standard","headTitle":"Eleanor Coppola, Matriarch of a Filmmaking Family, Dies at 87 | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Eleanor Coppola, who documented the making of some of her husband Francis Ford Coppola’s iconic films, including the infamously tortured production of \u003cem>Apocalypse Now\u003c/em>, and who raised a family of filmmakers, has died. She was 87.\u003c/p>\n\u003cp>Coppola died Friday surrounded by family at home in Rutherford, California, her family announced in a statement. No cause of death was given.\u003c/p>\n\u003cp>Eleanor, who grew up in Orange County, California, met Francis while working as an assistant art director on his directorial debut, the Roger Corman-produced 1963 horror film \u003cem>Dementia 13\u003c/em>. (She had studied design at UCLA.) Within months of dating, Eleanor became pregnant and the couple were wed in Las Vegas in February 1963.\u003c/p>\n\u003cfigure id=\"attachment_13955933\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786.jpg\" alt=\"\" width=\"1920\" height=\"1267\" class=\"size-full wp-image-13955933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-1020x673.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-1536x1014.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Francis Coppola and wife, Eleanor, pose July 16, 1991, in Los Angeles. Eleanor Coppola, who documented the making of some of her husband Francis Ford Coppola’s iconic films, including the infamously tortured production of ‘Apocalypse Now,’ and who raised a family of filmmakers, died Friday, April 12, 2024. She was 87. \u003ccite>(AP Photo/Chris Martinez, File)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Their first-born, Gian-Carlo, quickly became a regular presence in his father’s films, as did their subsequent children, Roman (born in 1965) and Sofia (born in 1971). After acting in their father’s films and growing up on sets, all would go into the movies.\u003c/p>\n\u003cp>“I don’t know what the family has given except I hope they’ve set an example of a family encouraging each other in their creative process whatever it may be,” Eleanor told The Associated Press in 2017. “It happens in our family that everyone chose to sort of follow in the family business. We weren’t asking them to or expecting them to, but they did. At one point Sofia said, ‘The nut does not fall far from the tree.'”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gian-Carlo, who’s seen in the background of many of his father’s films and had begun doing second-unit photography, died at the age of 22 in a 1986 boating accident. He was killed while riding in a boat piloted by Griffin O’Neal, son of Ryan O’Neal, who was found guilty of negligence.\u003c/p>\n\u003cp>[aside postID='forum_201208101000']Roman directed several movies of his own and regularly collaborates with Wes Anderson. He’s president of his father’s San Francisco-based film company, American Zoetrope.\u003c/p>\n\u003cp>Sofia became one of the most acclaimed filmmakers of her generation as the writer-director of films including \u003cem>The Virgin Suicides\u003c/em>, \u003cem>Lost in Translation\u003c/em> and the 2023 release \u003cem>Priscilla\u003c/em>. Sofia dedicated that film to her mother.\u003c/p>\n\u003cfigure id=\"attachment_13955934\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000.jpg\" alt=\"\" width=\"1920\" height=\"1256\" class=\"size-full wp-image-13955934\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000-1536x1005.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eleanor Coppola, seen in her Los Angeles home in January 1992, turned the turbulent making of ‘Apocalypse Now’ in the Philippines by her husband, Francis Coppola, into ‘Hearts of Darkness: A Filmmaker’s Apocalypse.’ \u003ccite>(AP Photo/Craig Fujii)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In joining the family business, the Coppola children weren’t just following in their father’s footsteps but their mother’s, too. Beginning on 1979’s \u003cem>Apocalypse Now\u003c/em>, Eleanor frequently documented the behind-the-scenes life of Francis’ films. The Philippines-set shoot of \u003cem>Apocalypse Now\u003c/em> lasted 238 days. A typhoon destroyed sets. Martin Sheen had a heart attack. A member of the construction crew died.\u003c/p>\n\u003cp>Eleanor documented much of the chaos in what would become one of the most famous making-of films about moviemaking, 1991’s \u003cem>Hearts of Darkness: A Filmmaker’s Apocalypse\u003c/em>.\u003c/p>\n\u003cp>“I was just trying to keep myself occupied with something to do because we were out there for so long,” Eleanor told CNN in 1991. “They wanted five minutes for a TV promotional or something and I thought sooner of later I could get five minutes of film and then it went on to 15 minutes.”\u003c/p>\n\u003cp>“I just kept shooting but I had no idea … the evolution of myself that I saw with my camera,” continued Eleanor, who ended up shooting 60 hours of footage. “So, it was a surprise for both of us and a life changing experience.”\u003c/p>\n\u003cp>Eleanor also published \u003cem>Notes: On the Making of ‘Apocalypse Now’\u003c/em> in 1979. While the film focused on the film set tumult, the book charted some of Eleanor’s inner turmoil, including the challenges of being married to a larger-than-life figure. She wrote of being a “woman isolated from my friends, my affairs and my projects” during their year in Manilla. She also frankly discusses Francis having an extramarital affair.\u003c/p>\n\u003cp>“There is part of me that has been waiting for Francis to leave me, or die, so that I can get my life the way I want it,” wrote Eleanor. “I wonder if I have the guts to get it the way I want it with him in it.”\u003c/p>\n\u003cfigure id=\"attachment_13955935\" class=\"wp-caption aligncenter\" style=\"max-width: 1474px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_.jpg\" alt=\"\" width=\"1474\" height=\"1920\" class=\"size-full wp-image-13955935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_.jpg 1474w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_-800x1042.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_-1020x1329.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_-768x1000.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_-1179x1536.jpg 1179w\" sizes=\"(max-width: 1474px) 100vw, 1474px\">\u003cfigcaption class=\"wp-caption-text\">An undated portrait of Eleanor Coppola, released by the Coppola family. Eleanor Coppola died on Friday at 87. \u003ccite>(Chad Keig/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They remained together, though, throughout her life. And Eleanor continued to seek out creative outlets for herself. She documented several more of her husband’s films, as well as Roman’s \u003cem>CQ\u003c/em> and Sofia’s \u003cem>Marie Antoinette\u003c/em>. She wrote a memoir in 2008, \u003cem>Notes on a Life\u003c/em>.\u003c/p>\n\u003cp>In 2016, at the age of 80, Eleanor made her narrative debut in \u003cem>Paris Can Wait\u003c/em>, a romantic comedy starring Diane Lane. She followed that up with \u003cem>Love Is Love Is Love\u003c/em> in 2020. Eleanor had initially set out only to write the screenplay to \u003cem>Paris Can Wait\u003c/em>.\u003c/p>\n\u003cp>“One morning at the breakfast table my husband said, ‘Well you should direct it.’ I was totally startled,” Eleanor told The AP. “But I said ‘Well, I never wrote a script before and I’ve never directed, why not?’ I was kind of saying ‘why not’ to everything.”\u003c/p>\n\u003cp>Eleanor died just as Francis is preparing a long-planned, self-financed epic, \u003cem>Metropolis\u003c/em>, which is to premiere next month at the Cannes Film Festival.\u003c/p>\n\u003cp>She is survived by her husband; her son Roman and his wife, Jen, their children, Pascale, Marcello and Alessandro; her daughter Sofia and her husband, Thomas, their children Romy and Cosima; her granddaughter Gia and her husband, Honor, and their child Beaumont; and by her brother William Neil and his wife, Lisa.\u003c/p>\n\u003cp>Eleanor recently completed her third memoir, the family said. In the manuscript she wrote:\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I appreciate how my unexpected life has stretched and pulled me in so many extraordinary ways and taken me in a multitude of directions beyond my wildest imaginings.”\u003c/p>\n\n","blocks":[],"excerpt":"The mother to Sofia and Roman Coppola and wife to Francis Ford Coppola died at home in Napa County.","status":"publish","parent":0,"modified":1712966959,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":23,"wordCount":1127},"headData":{"title":"Eleanor Coppola, Matriarch of a Filmmaking Family, Dies at 87 | KQED","description":"The mother to Sofia and Roman Coppola and wife to Francis Ford Coppola died at home in Napa County.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprByline":"Jake Coyle and Lindsey Bahr, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13955930/eleanor-coppola-matriarch-of-a-filmmaking-family-dies-at-87","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Eleanor Coppola, who documented the making of some of her husband Francis Ford Coppola’s iconic films, including the infamously tortured production of \u003cem>Apocalypse Now\u003c/em>, and who raised a family of filmmakers, has died. She was 87.\u003c/p>\n\u003cp>Coppola died Friday surrounded by family at home in Rutherford, California, her family announced in a statement. No cause of death was given.\u003c/p>\n\u003cp>Eleanor, who grew up in Orange County, California, met Francis while working as an assistant art director on his directorial debut, the Roger Corman-produced 1963 horror film \u003cem>Dementia 13\u003c/em>. (She had studied design at UCLA.) Within months of dating, Eleanor became pregnant and the couple were wed in Las Vegas in February 1963.\u003c/p>\n\u003cfigure id=\"attachment_13955933\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786.jpg\" alt=\"\" width=\"1920\" height=\"1267\" class=\"size-full wp-image-13955933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-1020x673.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-1536x1014.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Francis Coppola and wife, Eleanor, pose July 16, 1991, in Los Angeles. Eleanor Coppola, who documented the making of some of her husband Francis Ford Coppola’s iconic films, including the infamously tortured production of ‘Apocalypse Now,’ and who raised a family of filmmakers, died Friday, April 12, 2024. She was 87. \u003ccite>(AP Photo/Chris Martinez, File)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Their first-born, Gian-Carlo, quickly became a regular presence in his father’s films, as did their subsequent children, Roman (born in 1965) and Sofia (born in 1971). After acting in their father’s films and growing up on sets, all would go into the movies.\u003c/p>\n\u003cp>“I don’t know what the family has given except I hope they’ve set an example of a family encouraging each other in their creative process whatever it may be,” Eleanor told The Associated Press in 2017. “It happens in our family that everyone chose to sort of follow in the family business. We weren’t asking them to or expecting them to, but they did. At one point Sofia said, ‘The nut does not fall far from the tree.'”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gian-Carlo, who’s seen in the background of many of his father’s films and had begun doing second-unit photography, died at the age of 22 in a 1986 boating accident. He was killed while riding in a boat piloted by Griffin O’Neal, son of Ryan O’Neal, who was found guilty of negligence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"forum_201208101000","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Roman directed several movies of his own and regularly collaborates with Wes Anderson. He’s president of his father’s San Francisco-based film company, American Zoetrope.\u003c/p>\n\u003cp>Sofia became one of the most acclaimed filmmakers of her generation as the writer-director of films including \u003cem>The Virgin Suicides\u003c/em>, \u003cem>Lost in Translation\u003c/em> and the 2023 release \u003cem>Priscilla\u003c/em>. Sofia dedicated that film to her mother.\u003c/p>\n\u003cfigure id=\"attachment_13955934\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000.jpg\" alt=\"\" width=\"1920\" height=\"1256\" class=\"size-full wp-image-13955934\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000-1536x1005.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eleanor Coppola, seen in her Los Angeles home in January 1992, turned the turbulent making of ‘Apocalypse Now’ in the Philippines by her husband, Francis Coppola, into ‘Hearts of Darkness: A Filmmaker’s Apocalypse.’ \u003ccite>(AP Photo/Craig Fujii)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In joining the family business, the Coppola children weren’t just following in their father’s footsteps but their mother’s, too. Beginning on 1979’s \u003cem>Apocalypse Now\u003c/em>, Eleanor frequently documented the behind-the-scenes life of Francis’ films. The Philippines-set shoot of \u003cem>Apocalypse Now\u003c/em> lasted 238 days. A typhoon destroyed sets. Martin Sheen had a heart attack. A member of the construction crew died.\u003c/p>\n\u003cp>Eleanor documented much of the chaos in what would become one of the most famous making-of films about moviemaking, 1991’s \u003cem>Hearts of Darkness: A Filmmaker’s Apocalypse\u003c/em>.\u003c/p>\n\u003cp>“I was just trying to keep myself occupied with something to do because we were out there for so long,” Eleanor told CNN in 1991. “They wanted five minutes for a TV promotional or something and I thought sooner of later I could get five minutes of film and then it went on to 15 minutes.”\u003c/p>\n\u003cp>“I just kept shooting but I had no idea … the evolution of myself that I saw with my camera,” continued Eleanor, who ended up shooting 60 hours of footage. “So, it was a surprise for both of us and a life changing experience.”\u003c/p>\n\u003cp>Eleanor also published \u003cem>Notes: On the Making of ‘Apocalypse Now’\u003c/em> in 1979. While the film focused on the film set tumult, the book charted some of Eleanor’s inner turmoil, including the challenges of being married to a larger-than-life figure. She wrote of being a “woman isolated from my friends, my affairs and my projects” during their year in Manilla. She also frankly discusses Francis having an extramarital affair.\u003c/p>\n\u003cp>“There is part of me that has been waiting for Francis to leave me, or die, so that I can get my life the way I want it,” wrote Eleanor. “I wonder if I have the guts to get it the way I want it with him in it.”\u003c/p>\n\u003cfigure id=\"attachment_13955935\" class=\"wp-caption aligncenter\" style=\"max-width: 1474px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_.jpg\" alt=\"\" width=\"1474\" height=\"1920\" class=\"size-full wp-image-13955935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_.jpg 1474w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_-800x1042.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_-1020x1329.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_-768x1000.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_-1179x1536.jpg 1179w\" sizes=\"(max-width: 1474px) 100vw, 1474px\">\u003cfigcaption class=\"wp-caption-text\">An undated portrait of Eleanor Coppola, released by the Coppola family. Eleanor Coppola died on Friday at 87. \u003ccite>(Chad Keig/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They remained together, though, throughout her life. And Eleanor continued to seek out creative outlets for herself. She documented several more of her husband’s films, as well as Roman’s \u003cem>CQ\u003c/em> and Sofia’s \u003cem>Marie Antoinette\u003c/em>. She wrote a memoir in 2008, \u003cem>Notes on a Life\u003c/em>.\u003c/p>\n\u003cp>In 2016, at the age of 80, Eleanor made her narrative debut in \u003cem>Paris Can Wait\u003c/em>, a romantic comedy starring Diane Lane. She followed that up with \u003cem>Love Is Love Is Love\u003c/em> in 2020. Eleanor had initially set out only to write the screenplay to \u003cem>Paris Can Wait\u003c/em>.\u003c/p>\n\u003cp>“One morning at the breakfast table my husband said, ‘Well you should direct it.’ I was totally startled,” Eleanor told The AP. “But I said ‘Well, I never wrote a script before and I’ve never directed, why not?’ I was kind of saying ‘why not’ to everything.”\u003c/p>\n\u003cp>Eleanor died just as Francis is preparing a long-planned, self-financed epic, \u003cem>Metropolis\u003c/em>, which is to premiere next month at the Cannes Film Festival.\u003c/p>\n\u003cp>She is survived by her husband; her son Roman and his wife, Jen, their children, Pascale, Marcello and Alessandro; her daughter Sofia and her husband, Thomas, their children Romy and Cosima; her granddaughter Gia and her husband, Honor, and their child Beaumont; and by her brother William Neil and his wife, Lisa.\u003c/p>\n\u003cp>Eleanor recently completed her third memoir, the family said. In the manuscript she wrote:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I appreciate how my unexpected life has stretched and pulled me in so many extraordinary ways and taken me in a multitude of directions beyond my wildest imaginings.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955930/eleanor-coppola-matriarch-of-a-filmmaking-family-dies-at-87","authors":["byline_arts_13955930"],"categories":["arts_1","arts_74","arts_235","arts_1564"],"tags":["arts_3852","arts_1855","arts_22076","arts_21789"],"featImg":"arts_13955932","label":"arts"},"arts_13955781":{"type":"posts","id":"arts_13955781","meta":{"index":"posts_1591205157","site":"arts","id":"13955781","score":null,"sort":[1712859198000]},"guestAuthors":[],"slug":"judee-sill-genius-lost-angel-documentary-review","title":"A Judee Sill Documentary Ensures Her Musical Genius Won't Be Forgotten","publishDate":1712859198,"format":"standard","headTitle":"A Judee Sill Documentary Ensures Her Musical Genius Won’t Be Forgotten | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Unlike many of the famous people interviewed in the documentary \u003ci>Lost Angel: The Genius of Judee Sill\u003c/i>, I can’t remember exactly when I first heard Sill’s music.\u003c/p>\n\u003cp>I know it was decades after the 1971 release of her self-titled debut album, released by David Geffen’s brand-new Asylum Records. It was definitely long after her death, in 1979, by overdose. As someone who wasn’t alive in the ’60s and ’70s, I placed Sill’s music into my mental filing cabinet alongside contemporaries and label-mates like Joni Mitchell, Linda Ronstadt and Jackson Browne, as if it had always been there. \u003c/p>\n\u003cp>In fact, she took up far more of my mental space than that crowd. Sill’s “\u003ca href=\"https://youtu.be/kTAesI73E1U?feature=shared\">Jesus Was a Cross Maker\u003c/a>” became my go-to example of a baffling yet perfect breakup song. At low points, I listened to “\u003ca href=\"https://youtu.be/kyPhvHEtRuw?feature=shared\">The Kiss\u003c/a>,” from her 1973 sophomore album, on repeat. Her haunting voice, sliding through strange tempo shifts and baroque-inspired compositions, still sends shivers down my spine.\u003c/p>\n\u003cfigure id=\"attachment_13955794\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000.jpg\" alt=\"Person with eyes closed singing into mic with rose-colored glasses\" width=\"2000\" height=\"1366\" class=\"size-full wp-image-13955794\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-1536x1049.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-1920x1311.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An undated photo of Judee Sill singing. \u003ccite>(Greenwich Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What I didn’t understand then, and what \u003ci>Lost Angel\u003c/i> explains patiently, admirably, is just how short-lived Sill’s career was, and how far she had fallen from the heights she hoped to achieve as “the world’s greatest living songwriter” before her death at age 35. \u003c/p>\n\u003cp>In the strange landscape of endlessly available streaming music, songs are now often loosed from albums, free-floating from any connection to era or location. This can lead to a transcendent form of time travel, like when \u003ca href=\"https://www.youtube.com/watch?v=UM18Wuw3Tns\">modern artists cover Sill’s work\u003c/a> in front of massive cheering crowds. But it can also obscure significant biographical facts and musical context.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Lost Angel\u003c/i>, directed by Andy Brown and Brian Lindstrom, carefully stitches Judee Sill’s life and music back together. It’s a story that follows a familiar music industry arc, but still holds surprises. We learn that it was in reform school, for instance, that Sill gained her “gospel licks” as the church organist. And that she arrived in reform school after she was arrested, at age 18, as a “teen-age housewife who joined three friends in staging over a dozen robberies ‘just for kicks’” (according to the San Fernando \u003ci>Valley Times\u003c/i>).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FSYc-cLZUEs\u003c/p>\n\u003cp>Sill showed early musical aptitude, learning to harmonize with herself on a piano as a young girl at her father’s Oakland bar. After his death, Sill’s mother married a Disney animator and moved the family to Los Angeles. By Sill’s accounts, it was a chaotic and abusive household she couldn’t wait to escape.\u003c/p>\n\u003cp>We hear from family, friends, lovers and musicians who came up with Sill in Los Angeles piano bars and folk music haunts. (Many of those musicians found extraordinary success.) We see bits of her songwriting, her drawings and diaries. Animations illustrate some of her more occult and religious themes — she credited divine inspiration for her songs. \u003c/p>\n\u003cp>But the most excellent parts of \u003ci>Lost Angel\u003c/i> arrive in Sill’s own voice. It’s a relief when various star-studded covers melt into Sill’s original versions. Her singing is so crystalline it’s utterly heartbreaking: pure beauty coming out of all that pain, loss and addiction. In the final years of her life she went through numerous surgeries after a car accident; she fell back into hard drugs after doctors wouldn’t prescribe her painkillers.\u003c/p>\n\u003cfigure id=\"attachment_13955795\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment.jpg\" alt=\"Billboard with album cover and information set against blue sky\" width=\"900\" height=\"611\" class=\"size-full wp-image-13955795\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment-768x521.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">The billboard Asylum Records rented in November 1971 for the release of Judee Sill’s debut album. In the documentary, Sill says she rented a car to sit across the street and just look at it. \u003ccite>(Greenwich Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beyond the songs, we also hear her tell parts of her own story. At one point, a recorded interview shows her striving, thankful for what she has, but restless. Also a treat: her deadpan on-stage banter (when her audience was receptive), in which Sill frames her songs with tidbits of biography I’m sure listeners believed were wildly embellished.\u003c/p>\n\u003cp>\u003ci>Lost Angel\u003c/i> doesn’t bother with the precise dates of performances or arrive at a definitive answer to why Asylum dropped Sill after just two albums. Linda Ronstadt offers perhaps the final word on that matter. “There wasn’t anybody out to get her,” Ronstadt says. “She just didn’t deliver the goods that would have resonated in that culture in that time.” \u003c/p>\n\u003cp>Total precision is not the goal of \u003ci>Lost Angel\u003c/i>, which relies much on 50-year-old memories. But this film does achieve what it ardently sets out to do: introduce Sill to those who are ready to experience the resonance of her music in the present moment. Footage of countless YouTube covers of “The Kiss” scrolls past, and the talking heads offer up an idea of valiantly living on through one’s art. \u003c/p>\n\u003cp>I’m sure Judee Sill would agree. I just wish she was here to tell us so.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Lost Angel: The Genius of Judee Sill’ begins streaming on Amazon and Apple TV on April 12, 2024. It comes to the \u003ca href=\"https://www.4-star-movies.com/\">4 Star\u003c/a> (2200 Clement St., San Francisco) April 16—17 with live pre-show music from \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/lost-angel-the-genius-of-judee-sill-730-pm-62pdl\">Silverware\u003c/a> and \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/lost-angel-the-genius-of-judee-sill-730-pm\">Free Key Choir\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The short life and career of the ’70s singer-songwriter are carefully stitched together in ‘Lost Angel.’","status":"publish","parent":0,"modified":1712859198,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":928},"headData":{"title":"A Judee Sill Documentary Ensures Her Musical Genius Won't Be Forgotten | KQED","description":"The short life and career of the ’70s singer-songwriter are carefully stitched together in ‘Lost Angel.’","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955781/judee-sill-genius-lost-angel-documentary-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Unlike many of the famous people interviewed in the documentary \u003ci>Lost Angel: The Genius of Judee Sill\u003c/i>, I can’t remember exactly when I first heard Sill’s music.\u003c/p>\n\u003cp>I know it was decades after the 1971 release of her self-titled debut album, released by David Geffen’s brand-new Asylum Records. It was definitely long after her death, in 1979, by overdose. As someone who wasn’t alive in the ’60s and ’70s, I placed Sill’s music into my mental filing cabinet alongside contemporaries and label-mates like Joni Mitchell, Linda Ronstadt and Jackson Browne, as if it had always been there. \u003c/p>\n\u003cp>In fact, she took up far more of my mental space than that crowd. Sill’s “\u003ca href=\"https://youtu.be/kTAesI73E1U?feature=shared\">Jesus Was a Cross Maker\u003c/a>” became my go-to example of a baffling yet perfect breakup song. At low points, I listened to “\u003ca href=\"https://youtu.be/kyPhvHEtRuw?feature=shared\">The Kiss\u003c/a>,” from her 1973 sophomore album, on repeat. Her haunting voice, sliding through strange tempo shifts and baroque-inspired compositions, still sends shivers down my spine.\u003c/p>\n\u003cfigure id=\"attachment_13955794\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000.jpg\" alt=\"Person with eyes closed singing into mic with rose-colored glasses\" width=\"2000\" height=\"1366\" class=\"size-full wp-image-13955794\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-1536x1049.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-1920x1311.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An undated photo of Judee Sill singing. \u003ccite>(Greenwich Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What I didn’t understand then, and what \u003ci>Lost Angel\u003c/i> explains patiently, admirably, is just how short-lived Sill’s career was, and how far she had fallen from the heights she hoped to achieve as “the world’s greatest living songwriter” before her death at age 35. \u003c/p>\n\u003cp>In the strange landscape of endlessly available streaming music, songs are now often loosed from albums, free-floating from any connection to era or location. This can lead to a transcendent form of time travel, like when \u003ca href=\"https://www.youtube.com/watch?v=UM18Wuw3Tns\">modern artists cover Sill’s work\u003c/a> in front of massive cheering crowds. But it can also obscure significant biographical facts and musical context.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Lost Angel\u003c/i>, directed by Andy Brown and Brian Lindstrom, carefully stitches Judee Sill’s life and music back together. It’s a story that follows a familiar music industry arc, but still holds surprises. We learn that it was in reform school, for instance, that Sill gained her “gospel licks” as the church organist. And that she arrived in reform school after she was arrested, at age 18, as a “teen-age housewife who joined three friends in staging over a dozen robberies ‘just for kicks’” (according to the San Fernando \u003ci>Valley Times\u003c/i>).\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/FSYc-cLZUEs'\n title='//www.youtube.com/embed/FSYc-cLZUEs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sill showed early musical aptitude, learning to harmonize with herself on a piano as a young girl at her father’s Oakland bar. After his death, Sill’s mother married a Disney animator and moved the family to Los Angeles. By Sill’s accounts, it was a chaotic and abusive household she couldn’t wait to escape.\u003c/p>\n\u003cp>We hear from family, friends, lovers and musicians who came up with Sill in Los Angeles piano bars and folk music haunts. (Many of those musicians found extraordinary success.) We see bits of her songwriting, her drawings and diaries. Animations illustrate some of her more occult and religious themes — she credited divine inspiration for her songs. \u003c/p>\n\u003cp>But the most excellent parts of \u003ci>Lost Angel\u003c/i> arrive in Sill’s own voice. It’s a relief when various star-studded covers melt into Sill’s original versions. Her singing is so crystalline it’s utterly heartbreaking: pure beauty coming out of all that pain, loss and addiction. In the final years of her life she went through numerous surgeries after a car accident; she fell back into hard drugs after doctors wouldn’t prescribe her painkillers.\u003c/p>\n\u003cfigure id=\"attachment_13955795\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment.jpg\" alt=\"Billboard with album cover and information set against blue sky\" width=\"900\" height=\"611\" class=\"size-full wp-image-13955795\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment-768x521.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">The billboard Asylum Records rented in November 1971 for the release of Judee Sill’s debut album. In the documentary, Sill says she rented a car to sit across the street and just look at it. \u003ccite>(Greenwich Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beyond the songs, we also hear her tell parts of her own story. At one point, a recorded interview shows her striving, thankful for what she has, but restless. Also a treat: her deadpan on-stage banter (when her audience was receptive), in which Sill frames her songs with tidbits of biography I’m sure listeners believed were wildly embellished.\u003c/p>\n\u003cp>\u003ci>Lost Angel\u003c/i> doesn’t bother with the precise dates of performances or arrive at a definitive answer to why Asylum dropped Sill after just two albums. Linda Ronstadt offers perhaps the final word on that matter. “There wasn’t anybody out to get her,” Ronstadt says. “She just didn’t deliver the goods that would have resonated in that culture in that time.” \u003c/p>\n\u003cp>Total precision is not the goal of \u003ci>Lost Angel\u003c/i>, which relies much on 50-year-old memories. But this film does achieve what it ardently sets out to do: introduce Sill to those who are ready to experience the resonance of her music in the present moment. Footage of countless YouTube covers of “The Kiss” scrolls past, and the talking heads offer up an idea of valiantly living on through one’s art. \u003c/p>\n\u003cp>I’m sure Judee Sill would agree. I just wish she was here to tell us so.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Lost Angel: The Genius of Judee Sill’ begins streaming on Amazon and Apple TV on April 12, 2024. It comes to the \u003ca href=\"https://www.4-star-movies.com/\">4 Star\u003c/a> (2200 Clement St., San Francisco) April 16—17 with live pre-show music from \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/lost-angel-the-genius-of-judee-sill-730-pm-62pdl\">Silverware\u003c/a> and \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/lost-angel-the-genius-of-judee-sill-730-pm\">Free Key Choir\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955781/judee-sill-genius-lost-angel-documentary-review","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_69"],"tags":["arts_21958","arts_10278","arts_977","arts_769"],"featImg":"arts_13955793","label":"arts_140"},"arts_13955801":{"type":"posts","id":"arts_13955801","meta":{"index":"posts_1591205157","site":"arts","id":"13955801","score":null,"sort":[1712856765000]},"guestAuthors":[],"slug":"food-inc-2-where-to-stream-prime-apple-tv-michael-pollan","title":"‘Food, Inc. 2’ Revisits Food System, Sees Reason for Frustration and a Little Hope","publishDate":1712856765,"format":"standard","headTitle":"‘Food, Inc. 2’ Revisits Food System, Sees Reason for Frustration and a Little Hope | KQED","labelTerm":{},"content":"\u003cp>The makers of the influential 2008 documentary \u003cem>Food, Inc.\u003c/em> never planned to make a sequel. They figured they’d said it all in their harrowing look at a broken, unsustainable food system — a system led, they argued, by a few multinational corporations whose monopoly squeezes out local farmers, mistreats animals, workers and the soil itself, and makes all of us less healthy.\u003c/p>\n\u003cp>But 16 years after that Oscar-nominated film, they’re back with \u003cem>Food, Inc. 2\u003c/em>. What happened? Well, first of all, the pandemic — an event that both strained our food system and revealed its precariousness, they say.\u003c/p>\n\u003cp>Also, the filmmakers suggest, it was perhaps naive to assume that informed, ethical shoppers could alone reverse such an entrenched narrative. “You can change the world with every bite,” the first film had argued, urging consumers to buy local and organic, patronize farmer’s markets, demand healthy school lunches and most of all, read labels and understand what they’re eating.\u003c/p>\n\u003cp>[aside postid='arts_13955639']Now, much of that is happening. But some problems have worsened, and new ones have emerged. “We really thought we could change the system one bite at a time,” says investigative author and producer Michael Pollan (\u003cem>The Omnivore’s Dilemma\u003c/em>), who’s back with frequent commentary along with fellow author/producer Eric Schlosser (\u003cem>Fast Food Nation\u003c/em>). “As important as that is, it’s not enough.”\u003c/p>\n\u003cp>Directed by Robert Kenner and Melissa Robledo, the new film begins, as did the first, with an inspiring image out of a painting — here, a tractor gliding along a field of crops under a glistening sun. If you’ve seen the original, you’ll know such a scene will soon yield to images of unsavory assembly lines, “kill floors” at slaughterhouses, or workers earning pennies in fields.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A lot has happened since 2008. More people are interested in what they’re eating and where it’s from. Farmer’s markets are everywhere, and supermarkets carry organic and GMO-free food, because consumers want it.\u003c/p>\n\u003cp>But, Pollan reminds us, the industry is still dominated “by a handful of very large and very powerful companies.” In normal times this power is invisible, but when the pandemic hit, the curtain was peeled back, he says. We see images of countless hogs euthanized because they couldn’t be processed, and farms disposing of perfectly good milk. At the same time, many supermarket shelves were empty, and people lined up in their cars, hungry. This, the film argues, is what happens when only a few companies are in charge. Some babies don’t get their formula, for example.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ToWTxhYkrKk\u003c/p>\n\u003cp>As with the first film — the style is very much the same — we’re taken across the country (and beyond), listening to a stream of voices: organizers, workers, farmers, nutritionists, politicians, entrepreneurs, scientists. (Occasionally we don’t know who’s talking for a few seconds, which can be confusing.)\u003c/p>\n\u003cp>[aside postid='arts_13955510']In Immokalee, Florida, lifelong farmworker (and labor leader) Gerardo Reyes Chavez explains how immigrant workers — mostly Latino and Haitians — are both relied upon and mistreated. “The industry wants immigrant workers because they feel they can take advantage of us,” he says. If we’re eating fruits and vegetables, Schlosser and Pollan tell us, we’re part of a chain of exploitation.\u003c/p>\n\u003cp>With flashy, colorful and user-friendly graphics, the film traces industry consolidation: the few companies who have 70% of the carbonated drinks market, for example, or 80% of the baby food market. Such realities violate the spirit of antitrust legislation, they argue.\u003c/p>\n\u003cp>We meet people like Wisconsin dairy farmer Sarah Lloyd, whose 450-cow farm feels huge to her, but other farms have 5,000 or 10,000 or 20,000 cows. How can she compete?\u003c/p>\n\u003cp>Marion Nestle, biologist and nutritionist at New York University, looks back a few decades and marvels at how food has become something available anytime, anywhere: “You go into a clothing store and there are candy bars at the checkout counter.” She especially marvels at the escalating portion size over the years, a thought illustrated by a stack of pancakes that keeps on growing.\u003c/p>\n\u003cp>A professor in Brazil, Carlos Monteiro, posits that “ultra-processed” foods are a key factor in diabetes. His ideas are borne out by an experiment at the National Institutes of Health that shows people who eat such highly processed foods consume a whopping 500 more calories per day. Mark Schatzker (\u003cem>The Dorito Effect\u003c/em>) talks about artificial flavors and how they trick the body into eating more.\u003c/p>\n\u003cp>Are there solutions to all this? The filmmakers consider a bunch, approving of some more than others. Everyone’s coming up with “plant-based” substitutes (fake chicken wings, honey without bees.) But Pollan worries consumers might think “plant-based” means healthy food — often, it’s nothing of the kind. One promising idea: An ocean farmer, Bren Smith, is farming kelp, and a chef is using it in her restaurant.\u003c/p>\n\u003cp>[aside postid='arts_13955729']The most emotional moment concerns Taco Bell, but not the food there. Fran Marion, a Taco Bell worker (and activist) has a tear streaming down her face as she describes the challenge of feeding her children and avoiding living out of her car. She does not get health care or sick leave, she says, and as an adult has never been able to afford seeing a doctor. She speaks of working all day with food and coming home to hear her son’s stomach growl.\u003c/p>\n\u003cp>The film ends where the last one did: with a call to action. “Join us in transforming our food system,” it says, providing a website where viewers can get involved. The danger is the same, they say, as it was back in 2008: “Monopoly power is a threat to our freedom.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Food, Inc. 2’ begins streaming on Prime and Apple TV+ on April 12.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Sixteen years after the original Oscar-nominated film, ‘Food, Inc. 2.’ makes sense of the pandemic-era food chain.","status":"publish","parent":0,"modified":1712878386,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1035},"headData":{"title":"‘Food, Inc. 2’ Review: Food Waste in the Time of COVID | KQED","description":"Sixteen years after the original Oscar-nominated film, ‘Food, Inc. 2.’ makes sense of the pandemic-era food chain.","ogTitle":"‘Food, Inc. 2’ Revisits Food System, Sees Reason for Frustration and a Little Hope","ogDescription":"","ogImgId":"","twTitle":"‘Food, Inc. 2’ Revisits Food System, Sees Reason for Frustration and a Little Hope","twDescription":"","twImgId":"","socialTitle":"‘Food, Inc. 2’ Review: Food Waste in the Time of COVID %%page%% %%sep%% KQED"},"source":"Food","sourceUrl":"https://www.kqed.org/food","sticky":false,"nprByline":"Jocelyn Noveck, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13955801/food-inc-2-where-to-stream-prime-apple-tv-michael-pollan","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The makers of the influential 2008 documentary \u003cem>Food, Inc.\u003c/em> never planned to make a sequel. They figured they’d said it all in their harrowing look at a broken, unsustainable food system — a system led, they argued, by a few multinational corporations whose monopoly squeezes out local farmers, mistreats animals, workers and the soil itself, and makes all of us less healthy.\u003c/p>\n\u003cp>But 16 years after that Oscar-nominated film, they’re back with \u003cem>Food, Inc. 2\u003c/em>. What happened? Well, first of all, the pandemic — an event that both strained our food system and revealed its precariousness, they say.\u003c/p>\n\u003cp>Also, the filmmakers suggest, it was perhaps naive to assume that informed, ethical shoppers could alone reverse such an entrenched narrative. “You can change the world with every bite,” the first film had argued, urging consumers to buy local and organic, patronize farmer’s markets, demand healthy school lunches and most of all, read labels and understand what they’re eating.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955639","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Now, much of that is happening. But some problems have worsened, and new ones have emerged. “We really thought we could change the system one bite at a time,” says investigative author and producer Michael Pollan (\u003cem>The Omnivore’s Dilemma\u003c/em>), who’s back with frequent commentary along with fellow author/producer Eric Schlosser (\u003cem>Fast Food Nation\u003c/em>). “As important as that is, it’s not enough.”\u003c/p>\n\u003cp>Directed by Robert Kenner and Melissa Robledo, the new film begins, as did the first, with an inspiring image out of a painting — here, a tractor gliding along a field of crops under a glistening sun. If you’ve seen the original, you’ll know such a scene will soon yield to images of unsavory assembly lines, “kill floors” at slaughterhouses, or workers earning pennies in fields.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A lot has happened since 2008. More people are interested in what they’re eating and where it’s from. Farmer’s markets are everywhere, and supermarkets carry organic and GMO-free food, because consumers want it.\u003c/p>\n\u003cp>But, Pollan reminds us, the industry is still dominated “by a handful of very large and very powerful companies.” In normal times this power is invisible, but when the pandemic hit, the curtain was peeled back, he says. We see images of countless hogs euthanized because they couldn’t be processed, and farms disposing of perfectly good milk. At the same time, many supermarket shelves were empty, and people lined up in their cars, hungry. This, the film argues, is what happens when only a few companies are in charge. Some babies don’t get their formula, for example.\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/ToWTxhYkrKk'\n title='//www.youtube.com/embed/ToWTxhYkrKk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As with the first film — the style is very much the same — we’re taken across the country (and beyond), listening to a stream of voices: organizers, workers, farmers, nutritionists, politicians, entrepreneurs, scientists. (Occasionally we don’t know who’s talking for a few seconds, which can be confusing.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955510","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In Immokalee, Florida, lifelong farmworker (and labor leader) Gerardo Reyes Chavez explains how immigrant workers — mostly Latino and Haitians — are both relied upon and mistreated. “The industry wants immigrant workers because they feel they can take advantage of us,” he says. If we’re eating fruits and vegetables, Schlosser and Pollan tell us, we’re part of a chain of exploitation.\u003c/p>\n\u003cp>With flashy, colorful and user-friendly graphics, the film traces industry consolidation: the few companies who have 70% of the carbonated drinks market, for example, or 80% of the baby food market. Such realities violate the spirit of antitrust legislation, they argue.\u003c/p>\n\u003cp>We meet people like Wisconsin dairy farmer Sarah Lloyd, whose 450-cow farm feels huge to her, but other farms have 5,000 or 10,000 or 20,000 cows. How can she compete?\u003c/p>\n\u003cp>Marion Nestle, biologist and nutritionist at New York University, looks back a few decades and marvels at how food has become something available anytime, anywhere: “You go into a clothing store and there are candy bars at the checkout counter.” She especially marvels at the escalating portion size over the years, a thought illustrated by a stack of pancakes that keeps on growing.\u003c/p>\n\u003cp>A professor in Brazil, Carlos Monteiro, posits that “ultra-processed” foods are a key factor in diabetes. His ideas are borne out by an experiment at the National Institutes of Health that shows people who eat such highly processed foods consume a whopping 500 more calories per day. Mark Schatzker (\u003cem>The Dorito Effect\u003c/em>) talks about artificial flavors and how they trick the body into eating more.\u003c/p>\n\u003cp>Are there solutions to all this? The filmmakers consider a bunch, approving of some more than others. Everyone’s coming up with “plant-based” substitutes (fake chicken wings, honey without bees.) But Pollan worries consumers might think “plant-based” means healthy food — often, it’s nothing of the kind. One promising idea: An ocean farmer, Bren Smith, is farming kelp, and a chef is using it in her restaurant.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955729","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The most emotional moment concerns Taco Bell, but not the food there. Fran Marion, a Taco Bell worker (and activist) has a tear streaming down her face as she describes the challenge of feeding her children and avoiding living out of her car. She does not get health care or sick leave, she says, and as an adult has never been able to afford seeing a doctor. She speaks of working all day with food and coming home to hear her son’s stomach growl.\u003c/p>\n\u003cp>The film ends where the last one did: with a call to action. “Join us in transforming our food system,” it says, providing a website where viewers can get involved. The danger is the same, they say, as it was back in 2008: “Monopoly power is a threat to our freedom.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Food, Inc. 2’ begins streaming on Prime and Apple TV+ on April 12.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955801/food-inc-2-where-to-stream-prime-apple-tv-michael-pollan","authors":["byline_arts_13955801"],"programs":["arts_140"],"categories":["arts_1","arts_12276","arts_74","arts_75"],"tags":["arts_1297","arts_769","arts_585"],"featImg":"arts_13955804","label":"source_arts_13955801"},"arts_13955729":{"type":"posts","id":"arts_13955729","meta":{"index":"posts_1591205157","site":"arts","id":"13955729","score":null,"sort":[1712791022000]},"guestAuthors":[],"slug":"sasquatch-sunset-review-bigfoot-movie-ari-aster-jesse-eisenberg","title":"‘Sasquatch Sunset’ Is an Eco Message Buried Beneath Poop-Flinging Anarchy","publishDate":1712791022,"format":"standard","headTitle":"‘Sasquatch Sunset’ Is an Eco Message Buried Beneath Poop-Flinging Anarchy | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003cem>Sasquatch Sunset\u003c/em> was always going to be a wild card of a movie. That much should be obvious before you even sit down to watch this dialogue-free, narrator-less, 90-minute musing on the lives of a \u003ca href=\"https://www.kqed.org/arts/13935838/sacramento-mothman-tahoe-tessie-antioch-bigfoot-kooki-davis-vampire-halloween\">Bigfoot\u003c/a> family. But the finished product is even stranger than you might imagine.\u003c/p>\n\u003cp>[aside postid='arts_13935838']At the outset, this Ari Aster production had a choice to make. \u003cem>Sasquatch Sunset\u003c/em> could have leaned into its inherent appeal for the thousands of people who believe Bigfoot is real, and offered ideas about how these mythical creatures actually live(d). It could have been one of those beautifully shot art experiments that forces viewers to ponder the beauty and brutality of nature, and humanity’s place in it. Or it could have simply been a comedy about a bunch of hairy bipeds who walk like humans but are constrained by none of humanity’s social constructs.\u003c/p>\n\u003cp>Instead of picking one path, \u003cem>Sasquatch Sunset\u003c/em> opts for all three. The remarkable thing is that it results in a consistently entertaining movie, despite its wildly uneven tone.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KgfkthLpeXw\u003c/p>\n\u003cp>\u003cem>Sasquatch Sunset\u003c/em>‘s watchability is the product of a very specific alchemy. It starts with the pairing of a \u003ca href=\"https://www.youtube.com/watch?v=12DbW-9YDwE&list=OLAK5uy_lBfWb0fdZQr1zf0vctQw4I8p6ws4OxYy0\">dreamy soundtrack by The Octopus Project\u003c/a> with masterful cinematography that captures the American wilderness in all of its awe-inspiring glory. \u003cem>Sasquatch Sunset\u003c/em> is also elevated by its cast — Nathan Zellner as dad, Riley Keough as mom, and Jesse Eisenberg and Christophe Zajac-Denek as the sons. Each injects their often absurd roles with a surprising sense of pathos. (Keough, in particular, conveys an incredible range of emotions using only her eyes.) \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13952039']All of this helps to propel pertinent messages about ecology and extinction. Don’t let that fool you into thinking this is a sensible film, however. There is nothing subtle or cerebral about the comedic content here. Specifically, there are moments of poop-flinging, mushroom-vomiting, placenta throwing and skunk-sniffing. More than one sasquatch penis makes an appearance. At one point, there’s a birthing scene in which a lady sasquatch gets on all fours while her son stands behind her in a goalie position. It’s not all perfect, but there \u003cem>are\u003c/em> laugh-out-loud moments here. The response of the sasquatch family to the discovery of a freshly built road in their territory, in particular, is both disquieting and hilarious.\u003c/p>\n\u003cp>One ultimately gets the sense that everyone involved in \u003cem>Sasquatch Sunset \u003c/em>wanted to make important points about the ways human beings destroy the natural world. But they also wanted to lay some blame with the hapless sasquatch as well. This is a Bigfoot family with poor impulse control who, try as they might, can’t even figure out how to count to four yet. This is a species which already can’t find any more of its kind before humans even start showing up. Maybe, the film suggests, sasquatches are already on the verge of extinction because they’re not the sharpest tools in the shed. Humanity? Well, we’re just not helping matters.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Sasquatch Sunset’ is released nationwide on April 12, 2024. Screenings at San Francisco’s AMC Metreon and Alamo Drafthouse begin on April 11.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The Ari Aster-produced musing on the lives of a Bigfoot family is even more bizarre than one might think.","status":"publish","parent":0,"modified":1712791022,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":557},"headData":{"title":"‘Sasquatch Sunset’ Review: A Silent Bigfoot Epic Hits Big Screens | KQED","description":"The Ari Aster-produced musing on the lives of a Bigfoot family is even more bizarre than one might think.","ogTitle":"‘Sasquatch Sunset’ Is Poop-Flinging Anarchy With an Eco Message","ogDescription":"","ogImgId":"","twTitle":"‘Sasquatch Sunset’ Is Poop-Flinging Anarchy With an Eco Message","twDescription":"","twImgId":"","socialTitle":"‘Sasquatch Sunset’ Review: A Silent Bigfoot Epic Hits Big Screens %%page%% %%sep%% KQED"},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955729/sasquatch-sunset-review-bigfoot-movie-ari-aster-jesse-eisenberg","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Sasquatch Sunset\u003c/em> was always going to be a wild card of a movie. That much should be obvious before you even sit down to watch this dialogue-free, narrator-less, 90-minute musing on the lives of a \u003ca href=\"https://www.kqed.org/arts/13935838/sacramento-mothman-tahoe-tessie-antioch-bigfoot-kooki-davis-vampire-halloween\">Bigfoot\u003c/a> family. But the finished product is even stranger than you might imagine.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13935838","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>At the outset, this Ari Aster production had a choice to make. \u003cem>Sasquatch Sunset\u003c/em> could have leaned into its inherent appeal for the thousands of people who believe Bigfoot is real, and offered ideas about how these mythical creatures actually live(d). It could have been one of those beautifully shot art experiments that forces viewers to ponder the beauty and brutality of nature, and humanity’s place in it. Or it could have simply been a comedy about a bunch of hairy bipeds who walk like humans but are constrained by none of humanity’s social constructs.\u003c/p>\n\u003cp>Instead of picking one path, \u003cem>Sasquatch Sunset\u003c/em> opts for all three. The remarkable thing is that it results in a consistently entertaining movie, despite its wildly uneven tone.\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/KgfkthLpeXw'\n title='//www.youtube.com/embed/KgfkthLpeXw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Sasquatch Sunset\u003c/em>‘s watchability is the product of a very specific alchemy. It starts with the pairing of a \u003ca href=\"https://www.youtube.com/watch?v=12DbW-9YDwE&list=OLAK5uy_lBfWb0fdZQr1zf0vctQw4I8p6ws4OxYy0\">dreamy soundtrack by The Octopus Project\u003c/a> with masterful cinematography that captures the American wilderness in all of its awe-inspiring glory. \u003cem>Sasquatch Sunset\u003c/em> is also elevated by its cast — Nathan Zellner as dad, Riley Keough as mom, and Jesse Eisenberg and Christophe Zajac-Denek as the sons. Each injects their often absurd roles with a surprising sense of pathos. (Keough, in particular, conveys an incredible range of emotions using only her eyes.) \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13952039","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>All of this helps to propel pertinent messages about ecology and extinction. Don’t let that fool you into thinking this is a sensible film, however. There is nothing subtle or cerebral about the comedic content here. Specifically, there are moments of poop-flinging, mushroom-vomiting, placenta throwing and skunk-sniffing. More than one sasquatch penis makes an appearance. At one point, there’s a birthing scene in which a lady sasquatch gets on all fours while her son stands behind her in a goalie position. It’s not all perfect, but there \u003cem>are\u003c/em> laugh-out-loud moments here. The response of the sasquatch family to the discovery of a freshly built road in their territory, in particular, is both disquieting and hilarious.\u003c/p>\n\u003cp>One ultimately gets the sense that everyone involved in \u003cem>Sasquatch Sunset \u003c/em>wanted to make important points about the ways human beings destroy the natural world. But they also wanted to lay some blame with the hapless sasquatch as well. This is a Bigfoot family with poor impulse control who, try as they might, can’t even figure out how to count to four yet. This is a species which already can’t find any more of its kind before humans even start showing up. Maybe, the film suggests, sasquatches are already on the verge of extinction because they’re not the sharpest tools in the shed. Humanity? Well, we’re just not helping matters.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Sasquatch Sunset’ is released nationwide on April 12, 2024. Screenings at San Francisco’s AMC Metreon and Alamo Drafthouse begin on April 11.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955729/sasquatch-sunset-review-bigfoot-movie-ari-aster-jesse-eisenberg","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_21933","arts_549","arts_8700","arts_769","arts_585"],"featImg":"arts_13955745","label":"arts_140"},"arts_13955639":{"type":"posts","id":"arts_13955639","meta":{"index":"posts_1591205157","site":"arts","id":"13955639","score":null,"sort":[1712684640000]},"guestAuthors":[],"slug":"in-alex-garlands-potent-civil-war-journalists-are-americas-last-hope","title":"In Alex Garland’s Potent ‘Civil War,’ Journalists are America’s Last Hope","publishDate":1712684640,"format":"standard","headTitle":"In Alex Garland’s Potent ‘Civil War,’ Journalists are America’s Last Hope | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The United States is crumbling in Alex Garland’s sharp new film \u003cem>Civil War\u003c/em>, a bellowing and haunting big screen experience. The country has been at war with itself for years by the time we’re invited in, through the gaze of a few journalists documenting the chaos on the front lines and chasing an impossible interview with the president.\u003c/p>\n\u003cp>[aside postid='arts_13955381']Garland, the writer-director of films like \u003cem>Annihilation\u003c/em> and \u003cem>Ex Machina\u003c/em>, as well as the series \u003cem>Devs\u003c/em>, always seems to have an eye on the ugliest sides of humanity and our capacity for self-destruction. His themes are profound and his exploration of them sincere in films that are imbued with strange and haunting images that rattle around in your subconscious for far too long. Whatever you think of \u003cem>Men\u003c/em>, his most divisive film to date, it’s unlikely anyone will forget Rory Kinnear giving birth to himself.\u003c/p>\n\u003cp>In \u003cem>Civil War\u003c/em>, starring Kirsten Dunst as a veteran war photographer named Lee, Garland is challenging his audience once again by not making the film about what everyone thinks it will, or should, be about. Yes, it’s a politically divided country. Yes, the President (Nick Offerman) is a blustery, rising despot who has given himself a third term, taken to attacking his citizens and shut himself off from the press. Yes, there is one terrifying character played by Jesse Plemons who has some pretty hard lines about who is and isn’t a real American.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aDyQxtg0V2w\u003c/p>\n\u003cp>But that trailer that had everyone talking is not the story. Garland is not so dull or narratively conservative to make the film about red and blue ideologies. All we really know is that the so-called Western Forces of Texas and California have seceded from the country and are closing in to overthrow the government. We don’t know what they want or why, or what the other side wants or why and you start to realize that many of the characters don’t seem to really know, or care, either.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This choice might be frustrating to some audiences, but it’s also the only one that makes sense in a film focused on the kinds of journalists who put themselves in harm’s way to tell the story of violent conflicts and unrest. As Lee explains to Cailee Spaeny’s Jessie, a young, aspiring photographer who has elbowed her way onto their dangerous journey to Washington, questions are not for her to ask: She takes truthful, impartial pictures so that everyone else can.\u003c/p>\n\u003cp>\u003cem>Civil War\u003c/em> is a film that is more about war reporters than anything else — the trauma of the beat, the vital importance of bearing witness and the moral and ethical dilemmas of impartiality. Dunst’s Lee is having a bit of an existential crisis, having shot so many horrors and feeling as though she hasn’t made any difference — violence and death are still everywhere. She’s also a pro: Hardened and committed to the story and the image. Her colleague Joel (Wagner Moura) is more of an adrenaline junkie, chasing the gunfire and drinking himself into a stupor every night. There’s Jessie (Spaeny), the wide-eyed but ambitious newbie who is in over her head, and the aging editor Sammy (the great Stephen McKinley Henderson), wise and buttoned up in Brooks Brothers and suspenders, who can’t imagine a life outside of news even as his body is failing him. All are self-motivated and none of them have a life outside of the job, which might be a criticism for some movie characters but not here (trigger warning for any journo audiences out there).\u003c/p>\n\u003cfigure id=\"attachment_13955641\" class=\"wp-caption aligncenter\" style=\"max-width: 1816px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955641\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-09-at-10.31.20-AM.png\" alt=\"A man and a woman wearing a large camera stand in a smoky room, both wearing vests marked PRESS.\" width=\"1816\" height=\"1146\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-09-at-10.31.20-AM.png 1816w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-09-at-10.31.20-AM-800x505.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-09-at-10.31.20-AM-1020x644.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-09-at-10.31.20-AM-160x101.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-09-at-10.31.20-AM-768x485.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-09-at-10.31.20-AM-1536x969.png 1536w\" sizes=\"(max-width: 1816px) 100vw, 1816px\">\u003cfigcaption class=\"wp-caption-text\">Wagner Moura and Kirsten Dunst in ‘Civil War.’ \u003ccite>(Murray Close/ A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The group must drive an indirect route to get from New York to Washington as safely as possible, through Pittsburgh and West Virginia. The roads and towns are set-dressed a little bit, but anyone who knows the area will recognize familiar sights of dead malls, creaky off-brand gas stations on two lane roads, boarded up shops and overgrown parking lots that all work to provide an unsettlingly effective backdrop for the bleak world of \u003cem>Civil War\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13955458']Dunst and Spaeny are both exceedingly good in their roles, effectively embodying the veteran and the novice — a well-written, nuanced and evolving dynamic that should inspire post-credits debates and discussion (among other topics).\u003c/p>\n\u003cp>Dread permeates every frame, whether it’s a quiet moment of smart conversation, a white-knuckle standoff or a deafening shootout on 17th Street. And as with all Garland films it comes with a great, thoughtful soundtrack and a Sonoya Mizuno cameo.\u003c/p>\n\u003cp>Smart, compelling and challenging blockbusters don’t come along that often, though this past year has had a relative embarrassment of riches with the likes of \u003cem>Dune: Part Two\u003c/em> and \u003cem>Oppenheimer\u003c/em>. \u003cem>Civil War\u003c/em> should be part of that conversation too. It’s a full body theatrical experience that deserves a chance.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Civil War’ was released nationwide on April 8, 2024.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Despite controversy around the film’s concept, it’s primarily about war reporters and the ethical dilemmas of impartiality.","status":"publish","parent":0,"modified":1712691163,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":874},"headData":{"title":"‘Civil War’ Review: A Chronicle of Front Line Journalism and Ethics | KQED","description":"Despite controversy around the film’s concept, it’s primarily about war reporters and the ethical dilemmas of impartiality.","ogTitle":"In Alex Garland’s Potent ‘Civil War,’ Journalists are America’s Last Hope","ogDescription":"","ogImgId":"","twTitle":"In Alex Garland’s Potent ‘Civil War,’ Journalists are America’s Last Hope","twDescription":"","twImgId":"","socialTitle":"‘Civil War’ Review: A Chronicle of Front Line Journalism and Ethics %%page%% %%sep%% KQED"},"sticky":false,"nprByline":"Lindsey Bahr, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13955639/in-alex-garlands-potent-civil-war-journalists-are-americas-last-hope","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The United States is crumbling in Alex Garland’s sharp new film \u003cem>Civil War\u003c/em>, a bellowing and haunting big screen experience. The country has been at war with itself for years by the time we’re invited in, through the gaze of a few journalists documenting the chaos on the front lines and chasing an impossible interview with the president.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955381","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Garland, the writer-director of films like \u003cem>Annihilation\u003c/em> and \u003cem>Ex Machina\u003c/em>, as well as the series \u003cem>Devs\u003c/em>, always seems to have an eye on the ugliest sides of humanity and our capacity for self-destruction. His themes are profound and his exploration of them sincere in films that are imbued with strange and haunting images that rattle around in your subconscious for far too long. Whatever you think of \u003cem>Men\u003c/em>, his most divisive film to date, it’s unlikely anyone will forget Rory Kinnear giving birth to himself.\u003c/p>\n\u003cp>In \u003cem>Civil War\u003c/em>, starring Kirsten Dunst as a veteran war photographer named Lee, Garland is challenging his audience once again by not making the film about what everyone thinks it will, or should, be about. Yes, it’s a politically divided country. Yes, the President (Nick Offerman) is a blustery, rising despot who has given himself a third term, taken to attacking his citizens and shut himself off from the press. Yes, there is one terrifying character played by Jesse Plemons who has some pretty hard lines about who is and isn’t a real American.\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/aDyQxtg0V2w'\n title='//www.youtube.com/embed/aDyQxtg0V2w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But that trailer that had everyone talking is not the story. Garland is not so dull or narratively conservative to make the film about red and blue ideologies. All we really know is that the so-called Western Forces of Texas and California have seceded from the country and are closing in to overthrow the government. We don’t know what they want or why, or what the other side wants or why and you start to realize that many of the characters don’t seem to really know, or care, either.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This choice might be frustrating to some audiences, but it’s also the only one that makes sense in a film focused on the kinds of journalists who put themselves in harm’s way to tell the story of violent conflicts and unrest. As Lee explains to Cailee Spaeny’s Jessie, a young, aspiring photographer who has elbowed her way onto their dangerous journey to Washington, questions are not for her to ask: She takes truthful, impartial pictures so that everyone else can.\u003c/p>\n\u003cp>\u003cem>Civil War\u003c/em> is a film that is more about war reporters than anything else — the trauma of the beat, the vital importance of bearing witness and the moral and ethical dilemmas of impartiality. Dunst’s Lee is having a bit of an existential crisis, having shot so many horrors and feeling as though she hasn’t made any difference — violence and death are still everywhere. She’s also a pro: Hardened and committed to the story and the image. Her colleague Joel (Wagner Moura) is more of an adrenaline junkie, chasing the gunfire and drinking himself into a stupor every night. There’s Jessie (Spaeny), the wide-eyed but ambitious newbie who is in over her head, and the aging editor Sammy (the great Stephen McKinley Henderson), wise and buttoned up in Brooks Brothers and suspenders, who can’t imagine a life outside of news even as his body is failing him. All are self-motivated and none of them have a life outside of the job, which might be a criticism for some movie characters but not here (trigger warning for any journo audiences out there).\u003c/p>\n\u003cfigure id=\"attachment_13955641\" class=\"wp-caption aligncenter\" style=\"max-width: 1816px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955641\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-09-at-10.31.20-AM.png\" alt=\"A man and a woman wearing a large camera stand in a smoky room, both wearing vests marked PRESS.\" width=\"1816\" height=\"1146\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-09-at-10.31.20-AM.png 1816w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-09-at-10.31.20-AM-800x505.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-09-at-10.31.20-AM-1020x644.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-09-at-10.31.20-AM-160x101.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-09-at-10.31.20-AM-768x485.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-09-at-10.31.20-AM-1536x969.png 1536w\" sizes=\"(max-width: 1816px) 100vw, 1816px\">\u003cfigcaption class=\"wp-caption-text\">Wagner Moura and Kirsten Dunst in ‘Civil War.’ \u003ccite>(Murray Close/ A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The group must drive an indirect route to get from New York to Washington as safely as possible, through Pittsburgh and West Virginia. The roads and towns are set-dressed a little bit, but anyone who knows the area will recognize familiar sights of dead malls, creaky off-brand gas stations on two lane roads, boarded up shops and overgrown parking lots that all work to provide an unsettlingly effective backdrop for the bleak world of \u003cem>Civil War\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955458","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Dunst and Spaeny are both exceedingly good in their roles, effectively embodying the veteran and the novice — a well-written, nuanced and evolving dynamic that should inspire post-credits debates and discussion (among other topics).\u003c/p>\n\u003cp>Dread permeates every frame, whether it’s a quiet moment of smart conversation, a white-knuckle standoff or a deafening shootout on 17th Street. And as with all Garland films it comes with a great, thoughtful soundtrack and a Sonoya Mizuno cameo.\u003c/p>\n\u003cp>Smart, compelling and challenging blockbusters don’t come along that often, though this past year has had a relative embarrassment of riches with the likes of \u003cem>Dune: Part Two\u003c/em> and \u003cem>Oppenheimer\u003c/em>. \u003cem>Civil War\u003c/em> should be part of that conversation too. It’s a full body theatrical experience that deserves a chance.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Civil War’ was released nationwide on April 8, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955639/in-alex-garlands-potent-civil-war-journalists-are-americas-last-hope","authors":["byline_arts_13955639"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_769","arts_585"],"featImg":"arts_13955640","label":"arts_140"},"arts_13955510":{"type":"posts","id":"arts_13955510","meta":{"index":"posts_1591205157","site":"arts","id":"13955510","score":null,"sort":[1712275698000]},"guestAuthors":[],"slug":"about-dry-grasses-turkey-youth-film-review","title":"‘About Dry Grasses’ Laments the Thwarted Promise of Turkey’s Youth","publishDate":1712275698,"format":"standard","headTitle":"‘About Dry Grasses’ Laments the Thwarted Promise of Turkey’s Youth | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>In the movies, there are few settings more hopeful than elementary schools. And almost none where the characters’ derailed dreams and deflated enthusiasm hit us harder.\u003c/p>\n\u003cp>I’m not just talking about the students. Sarnet (Deniz Celiloğlu), the teacher at the center of Turkish filmmaker Nuri Bilge Ceylan’s riveting \u003cem>About Dry Grasses\u003c/em> (screening April 6 and 14 at the \u003ca href=\"https://roxie.com/production/about-dry-grasses/#showtimes\">Roxie\u003c/a>), exudes idealism and commitment from the moment we encounter him traipsing through a snowy rural landscape in Eastern Anatolia. A city fellow in his fourth (and hopefully final) year assigned to a remote village school, he may not totally fit in with the local lifers but we sense that he’s one of the good guys.\u003c/p>\n\u003cp>Yet the more time we spend with Sarnet — and Ceylan’s quietly piercing drama runs three-and-a-quarter hours, on par with the filmmaker’s previous two films — the more we come to see his elitism and arrogance. It trickles out in his interactions with his fellow teacher and roommate Kenan (Musab Ekici), but really reveals itself in Sarnet’s dealings with the film’s two female characters.\u003c/p>\n\u003cp>That’s not coincidence or happenstance; nothing is, in Ceylan’s measured social critiques. The dialogue is rife with hints about the power of Turkish authorities (the police, the education ministry) and the pressures of family and tradition. The invisible, malignant forces are governmental as well as patriarchal, to the degree you wish to separate them.\u003c/p>\n\u003cfigure id=\"attachment_13955518\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still8_2000.jpg\" alt=\"Two men in winter clothes on a snowy street\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13955518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still8_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still8_2000-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still8_2000-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still8_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still8_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still8_2000-1536x644.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still8_2000-1920x804.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Samet (Deniz Celiloğlu) and Kenan (Musab Ekici) in ‘About Dry Grasses.’ \u003ccite>(Janus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sarnet resists the status quo, or so he thinks. When his favorite student, Sevim (stellar newcomer Ece Bağci), has a love letter confiscated from her personal belongings by another teacher during an impromptu and shocking classroom search, he manages to obtain it for her. But he bungles its return and lies to Sevim, a betrayal that subsequently leads her to report him to the principal for another alleged indiscretion. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>About Dry Grasses\u003c/em> depicts the characters’ behavior with the ambiguity that attaches to human interactions, eliminating the dynamic of villains and victims. Instead we get people’s complexity, and a glimpse at how a hurt and angry liberal will resort to the kind of repressive actions he would ascribe to those he considers reactionaries.\u003c/p>\n\u003cp>“We all know exactly who and what these people are,” Sarnet tells his class after he angrily orders Sevim out in the hall the next day. “It’s just a few, isn’t it?” Then he advises his students, in a heinous act of blacklisting, to ostracize Sevim. (His instruction doesn’t seem to stick, fortunately.)\u003c/p>\n\u003cp>Sarnet’s response to Sevim’s allegation suggests that his altruism was skin deep. Perhaps his bitterness and cynicism are symptoms of his (first) midlife crisis. Either way, Ceylan subtly sets his characters’ frustration, malaise and moral paralysis against a backdrop of social and political repression and corruption.\u003c/p>\n\u003cfigure id=\"attachment_13955519\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still4_2000.jpg\" alt=\"Three people sit on couch and chair around a table, talking\" width=\"2000\" height=\"821\" class=\"size-full wp-image-13955519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still4_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still4_2000-800x328.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still4_2000-1020x419.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still4_2000-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still4_2000-768x315.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still4_2000-1536x631.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still4_2000-1920x788.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Samet (Deniz Celiloğlu), Kenan (Musab Ekici) and Nuray (Merve Dizdar) in ‘About Dry Grasses.’ \u003ccite>(Janus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>About Dry Grasses\u003c/em> plows this field through Sarnet and Kenan’s developing friendship with Nuray (Merve Dizdar, who received the Best Actress award at last year’s Cannes Film Festival), a teacher at another school. Nuray lost a leg in a suicide bomb attack in Ankara and moved back to the area to live with her parents. Fiercely independent and an avowed socialist, she is having a hard time re-adjusting to the rhythms of village life.\u003c/p>\n\u003cp>“Everything seems to take so long here — lessons, breaks, waiting for weekends, nights, everything,” she says. She gently prods Sarnet to pursue his oft-mentioned wish to move to Istanbul, while side-eyeing Kenan (who likewise grew up in the area, and has the additional advantage of being dark and handsome).\u003c/p>\n\u003cp>Most of \u003cem>About Dry Grasses\u003c/em> takes place indoors, fueled by tea and conversation, with the incipient claustrophobia broken by brief escapes outdoors for lovely open vistas of white nothingness. Talk, in this world, is as much a way of passing the time as it is of deepening connections. But as Nuray tries to impress on Sarnet, in a pivotal dinner at her place when her parents are away on a trip, action beats words every time.\u003c/p>\n\u003cp>He keeps missing the point, over and over, in an Olympic-level feat of deflection and auto-blindness. His squashed ambition, the movie suggests, reflects an entire generation’s thwarted promise and diminished expectations. Nuray, the most politically astute figure in the film, chooses to put it in personal terms.\u003c/p>\n\u003cfigure id=\"attachment_13955520\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still5_2000.jpg\" alt=\"Three people in golden-lit landscape with ruins of two large columns\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13955520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still5_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still5_2000-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still5_2000-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still5_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still5_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still5_2000-1536x644.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still5_2000-1920x804.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘About Dry Grasses.’ \u003ccite>(Janus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It seems to me that everything beautiful in this world gets stuck in the webs we weave before it ever reaches us,” she says.\u003c/p>\n\u003cp>\u003cem>About Dry Grasses\u003c/em> leaves the futures and fates of its characters open, as it should. You might see Sarnet, three decades hence, becoming a cosseted curmudgeon (and confirmed loner) like Paul Giamatti’s private-school prof in \u003ci>The Holdovers\u003c/i>. One can imagine Nuray and Kenan continuing on their current roads, without feeling as if they compromised.\u003c/p>\n\u003cp>As for Sevim, I think Ceylan hopes she grows up to be Nuray. With better opportunities, in a more progressive Turkey.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘About Dry Grasses’ plays at the Roxie (3125 16th St., San Francisco) on April 6 and 14. \u003ca href=\"https://roxie.com/production/about-dry-grasses/\">Tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Nuri Bilge Ceylan’s riveting, wintry drama centers on three thirtysomething teachers in a remote village.","status":"publish","parent":0,"modified":1712276780,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":934},"headData":{"title":"‘About Dry Grasses’ Review: Lamenting Turkey’s Thwarted Youth | KQED","description":"Nuri Bilge Ceylan’s riveting, wintry drama centers on three thirtysomething teachers in a remote village.","ogTitle":"‘About Dry Grasses’ Laments the Thwarted Promise of Turkey’s Youth","ogDescription":"","ogImgId":"","twTitle":"‘About Dry Grasses’ Laments the Thwarted Promise of Turkey’s Youth","twDescription":"","twImgId":"","socialTitle":"‘About Dry Grasses’ Review: Lamenting Turkey’s Thwarted Youth %%page%% %%sep%% KQED"},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955510/about-dry-grasses-turkey-youth-film-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the movies, there are few settings more hopeful than elementary schools. And almost none where the characters’ derailed dreams and deflated enthusiasm hit us harder.\u003c/p>\n\u003cp>I’m not just talking about the students. Sarnet (Deniz Celiloğlu), the teacher at the center of Turkish filmmaker Nuri Bilge Ceylan’s riveting \u003cem>About Dry Grasses\u003c/em> (screening April 6 and 14 at the \u003ca href=\"https://roxie.com/production/about-dry-grasses/#showtimes\">Roxie\u003c/a>), exudes idealism and commitment from the moment we encounter him traipsing through a snowy rural landscape in Eastern Anatolia. A city fellow in his fourth (and hopefully final) year assigned to a remote village school, he may not totally fit in with the local lifers but we sense that he’s one of the good guys.\u003c/p>\n\u003cp>Yet the more time we spend with Sarnet — and Ceylan’s quietly piercing drama runs three-and-a-quarter hours, on par with the filmmaker’s previous two films — the more we come to see his elitism and arrogance. It trickles out in his interactions with his fellow teacher and roommate Kenan (Musab Ekici), but really reveals itself in Sarnet’s dealings with the film’s two female characters.\u003c/p>\n\u003cp>That’s not coincidence or happenstance; nothing is, in Ceylan’s measured social critiques. The dialogue is rife with hints about the power of Turkish authorities (the police, the education ministry) and the pressures of family and tradition. The invisible, malignant forces are governmental as well as patriarchal, to the degree you wish to separate them.\u003c/p>\n\u003cfigure id=\"attachment_13955518\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still8_2000.jpg\" alt=\"Two men in winter clothes on a snowy street\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13955518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still8_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still8_2000-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still8_2000-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still8_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still8_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still8_2000-1536x644.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still8_2000-1920x804.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Samet (Deniz Celiloğlu) and Kenan (Musab Ekici) in ‘About Dry Grasses.’ \u003ccite>(Janus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sarnet resists the status quo, or so he thinks. When his favorite student, Sevim (stellar newcomer Ece Bağci), has a love letter confiscated from her personal belongings by another teacher during an impromptu and shocking classroom search, he manages to obtain it for her. But he bungles its return and lies to Sevim, a betrayal that subsequently leads her to report him to the principal for another alleged indiscretion. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>About Dry Grasses\u003c/em> depicts the characters’ behavior with the ambiguity that attaches to human interactions, eliminating the dynamic of villains and victims. Instead we get people’s complexity, and a glimpse at how a hurt and angry liberal will resort to the kind of repressive actions he would ascribe to those he considers reactionaries.\u003c/p>\n\u003cp>“We all know exactly who and what these people are,” Sarnet tells his class after he angrily orders Sevim out in the hall the next day. “It’s just a few, isn’t it?” Then he advises his students, in a heinous act of blacklisting, to ostracize Sevim. (His instruction doesn’t seem to stick, fortunately.)\u003c/p>\n\u003cp>Sarnet’s response to Sevim’s allegation suggests that his altruism was skin deep. Perhaps his bitterness and cynicism are symptoms of his (first) midlife crisis. Either way, Ceylan subtly sets his characters’ frustration, malaise and moral paralysis against a backdrop of social and political repression and corruption.\u003c/p>\n\u003cfigure id=\"attachment_13955519\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still4_2000.jpg\" alt=\"Three people sit on couch and chair around a table, talking\" width=\"2000\" height=\"821\" class=\"size-full wp-image-13955519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still4_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still4_2000-800x328.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still4_2000-1020x419.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still4_2000-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still4_2000-768x315.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still4_2000-1536x631.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still4_2000-1920x788.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Samet (Deniz Celiloğlu), Kenan (Musab Ekici) and Nuray (Merve Dizdar) in ‘About Dry Grasses.’ \u003ccite>(Janus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>About Dry Grasses\u003c/em> plows this field through Sarnet and Kenan’s developing friendship with Nuray (Merve Dizdar, who received the Best Actress award at last year’s Cannes Film Festival), a teacher at another school. Nuray lost a leg in a suicide bomb attack in Ankara and moved back to the area to live with her parents. Fiercely independent and an avowed socialist, she is having a hard time re-adjusting to the rhythms of village life.\u003c/p>\n\u003cp>“Everything seems to take so long here — lessons, breaks, waiting for weekends, nights, everything,” she says. She gently prods Sarnet to pursue his oft-mentioned wish to move to Istanbul, while side-eyeing Kenan (who likewise grew up in the area, and has the additional advantage of being dark and handsome).\u003c/p>\n\u003cp>Most of \u003cem>About Dry Grasses\u003c/em> takes place indoors, fueled by tea and conversation, with the incipient claustrophobia broken by brief escapes outdoors for lovely open vistas of white nothingness. Talk, in this world, is as much a way of passing the time as it is of deepening connections. But as Nuray tries to impress on Sarnet, in a pivotal dinner at her place when her parents are away on a trip, action beats words every time.\u003c/p>\n\u003cp>He keeps missing the point, over and over, in an Olympic-level feat of deflection and auto-blindness. His squashed ambition, the movie suggests, reflects an entire generation’s thwarted promise and diminished expectations. Nuray, the most politically astute figure in the film, chooses to put it in personal terms.\u003c/p>\n\u003cfigure id=\"attachment_13955520\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still5_2000.jpg\" alt=\"Three people in golden-lit landscape with ruins of two large columns\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13955520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still5_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still5_2000-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still5_2000-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still5_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still5_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still5_2000-1536x644.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ADG_Still5_2000-1920x804.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘About Dry Grasses.’ \u003ccite>(Janus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It seems to me that everything beautiful in this world gets stuck in the webs we weave before it ever reaches us,” she says.\u003c/p>\n\u003cp>\u003cem>About Dry Grasses\u003c/em> leaves the futures and fates of its characters open, as it should. You might see Sarnet, three decades hence, becoming a cosseted curmudgeon (and confirmed loner) like Paul Giamatti’s private-school prof in \u003ci>The Holdovers\u003c/i>. One can imagine Nuray and Kenan continuing on their current roads, without feeling as if they compromised.\u003c/p>\n\u003cp>As for Sevim, I think Ceylan hopes she grows up to be Nuray. With better opportunities, in a more progressive Turkey.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘About Dry Grasses’ plays at the Roxie (3125 16th St., San Francisco) on April 6 and 14. \u003ca href=\"https://roxie.com/production/about-dry-grasses/\">Tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955510/about-dry-grasses-turkey-youth-film-review","authors":["22"],"programs":["arts_140"],"categories":["arts_1","arts_74"],"tags":["arts_977","arts_769","arts_3163","arts_585"],"featImg":"arts_13955517","label":"arts_140"},"arts_13955458":{"type":"posts","id":"arts_13955458","meta":{"index":"posts_1591205157","site":"arts","id":"13955458","score":null,"sort":[1712267811000]},"guestAuthors":[],"slug":"dev-patels-monkey-man-is-a-political-allegory-bathed-in-blood","title":"Dev Patel’s ‘Monkey Man’ Is a Political Allegory Bathed in Blood","publishDate":1712267811,"format":"standard","headTitle":"Dev Patel’s ‘Monkey Man’ Is a Political Allegory Bathed in Blood | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Has there been a more satisfying actor to watch mature on screen in recent years than Dev Patel? The endearingly earnest, scrawny kid of \u003cem>Slumdog Millionaire\u003c/em> has steadily grown into a singularly intense and sensitive leading man. It’s a transformation that, for anyone who missed \u003cem>Lion\u003c/em>, \u003cem>The Personal History of David Copperfield\u003c/em> or \u003cem>The Green Knight\u003c/em>, may be especially jarring in watching Patel’s new film, \u003cem>Monkey Man\u003c/em>.\u003c/p>\n\u003cp>Like \u003cem>Slumdog Millionaire\u003c/em>, the film is set in Mumbai and has a touch of fable to it. But in tone and texture, it could hardly be more different. Bathed in blood and fury, \u003cem>Monkey Man\u003c/em> is one gory coming out party for Patel, who also directed and co-wrote the film. He kicks so much butt in this movie — at one point he punches a punch — that it’s enough to make you wonder if the search for the new James Bond ought to be redirected.\u003c/p>\n\u003cp>\u003cem>[aside postid='arts_13955250']Monkey Man\u003c/em>, produced by Jordan Peele, is aiming for something grittier, though — more in Bruce Lee territory or the neighborhood of Park Chan-wook’s \u003cem>Oldboy\u003c/em> — wild, kinetic places to be where martial-arts action turns mythic and feverish. At its best moments, \u003cem>Monkey Man\u003c/em> does that tradition justice. But at all its moments, the movie is a convincing display of Patel’s still-expanding power and tenacity as a performer.\u003c/p>\n\u003cp>\u003cem>Monkey Man\u003c/em> is most explosive in its blistering first half-hour. Patel’s character, credited only as Kid, fights while wearing a gorilla mask in an underground boxing ring. Our first image of him is of his head, in that mask, hitting the canvas hard.\u003c/p>\n\u003cp>These scenes, presided over by Sharlto Copley’s ring leader, have a masochist edge to them, as does Kid’s corresponding efforts to get closer to a den of power and corruption housed in the high-rise King’s Club. We don’t know initially the reasons for his obsession; he’s a mysterious, single-minded figure compelled by hellbent revenge.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And we watch with curiosity as he works his way into the building as a dishwasher hired by manager Queenie (Ashwini Kalsekar) and, soon thereafter, gains a promotion to waiter to get himself up to the penthouse. His focus is on the police chief Rana (Sikandar Kher) and the build-up to their brutal first encounter is a swiftly edited, kinetic swirl. It fails, sending Kid on a clattering cascade down the building and beyond. Out of the frying pan, into the prostitution den with the ax-wielding maniac.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dWS53hqd0g4\u003c/p>\n\u003cp>But while \u003cem>Monkey Man\u003c/em> is thrillingly enigmatic at first, it’s overly leaden with exposition once it settles in. To its credit, the movie has other things on its mind. It opens with the Hindu epic poem \u003cem>Ramayana\u003c/em>, in which the deity Hanuman mistakes the sun for a mango and has his powers stripped.\u003c/p>\n\u003cp>\u003cem>Monkey Man\u003c/em> is sketched symbolically against the story of Hanuman but set in a sordid, contemporary Mumbai (technically it’s a fictional city named Yatana). The syndicate Kid is trying to infiltrate ultimately leads to a religious leader (Makarand Deshpande). \u003cem>Monkey Man\u003c/em>, which Netflix dropped before it was picked up by Peele and Universal, is pointedly political in its fictionalized echoes of modern, Modi-led India.\u003c/p>\n\u003cp>[aside postid='arts_13954872']While Kid recovers with the help of the sage Alpha (Vipin Sharma) and a group of transgender women in hiding, these elements are slowly brought from a simmer to a boil. \u003cem>Monkey Man\u003c/em> makes room for cutaways to TV news reports (some footage comes from real demonstrations) and copious flashbacks to a violent land grab from Kid’s childhood, during which his mother Neela (Adithi Kalkunte) was brutally murdered.\u003c/p>\n\u003cp>The real-world metaphors and Hindu contexts of \u003cem>Monkey Man\u003c/em> add to the film’s potency but aren’t always smoothly incorporated. This is a movie that namechecks \u003cem>John Wick\u003c/em>, too. And it’s more successful in its frenetic fight choreography leading up to a bloody third-act showdown imbued with the rage of class uprising.\u003c/p>\n\u003cp>But regardless of any incongruities, \u003cem>Monkey Man\u003c/em> makes for a forceful directorial debut from Patel. More than anything else, he brings a compelling gravity to a film that is quite serious about getting seriously brutal.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Monkey Man’ is released nationwide on April 5, 2024. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Patel kicks so much butt in this movie, at one point he punches a punch.","status":"publish","parent":0,"modified":1712267811,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":749},"headData":{"title":"‘Monkey Man’ Review: Dev Patel Goes Full Action Hero | KQED","description":"Patel kicks so much butt in this movie, at one point he punches a punch.","ogTitle":"Dev Patel’s ‘Monkey Man’ Is a Political Allegory Bathed in Blood","ogDescription":"","ogImgId":"","twTitle":"Dev Patel’s ‘Monkey Man’ Is a Political Allegory Bathed in Blood","twDescription":"","twImgId":"","socialTitle":"‘Monkey Man’ Review: Dev Patel Goes Full Action Hero %%page%% %%sep%% KQED"},"sticky":false,"nprByline":"Jake Coyle, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13955458/dev-patels-monkey-man-is-a-political-allegory-bathed-in-blood","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Has there been a more satisfying actor to watch mature on screen in recent years than Dev Patel? The endearingly earnest, scrawny kid of \u003cem>Slumdog Millionaire\u003c/em> has steadily grown into a singularly intense and sensitive leading man. It’s a transformation that, for anyone who missed \u003cem>Lion\u003c/em>, \u003cem>The Personal History of David Copperfield\u003c/em> or \u003cem>The Green Knight\u003c/em>, may be especially jarring in watching Patel’s new film, \u003cem>Monkey Man\u003c/em>.\u003c/p>\n\u003cp>Like \u003cem>Slumdog Millionaire\u003c/em>, the film is set in Mumbai and has a touch of fable to it. But in tone and texture, it could hardly be more different. Bathed in blood and fury, \u003cem>Monkey Man\u003c/em> is one gory coming out party for Patel, who also directed and co-wrote the film. He kicks so much butt in this movie — at one point he punches a punch — that it’s enough to make you wonder if the search for the new James Bond ought to be redirected.\u003c/p>\n\u003cp>\u003cem>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955250","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Monkey Man\u003c/em>, produced by Jordan Peele, is aiming for something grittier, though — more in Bruce Lee territory or the neighborhood of Park Chan-wook’s \u003cem>Oldboy\u003c/em> — wild, kinetic places to be where martial-arts action turns mythic and feverish. At its best moments, \u003cem>Monkey Man\u003c/em> does that tradition justice. But at all its moments, the movie is a convincing display of Patel’s still-expanding power and tenacity as a performer.\u003c/p>\n\u003cp>\u003cem>Monkey Man\u003c/em> is most explosive in its blistering first half-hour. Patel’s character, credited only as Kid, fights while wearing a gorilla mask in an underground boxing ring. Our first image of him is of his head, in that mask, hitting the canvas hard.\u003c/p>\n\u003cp>These scenes, presided over by Sharlto Copley’s ring leader, have a masochist edge to them, as does Kid’s corresponding efforts to get closer to a den of power and corruption housed in the high-rise King’s Club. We don’t know initially the reasons for his obsession; he’s a mysterious, single-minded figure compelled by hellbent revenge.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And we watch with curiosity as he works his way into the building as a dishwasher hired by manager Queenie (Ashwini Kalsekar) and, soon thereafter, gains a promotion to waiter to get himself up to the penthouse. His focus is on the police chief Rana (Sikandar Kher) and the build-up to their brutal first encounter is a swiftly edited, kinetic swirl. It fails, sending Kid on a clattering cascade down the building and beyond. Out of the frying pan, into the prostitution den with the ax-wielding maniac.\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/dWS53hqd0g4'\n title='//www.youtube.com/embed/dWS53hqd0g4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But while \u003cem>Monkey Man\u003c/em> is thrillingly enigmatic at first, it’s overly leaden with exposition once it settles in. To its credit, the movie has other things on its mind. It opens with the Hindu epic poem \u003cem>Ramayana\u003c/em>, in which the deity Hanuman mistakes the sun for a mango and has his powers stripped.\u003c/p>\n\u003cp>\u003cem>Monkey Man\u003c/em> is sketched symbolically against the story of Hanuman but set in a sordid, contemporary Mumbai (technically it’s a fictional city named Yatana). The syndicate Kid is trying to infiltrate ultimately leads to a religious leader (Makarand Deshpande). \u003cem>Monkey Man\u003c/em>, which Netflix dropped before it was picked up by Peele and Universal, is pointedly political in its fictionalized echoes of modern, Modi-led India.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954872","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>While Kid recovers with the help of the sage Alpha (Vipin Sharma) and a group of transgender women in hiding, these elements are slowly brought from a simmer to a boil. \u003cem>Monkey Man\u003c/em> makes room for cutaways to TV news reports (some footage comes from real demonstrations) and copious flashbacks to a violent land grab from Kid’s childhood, during which his mother Neela (Adithi Kalkunte) was brutally murdered.\u003c/p>\n\u003cp>The real-world metaphors and Hindu contexts of \u003cem>Monkey Man\u003c/em> add to the film’s potency but aren’t always smoothly incorporated. This is a movie that namechecks \u003cem>John Wick\u003c/em>, too. And it’s more successful in its frenetic fight choreography leading up to a bloody third-act showdown imbued with the rage of class uprising.\u003c/p>\n\u003cp>But regardless of any incongruities, \u003cem>Monkey Man\u003c/em> makes for a forceful directorial debut from Patel. More than anything else, he brings a compelling gravity to a film that is quite serious about getting seriously brutal.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Monkey Man’ is released nationwide on April 5, 2024. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955458/dev-patels-monkey-man-is-a-political-allegory-bathed-in-blood","authors":["byline_arts_13955458"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_15246","arts_769","arts_585"],"featImg":"arts_13955467","label":"arts_140"},"arts_13955437":{"type":"posts","id":"arts_13955437","meta":{"index":"posts_1591205157","site":"arts","id":"13955437","score":null,"sort":[1712256284000]},"guestAuthors":[],"slug":"ken-loach-longtime-chronicler-of-social-ills-seeks-a-hopeful-note-in-the-old-oak","title":"Ken Loach, Longtime Chronicler of Social Ills, Seeks a Hopeful Note in ‘The Old Oak’","publishDate":1712256284,"format":"standard","headTitle":"Ken Loach, Longtime Chronicler of Social Ills, Seeks a Hopeful Note in ‘The Old Oak’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>In so many ways, TJ Ballantyne is a classic Ken Loach hero: a working-class, middle-aged man trying to simply eke out a dignified living, but meeting obstacles at each turn — a victim of unforgiving social realities that leave people like him in the dust.\u003c/p>\n\u003cp>Like many of these Loach protagonists, TJ can’t get a break — even from gravity, as when he tries to fix the wooden letter “K” that rests above the Old Oak, the dilapidated pub he runs in a former mining town that’s been in decline for decades. Talk about decline: That letter keeps tilting downward, even when TJ fixes it with a broomstick. He turns away and it simply falls again.\u003c/p>\n\u003cp>[aside postid='arts_13954702']Loach has never been subtle with his messaging, and why should he start now, at the apparent end of his filmmaking career? The 87-year-old director, who’s made nearly 30 features, has said \u003cem>The Old Oak\u003c/em> is likely the last. He’s said that before, but assuming it’s true, the film is a poignant and moving coda to a career spent chronicling personal indignities amid broader social ills like poverty and unemployment.\u003c/p>\n\u003cp>And now, the migrant crisis. Loach and screenwriter Paul Laverty address this through an unusual friendship between TJ and Yara, a young Syrian woman and refugee who ends up, with her family, in the town, to the hostility of many. For once, a man like TJ and his fellow villagers, all struggling, are not the neediest in the story. There are others who need even more help. In this story of two communities at odds, Loach seeks to end a trilogy of films set in northeastern England on a message of conciliation and hope.\u003c/p>\n\u003cp>We begin somewhere near Durham, in 2016. Syrian war refugees have been arriving in Britain as they have elsewhere in Europe, and it’s no surprise that some have been sent to a desolate former mining town where housing is dirt cheap.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some of the locals are furious about the intrusion. In a devastating pre-credits sequence, the busload of refugees arrives to taunts from the townspeople, who say they weren’t even warned. “Who are they? Where are they from? More Muslims?” some shout out, profanities added. Others, like TJ and family friend Laura, try to help get the families settled.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Fwb0c5zqsyM\u003c/p>\n\u003cp>Yara (Ebla Mari), who’s in her early 20s, has arrived with her mother. Her father, who is either imprisoned in Syria or dead, had gifted her with a camera, and she’s using it to document her arrival (the sequence is shown through her photos). An angry man in a football jersey tussles with her and her camera drops to the ground, broken.\u003c/p>\n\u003cp>During their research, Loach and Laverty noticed that many pubs in former mining towns were now shuttered. In their story, the Old Oak is the last remaining pub, and moreover the only gathering space left in town. Over pints poured by TJ, men he grew up with — Charlie, for example, whose wife is ailing and whose house has plummeted in value, and Vic and Eddy, the angriest of the bunch, complain about the interlopers. “We can’t even take care of our own kids,” they say.\u003c/p>\n\u003cp>The transition is ugly. Young boys are bullied at school. When a local girl falls ill, Yara tries to help by accompanying her home to rest; the mother arrives home and throws the young Syrian violently out of the house.\u003c/p>\n\u003cp>[aside postid='arts_13955344']For TJ, whose marriage has failed and who’s estranged from his son, things go from bad to worse. His only companion is a beloved former stray dog who appeared in his life at his darkest moment; she is constantly threatened by nasty dogs owned by thugs. A former miner himself, he’s holding onto his pub by the skin of his teeth. And now, some of the locals want to use his empty back room to hold a meeting and air grievances about the migrants. He makes excuses.\u003c/p>\n\u003cp>Further conflict ensues when TJ agrees to use the back room for a far different purpose: to serve free meals, as a way of building community, and a throwback to solidarity during labor unrest decades earlier. This works beautifully for many, but the most negative voices in the town — in scenes that occasionally feel a tad heavy-handed — continue to sow discord and harass the Syrians, all while denying they are racist. “All we want is our pub back,” they say.\u003c/p>\n\u003cp>Worse is to come for the Old Oak, which essentially becomes the main character here: a connection to a happier past for the village, a key part of a troubled present, and a source of possible hope for a harmonious future.\u003c/p>\n\u003cp>And it is indeed hope that infuses the closing scenes, unlike many a Loach film. Yes, there are a few too many speeches that sound like, well, speeches rather than dialogue. And the resolution arrives just a bit too quickly and easily.\u003c/p>\n\u003cp>But these seem like forgivable sins. After nearly six decades of filmmaking, hope is not too bad a place to end up.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Old Oak’ is released nationwide on April 4, 2024.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A young Syrian refugee befriends a working class Englishman in this story about solidarity and community.","status":"publish","parent":0,"modified":1712256284,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":906},"headData":{"title":"‘The Old Oak’ Review: A Ken Loach Film With a Hopeful Finale | KQED","description":"A young Syrian refugee befriends a working class Englishman in this story about solidarity and community.","ogTitle":"Ken Loach, Longtime Chronicler of Social Ills, Seeks a Hopeful Note in ‘The Old Oak’","ogDescription":"","ogImgId":"","twTitle":"Ken Loach, Longtime Chronicler of Social Ills, Seeks a Hopeful Note in ‘The Old Oak’","twDescription":"","twImgId":"","socialTitle":"‘The Old Oak’ Review: A Ken Loach Film With a Hopeful Finale%%page%% %%sep%% KQED"},"sticky":false,"nprByline":"Jocelyn Noveck, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13955437/ken-loach-longtime-chronicler-of-social-ills-seeks-a-hopeful-note-in-the-old-oak","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In so many ways, TJ Ballantyne is a classic Ken Loach hero: a working-class, middle-aged man trying to simply eke out a dignified living, but meeting obstacles at each turn — a victim of unforgiving social realities that leave people like him in the dust.\u003c/p>\n\u003cp>Like many of these Loach protagonists, TJ can’t get a break — even from gravity, as when he tries to fix the wooden letter “K” that rests above the Old Oak, the dilapidated pub he runs in a former mining town that’s been in decline for decades. Talk about decline: That letter keeps tilting downward, even when TJ fixes it with a broomstick. He turns away and it simply falls again.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954702","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Loach has never been subtle with his messaging, and why should he start now, at the apparent end of his filmmaking career? The 87-year-old director, who’s made nearly 30 features, has said \u003cem>The Old Oak\u003c/em> is likely the last. He’s said that before, but assuming it’s true, the film is a poignant and moving coda to a career spent chronicling personal indignities amid broader social ills like poverty and unemployment.\u003c/p>\n\u003cp>And now, the migrant crisis. Loach and screenwriter Paul Laverty address this through an unusual friendship between TJ and Yara, a young Syrian woman and refugee who ends up, with her family, in the town, to the hostility of many. For once, a man like TJ and his fellow villagers, all struggling, are not the neediest in the story. There are others who need even more help. In this story of two communities at odds, Loach seeks to end a trilogy of films set in northeastern England on a message of conciliation and hope.\u003c/p>\n\u003cp>We begin somewhere near Durham, in 2016. Syrian war refugees have been arriving in Britain as they have elsewhere in Europe, and it’s no surprise that some have been sent to a desolate former mining town where housing is dirt cheap.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of the locals are furious about the intrusion. In a devastating pre-credits sequence, the busload of refugees arrives to taunts from the townspeople, who say they weren’t even warned. “Who are they? Where are they from? More Muslims?” some shout out, profanities added. Others, like TJ and family friend Laura, try to help get the families settled.\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/Fwb0c5zqsyM'\n title='//www.youtube.com/embed/Fwb0c5zqsyM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Yara (Ebla Mari), who’s in her early 20s, has arrived with her mother. Her father, who is either imprisoned in Syria or dead, had gifted her with a camera, and she’s using it to document her arrival (the sequence is shown through her photos). An angry man in a football jersey tussles with her and her camera drops to the ground, broken.\u003c/p>\n\u003cp>During their research, Loach and Laverty noticed that many pubs in former mining towns were now shuttered. In their story, the Old Oak is the last remaining pub, and moreover the only gathering space left in town. Over pints poured by TJ, men he grew up with — Charlie, for example, whose wife is ailing and whose house has plummeted in value, and Vic and Eddy, the angriest of the bunch, complain about the interlopers. “We can’t even take care of our own kids,” they say.\u003c/p>\n\u003cp>The transition is ugly. Young boys are bullied at school. When a local girl falls ill, Yara tries to help by accompanying her home to rest; the mother arrives home and throws the young Syrian violently out of the house.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955344","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>For TJ, whose marriage has failed and who’s estranged from his son, things go from bad to worse. His only companion is a beloved former stray dog who appeared in his life at his darkest moment; she is constantly threatened by nasty dogs owned by thugs. A former miner himself, he’s holding onto his pub by the skin of his teeth. And now, some of the locals want to use his empty back room to hold a meeting and air grievances about the migrants. He makes excuses.\u003c/p>\n\u003cp>Further conflict ensues when TJ agrees to use the back room for a far different purpose: to serve free meals, as a way of building community, and a throwback to solidarity during labor unrest decades earlier. This works beautifully for many, but the most negative voices in the town — in scenes that occasionally feel a tad heavy-handed — continue to sow discord and harass the Syrians, all while denying they are racist. “All we want is our pub back,” they say.\u003c/p>\n\u003cp>Worse is to come for the Old Oak, which essentially becomes the main character here: a connection to a happier past for the village, a key part of a troubled present, and a source of possible hope for a harmonious future.\u003c/p>\n\u003cp>And it is indeed hope that infuses the closing scenes, unlike many a Loach film. Yes, there are a few too many speeches that sound like, well, speeches rather than dialogue. And the resolution arrives just a bit too quickly and easily.\u003c/p>\n\u003cp>But these seem like forgivable sins. After nearly six decades of filmmaking, hope is not too bad a place to end up.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Old Oak’ is released nationwide on April 4, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955437/ken-loach-longtime-chronicler-of-social-ills-seeks-a-hopeful-note-in-the-old-oak","authors":["byline_arts_13955437"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_769","arts_585","arts_5292"],"featImg":"arts_13955440","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","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.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2023/08/possible-5gxfizEbKOJ-pbF5ASgxrs_.1400x1400.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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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. 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Is it the officers, or the public they've sworn to serve?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/01/OOW_Tile_Final.png","imageAlt":"On Our Watch from NPR and KQED","officialWebsiteLink":"/podcasts/onourwatch","meta":{"site":"news","source":"kqed","order":"1"},"link":"/podcasts/onourwatch","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1567098962","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw","npr":"https://rpb3r.app.goo.gl/onourwatch","spotify":"https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x","tuneIn":"https://tunein.com/radio/On-Our-Watch-p1436229/","stitcher":"https://www.stitcher.com/show/on-our-watch","rss":"https://feeds.npr.org/510360/podcast.xml"}},"on-the-media":{"id":"on-the-media","title":"On The Media","info":"Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. 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