Bay Area’s Own Ryan Coogler Honored at SFFILM Awards Night
In ‘Black Panther: Wakanda Forever,’ Water Holds Wisdom About Grief
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The Bay Area’s Banner Year in Film
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Barack Obama Includes Bay Area Authors, Movies on Year-End List
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https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Coogler.Zinzi_.SFFILM-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Coogler.Zinzi_.SFFILM-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Coogler.Zinzi_.SFFILM-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Coogler.Zinzi_.SFFILM.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zinzi Evans (R) and director Ryan Coogler arrive at SFFILM Awards Night at Yerba Buena Center for the Arts on Dec. 05, 2022 in San Francisco, California. \u003ccite>(Miikka Skaffari/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ryan Coogler received a hero’s welcome.\u003c/p>\n\u003cp>At the 2022 SFFILM Awards Night on Monday evening, the Bay Area-raised film director was honored with the Irving M. Levin Award for Film Direction. “I’m from here, so this hits very different,” Coogler said while accepting the award for his body of work to date, which includes \u003cem>Fruitvale Station\u003c/em>, \u003cem>Creed\u003c/em> and both \u003cem>Black Panther\u003c/em> films. \u003c/p>\n\u003cp>From behind the podium at the Yerba Buena Center for the Arts in San Francisco, Coogler reflected on his early days as a struggling filmmaker: Moving back in with his parents in the East Bay after attending film school in Los Angeles. Being saddled with student loan debt while working a day job in San Francisco. Wondering if his dream to be a filmmaker would ever be realized.\u003c/p>\n\u003cp>Then, Coogler recounted, “I ended up getting into the Sundance Institute Screenwriting Lab. That’s where I met the great Anne Lai.” Lai – at the time working with Sundance, now SFFILM’s executive director – made the introductions that led to Coogler’s first filmmaking grant from SFFILM, then known as the San Francisco Film Society. The grant proved pivotal, helping him move out of his parent’s house and into production on his first feature film, \u003cem>Fruitvale Station\u003c/em>. \u003c/p>\n\u003cfigure id=\"attachment_13922372\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/SFFILM.group_-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13922372\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/SFFILM.group_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/SFFILM.group_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/SFFILM.group_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/SFFILM.group_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/SFFILM.group_.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Director of Programming Jessie Fairbanks, actress Danai Gurira and Executive Director Anne Lai arrive at SFFILM Awards Night at Yerba Buena Center for the Arts on Dec. 5, 2022 in San Francisco, California. \u003ccite>(Miikka Skaffari/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of Coogler’s guests for the evening, along with his wife Zinzi Evans, was one of his former college professors, who he thanked for having “a profound impact” on his life. “I didn’t know I wanted to make movies seriously until my professor, Rosemary Graham, suggested it,” Coogler revealed. Graham retired this year after 30 years teaching English and Creative Writing at Saint Mary’s College in Moraga, where she taught Coogler as a freshman in 2004.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After the event, Graham remembered the impression that 17-year old Coogler made on her. “His writing really stood out from the beginning,” Graham told KQED. “Very cinematic action, emotion, dialogue. It was all there.” \u003c/p>\n\u003cp>Graham remembered telling Coogler that he should go to Hollywood to write screenplays, “and I don’t know what possessed me,” she said. “I had never said it to anyone before, and I haven’t said it to anyone since.” \u003c/p>\n\u003cp>Graham’s comments echoed actor Danai Gurira’s effusive, poetic praise for Coogler when presenting him with the award. “His uniqueness is contagious,” Gurira repeated multiple times between stories about Coogler’s character, work and impact. Gurira, who stars as Okuye in the \u003cem>Black Panther\u003c/em> films, added that “it is beyond rare to find someone whose sum parts are wildly talented and simultaneously solid, honest, direct, gentle, deeply thoughtful and grounded in integrity.” \u003c/p>\n\u003cfigure id=\"attachment_13922371\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Margot.Robbie.SFFILM-800x565.jpg\" alt=\"A woman in a black top and long black skirt poses in front of a promotional backdrop \" width=\"800\" height=\"565\" class=\"size-medium wp-image-13922371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Margot.Robbie.SFFILM-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Margot.Robbie.SFFILM-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Margot.Robbie.SFFILM-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Margot.Robbie.SFFILM-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Margot.Robbie.SFFILM.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actress Margot Robbie arrives at SFFILM Awards Night at Yerba Buena Center for the Arts on Dec. 5, 2022 in San Francisco, California. \u003ccite>(Steve Jennings/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other honorees Monday night included Canadian writer, actor and director Sarah Polley, who wrote and directed \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=pD0mFhMqDCE\">Women Talking\u003c/a>\u003c/em>; actor Stephanie Hsu of the fantastical indie blockbuster \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=wxN1T1uxQ2g\">Everything Everywhere All At Once\u003c/a>\u003c/em>; and actor Margot Robbie, who’s gotten early Oscar buzz for her performance in Damien Chazelle’s \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=5muQK7CuFtY\">Babylon\u003c/a>\u003c/em>, out later this month. \u003c/p>\n\u003cp>Robbie thanked Chazelle for giving her “the role of a lifetime” with the character Nellie, who “dreams of being a part of something bigger than her. Something that means something.” Robbie added: “I feel that way too. And I think cinema at its best can do that.”\u003c/p>\n\u003cp>In the end, though, it was Coogler who got the audience on its feet — twice. Expressing his gratitude for filmmaking grants like SFFILM’s, and citing himself as living proof of their impact on an artist’s career, Coogler concluded his remarks with an acknowledgment of the influence he now has.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I promise,” he said, “to continue to pay it forward.”\u003c/p>\n\n","blocks":[],"excerpt":"The director of ‘Black Panther’ and ‘Fruitvale Station’ recounted his journey to Hollywood.","status":"publish","parent":0,"modified":1705006090,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":746},"headData":{"title":"Ryan Coogler Honored at SFFILM Awards Night | KQED","description":"The director of ‘Black Panther’ and ‘Fruitvale Station’ recounted his journey to Hollywood.","ogTitle":"Ryan Coogler Honored at SFFILM Awards Night","ogDescription":"","ogImgId":"","twTitle":"Ryan Coogler Honored at SFFILM Awards Night","twDescription":"","twImgId":"","socialTitle":"Ryan Coogler Honored at SFFILM Awards Night %%page%% %%sep%% KQED"},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13922365/ryan-coogler-sffilm-awards","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13922367\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Coogler.Zinzi_.SFFILM-800x534.jpg\" alt=\"A man in a suit and glasses poses next to a woman against a promotional backdrop\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13922367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Coogler.Zinzi_.SFFILM-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Coogler.Zinzi_.SFFILM-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Coogler.Zinzi_.SFFILM-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Coogler.Zinzi_.SFFILM-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Coogler.Zinzi_.SFFILM.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zinzi Evans (R) and director Ryan Coogler arrive at SFFILM Awards Night at Yerba Buena Center for the Arts on Dec. 05, 2022 in San Francisco, California. \u003ccite>(Miikka Skaffari/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ryan Coogler received a hero’s welcome.\u003c/p>\n\u003cp>At the 2022 SFFILM Awards Night on Monday evening, the Bay Area-raised film director was honored with the Irving M. Levin Award for Film Direction. “I’m from here, so this hits very different,” Coogler said while accepting the award for his body of work to date, which includes \u003cem>Fruitvale Station\u003c/em>, \u003cem>Creed\u003c/em> and both \u003cem>Black Panther\u003c/em> films. \u003c/p>\n\u003cp>From behind the podium at the Yerba Buena Center for the Arts in San Francisco, Coogler reflected on his early days as a struggling filmmaker: Moving back in with his parents in the East Bay after attending film school in Los Angeles. Being saddled with student loan debt while working a day job in San Francisco. Wondering if his dream to be a filmmaker would ever be realized.\u003c/p>\n\u003cp>Then, Coogler recounted, “I ended up getting into the Sundance Institute Screenwriting Lab. That’s where I met the great Anne Lai.” Lai – at the time working with Sundance, now SFFILM’s executive director – made the introductions that led to Coogler’s first filmmaking grant from SFFILM, then known as the San Francisco Film Society. The grant proved pivotal, helping him move out of his parent’s house and into production on his first feature film, \u003cem>Fruitvale Station\u003c/em>. \u003c/p>\n\u003cfigure id=\"attachment_13922372\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/SFFILM.group_-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13922372\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/SFFILM.group_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/SFFILM.group_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/SFFILM.group_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/SFFILM.group_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/SFFILM.group_.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Director of Programming Jessie Fairbanks, actress Danai Gurira and Executive Director Anne Lai arrive at SFFILM Awards Night at Yerba Buena Center for the Arts on Dec. 5, 2022 in San Francisco, California. \u003ccite>(Miikka Skaffari/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of Coogler’s guests for the evening, along with his wife Zinzi Evans, was one of his former college professors, who he thanked for having “a profound impact” on his life. “I didn’t know I wanted to make movies seriously until my professor, Rosemary Graham, suggested it,” Coogler revealed. Graham retired this year after 30 years teaching English and Creative Writing at Saint Mary’s College in Moraga, where she taught Coogler as a freshman in 2004.\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>After the event, Graham remembered the impression that 17-year old Coogler made on her. “His writing really stood out from the beginning,” Graham told KQED. “Very cinematic action, emotion, dialogue. It was all there.” \u003c/p>\n\u003cp>Graham remembered telling Coogler that he should go to Hollywood to write screenplays, “and I don’t know what possessed me,” she said. “I had never said it to anyone before, and I haven’t said it to anyone since.” \u003c/p>\n\u003cp>Graham’s comments echoed actor Danai Gurira’s effusive, poetic praise for Coogler when presenting him with the award. “His uniqueness is contagious,” Gurira repeated multiple times between stories about Coogler’s character, work and impact. Gurira, who stars as Okuye in the \u003cem>Black Panther\u003c/em> films, added that “it is beyond rare to find someone whose sum parts are wildly talented and simultaneously solid, honest, direct, gentle, deeply thoughtful and grounded in integrity.” \u003c/p>\n\u003cfigure id=\"attachment_13922371\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Margot.Robbie.SFFILM-800x565.jpg\" alt=\"A woman in a black top and long black skirt poses in front of a promotional backdrop \" width=\"800\" height=\"565\" class=\"size-medium wp-image-13922371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Margot.Robbie.SFFILM-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Margot.Robbie.SFFILM-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Margot.Robbie.SFFILM-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Margot.Robbie.SFFILM-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Margot.Robbie.SFFILM.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actress Margot Robbie arrives at SFFILM Awards Night at Yerba Buena Center for the Arts on Dec. 5, 2022 in San Francisco, California. \u003ccite>(Steve Jennings/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other honorees Monday night included Canadian writer, actor and director Sarah Polley, who wrote and directed \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=pD0mFhMqDCE\">Women Talking\u003c/a>\u003c/em>; actor Stephanie Hsu of the fantastical indie blockbuster \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=wxN1T1uxQ2g\">Everything Everywhere All At Once\u003c/a>\u003c/em>; and actor Margot Robbie, who’s gotten early Oscar buzz for her performance in Damien Chazelle’s \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=5muQK7CuFtY\">Babylon\u003c/a>\u003c/em>, out later this month. \u003c/p>\n\u003cp>Robbie thanked Chazelle for giving her “the role of a lifetime” with the character Nellie, who “dreams of being a part of something bigger than her. Something that means something.” Robbie added: “I feel that way too. And I think cinema at its best can do that.”\u003c/p>\n\u003cp>In the end, though, it was Coogler who got the audience on its feet — twice. Expressing his gratitude for filmmaking grants like SFFILM’s, and citing himself as living proof of their impact on an artist’s career, Coogler concluded his remarks with an acknowledgment of the influence he now has.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I promise,” he said, “to continue to pay it forward.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13922365/ryan-coogler-sffilm-awards","authors":["11296"],"categories":["arts_1","arts_74"],"tags":["arts_3563","arts_10278","arts_3852","arts_3410","arts_3961","arts_3772","arts_1040"],"featImg":"arts_13922368","label":"arts"},"arts_13921479":{"type":"posts","id":"arts_13921479","meta":{"index":"posts_1591205157","site":"arts","id":"13921479","score":null,"sort":[1668105662000]},"guestAuthors":[],"slug":"black-panther-wakanda-forever-review","title":"In ‘Black Panther: Wakanda Forever,’ Water Holds Wisdom About Grief","publishDate":1668105662,"format":"standard","headTitle":"In ‘Black Panther: Wakanda Forever,’ Water Holds Wisdom About Grief | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>In 2018, I saw \u003cem>Black Panther\u003c/em> at the Grand Lake Theater in Oakland. Aside from seeing \u003cem>Malcolm X\u003c/em> there when I was 10 years old, it was one of the most exhilarating theatrical experiences I’ve ever had. Black families filled the rows; kids danced in the aisles. There were tears and laughter. During the opening scene, set in Oakland, people in the audience gasped, clapped and jumped up in their seats, responding as if they knew the characters. I will never forget.\u003c/p>\n\u003cp>There was so much life on screen. So much buoyancy. I left the theater feeling hopeful, like the film industry was opening up to new worlds and new ways of imagining Blackness. I was emotional, and yearning for more. That was a different time.\u003c/p>\n\u003cp>Sometimes I wish I could go back.\u003c/p>\n\u003cp>Five years later, the world has changed in drastic, tangible ways. The pandemic continues to reshape how we live our lives, leaving so many people in cycles of fear, isolation, sickness and confusion. Despite that, we’ve pushed forward, but not without the weight of loss, war, violence and racist hate. A certain bleakness hangs over our lives and our world. [pullquote]‘Black Panther: Wakanda Forever’ asks us to remember, to honor our lives and our love, to keep going in the presence of grief.[/pullquote]\u003c/p>\n\u003cp>This sense of loss also hangs over \u003cem>Black Panther: Wakanda Forever\u003c/em>, which I saw weeks ago at an advance screening in Los Angeles. The 2020 death of the film’s lead actor, Chadwick Boseman, prepared me for a completely different viewing experience. As T’Challa, he represented so much life and vitality in the original \u003cem>Black Panther\u003c/em>, and inspired millions with his groundbreaking journey as an artist. While waiting for the film to start, I could feel our bodies being pulled into an emotional space of preparing to grieve, to remember him through this film. I wondered how writer-director Ryan Coogler would handle Boseman’s absence while rendering Wakanda and its world anew.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The answer came in waves, literally, as the film uses water and all of its properties to remember, to reclaim, to fight and to unite characters with the memories of those who have passed on, including Black Panther. It is an emotional journey, or a sort of flooding of our senses, allowing us to see its characters in a more complicated light. In the shadow of T’Challa’s demise, they are more human, existing in spaces of turmoil and discovery.\u003c/p>\n\u003cp>\u003cem>Wakanda Forever\u003c/em> doesn’t spend a lot of time trying to explain the circumstances of T’Challa’s death, which may rub some the wrong way. Still, the story becomes a tribute to him, or a meditation on life in the process of grief. It centers the love and remembrance that is born of loss; the colors, the warmth, the emotion, the hope, the anger and catharsis that flows from our bodies when we remember and honor those who are no longer in our lives.\u003c/p>\n\u003cfigure id=\"attachment_13921483\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921483\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/wakanda-800x334.jpg\" alt=\"Lupita Nyong'O looks out onto the ocean with a pyramid in the background.\" width=\"800\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/wakanda-800x334.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/wakanda-1020x426.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/wakanda-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/wakanda-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/wakanda-1536x641.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/wakanda-1920x802.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/wakanda.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lupita Nyong’O as Nakia in Marvel Studios’ ‘Black Panther: Wakanda Forever.’ \u003ccite>(Marvel Studios. © 2022 MARVEL.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We see Shuri, played powerfully by Letitia Wright, grapple with the difficult, often complicated emotions of loss related to her dear brother. At the beginning of the film, she sits by the water with her mother, Queen Ramonda (Angela Bassett), unable to understand any deeper, spiritual meaning to his passing. Namor, the film’s antagonist, rises from the water, warning of the imminent threat of the CIA and American government’s attempts to steal Vibranium from the ocean, which Namor has used for his underwater community, Talocan.\u003c/p>\n\u003cp>[aside postid='news_11912315']By far, one of the most exciting and daring elements of this film is the introduction of Namor and his underwater world of Talocan (Tlālōcān). In the comics, this character hails from Atlantis, but here he is an Indigenous warrior. Drawing deeply from ancient Aztec mythology and history, Coogler brings to life a villain born from the Marvel universe, in the same complex spirit as Killmonger. Namor is an antihero whose backstory is so rich with depth that we understand and feel for him. Tenoch Huerta plays him with a gentle, calculated intensity and power.\u003c/p>\n\u003cfigure id=\"attachment_13921484\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921484\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/sre7000_trl_comp_wta_v0265.1061_r-800x334.jpg\" alt=\"\" width=\"800\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/sre7000_trl_comp_wta_v0265.1061_r-800x334.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/sre7000_trl_comp_wta_v0265.1061_r-1020x426.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/sre7000_trl_comp_wta_v0265.1061_r-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/sre7000_trl_comp_wta_v0265.1061_r-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/sre7000_trl_comp_wta_v0265.1061_r-1536x641.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/sre7000_trl_comp_wta_v0265.1061_r-1920x802.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/sre7000_trl_comp_wta_v0265.1061_r.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tenoch Huerta as Namor in Marvel Studios’ Black Panther: Wakanda Forever. \u003ccite>(Marvel Studios. © 2022 MARVEL.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one of the most majestic sequences, we witness the origin story of Namor as his brown-skinned mother gives birth to him in the blue water. He becomes one with the ocean, as it provides a haven for survival away from the colonial, Spanish conquest that is taking place in Mexico. Later, the water again becomes a connecting force as Shuri is taken into the depths of Namor’s ocean community set to a calming \u003ca href=\"https://www.youtube.com/watch?v=RJmlM5D2LFM\" target=\"_blank\" rel=\"noopener noreferrer\">song by Foudeqush and Ludwig Goransson\u003c/a>. Shuri understands how important this community is, and she respects it. There’s a gentle, powerful chemistry between Shuri and Namor in these scenes that almost made me think they might become intimately linked.\u003c/p>\n\u003cp>In a time of increased anti-Blackness and racism in this country and around the world, there is something so powerful about seeing a film that acknowledges the history and culture of Indigenous, brown Mexicans and their links and ancestral connections to African people, after so many years of this history being erased from mainstream cinema and education. Here, we see two communities fighting to preserve their lives in the midst of threats to their existence.\u003c/p>\n\u003cp>It is powerful to envision a world in which communities of color might come together to understand each other’s struggles, and work together in a more global fight for justice. The multicultural emphasis that is highlighted in this film made me think of home, the Bay Area, from which Coogler hails. Here, it is not uncommon to see communities of color, especially African Americans, Mexicans, Latinos, Filipinos and Vietnamese people building communal coalitions and grassroots support together. But that doesn’t mean division doesn’t exist, and the film depicts the conflict and misunderstandings that threaten to erase both communities when they are not united.\u003c/p>\n\u003cp>As the film traverses the ocean and continents, connecting characters and storylines in a map-like formation, it becomes a bit clunky. But it builds toward a triumphant, moving conclusion that brought me to tears. This is the perfect tribute to Chadwick Boseman and T’Challa, because it encourages the characters and audience to celebrate life.\u003c/p>\n\u003cp>[aside postid='arts_13921411']Ultimately, this is not a straightforward sequel to the film we saw in 2018, and it shouldn’t have to be. It is different in ways that make it important for the times we live in. We have lost so much. We are grieving. We are living and laughing in the midst of it all. We are remembering people who have passed on, or who are no longer in our lives. Watching this film made me remember people I once loved or cared for, who are no longer here or who have exited my life for reasons unknown to me. It made me think about home, about loss, and my love of cinema, which was born in Oakland at the Grand Lake Theater, watching \u003cem>Malcolm X\u003c/em>.\u003c/p>\n\u003cp>We are in a new time, and a new world. This film asks us to remember, to honor our lives and our love, to keep going in the presence of grief.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.nijlamumin.com/about\" target=\"_blank\" rel=\"noopener noreferrer\">Nijla Mu’min\u003c/a> is an award-winning writer and filmmaker raised in Oakland. Her feature film \u003c/em>Jinn\u003cem> premiered in 2018, and she has since directed episodes of \u003c/em>Insecure,\u003cem> \u003c/em>Queen Sugar\u003cem> and other television series. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"After Chadwick Boseman's death, the film feels perfectly poised for a post-pandemic world marked by loss.","status":"publish","parent":0,"modified":1705006168,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1305},"headData":{"title":"In ‘Black Panther: Wakanda Forever,’ Water Holds Wisdom About Grief | KQED","description":"After Chadwick Boseman's death, the film feels perfectly poised for a post-pandemic world marked by loss.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprByline":"Nijla Mu’min","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13921479/black-panther-wakanda-forever-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2018, I saw \u003cem>Black Panther\u003c/em> at the Grand Lake Theater in Oakland. Aside from seeing \u003cem>Malcolm X\u003c/em> there when I was 10 years old, it was one of the most exhilarating theatrical experiences I’ve ever had. Black families filled the rows; kids danced in the aisles. There were tears and laughter. During the opening scene, set in Oakland, people in the audience gasped, clapped and jumped up in their seats, responding as if they knew the characters. I will never forget.\u003c/p>\n\u003cp>There was so much life on screen. So much buoyancy. I left the theater feeling hopeful, like the film industry was opening up to new worlds and new ways of imagining Blackness. I was emotional, and yearning for more. That was a different time.\u003c/p>\n\u003cp>Sometimes I wish I could go back.\u003c/p>\n\u003cp>Five years later, the world has changed in drastic, tangible ways. The pandemic continues to reshape how we live our lives, leaving so many people in cycles of fear, isolation, sickness and confusion. Despite that, we’ve pushed forward, but not without the weight of loss, war, violence and racist hate. A certain bleakness hangs over our lives and our world. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘Black Panther: Wakanda Forever’ asks us to remember, to honor our lives and our love, to keep going in the presence of grief.","name":"pullquote","attributes":{"named":{"label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This sense of loss also hangs over \u003cem>Black Panther: Wakanda Forever\u003c/em>, which I saw weeks ago at an advance screening in Los Angeles. The 2020 death of the film’s lead actor, Chadwick Boseman, prepared me for a completely different viewing experience. As T’Challa, he represented so much life and vitality in the original \u003cem>Black Panther\u003c/em>, and inspired millions with his groundbreaking journey as an artist. While waiting for the film to start, I could feel our bodies being pulled into an emotional space of preparing to grieve, to remember him through this film. I wondered how writer-director Ryan Coogler would handle Boseman’s absence while rendering Wakanda and its world anew.\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>The answer came in waves, literally, as the film uses water and all of its properties to remember, to reclaim, to fight and to unite characters with the memories of those who have passed on, including Black Panther. It is an emotional journey, or a sort of flooding of our senses, allowing us to see its characters in a more complicated light. In the shadow of T’Challa’s demise, they are more human, existing in spaces of turmoil and discovery.\u003c/p>\n\u003cp>\u003cem>Wakanda Forever\u003c/em> doesn’t spend a lot of time trying to explain the circumstances of T’Challa’s death, which may rub some the wrong way. Still, the story becomes a tribute to him, or a meditation on life in the process of grief. It centers the love and remembrance that is born of loss; the colors, the warmth, the emotion, the hope, the anger and catharsis that flows from our bodies when we remember and honor those who are no longer in our lives.\u003c/p>\n\u003cfigure id=\"attachment_13921483\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921483\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/wakanda-800x334.jpg\" alt=\"Lupita Nyong'O looks out onto the ocean with a pyramid in the background.\" width=\"800\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/wakanda-800x334.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/wakanda-1020x426.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/wakanda-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/wakanda-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/wakanda-1536x641.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/wakanda-1920x802.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/wakanda.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lupita Nyong’O as Nakia in Marvel Studios’ ‘Black Panther: Wakanda Forever.’ \u003ccite>(Marvel Studios. © 2022 MARVEL.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We see Shuri, played powerfully by Letitia Wright, grapple with the difficult, often complicated emotions of loss related to her dear brother. At the beginning of the film, she sits by the water with her mother, Queen Ramonda (Angela Bassett), unable to understand any deeper, spiritual meaning to his passing. Namor, the film’s antagonist, rises from the water, warning of the imminent threat of the CIA and American government’s attempts to steal Vibranium from the ocean, which Namor has used for his underwater community, Talocan.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11912315","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>By far, one of the most exciting and daring elements of this film is the introduction of Namor and his underwater world of Talocan (Tlālōcān). In the comics, this character hails from Atlantis, but here he is an Indigenous warrior. Drawing deeply from ancient Aztec mythology and history, Coogler brings to life a villain born from the Marvel universe, in the same complex spirit as Killmonger. Namor is an antihero whose backstory is so rich with depth that we understand and feel for him. Tenoch Huerta plays him with a gentle, calculated intensity and power.\u003c/p>\n\u003cfigure id=\"attachment_13921484\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921484\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/sre7000_trl_comp_wta_v0265.1061_r-800x334.jpg\" alt=\"\" width=\"800\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/sre7000_trl_comp_wta_v0265.1061_r-800x334.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/sre7000_trl_comp_wta_v0265.1061_r-1020x426.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/sre7000_trl_comp_wta_v0265.1061_r-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/sre7000_trl_comp_wta_v0265.1061_r-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/sre7000_trl_comp_wta_v0265.1061_r-1536x641.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/sre7000_trl_comp_wta_v0265.1061_r-1920x802.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/sre7000_trl_comp_wta_v0265.1061_r.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tenoch Huerta as Namor in Marvel Studios’ Black Panther: Wakanda Forever. \u003ccite>(Marvel Studios. © 2022 MARVEL.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one of the most majestic sequences, we witness the origin story of Namor as his brown-skinned mother gives birth to him in the blue water. He becomes one with the ocean, as it provides a haven for survival away from the colonial, Spanish conquest that is taking place in Mexico. Later, the water again becomes a connecting force as Shuri is taken into the depths of Namor’s ocean community set to a calming \u003ca href=\"https://www.youtube.com/watch?v=RJmlM5D2LFM\" target=\"_blank\" rel=\"noopener noreferrer\">song by Foudeqush and Ludwig Goransson\u003c/a>. Shuri understands how important this community is, and she respects it. There’s a gentle, powerful chemistry between Shuri and Namor in these scenes that almost made me think they might become intimately linked.\u003c/p>\n\u003cp>In a time of increased anti-Blackness and racism in this country and around the world, there is something so powerful about seeing a film that acknowledges the history and culture of Indigenous, brown Mexicans and their links and ancestral connections to African people, after so many years of this history being erased from mainstream cinema and education. Here, we see two communities fighting to preserve their lives in the midst of threats to their existence.\u003c/p>\n\u003cp>It is powerful to envision a world in which communities of color might come together to understand each other’s struggles, and work together in a more global fight for justice. The multicultural emphasis that is highlighted in this film made me think of home, the Bay Area, from which Coogler hails. Here, it is not uncommon to see communities of color, especially African Americans, Mexicans, Latinos, Filipinos and Vietnamese people building communal coalitions and grassroots support together. But that doesn’t mean division doesn’t exist, and the film depicts the conflict and misunderstandings that threaten to erase both communities when they are not united.\u003c/p>\n\u003cp>As the film traverses the ocean and continents, connecting characters and storylines in a map-like formation, it becomes a bit clunky. But it builds toward a triumphant, moving conclusion that brought me to tears. This is the perfect tribute to Chadwick Boseman and T’Challa, because it encourages the characters and audience to celebrate life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13921411","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Ultimately, this is not a straightforward sequel to the film we saw in 2018, and it shouldn’t have to be. It is different in ways that make it important for the times we live in. We have lost so much. We are grieving. We are living and laughing in the midst of it all. We are remembering people who have passed on, or who are no longer in our lives. Watching this film made me remember people I once loved or cared for, who are no longer here or who have exited my life for reasons unknown to me. It made me think about home, about loss, and my love of cinema, which was born in Oakland at the Grand Lake Theater, watching \u003cem>Malcolm X\u003c/em>.\u003c/p>\n\u003cp>We are in a new time, and a new world. This film asks us to remember, to honor our lives and our love, to keep going in the presence of grief.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>\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>\u003cem>\u003ca href=\"https://www.nijlamumin.com/about\" target=\"_blank\" rel=\"noopener noreferrer\">Nijla Mu’min\u003c/a> is an award-winning writer and filmmaker raised in Oakland. Her feature film \u003c/em>Jinn\u003cem> premiered in 2018, and she has since directed episodes of \u003c/em>Insecure,\u003cem> \u003c/em>Queen Sugar\u003cem> and other television series. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13921479/black-panther-wakanda-forever-review","authors":["byline_arts_13921479"],"categories":["arts_1","arts_74"],"tags":["arts_3563","arts_11327","arts_10342","arts_10278","arts_3961"],"featImg":"arts_13921485","label":"arts"},"arts_13917642":{"type":"posts","id":"arts_13917642","meta":{"index":"posts_1591205157","site":"arts","id":"13917642","score":null,"sort":[1661875247000]},"guestAuthors":[],"slug":"fall-2022-movie-guide","title":"Leaping Into Drama: A Fall ’22 Movie Guide","publishDate":1661875247,"format":"standard","headTitle":"Leaping Into Drama: A Fall ’22 Movie Guide | KQED","labelTerm":{},"content":"\u003cp>\u003ca href=\"https://www.kqed.org/fallarts2022\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cem>\u003cstrong>Find more of KQED’s picks for the best Fall 2022 events here\u003c/strong>\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>While blockbuster season in the movie business is year-round these days, studios increasingly reserve their adult-oriented character-driven films for fall and winter, when serious moviegoers celebrate the cooling temperatures as a herald of quality cinema.\u003c/p>\n\u003cp>But older audiences are proving reluctant to return to theaters so long as COVID variants circulate, while streaming has become the preferred platform for a portion of the public. So the state of movies and the health of theaters are open questions, even as those in the industry—not to mention film lovers—crave a return to normalcy.\u003c/p>\n\u003cp>Tempered optimism is the watchword, so my fall forecast is gripping drama with a chance of excitement.\u003c/p>\n\u003cfigure id=\"attachment_13918105\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918105\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-800x573.jpg\" alt=\"a still from a black and white movie of a woman and man, looking away from each other\" width=\"800\" height=\"573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-768x551.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-1536x1101.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001.jpg 1879w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from ‘Mamma Roma’ by Pier Paolo Pasolini. \u003ccite>(Courtesy Berkeley Art Museum and Pacific Film Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://apeconcerts.com/events/pasolini-100-220910/\">Pasolini 100\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10, Castro Theatre\u003c/em>\u003cbr>\nPier Paolo Pasolini was known in the U.S. merely as a provocative filmmaker; in his native Italy, he was an eminent (and devoutly controversial) public intellectual and social critic. A poet, essayist, novelist, playwright, actor, screenwriter and director, Pasolini remains a complicated, challenging figure 45 years after his unsolved death at the hands of a male prostitute. Cinema Italia SF commemorates his centennial with an all-day marathon spotlighting Pasolini’s early ’60s black-and-white dramas of Rome’s underclass, \u003cem>Mamma Roma\u003c/em> (Anna Magnani’s signature role) and \u003cem>Accatone\u003c/em>, and capped by the unflinching, notorious \u003cem>Saló, or the 100 Days of Sodom\u003c/em> (1976). \u003ca href=\"https://bampfa.org/program/pier-paolo-pasolini\">A BAMPFA retrospective\u003c/a> (Oct. 22-Nov. 27) offers even more chances to immerse yourself in Pasolini’s fascination with sex, violence, faith and power.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZIt0bGwe1rY\u003c/p>\n\u003ch2>\u003ca href=\"https://www.apple.com/tv-pr/originals/sidney/\">‘Sidney’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 23, Apple TV+\u003c/em>\u003cbr>\nOur personal reactions to movie stars reveal more about us—our fantasies, our prejudices—than them. Sidney Poitier’s career spanned the entirety of the second half of the 20th century and the enormous evolution in how Black people were portrayed, played and viewed onscreen. It’s impossible to conceive the tightrope Poitier walked in the ’50s and ’60s, playing dignified characters (Virgil Tibbs in \u003cem>In the Heat of the Night\u003c/em>, notably) who had to restrain their response to a diet of insults lest they scare white moviegoers—without losing his credibility with Black audiences. A successful director (\u003cem>Stir Crazy\u003c/em>) and a prominent civil rights activist, Poitier, who died in January, possessed an unshakable moral compass. Reginald Hudlin’s documentary introduces Poitier to a new audience, filtered through the voices of his contemporaries (Robert Redford, Barbra Streisand) and heirs (Denzel Washington, Spike Lee).\u003c/p>\n\u003cfigure id=\"attachment_13918106\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Whale_Final-Image-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918106\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Whale_Final-Image-800x601.jpg\" alt=\"a white man, Brendan Fraser, looks concerned\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-1536x1154.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-2048x1538.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-1920x1442.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brendan Fraser in Darren Aronofsky’s ‘The Whale.’ \u003ccite>(Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.mvff.com/\">Mill Valley Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 6-16, in theaters and online\u003c/em>\u003cbr>\nMarin County’s venerable fall blowout boasts several strong strands: female directors, local documentaries, music films, foreign-language sleepers. In addition, as fall marks the kickoff to awards season, MVFF has positioned itself over the last 15 years as the Bay Area venue of choice to premiere thoughtful, actor-powered dramas. This year’s star sightings could include Michelle Williams in Kelly Reichardt’s \u003cem>Showing Up\u003c/em>, Tilda Swinton in Joanna Hogg’s \u003cem>The Eternal Daughter\u003c/em>, Olivia Colman and/or Colin Firth in Sam Mendes’ \u003cem>Empire of Light\u003c/em> and Brendan Fraser in Darren Aronofsky’s \u003cem>The Whale\u003c/em>. Of note, MVFF is expanding its in-person events this year to BAMPFA in Berkeley and the Roxie Theater in San Francisco.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1QCa25CmONI\u003c/p>\n\u003ch2>‘The Lost King’\u003c/h2>\n\u003cp>\u003cem>TBD\u003c/em>\u003cbr>\nA potential candidate for MVFF’s opening or closing night slot, the new film from the underappreciated British director Stephen Frears is an expertly calibrated, comic yet touching portrait of female perseverance. Frears and his \u003cem>Philomena\u003c/em> collaborators, screenwriter Jeff Pope and co-writer and actor Steve Coogan, recreate contemporary writer Philippa Langley’s real-life obstacles and travails on her journey to uncovering the burial site of King Richard III (1452-85). Sally Hawkins (\u003cem>The Shape of Water\u003c/em>) plays the determined protagonist, aided by her husband (Coogan). Frears has a dry sense of humor, giving me hope that Sir Ian McKellen, who played Richard so brilliantly on stage and screen, makes an unbilled cameo as, say, a librarian or cab driver. (The audience for \u003cem>The Lost King\u003c/em> overlaps with the demographic that’s been the slowest to return to theaters, so the film may score more success on PVOD.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rkQi6GBwmSA\u003c/p>\n\u003ch2>‘Till’\u003c/h2>\n\u003cp>\u003cem>Oct. 14\u003c/em>\u003cbr>\nEmmett Till was just 14 when he was kidnapped, tortured and shot to death while visiting family in Mississippi on his summer vacation in 1955. One of the most heinous crimes in the endlessly brutal history of American racism, Emmett’s murder became a flashpoint for the entire country when his mother gave him a public funeral with an open casket back home in Chicago. Writer-producer-director Chinonye Chukwu’s follow-up to \u003cem>Clemency\u003c/em> (which starred Alfre Woodard as a prison warden) recounts the saga of another Black woman under unfathomable pressure, Mamie Till-Mobley (played by the estimable Danielle Deadwyler). The terrible events of 1955 continue to reverberate in the present day, and \u003cem>Till\u003c/em> will likely extend the conversation: Keith Beauchamp, who alleged in his 2005 documentary \u003cem>The Untold Story of Emmett Louis Till\u003c/em> that no fewer than 14 people were involved in the boy’s death, has a writing and producing credit.\u003c/p>\n\u003cfigure id=\"attachment_13918110\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918110\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-800x432.jpeg\" alt=\"a young white man and woman look at each other while leaning over the side of a swimming pool\" width=\"800\" height=\"432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-800x432.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-1020x551.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-160x86.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-768x415.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-1536x830.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-2048x1107.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-1920x1038.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Harry Styles and Emma Corrin in ‘My Policeman.’ \u003ccite>(Courtesy of Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘My Policeman’\u003c/h2>\n\u003cp>\u003cem>Oct. 21 in theaters, Nov. 4 on Amazon Prime Video\u003c/em>\u003cbr>\nThe esteemed British theater director Michael Grandage directs Ron Nyswaner’s adaptation of Bethan Roberts’ 2012 novel, though Harry Styles is the only name trending on Twitter. The Evesham heartthrob plays the title character—a married, closeted cop in 1950s Brighton who’s having an affair with a museum curator. Forty years after making a hash of things, the characters (now played by Linus Roache, Gina McKee and Rupert Everett) strain to alchemize regret into redemption. Regardless of the artfulness of the film’s structure, the performances are the key to its emotional punch. By the time Oscar nominations are announced, Styles may be trending everywhere.\u003c/p>\n\u003cfigure id=\"attachment_13917942\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917942\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/AllThatBreathes-800x449.jpg\" alt=\"A man in glasses stares at a bird known as a black kite.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes-1536x862.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘All That Breathes’ follows two brothers who operate a bird sanctuary in New Delhi, India. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sffilm.org/year-round-programming/doc-stories/\">Doc Stories\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 3-6\u003c/em>\u003cbr>\nDevotees of nonfiction film will have ample opportunities to partake of real-world sagas this fall, between the \u003ca href=\"https://sfgreen2022.eventive.org/welcome\">Green Film Festival of San Francisco\u003c/a>’s (Oct. 6-16) globe-hopping array of environmental documentaries and the \u003ca href=\"https://sfdancefilmfest.org/\">San Francisco Dance Film Festival\u003c/a>’s (Oct. 28-Nov. 7) scintillating mix of portraits and performances. SFFILM’s Doc Stories casts its net beyond any specific niche to snare the latest high-profile works on any subject by well-known filmmakers and buzz-catching newcomers. This compact series avidly positions itself as a stop on the road to the Academy Awards due to the many Bay Area members of the Documentary branch. Regular folks benefit, too, from the unusually sophisticated post-film conversations on documentary practice and ethics. Keep your eyes on the skies for the possible inclusion, synced to its HBO premiere, of the Sundance World Cinema Grand Jury Prizewinner \u003cem>All That Breathes\u003c/em>, Shaunak Sen’s touching, poetic portrait of New Delhi brothers who save injured black kites.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RlOB3UALvrQ\u003c/p>\n\u003ch2>‘Black Panther: Wakanda Forever’\u003c/h2>\n\u003cp>\u003cem>Nov. 11\u003c/em>\u003cbr>\nSurely there’s room to include one blockbuster on our list. Yes, Oakland native Ryan Coogler’s hotly anticipated new film is a sequel, a superhero movie and a Marvel production. Yes, the death of Chadwick Boseman leaves a void in the Wakanda universe. Consequently, and thrillingly, the sequel foregrounds and centers the characters played by forces of nature Letitia Wright and Lupita Nyong’o. There’s every reason to anticipate that \u003cem>Black Panther: Wakanda Forever\u003c/em> (scripted by Coogler and Joe Robert Cole, who co-wrote the original) will be even more audacious, outspoken and galvanizing than the original. Yes, I know that runs counter to the Hollywood mode of business, but selling out isn’t in Coogler’s DNA.\u003c/p>\n\u003ch2>‘The Fabelmans’\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Nov. 23\u003c/em>\u003cbr>\nSteven Spielberg isn’t known as a writer—he last took pen to paper to adapt the \u003cem>A.I. Artificial Intelligence\u003c/em> screenplay 20 years ago—but who else could tell his semi-autobiographical tale of a Jewish boy growing up in wild and woolly Phoenix in the ’50s and ’60s? Thankfully, his longtime collaborator, Louisiana-raised Tony Award and Pulitzer Prize-winner Tony Kushner. Consequently, Spielberg’s contribution to the precious (in both senses of the word) genre of the formative years of film directors has potential to be much more than a lavish golden-hour ode to the ups and downs of the nuclear (age) family. Michelle Williams and Paul Dano play Sammy’s parents, with Seth Rogen in the key role of lad’s uncle. You’ll laugh, you’ll cry, you’ll remember a time when air conditioning was proof of God’s existence.\u003c/p>\n\n","blocks":[],"excerpt":"'Black Panther: Wakanda Forever,' 'Till,' a Sidney Poitier documentary and a Pasolini marathon are among this fall's Bay Area film highlights.","status":"publish","parent":0,"modified":1705006441,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":1581},"headData":{"title":"Leaping Into Drama: A Fall ’22 Movie Guide | KQED","description":"'Black Panther: Wakanda Forever,' 'Till,' a Sidney Poitier documentary and a Pasolini marathon are among this fall's Bay Area film highlights.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"source":"Fall Arts Guide 2022","sourceUrl":"https://www.kqed.org/fallarts2022","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13917642/fall-2022-movie-guide","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/fallarts2022\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cem>\u003cstrong>Find more of KQED’s picks for the best Fall 2022 events here\u003c/strong>\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>While blockbuster season in the movie business is year-round these days, studios increasingly reserve their adult-oriented character-driven films for fall and winter, when serious moviegoers celebrate the cooling temperatures as a herald of quality cinema.\u003c/p>\n\u003cp>But older audiences are proving reluctant to return to theaters so long as COVID variants circulate, while streaming has become the preferred platform for a portion of the public. So the state of movies and the health of theaters are open questions, even as those in the industry—not to mention film lovers—crave a return to normalcy.\u003c/p>\n\u003cp>Tempered optimism is the watchword, so my fall forecast is gripping drama with a chance of excitement.\u003c/p>\n\u003cfigure id=\"attachment_13918105\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918105\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-800x573.jpg\" alt=\"a still from a black and white movie of a woman and man, looking away from each other\" width=\"800\" height=\"573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-768x551.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-1536x1101.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001.jpg 1879w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from ‘Mamma Roma’ by Pier Paolo Pasolini. \u003ccite>(Courtesy Berkeley Art Museum and Pacific Film Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://apeconcerts.com/events/pasolini-100-220910/\">Pasolini 100\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10, Castro Theatre\u003c/em>\u003cbr>\nPier Paolo Pasolini was known in the U.S. merely as a provocative filmmaker; in his native Italy, he was an eminent (and devoutly controversial) public intellectual and social critic. A poet, essayist, novelist, playwright, actor, screenwriter and director, Pasolini remains a complicated, challenging figure 45 years after his unsolved death at the hands of a male prostitute. Cinema Italia SF commemorates his centennial with an all-day marathon spotlighting Pasolini’s early ’60s black-and-white dramas of Rome’s underclass, \u003cem>Mamma Roma\u003c/em> (Anna Magnani’s signature role) and \u003cem>Accatone\u003c/em>, and capped by the unflinching, notorious \u003cem>Saló, or the 100 Days of Sodom\u003c/em> (1976). \u003ca href=\"https://bampfa.org/program/pier-paolo-pasolini\">A BAMPFA retrospective\u003c/a> (Oct. 22-Nov. 27) offers even more chances to immerse yourself in Pasolini’s fascination with sex, violence, faith and power.\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>\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/ZIt0bGwe1rY'\n title='//www.youtube.com/embed/ZIt0bGwe1rY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.apple.com/tv-pr/originals/sidney/\">‘Sidney’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 23, Apple TV+\u003c/em>\u003cbr>\nOur personal reactions to movie stars reveal more about us—our fantasies, our prejudices—than them. Sidney Poitier’s career spanned the entirety of the second half of the 20th century and the enormous evolution in how Black people were portrayed, played and viewed onscreen. It’s impossible to conceive the tightrope Poitier walked in the ’50s and ’60s, playing dignified characters (Virgil Tibbs in \u003cem>In the Heat of the Night\u003c/em>, notably) who had to restrain their response to a diet of insults lest they scare white moviegoers—without losing his credibility with Black audiences. A successful director (\u003cem>Stir Crazy\u003c/em>) and a prominent civil rights activist, Poitier, who died in January, possessed an unshakable moral compass. Reginald Hudlin’s documentary introduces Poitier to a new audience, filtered through the voices of his contemporaries (Robert Redford, Barbra Streisand) and heirs (Denzel Washington, Spike Lee).\u003c/p>\n\u003cfigure id=\"attachment_13918106\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Whale_Final-Image-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918106\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Whale_Final-Image-800x601.jpg\" alt=\"a white man, Brendan Fraser, looks concerned\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-1536x1154.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-2048x1538.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-1920x1442.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brendan Fraser in Darren Aronofsky’s ‘The Whale.’ \u003ccite>(Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.mvff.com/\">Mill Valley Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 6-16, in theaters and online\u003c/em>\u003cbr>\nMarin County’s venerable fall blowout boasts several strong strands: female directors, local documentaries, music films, foreign-language sleepers. In addition, as fall marks the kickoff to awards season, MVFF has positioned itself over the last 15 years as the Bay Area venue of choice to premiere thoughtful, actor-powered dramas. This year’s star sightings could include Michelle Williams in Kelly Reichardt’s \u003cem>Showing Up\u003c/em>, Tilda Swinton in Joanna Hogg’s \u003cem>The Eternal Daughter\u003c/em>, Olivia Colman and/or Colin Firth in Sam Mendes’ \u003cem>Empire of Light\u003c/em> and Brendan Fraser in Darren Aronofsky’s \u003cem>The Whale\u003c/em>. Of note, MVFF is expanding its in-person events this year to BAMPFA in Berkeley and the Roxie Theater in San Francisco.\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/1QCa25CmONI'\n title='//www.youtube.com/embed/1QCa25CmONI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘The Lost King’\u003c/h2>\n\u003cp>\u003cem>TBD\u003c/em>\u003cbr>\nA potential candidate for MVFF’s opening or closing night slot, the new film from the underappreciated British director Stephen Frears is an expertly calibrated, comic yet touching portrait of female perseverance. Frears and his \u003cem>Philomena\u003c/em> collaborators, screenwriter Jeff Pope and co-writer and actor Steve Coogan, recreate contemporary writer Philippa Langley’s real-life obstacles and travails on her journey to uncovering the burial site of King Richard III (1452-85). Sally Hawkins (\u003cem>The Shape of Water\u003c/em>) plays the determined protagonist, aided by her husband (Coogan). Frears has a dry sense of humor, giving me hope that Sir Ian McKellen, who played Richard so brilliantly on stage and screen, makes an unbilled cameo as, say, a librarian or cab driver. (The audience for \u003cem>The Lost King\u003c/em> overlaps with the demographic that’s been the slowest to return to theaters, so the film may score more success on PVOD.)\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/rkQi6GBwmSA'\n title='//www.youtube.com/embed/rkQi6GBwmSA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Till’\u003c/h2>\n\u003cp>\u003cem>Oct. 14\u003c/em>\u003cbr>\nEmmett Till was just 14 when he was kidnapped, tortured and shot to death while visiting family in Mississippi on his summer vacation in 1955. One of the most heinous crimes in the endlessly brutal history of American racism, Emmett’s murder became a flashpoint for the entire country when his mother gave him a public funeral with an open casket back home in Chicago. Writer-producer-director Chinonye Chukwu’s follow-up to \u003cem>Clemency\u003c/em> (which starred Alfre Woodard as a prison warden) recounts the saga of another Black woman under unfathomable pressure, Mamie Till-Mobley (played by the estimable Danielle Deadwyler). The terrible events of 1955 continue to reverberate in the present day, and \u003cem>Till\u003c/em> will likely extend the conversation: Keith Beauchamp, who alleged in his 2005 documentary \u003cem>The Untold Story of Emmett Louis Till\u003c/em> that no fewer than 14 people were involved in the boy’s death, has a writing and producing credit.\u003c/p>\n\u003cfigure id=\"attachment_13918110\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918110\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-800x432.jpeg\" alt=\"a young white man and woman look at each other while leaning over the side of a swimming pool\" width=\"800\" height=\"432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-800x432.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-1020x551.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-160x86.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-768x415.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-1536x830.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-2048x1107.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-1920x1038.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Harry Styles and Emma Corrin in ‘My Policeman.’ \u003ccite>(Courtesy of Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘My Policeman’\u003c/h2>\n\u003cp>\u003cem>Oct. 21 in theaters, Nov. 4 on Amazon Prime Video\u003c/em>\u003cbr>\nThe esteemed British theater director Michael Grandage directs Ron Nyswaner’s adaptation of Bethan Roberts’ 2012 novel, though Harry Styles is the only name trending on Twitter. The Evesham heartthrob plays the title character—a married, closeted cop in 1950s Brighton who’s having an affair with a museum curator. Forty years after making a hash of things, the characters (now played by Linus Roache, Gina McKee and Rupert Everett) strain to alchemize regret into redemption. Regardless of the artfulness of the film’s structure, the performances are the key to its emotional punch. By the time Oscar nominations are announced, Styles may be trending everywhere.\u003c/p>\n\u003cfigure id=\"attachment_13917942\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917942\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/AllThatBreathes-800x449.jpg\" alt=\"A man in glasses stares at a bird known as a black kite.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes-1536x862.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘All That Breathes’ follows two brothers who operate a bird sanctuary in New Delhi, India. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sffilm.org/year-round-programming/doc-stories/\">Doc Stories\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 3-6\u003c/em>\u003cbr>\nDevotees of nonfiction film will have ample opportunities to partake of real-world sagas this fall, between the \u003ca href=\"https://sfgreen2022.eventive.org/welcome\">Green Film Festival of San Francisco\u003c/a>’s (Oct. 6-16) globe-hopping array of environmental documentaries and the \u003ca href=\"https://sfdancefilmfest.org/\">San Francisco Dance Film Festival\u003c/a>’s (Oct. 28-Nov. 7) scintillating mix of portraits and performances. SFFILM’s Doc Stories casts its net beyond any specific niche to snare the latest high-profile works on any subject by well-known filmmakers and buzz-catching newcomers. This compact series avidly positions itself as a stop on the road to the Academy Awards due to the many Bay Area members of the Documentary branch. Regular folks benefit, too, from the unusually sophisticated post-film conversations on documentary practice and ethics. Keep your eyes on the skies for the possible inclusion, synced to its HBO premiere, of the Sundance World Cinema Grand Jury Prizewinner \u003cem>All That Breathes\u003c/em>, Shaunak Sen’s touching, poetic portrait of New Delhi brothers who save injured black kites.\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/RlOB3UALvrQ'\n title='//www.youtube.com/embed/RlOB3UALvrQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Black Panther: Wakanda Forever’\u003c/h2>\n\u003cp>\u003cem>Nov. 11\u003c/em>\u003cbr>\nSurely there’s room to include one blockbuster on our list. Yes, Oakland native Ryan Coogler’s hotly anticipated new film is a sequel, a superhero movie and a Marvel production. Yes, the death of Chadwick Boseman leaves a void in the Wakanda universe. Consequently, and thrillingly, the sequel foregrounds and centers the characters played by forces of nature Letitia Wright and Lupita Nyong’o. There’s every reason to anticipate that \u003cem>Black Panther: Wakanda Forever\u003c/em> (scripted by Coogler and Joe Robert Cole, who co-wrote the original) will be even more audacious, outspoken and galvanizing than the original. Yes, I know that runs counter to the Hollywood mode of business, but selling out isn’t in Coogler’s DNA.\u003c/p>\n\u003ch2>‘The Fabelmans’\u003c/h2>\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>\u003cem>Nov. 23\u003c/em>\u003cbr>\nSteven Spielberg isn’t known as a writer—he last took pen to paper to adapt the \u003cem>A.I. Artificial Intelligence\u003c/em> screenplay 20 years ago—but who else could tell his semi-autobiographical tale of a Jewish boy growing up in wild and woolly Phoenix in the ’50s and ’60s? Thankfully, his longtime collaborator, Louisiana-raised Tony Award and Pulitzer Prize-winner Tony Kushner. Consequently, Spielberg’s contribution to the precious (in both senses of the word) genre of the formative years of film directors has potential to be much more than a lavish golden-hour ode to the ups and downs of the nuclear (age) family. Michelle Williams and Paul Dano play Sammy’s parents, with Seth Rogen in the key role of lad’s uncle. You’ll laugh, you’ll cry, you’ll remember a time when air conditioning was proof of God’s existence.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13917642/fall-2022-movie-guide","authors":["22"],"categories":["arts_1","arts_74"],"tags":["arts_3563","arts_3670","arts_18294","arts_18457","arts_10278","arts_9669","arts_2701","arts_5544","arts_3465","arts_585"],"featImg":"arts_13918284","label":"source_arts_13917642"},"arts_13901009":{"type":"posts","id":"arts_13901009","meta":{"index":"posts_1591205157","site":"arts","id":"13901009","score":null,"sort":[1628637001000]},"guestAuthors":[],"slug":"omca-afrofuturism-mothership-review","title":"OMCA’s Afrofuturism ‘Mothership’ Voyages into the Future of Blackness","publishDate":1628637001,"format":"standard","headTitle":"OMCA’s Afrofuturism ‘Mothership’ Voyages into the Future of Blackness | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>In Oakland, a city that is historically Black and grounded in the experiences of Black people, a future without Black people seems hard to believe. Yet often, when visions of the future are presented in media, Black people seem to have suddenly disappeared from that existence. So the very insistence that there are Black people in the future, as Alisha Wormsley proclaimed in a 2017 artwork, becomes radical, and a perfect departure point for the Oakland Museum of California’s newest exhibition, \u003ci>\u003ca href=\"https://museumca.org/exhibit/mothership-voyage-afrofuturism\" target=\"_blank\" rel=\"noopener noreferrer\">Mothership: Voyage into Afrofuturism\u003c/a>\u003c/i>.\u003c/p>\n\u003cp>Initially meant to open in October of 2020, \u003cem>Mothership\u003c/em> was organized by OMCA curator Rhonda Pagnozzi in consultation with Los Angeles independent curator Essence Harden and former OMCA senior curator of art René De Guzman. Throughout, the exhibition stresses the importance of centering the voices of Black creators illustrating Black experiences.\u003c/p>\n\u003cfigure id=\"attachment_13901014\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Image-3_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13901014\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Image-3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Image-3_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Image-3_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Image-3_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Image-3_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Alisha B. Wormsley, ‘There Are Black People In The Future,’ installed on The Last Billboard, Pittsburg, PA, 2017. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Walking into the exhibit, visitors first enter a room entitled “Dawn,” dedicated to Black feminism and showing how Afrofuturism, science, magic and the divine feminine are all connected. There, Sydney Cain’s mural \u003cem>Radio Imagination\u003c/em> depicts concepts of Black ancestral healing techniques through images of astronomy and Black femininity. It’s accompanied by Nicole Mitchell’s soundscape \u003cem>Mothership Calling\u003c/em>, which mimics the voyage enslaved people took to this land through the sounds of trains and a conductor saying, “All aboard! Come on down.” Together, the works are mesmerizing; visitors hear the sounds of a harp while looking at images depicting the creation of life.\u003c/p>\n\u003cp>“Afrofuturism can be a great vehicle to envision Black liberation and hope,” Mitchell says in the nearby wall text. “\u003cem>Mothership Calling\u003c/em> collides joyful sounds with mystery in a sonic expression of gentleness, representing fragments of Black life, in an effort to bring healing and wonder.”\u003c/p>\n\u003cp>Further into the concept of “Dawn,” best-selling science fiction author Octavia Butler’s books and handwritten notes demonstrate the intersectionality between Afrofuturism and feminism. (“Dawn” is not only the start of the \u003ci>Mothership\u003c/i>, it is also the title of one of Butler’s novels—one that depicts a Black woman in a post-apocalyptic world.)\u003c/p>\n\u003cfigure id=\"attachment_13901013\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Image-2_1200.jpg\" alt=\"\" width=\"1200\" height=\"733\" class=\"size-full wp-image-13901013\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Image-2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Image-2_1200-800x489.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Image-2_1200-1020x623.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Image-2_1200-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Image-2_1200-768x469.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Patti Perret, ‘Photograph of Octavia E. Butler seated by her bookcase,’ circa 1980. \u003ccite>(Courtesy of The Huntington Library, San Marino, California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the opposing wall, visitors can see how science plays a role in Afrofuturism with the mere existence of \u003ca href=\"https://www.npr.org/2013/02/18/171937818/immortal-cells-of-henrietta-lacks-live-on-in-labs\" target=\"_blank\" rel=\"noopener noreferrer\">Henrietta Lacks\u003c/a>, whose cancer cells were taken without her knowledge or consent, and were found to reproduce indefinitely. Since 1951, HeLa cells (as they are called) have been incredibly important to medical research, including the development of the polio vaccine. They have even been used to help understand COVID-19.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Deeper into the journey of Afrofuturism, the theme of “Rebirth” explores the topic of self-determination, best seen in the collage work of Wayne Hodge and Chelle Barbour. Barbour’s astonishing depictions of Black women defy archetypes. She describes her subjects in ways that are both radical and beautiful, imagining Black women as warriors and protagonists.\u003c/p>\n\u003cp>“My work combines both Afrosurreal and Afrofuturist aesthetics to transform and re-imagine notions of gender and identity in the most fantastical way,” Barbour says in the wall text. “They hold the codes of what is most sacrosanct to beauty, Blackness, and personhood—challenging the viewer to read references from the Black diasporic imaginary to construct their own narrative.”\u003c/p>\n\u003cp>Pagnozzi made a point to incorporate the artists in every step of making the exhibition. Throughout \u003cem>Mothership\u003c/em>, quotes like Barbour’s relay exactly what the artists want to get across in their work; the voices of the creators help shape the exhibition. \u003c/p>\n\u003cp>“I just trusted it, that was my technique,” she says. “I just got out of the way and let them lead.”\u003c/p>\n\u003cfigure id=\"attachment_13901017\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Image-7_1200.jpg\" alt=\"\" width=\"1200\" height=\"1388\" class=\"size-full wp-image-13901017\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Image-7_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Image-7_1200-800x925.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Image-7_1200-1020x1180.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Image-7_1200-160x185.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Image-7_1200-768x888.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Wayne Hodge, ‘Android/Negroid #13,’ 2012. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Continuing through the exhibit, the “Sonic Freedom” gallery focuses on Black joy and greets visitors with an actual mothership—the stage prop that toured with George Clinton and Parliament-Funkadelic in the 1970s. In the same room is a Dora Milaje costume from the 2018 film \u003cem>Black Panther\u003c/em>. Representing different mediums and eras, the mothership and costume represent two points in history when Afrofuturism was visible in mainstream media.\u003c/p>\n\u003cp>Consulting curator Essence Harden explains that while many objects and artworks in \u003cem>Mothership\u003c/em> might be new to visitors, the \u003cem>Black Panther\u003c/em> costume helps connect to something viewers have already seen but may not identify as a manifestation of Afrofuturism.\u003c/p>\n\u003cp>And while so many depictions of Afrofuturism are exceptional, the final section of \u003ci>Mothership\u003c/i>, “Earthseed” (another Butler title), is about the beauty of everyday, mundane lives, especially those rooted in the city of Oakland. A selection of 1960s photos by Ruth Marion Baruch shows members of the Black Panther Party engaged in their ordinary, day-to-day activities of community-building.\u003c/p>\n\u003cp>Just because something is not widely seen doesn’t mean it does not exist. \u003cem>Mothership\u003c/em> shows visitors that Black people have imagined themselves in the future throughout history, and will continue to do so.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Mothership: Voyage into Afrofuturism’ is on view at the Oakland Museum of California through Feb. 27, 2022. \u003ca href=\"https://museumca.org/exhibit/mothership-voyage-afrofuturism\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The exhibition taps visual artists, science fiction and even Black Twitter for depictions of Black people in the future.","status":"publish","parent":0,"modified":1705007983,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":914},"headData":{"title":"OMCA’s Afrofuturism ‘Mothership’ Voyages into the Future of Blackness | KQED","description":"The exhibition taps visual artists, science fiction and even Black Twitter for depictions of Black people in the future.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"WpOldSlug":"omcas-afrofuturism-mothership-voyages-into-the-future-of-blackness","nprByline":"Nia Coats","templateType":"standard","featuredImageType":"standard","path":"/arts/13901009/omca-afrofuturism-mothership-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Oakland, a city that is historically Black and grounded in the experiences of Black people, a future without Black people seems hard to believe. Yet often, when visions of the future are presented in media, Black people seem to have suddenly disappeared from that existence. So the very insistence that there are Black people in the future, as Alisha Wormsley proclaimed in a 2017 artwork, becomes radical, and a perfect departure point for the Oakland Museum of California’s newest exhibition, \u003ci>\u003ca href=\"https://museumca.org/exhibit/mothership-voyage-afrofuturism\" target=\"_blank\" rel=\"noopener noreferrer\">Mothership: Voyage into Afrofuturism\u003c/a>\u003c/i>.\u003c/p>\n\u003cp>Initially meant to open in October of 2020, \u003cem>Mothership\u003c/em> was organized by OMCA curator Rhonda Pagnozzi in consultation with Los Angeles independent curator Essence Harden and former OMCA senior curator of art René De Guzman. Throughout, the exhibition stresses the importance of centering the voices of Black creators illustrating Black experiences.\u003c/p>\n\u003cfigure id=\"attachment_13901014\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Image-3_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13901014\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Image-3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Image-3_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Image-3_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Image-3_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Image-3_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Alisha B. Wormsley, ‘There Are Black People In The Future,’ installed on The Last Billboard, Pittsburg, PA, 2017. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Walking into the exhibit, visitors first enter a room entitled “Dawn,” dedicated to Black feminism and showing how Afrofuturism, science, magic and the divine feminine are all connected. There, Sydney Cain’s mural \u003cem>Radio Imagination\u003c/em> depicts concepts of Black ancestral healing techniques through images of astronomy and Black femininity. It’s accompanied by Nicole Mitchell’s soundscape \u003cem>Mothership Calling\u003c/em>, which mimics the voyage enslaved people took to this land through the sounds of trains and a conductor saying, “All aboard! Come on down.” Together, the works are mesmerizing; visitors hear the sounds of a harp while looking at images depicting the creation of life.\u003c/p>\n\u003cp>“Afrofuturism can be a great vehicle to envision Black liberation and hope,” Mitchell says in the nearby wall text. “\u003cem>Mothership Calling\u003c/em> collides joyful sounds with mystery in a sonic expression of gentleness, representing fragments of Black life, in an effort to bring healing and wonder.”\u003c/p>\n\u003cp>Further into the concept of “Dawn,” best-selling science fiction author Octavia Butler’s books and handwritten notes demonstrate the intersectionality between Afrofuturism and feminism. (“Dawn” is not only the start of the \u003ci>Mothership\u003c/i>, it is also the title of one of Butler’s novels—one that depicts a Black woman in a post-apocalyptic world.)\u003c/p>\n\u003cfigure id=\"attachment_13901013\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Image-2_1200.jpg\" alt=\"\" width=\"1200\" height=\"733\" class=\"size-full wp-image-13901013\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Image-2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Image-2_1200-800x489.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Image-2_1200-1020x623.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Image-2_1200-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Image-2_1200-768x469.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Patti Perret, ‘Photograph of Octavia E. Butler seated by her bookcase,’ circa 1980. \u003ccite>(Courtesy of The Huntington Library, San Marino, California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the opposing wall, visitors can see how science plays a role in Afrofuturism with the mere existence of \u003ca href=\"https://www.npr.org/2013/02/18/171937818/immortal-cells-of-henrietta-lacks-live-on-in-labs\" target=\"_blank\" rel=\"noopener noreferrer\">Henrietta Lacks\u003c/a>, whose cancer cells were taken without her knowledge or consent, and were found to reproduce indefinitely. Since 1951, HeLa cells (as they are called) have been incredibly important to medical research, including the development of the polio vaccine. They have even been used to help understand COVID-19.\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>Deeper into the journey of Afrofuturism, the theme of “Rebirth” explores the topic of self-determination, best seen in the collage work of Wayne Hodge and Chelle Barbour. Barbour’s astonishing depictions of Black women defy archetypes. She describes her subjects in ways that are both radical and beautiful, imagining Black women as warriors and protagonists.\u003c/p>\n\u003cp>“My work combines both Afrosurreal and Afrofuturist aesthetics to transform and re-imagine notions of gender and identity in the most fantastical way,” Barbour says in the wall text. “They hold the codes of what is most sacrosanct to beauty, Blackness, and personhood—challenging the viewer to read references from the Black diasporic imaginary to construct their own narrative.”\u003c/p>\n\u003cp>Pagnozzi made a point to incorporate the artists in every step of making the exhibition. Throughout \u003cem>Mothership\u003c/em>, quotes like Barbour’s relay exactly what the artists want to get across in their work; the voices of the creators help shape the exhibition. \u003c/p>\n\u003cp>“I just trusted it, that was my technique,” she says. “I just got out of the way and let them lead.”\u003c/p>\n\u003cfigure id=\"attachment_13901017\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Image-7_1200.jpg\" alt=\"\" width=\"1200\" height=\"1388\" class=\"size-full wp-image-13901017\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Image-7_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Image-7_1200-800x925.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Image-7_1200-1020x1180.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Image-7_1200-160x185.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Image-7_1200-768x888.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Wayne Hodge, ‘Android/Negroid #13,’ 2012. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Continuing through the exhibit, the “Sonic Freedom” gallery focuses on Black joy and greets visitors with an actual mothership—the stage prop that toured with George Clinton and Parliament-Funkadelic in the 1970s. In the same room is a Dora Milaje costume from the 2018 film \u003cem>Black Panther\u003c/em>. Representing different mediums and eras, the mothership and costume represent two points in history when Afrofuturism was visible in mainstream media.\u003c/p>\n\u003cp>Consulting curator Essence Harden explains that while many objects and artworks in \u003cem>Mothership\u003c/em> might be new to visitors, the \u003cem>Black Panther\u003c/em> costume helps connect to something viewers have already seen but may not identify as a manifestation of Afrofuturism.\u003c/p>\n\u003cp>And while so many depictions of Afrofuturism are exceptional, the final section of \u003ci>Mothership\u003c/i>, “Earthseed” (another Butler title), is about the beauty of everyday, mundane lives, especially those rooted in the city of Oakland. A selection of 1960s photos by Ruth Marion Baruch shows members of the Black Panther Party engaged in their ordinary, day-to-day activities of community-building.\u003c/p>\n\u003cp>Just because something is not widely seen doesn’t mean it does not exist. \u003cem>Mothership\u003c/em> shows visitors that Black people have imagined themselves in the future throughout history, and will continue to do so.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Mothership: Voyage into Afrofuturism’ is on view at the Oakland Museum of California through Feb. 27, 2022. \u003ca href=\"https://museumca.org/exhibit/mothership-voyage-afrofuturism\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13901009/omca-afrofuturism-mothership-review","authors":["byline_arts_13901009"],"programs":["arts_140"],"categories":["arts_1"],"tags":["arts_4003","arts_3563","arts_6775","arts_928","arts_10342","arts_15146","arts_10278","arts_2755","arts_769","arts_585"],"featImg":"arts_13901015","label":"arts_140"},"arts_13892167":{"type":"posts","id":"arts_13892167","meta":{"index":"posts_1591205157","site":"arts","id":"13892167","score":null,"sort":[1612378269000]},"guestAuthors":[],"slug":"black-panther-director-ryan-coogler-to-create-new-spinoff-show-for-disney","title":"‘Black Panther’ Director Ryan Coogler to Create New Spinoff Show for Disney+","publishDate":1612378269,"format":"standard","headTitle":"‘Black Panther’ Director Ryan Coogler to Create New Spinoff Show for Disney+ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>With the highly anticipated sequel already coming in the summer of 2022, fans of the movie \u003cem>Black Panther\u003c/em> are set to get to see even more of the kingdom of Wakanda. Bay Area born-and-raised writer and director Ryan Coogler has signed a new multi-year overall television contract with The Walt Disney Company, under which the new Wakanda show will be his first project. [aside postid='arts_13824541']\u003c/p>\n\u003cp>The series is expected to continue to build on the foundation Coogler set with \u003cem>Black Panther\u003c/em> and the upcoming sequel, \u003cem>Black Panther II,\u003c/em> set to be released on July 8, 2022. \u003cem>Black Panther\u003c/em> grossed nearly $1.35 billion worldwide for Disney and Marvel, and made headlines again in August 2020 after the sudden death of star Chadwick Boseman from colon cancer.\u003c/p>\n\u003cp>“It’s an honor to be partnering with The Walt Disney Company,” Coogler told \u003ca href=\"https://variety.com/2021/tv/news/wakanda-series-disney-plus-ryan-coogler-1234897587/\" target=\"_blank\" rel=\"noopener noreferrer\">Variety\u003c/a>. “Working with them on \u003cem>Black Panther\u003c/em> was a dream come true… We’re already in the mix on some projects that we can’t wait to share.” The multi-year deal will also include other future television projects in addition to the Wakanda series.\u003c/p>\n\u003cp>It is currently unclear if the new show will include any scenes or storylines set in Oakland, as the first \u003cem>Black Panther\u003c/em> film did.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The new Wakanda show will be his first project under a new multi-year television contract with The Walt Disney Company.","status":"publish","parent":0,"modified":1705019546,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":224},"headData":{"title":"‘Black Panther’ Director Ryan Coogler to Create New Spinoff Show for Disney+ | KQED","description":"The new Wakanda show will be his first project under a new multi-year television contract with The Walt Disney Company.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13892167/black-panther-director-ryan-coogler-to-create-new-spinoff-show-for-disney","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>With the highly anticipated sequel already coming in the summer of 2022, fans of the movie \u003cem>Black Panther\u003c/em> are set to get to see even more of the kingdom of Wakanda. Bay Area born-and-raised writer and director Ryan Coogler has signed a new multi-year overall television contract with The Walt Disney Company, under which the new Wakanda show will be his first project. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13824541","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The series is expected to continue to build on the foundation Coogler set with \u003cem>Black Panther\u003c/em> and the upcoming sequel, \u003cem>Black Panther II,\u003c/em> set to be released on July 8, 2022. \u003cem>Black Panther\u003c/em> grossed nearly $1.35 billion worldwide for Disney and Marvel, and made headlines again in August 2020 after the sudden death of star Chadwick Boseman from colon cancer.\u003c/p>\n\u003cp>“It’s an honor to be partnering with The Walt Disney Company,” Coogler told \u003ca href=\"https://variety.com/2021/tv/news/wakanda-series-disney-plus-ryan-coogler-1234897587/\" target=\"_blank\" rel=\"noopener noreferrer\">Variety\u003c/a>. “Working with them on \u003cem>Black Panther\u003c/em> was a dream come true… We’re already in the mix on some projects that we can’t wait to share.” The multi-year deal will also include other future television projects in addition to the Wakanda series.\u003c/p>\n\u003cp>It is currently unclear if the new show will include any scenes or storylines set in Oakland, as the first \u003cem>Black Panther\u003c/em> film did.\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13892167/black-panther-director-ryan-coogler-to-create-new-spinoff-show-for-disney","authors":["11734"],"categories":["arts_1","arts_835","arts_74","arts_235","arts_990"],"tags":["arts_3563","arts_3114","arts_10278","arts_977","arts_3961"],"featImg":"arts_13825817","label":"arts"},"arts_13885541":{"type":"posts","id":"arts_13885541","meta":{"index":"posts_1591205157","site":"arts","id":"13885541","score":null,"sort":[1598669355000]},"guestAuthors":[],"slug":"black-panther-star-chadwick-boseman-dies-of-cancer-at-43","title":"‘Black Panther’ Star Chadwick Boseman Dies of Cancer at 43","publishDate":1598669355,"format":"standard","headTitle":"‘Black Panther’ Star Chadwick Boseman Dies of Cancer at 43 | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Actor Chadwick Boseman, who played Black icons Jackie Robinson and James Brown before finding fame as the regal Black Panther in the Marvel cinematic universe, died Friday of cancer, his representative said. He was 43.\u003c/p>\n\u003cp>Boseman died at his home in the Los Angeles area with his wife and family by his side, his publicist Nicki Fioravante told The Associated Press.\u003c/p>\n\u003cp>https://twitter.com/badboi861/status/1299737174867230720\u003c/p>\n\u003cp>Boseman was diagnosed with colon cancer four years ago, his family said in a statement.\u003c/p>\n\u003cp>“A true fighter, Chadwick persevered through it all, and brought you many of the films you have come to love so much,” his family said in the statement. “From \u003cem>Marshall\u003c/em> to \u003cem>Da 5 Bloods\u003c/em>, August Wilson’s \u003cem>Ma Rainey’s Black Bottom\u003c/em> and several more—all were filmed during and between countless surgeries and chemotherapy. It was the honor of his career to bring King T’Challa to life in \u003cem>Black Panther.\u003c/em>”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Boseman had not spoken publicly about his diagnosis.\u003c/p>\n\u003cp>https://twitter.com/JoeSaunders/status/1299644704242511872\u003c/p>\n\u003cp>Born in South Carolina, Boseman graduated from Howard University and had small roles in television before his first star turn in 2013. His striking portrayal of the stoic baseball star Robinson opposite Harrison Ford in 2013′s \u003cem>42\u003c/em> drew attention in Hollywood.\u003c/p>\n\u003cp>Boseman died on a day that Major League Baseball was celebrating Jackie Robinson day.\u003c/p>\n\u003cp>His T’Challa character was first introduced to the blockbuster Marvel movies in 2016′s \u003cem>Captain America: Civil War\u003c/em>, and his “Wakanda Forever” salute reverberated around the world after the release of \u003cem>Black Panther\u003c/em> two years ago.\u003c/p>\n\u003cp>https://twitter.com/SantiagoMejia/status/1299558558397202437\u003c/p>\n\u003cp>“This is a crushing blow” actor and director Jordan Peele said on Twitter, one of many expressing shock as the news spread across social media.\u003c/p>\n\u003cp>“This broke me,” said actor and writer Issa Rae.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2020 The Associated Press.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Boseman was diagnosed with colon cancer four years ago, but had not spoken publicly about his diagnosis.","status":"publish","parent":0,"modified":1705020203,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":325},"headData":{"title":"‘Black Panther’ Star Chadwick Boseman Dies of Cancer at 43 | KQED","description":"Boseman was diagnosed with colon cancer four years ago, but had not spoken publicly about his diagnosis.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprByline":"Ryan Pearson","templateType":"standard","featuredImageType":"standard","path":"/arts/13885541/black-panther-star-chadwick-boseman-dies-of-cancer-at-43","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actor Chadwick Boseman, who played Black icons Jackie Robinson and James Brown before finding fame as the regal Black Panther in the Marvel cinematic universe, died Friday of cancer, his representative said. He was 43.\u003c/p>\n\u003cp>Boseman died at his home in the Los Angeles area with his wife and family by his side, his publicist Nicki Fioravante told The Associated Press.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1299737174867230720"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Boseman was diagnosed with colon cancer four years ago, his family said in a statement.\u003c/p>\n\u003cp>“A true fighter, Chadwick persevered through it all, and brought you many of the films you have come to love so much,” his family said in the statement. “From \u003cem>Marshall\u003c/em> to \u003cem>Da 5 Bloods\u003c/em>, August Wilson’s \u003cem>Ma Rainey’s Black Bottom\u003c/em> and several more—all were filmed during and between countless surgeries and chemotherapy. It was the honor of his career to bring King T’Challa to life in \u003cem>Black Panther.\u003c/em>”\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>Boseman had not spoken publicly about his diagnosis.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1299644704242511872"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Born in South Carolina, Boseman graduated from Howard University and had small roles in television before his first star turn in 2013. His striking portrayal of the stoic baseball star Robinson opposite Harrison Ford in 2013′s \u003cem>42\u003c/em> drew attention in Hollywood.\u003c/p>\n\u003cp>Boseman died on a day that Major League Baseball was celebrating Jackie Robinson day.\u003c/p>\n\u003cp>His T’Challa character was first introduced to the blockbuster Marvel movies in 2016′s \u003cem>Captain America: Civil War\u003c/em>, and his “Wakanda Forever” salute reverberated around the world after the release of \u003cem>Black Panther\u003c/em> two years ago.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1299558558397202437"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“This is a crushing blow” actor and director Jordan Peele said on Twitter, one of many expressing shock as the news spread across social media.\u003c/p>\n\u003cp>“This broke me,” said actor and writer Issa Rae.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2020 The Associated Press.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13885541/black-panther-star-chadwick-boseman-dies-of-cancer-at-43","authors":["byline_arts_13885541"],"categories":["arts_1","arts_74","arts_1564"],"tags":["arts_3563","arts_11327","arts_10278"],"featImg":"arts_13885542","label":"arts"},"arts_13870719":{"type":"posts","id":"arts_13870719","meta":{"index":"posts_1591205157","site":"arts","id":"13870719","score":null,"sort":[1575494272000]},"guestAuthors":[],"slug":"the-bay-areas-starring-role-in-this-decade-of-film-was-years-in-the-making","title":"The Bay Area’s Banner Year in Film","publishDate":1575494272,"format":"standard","headTitle":"KQED Arts","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cspan style=\"font-weight: 400\">In 2018, the Bay Area was on theater screens almost every month of the year. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ryan Coogler’s Marvel blockbuster \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Black Panther\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> kicked things off in February. With an opening scene set in West Oakland, the film\u003c/span> \u003cspan style=\"font-weight: 400\">touched on themes of black oppression and freedom while centering ideological divergences within the African diaspora—all unprecedented topics for a movie with its budget and global reach. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Later that year, in July, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Sorry To Bother You\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> landed in theaters. Boots Riley’s surrealist tale of labor and love tripped through Oakland—east, west and downtown. Riley imbued his experiences as an activist and artist in the film’s characters, who argued about money versus morals, while the film’s chimerical twists refused a comfortable pace to its audience. An Oakland story to its core,\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> Sorry To Bother You \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">struck a chord with viewers across the country, engendering conversations about an increasingly unprotected American workforce.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Indeed, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Black Panther\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Sorry to Bother You\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, along with other recent Bay Area films such as \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Blindspotting\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Jinn\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and 2019’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Last Black Man in San Francisco\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, seemed to share a palpable sense of duty to comment on social issues playing out in the region and nationwide. Faced with a rare opportunity to explore these ideas through the Hollywood studio system, local filmmakers told personal stories with urgency and purpose—but with mixed results.\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Tempting as it may be to encapsulate 2018 as a defining year for Bay Area cinema, Riley, who is already working on his next feature film, views it as an introduction. “These are like the opening statements,” says the director of 2018’s local film blitz. “Then people start pushing the walls here and there.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13827067\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-13827067\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER-800x450.jpg\" alt=\"Tessa Thompson and Lakeith Stanfield in 'Sorry to Bother You.'\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER-520x293.jpg 520w, https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson and Lakeith Stanfield in 'Sorry to Bother You.' \u003ccite>(Courtesy of Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">In these films, a pursuit of universality complicated the challenge of telling personal and local stories for a wide audience. In \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Black Panther\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, for instance, the allyship between Wakanda and a CIA agent was jarring to some viewers considering the role of U.S. intelligence agencies in violently dismantling global and local efforts of black survival, including the real-life Black Panther Party from Coogler’s birthplace of Oakland. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Oakland-set \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Blindspotting\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, which came out in July 2018, stars Rafael Casal and Daveed Diggs, childhood friends in real life whose characters grapple with identity and police violence on screen. Leaning into Casal and Diggs’ background as spoken-word artists and musicians, the film employs rap, at times in a didactic manner, to tackle the Bay Area’s ongoing problems with gentrification and racist policing.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In November of that year came \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Jinn\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> from Oakland writer-director Nijla Mu’Min. Though it received less fanfare than the aforementioned titles, Mu’Min’s coming-of-age story of a young, black Muslim girl is a rare onscreen portrayal, holding the subjects of faith, family and sexuality with care and warmth.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And this June, building on the conversation these 2018 films started, Joe Talbot and Jimmie Fails’ \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Last Black Man in San Francisco\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> offered a parable of belonging. With Fails playing the eponymous protagonist, the film is set in a towering Victorian against the backdrop of a city that seems eager to get rid of him and its remaining black population. As if stifled by the burden of its own aspirations to make a statement on race and class, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Last Black Man\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> ends up taking the easy, stereotypical route in some scenes and abandoning the course completely in others. Still, Talbot won two awards at the Sundance Film Festival, and like the rest of its Bay Area contemporaries, his film was mostly positively reviewed.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13859142\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-13859142\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/06/LBMISF_16_1200-800x483.jpg\" alt=\"Jimmie Fails and the house in 'The Last Black Man in San Francisco,' 2019.\" width=\"800\" height=\"483\" srcset=\"https://ww2.kqed.org/app/uploads/sites/2/2019/06/LBMISF_16_1200-800x483.jpg 800w, https://ww2.kqed.org/app/uploads/sites/2/2019/06/LBMISF_16_1200-160x97.jpg 160w, https://ww2.kqed.org/app/uploads/sites/2/2019/06/LBMISF_16_1200-768x463.jpg 768w, https://ww2.kqed.org/app/uploads/sites/2/2019/06/LBMISF_16_1200-1020x615.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/2/2019/06/LBMISF_16_1200.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jimmie Fails and the house in 'The Last Black Man in San Francisco,' 2019. \u003ccite>(Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">A forebear to this decade in Bay Area cinema is Barry Jenkins’ 2009 \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Medicine for Melancholy\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Set and shot in San Francisco, the film’s quiet, evocative story followed two young, black folks betting on a new romance and livability in a city whose black population has steadily declined for decades. Jenkins, who lived in the Bay Area at the time, foreshadowed the localized subject matter that Bay Area filmmakers veered towards in the years to come.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Fruitvale Station\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, Coogler’s feature-length debut from 2013, was equally foundational to 2018’s banner year for Bay Area film. Through an intimate portrait of Oscar Grant, played by Michael B. Jordan, the film centers on the last few hours of Grant’s life before he was killed by a BART police officer on New Year’s Day in 2009. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Fruitvale Station\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> struck a nerve nationally. In a very American circumstance, it was released a day before George Zimmerman’s acquittal in the murder of Trayvon Martin. (Though Grant’s killer was found guilty of involuntary manslaughter, he was released from prison two years before the film came out.)\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Two less mainstream projects by East Bay directors, Jonathan Singer-Vine’s 2013 \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Licks\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and Justin Tipping’s 2016 \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Kicks, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">formed part of the same lineage\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">In their own distinct tones, the two independent films tell stories about the choices two young men make in the face of systemic poverty in Oakland and Richmond. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Oakland film writer Ashley De La Torre, who contributes to REELYDOPE, a local film review website, points to the changing landscape of film production and distribution as a reason for this increasing momentum in Bay Area cinema. “What’s impacting us is what’s impacting the industry as a whole, as far as up and coming filmmakers: it’s access,” she says. “You can make your small film and shop it.”\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> Fruitvale Station\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Sorry to Bother You\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Blindspotting\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> all found success at Sundance Film Festival, acquiring distributors after they premiered there. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">De La Torre is also quick to mention Hayward-raised actor Mahershala Ali for his impactful performances in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Kicks\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and in Jenkins’ \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Moonlight\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, for which he won an Oscar. There’s also behind-the-scenes talent like San Francisco native James Laxton, who’s been the cinematographer in each of Jenkins’ feature films. “As far as the Bay, we’ve always been integrated in the industry,” De La Torre says. “I think we’re just now starting to get more recognition for our impact.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On a local level, the San Francisco International Film Festival stands tall as a source of institutional support through funding, mentorship and resources for Bay Area filmmakers. “By being able to create these hubs and build those connections, that sense of community really helps those especially who want to stay in the Bay Area,” says Lauren Kushner, the interim director of artist development at SFFILM. In fact, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Sorry to Bother You\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Blindspotting\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">,\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> Jinn\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Last Black Man\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> all received funding through the organization.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now that several Bay Area films centering black characters have succeeded in the box office, it’s fitting to consider what stories might follow their lead. If, like Riley said, 2018 was a year of opening statements, it will be exciting if the next stage of this conversation carries more perspectives from women and LGBTQ \u003c/span>filmmakers\u003cspan style=\"font-weight: 400\">, \u003c/span>and a confidence that national audiences\u003cspan style=\"font-weight: 400\"> can\u003c/span> appreciate nuanced stories—hopefully, stories that can just exist without being weighed down by the need to explain their significance.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For his part, Riley is stepping into his next projects with renewed assurance. “We're told an idea of how the world is and what the world believes,” he says. “Actually, people are way more radical than what we've been told.”\u003c/span>\u003c/p>\n\n","blocks":[],"excerpt":"Bay Area filmmakers used their Hollywood moments to comment on social issues—sometimes with mixed results. ","status":"publish","parent":0,"modified":1575494122,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1317},"headData":{"title":"The Bay Area’s Banner Year in Film | KQED","description":"Bay Area filmmakers used their Hollywood moments to comment on social issues—sometimes with mixed results. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"13870719 https://ww2.kqed.org/arts/?p=13870719","disqusUrl":"https://ww2.kqed.org/arts/2019/12/04/the-bay-areas-starring-role-in-this-decade-of-film-was-years-in-the-making/","disqusTitle":"The Bay Area’s Banner Year in Film","templateType":"eod","featuredImageType":"standard","postYear":"2018","postArticleBullets":[{"bullet":"A white woman calls the police on black men barbecuing at Lake Merritt, prompting national outcries against racism and gentrification. ","bulletLink":"/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force"},{"bullet":"As some longtime Bay Area music venues shutter due to rising costs, corporations take control of others, squeezing out independent promoters and the local artists with whom they work. ","bulletLink":"/arts/13846754/in-2018-corporate-monotony-seized-san-francisco-music-venues"},{"bullet":"Tens of thousands of Bay Area residents join nationwide protests against the Trump administration’s family separation policy at the U.S.-Mexico border.","bulletLink":"/news/11678414/photos-bay-area-cities-join-nationwide-families-belong-together-marches"}],"path":"/arts/13870719/the-bay-areas-starring-role-in-this-decade-of-film-was-years-in-the-making","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">In 2018, the Bay Area was on theater screens almost every month of the year. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ryan Coogler’s Marvel blockbuster \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Black Panther\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> kicked things off in February. With an opening scene set in West Oakland, the film\u003c/span> \u003cspan style=\"font-weight: 400\">touched on themes of black oppression and freedom while centering ideological divergences within the African diaspora—all unprecedented topics for a movie with its budget and global reach. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Later that year, in July, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Sorry To Bother You\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> landed in theaters. Boots Riley’s surrealist tale of labor and love tripped through Oakland—east, west and downtown. Riley imbued his experiences as an activist and artist in the film’s characters, who argued about money versus morals, while the film’s chimerical twists refused a comfortable pace to its audience. An Oakland story to its core,\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> Sorry To Bother You \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">struck a chord with viewers across the country, engendering conversations about an increasingly unprotected American workforce.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Indeed, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Black Panther\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Sorry to Bother You\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, along with other recent Bay Area films such as \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Blindspotting\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Jinn\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and 2019’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Last Black Man in San Francisco\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, seemed to share a palpable sense of duty to comment on social issues playing out in the region and nationwide. Faced with a rare opportunity to explore these ideas through the Hollywood studio system, local filmmakers told personal stories with urgency and purpose—but with mixed results.\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Tempting as it may be to encapsulate 2018 as a defining year for Bay Area cinema, Riley, who is already working on his next feature film, views it as an introduction. “These are like the opening statements,” says the director of 2018’s local film blitz. “Then people start pushing the walls here and there.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13827067\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-13827067\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER-800x450.jpg\" alt=\"Tessa Thompson and Lakeith Stanfield in 'Sorry to Bother You.'\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER-520x293.jpg 520w, https://ww2.kqed.org/app/uploads/sites/2/2018/03/SorryToBotherCOVER.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson and Lakeith Stanfield in 'Sorry to Bother You.' \u003ccite>(Courtesy of Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">In these films, a pursuit of universality complicated the challenge of telling personal and local stories for a wide audience. In \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Black Panther\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, for instance, the allyship between Wakanda and a CIA agent was jarring to some viewers considering the role of U.S. intelligence agencies in violently dismantling global and local efforts of black survival, including the real-life Black Panther Party from Coogler’s birthplace of Oakland. \u003c/span>\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>\u003cspan style=\"font-weight: 400\">Oakland-set \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Blindspotting\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, which came out in July 2018, stars Rafael Casal and Daveed Diggs, childhood friends in real life whose characters grapple with identity and police violence on screen. Leaning into Casal and Diggs’ background as spoken-word artists and musicians, the film employs rap, at times in a didactic manner, to tackle the Bay Area’s ongoing problems with gentrification and racist policing.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In November of that year came \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Jinn\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> from Oakland writer-director Nijla Mu’Min. Though it received less fanfare than the aforementioned titles, Mu’Min’s coming-of-age story of a young, black Muslim girl is a rare onscreen portrayal, holding the subjects of faith, family and sexuality with care and warmth.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And this June, building on the conversation these 2018 films started, Joe Talbot and Jimmie Fails’ \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Last Black Man in San Francisco\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> offered a parable of belonging. With Fails playing the eponymous protagonist, the film is set in a towering Victorian against the backdrop of a city that seems eager to get rid of him and its remaining black population. As if stifled by the burden of its own aspirations to make a statement on race and class, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Last Black Man\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> ends up taking the easy, stereotypical route in some scenes and abandoning the course completely in others. Still, Talbot won two awards at the Sundance Film Festival, and like the rest of its Bay Area contemporaries, his film was mostly positively reviewed.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13859142\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-13859142\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/06/LBMISF_16_1200-800x483.jpg\" alt=\"Jimmie Fails and the house in 'The Last Black Man in San Francisco,' 2019.\" width=\"800\" height=\"483\" srcset=\"https://ww2.kqed.org/app/uploads/sites/2/2019/06/LBMISF_16_1200-800x483.jpg 800w, https://ww2.kqed.org/app/uploads/sites/2/2019/06/LBMISF_16_1200-160x97.jpg 160w, https://ww2.kqed.org/app/uploads/sites/2/2019/06/LBMISF_16_1200-768x463.jpg 768w, https://ww2.kqed.org/app/uploads/sites/2/2019/06/LBMISF_16_1200-1020x615.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/2/2019/06/LBMISF_16_1200.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jimmie Fails and the house in 'The Last Black Man in San Francisco,' 2019. \u003ccite>(Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">A forebear to this decade in Bay Area cinema is Barry Jenkins’ 2009 \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Medicine for Melancholy\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Set and shot in San Francisco, the film’s quiet, evocative story followed two young, black folks betting on a new romance and livability in a city whose black population has steadily declined for decades. Jenkins, who lived in the Bay Area at the time, foreshadowed the localized subject matter that Bay Area filmmakers veered towards in the years to come.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Fruitvale Station\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, Coogler’s feature-length debut from 2013, was equally foundational to 2018’s banner year for Bay Area film. Through an intimate portrait of Oscar Grant, played by Michael B. Jordan, the film centers on the last few hours of Grant’s life before he was killed by a BART police officer on New Year’s Day in 2009. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Fruitvale Station\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> struck a nerve nationally. In a very American circumstance, it was released a day before George Zimmerman’s acquittal in the murder of Trayvon Martin. (Though Grant’s killer was found guilty of involuntary manslaughter, he was released from prison two years before the film came out.)\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Two less mainstream projects by East Bay directors, Jonathan Singer-Vine’s 2013 \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Licks\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and Justin Tipping’s 2016 \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Kicks, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">formed part of the same lineage\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">In their own distinct tones, the two independent films tell stories about the choices two young men make in the face of systemic poverty in Oakland and Richmond. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Oakland film writer Ashley De La Torre, who contributes to REELYDOPE, a local film review website, points to the changing landscape of film production and distribution as a reason for this increasing momentum in Bay Area cinema. “What’s impacting us is what’s impacting the industry as a whole, as far as up and coming filmmakers: it’s access,” she says. “You can make your small film and shop it.”\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> Fruitvale Station\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Sorry to Bother You\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Blindspotting\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> all found success at Sundance Film Festival, acquiring distributors after they premiered there. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">De La Torre is also quick to mention Hayward-raised actor Mahershala Ali for his impactful performances in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Kicks\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and in Jenkins’ \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Moonlight\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, for which he won an Oscar. There’s also behind-the-scenes talent like San Francisco native James Laxton, who’s been the cinematographer in each of Jenkins’ feature films. “As far as the Bay, we’ve always been integrated in the industry,” De La Torre says. “I think we’re just now starting to get more recognition for our impact.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On a local level, the San Francisco International Film Festival stands tall as a source of institutional support through funding, mentorship and resources for Bay Area filmmakers. “By being able to create these hubs and build those connections, that sense of community really helps those especially who want to stay in the Bay Area,” says Lauren Kushner, the interim director of artist development at SFFILM. In fact, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Sorry to Bother You\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Blindspotting\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">,\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> Jinn\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Last Black Man\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> all received funding through the organization.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now that several Bay Area films centering black characters have succeeded in the box office, it’s fitting to consider what stories might follow their lead. If, like Riley said, 2018 was a year of opening statements, it will be exciting if the next stage of this conversation carries more perspectives from women and LGBTQ \u003c/span>filmmakers\u003cspan style=\"font-weight: 400\">, \u003c/span>and a confidence that national audiences\u003cspan style=\"font-weight: 400\"> can\u003c/span> appreciate nuanced stories—hopefully, stories that can just exist without being weighed down by the need to explain their significance.\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>\u003cspan style=\"font-weight: 400\">For his part, Riley is stepping into his next projects with renewed assurance. “We're told an idea of how the world is and what the world believes,” he says. “Actually, people are way more radical than what we've been told.”\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13870719/the-bay-areas-starring-role-in-this-decade-of-film-was-years-in-the-making","authors":["11625"],"categories":["arts_835","arts_74","arts_235"],"tags":["arts_9360","arts_3563","arts_2468","arts_9359","arts_8895","arts_9345","arts_1999","arts_9344"],"featImg":"arts_13824811","label":"arts"},"arts_13868639":{"type":"posts","id":"arts_13868639","meta":{"index":"posts_1591205157","site":"arts","id":"13868639","score":null,"sort":[1571782866000]},"guestAuthors":[],"slug":"she-makes-me-shine-dorothy-nyongo-accepts-award-for-fueling-lupitas-passion-for-art","title":"'She Makes Me Shine,' Dorothy Nyong'o Accepts Award For Fueling Lupita's Passion for Art","publishDate":1571782866,"format":"standard","headTitle":"‘She Makes Me Shine,’ Dorothy Nyong’o Accepts Award For Fueling Lupita’s Passion for Art | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>As Lupita Nyong’o accepted an award from the Harlem School of Arts — and entered the stage to Beyoncé’s anthemic hit “Brown Skin Girl” — the actress mainly had two people to thank for fueling her passion for the arts as a child: her parents.\u003c/p>\n\u003cp>“I was thinking about (the Harlem School of Arts) and what it does for children and its students (and) I didn’t have an institution where I’m in from in Nairobi, Kenya. And so the only way my interest in the arts thrived was because I had parents who valued those interests,” she said Monday night at the school’s annual Mask Ball in New York City. “And my mother in particular, she really nurtured my artistic spirit.”\u003c/p>\n\u003cp>So it was only appropriate that the Oscar winner’s mother, Dorothy Nyong’o, also received the Visionary Lineage Award alongside her daughter at The Plaza Hotel.\u003c/p>\n\u003cp>“I really didn’t do much,” Dorothy Nyong’o said to laughs from the audience, which included staff and students from the Harlem School of Arts, board members, donors and more.\u003c/p>\n\u003cp>Dorothy Nyong’o said she noticed her daughter’s interest in the arts as a child and so she looked “for opportunities to nurture that.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“My job was really to facilitate it and I’d like to encourage parents to do it. Sometimes we make the mistake of trying to make our children what we think we want,” she said.\u003c/p>\n\u003cp>Dorothy Nyong’o won over the audience with more sweet words for her 36-year-old daughter, who has appeared in films such as “Black Panther,” ″Star Wars,” ″Us” and “12 Years a Slave,” for which she won an Academy Award.\u003c/p>\n\u003cp>“I’m proud of her. She makes me shine.”\u003c/p>\n\u003cp>Lupita Nyong’o, who earned a Tony nomination for her lead role in Broadway’s “Eclipsed,” thanked her mom for all of her support, explaining that when she was a teenager her mother “drove to rehearsals after a long day at work” and sat “in the car for five or so hours … and she never complained.”\u003c/p>\n\u003cp>“The Daily Show” host Trevor Noah introduced the Nyong’os to the stage, and they left the stage as “Brown Skin Girl” — a song celebrating dark-skinned women where Beyoncé namedrops Lupita’s name — blasted in the background.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Other honorees at Monday’s benefit — which raised more than $100,000 in text message donations and featured performances from students, alumni and staff — included Essence Communications CEO Michelle Ebanks and JP Morgan Chase executive Racquel Oden.\u003c/p>\n\n","blocks":[],"excerpt":"“My job was really to facilitate it and I’d like to encourage parents to do it. Sometimes we make the mistake of trying to make our children what we think we want.”","status":"publish","parent":0,"modified":1705021933,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":485},"headData":{"title":"'She Makes Me Shine,' Dorothy Nyong'o Accepts Award For Fueling Lupita's Passion for Art | KQED","description":"“My job was really to facilitate it and I’d like to encourage parents to do it. Sometimes we make the mistake of trying to make our children what we think we want.”","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprByline":"Mesfin Fekadu, Associated Press","path":"/arts/13868639/she-makes-me-shine-dorothy-nyongo-accepts-award-for-fueling-lupitas-passion-for-art","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>As Lupita Nyong’o accepted an award from the Harlem School of Arts — and entered the stage to Beyoncé’s anthemic hit “Brown Skin Girl” — the actress mainly had two people to thank for fueling her passion for the arts as a child: her parents.\u003c/p>\n\u003cp>“I was thinking about (the Harlem School of Arts) and what it does for children and its students (and) I didn’t have an institution where I’m in from in Nairobi, Kenya. And so the only way my interest in the arts thrived was because I had parents who valued those interests,” she said Monday night at the school’s annual Mask Ball in New York City. “And my mother in particular, she really nurtured my artistic spirit.”\u003c/p>\n\u003cp>So it was only appropriate that the Oscar winner’s mother, Dorothy Nyong’o, also received the Visionary Lineage Award alongside her daughter at The Plaza Hotel.\u003c/p>\n\u003cp>“I really didn’t do much,” Dorothy Nyong’o said to laughs from the audience, which included staff and students from the Harlem School of Arts, board members, donors and more.\u003c/p>\n\u003cp>Dorothy Nyong’o said she noticed her daughter’s interest in the arts as a child and so she looked “for opportunities to nurture that.”\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>“My job was really to facilitate it and I’d like to encourage parents to do it. Sometimes we make the mistake of trying to make our children what we think we want,” she said.\u003c/p>\n\u003cp>Dorothy Nyong’o won over the audience with more sweet words for her 36-year-old daughter, who has appeared in films such as “Black Panther,” ″Star Wars,” ″Us” and “12 Years a Slave,” for which she won an Academy Award.\u003c/p>\n\u003cp>“I’m proud of her. She makes me shine.”\u003c/p>\n\u003cp>Lupita Nyong’o, who earned a Tony nomination for her lead role in Broadway’s “Eclipsed,” thanked her mom for all of her support, explaining that when she was a teenager her mother “drove to rehearsals after a long day at work” and sat “in the car for five or so hours … and she never complained.”\u003c/p>\n\u003cp>“The Daily Show” host Trevor Noah introduced the Nyong’os to the stage, and they left the stage as “Brown Skin Girl” — a song celebrating dark-skinned women where Beyoncé namedrops Lupita’s name — blasted in the background.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Other honorees at Monday’s benefit — which raised more than $100,000 in text message donations and featured performances from students, alumni and staff — included Essence Communications CEO Michelle Ebanks and JP Morgan Chase executive Racquel Oden.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13868639/she-makes-me-shine-dorothy-nyongo-accepts-award-for-fueling-lupitas-passion-for-art","authors":["byline_arts_13868639"],"categories":["arts_235","arts_75"],"tags":["arts_3563","arts_977"],"featImg":"arts_13868650","label":"arts"},"arts_13847716":{"type":"posts","id":"arts_13847716","meta":{"index":"posts_1591205157","site":"arts","id":"13847716","score":null,"sort":[1546026160000]},"guestAuthors":[],"slug":"barack-obama-includes-bay-area-authors-movies-on-year-end-list","title":"Barack Obama Includes Bay Area Authors, Movies on Year-End List","publishDate":1546026160,"format":"standard","headTitle":"Barack Obama Includes Bay Area Authors, Movies on Year-End List | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Former President Barack Obama continued a tradition of sharing his favorite books, films and music of the year Friday, including several works by artists from the Bay Area. \u003c/p>\n\u003cp>“It gives me a moment to pause and reflect on the year through the books, movies, and music that I found most thought-provoking, inspiring, or just plain loved,” he wrote in a Facebook post. “It also gives me a chance to highlight talented authors, artists, and storytellers – some who are household names and others who you may not have heard of before.” [contextly_sidebar id=”3hSiRLx6iX9S4ZbNYwE6IbbPJHTFlMvM”]\u003c/p>\n\u003cp>In the books section of the list, Obama included Tommy Orange’s debut novel \u003cem>There There\u003c/em>, which follows a cast of Native American characters as their lives converge on a powwow at the Oakland Coliseum; and Oakland-based \u003cem>Mother Jones\u003c/em> reporter Shane Bauer’s \u003cem>American Prison\u003c/em>, an account of his time working at a privately-run prison in Louisiana alongside the history of for-profit incarceration in the United States. \u003c/p>\n\u003cp>For movies, meanwhile, Obama plugged \u003cem>Blindspotting\u003c/em>, an Oakland-set and filmed tale of gentrification and police violence co-starring and written by \u003cem>Hamilton\u003c/em> star Daveed Diggs and spoken-word artist Rafael Casal. Ryan Coogler’s box-office smash \u003cem>Black Panther\u003c/em>, which begins and ends with scenes set in Oakland, also received Obama’s stamp of approval. [contextly_sidebar id=”8Eta5q50BLJiUZ7TQTyOAgSjm64mk2jG”]\u003c/p>\n\u003cp>Of the 22 songs on Obama’s list of favorite music, only Vallejo-raised H.E.R.’s R&B slow-burner “Could’ve Been” represents the Bay Area. As the singer reacted to Obama’s endorsement on Twitter, “Look mama I made it!”\u003c/p>\n\u003cp>Like the \u003ca href=\"https://www.kqed.org/arts/13846501/sorry-to-bother-you-blindspotting-shut-out-of-golden-globe-nominations\">Golden Globe nominations\u003c/a>, Oakland artist Boots Riley’s pro-labor comedy \u003cem>Sorry to Bother You\u003c/em> was shut out of Obama’s list. \u003c/p>\n\u003cp>Find Obama’s entire year-end list \u003ca href=\"https://www.facebook.com/barackobama/posts/10156393283416749?__tn__=K-R\">here\u003c/a>. \u003c/p>\n\u003cp>[vimeo 278727750 w=640 h=360]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"The former president shared a year-end list including works by Tommy Orange and Daveed Diggs. ","status":"publish","parent":0,"modified":1705026819,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":333},"headData":{"title":"Barack Obama Includes Bay Area Authors, Movies on Year-End List | KQED","description":"The former president shared a year-end list including works by Tommy Orange and Daveed Diggs. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13847716/barack-obama-includes-bay-area-authors-movies-on-year-end-list","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Former President Barack Obama continued a tradition of sharing his favorite books, films and music of the year Friday, including several works by artists from the Bay Area. \u003c/p>\n\u003cp>“It gives me a moment to pause and reflect on the year through the books, movies, and music that I found most thought-provoking, inspiring, or just plain loved,” he wrote in a Facebook post. “It also gives me a chance to highlight talented authors, artists, and storytellers – some who are household names and others who you may not have heard of before.” \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In the books section of the list, Obama included Tommy Orange’s debut novel \u003cem>There There\u003c/em>, which follows a cast of Native American characters as their lives converge on a powwow at the Oakland Coliseum; and Oakland-based \u003cem>Mother Jones\u003c/em> reporter Shane Bauer’s \u003cem>American Prison\u003c/em>, an account of his time working at a privately-run prison in Louisiana alongside the history of for-profit incarceration in the United States. \u003c/p>\n\u003cp>For movies, meanwhile, Obama plugged \u003cem>Blindspotting\u003c/em>, an Oakland-set and filmed tale of gentrification and police violence co-starring and written by \u003cem>Hamilton\u003c/em> star Daveed Diggs and spoken-word artist Rafael Casal. Ryan Coogler’s box-office smash \u003cem>Black Panther\u003c/em>, which begins and ends with scenes set in Oakland, also received Obama’s stamp of approval. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Of the 22 songs on Obama’s list of favorite music, only Vallejo-raised H.E.R.’s R&B slow-burner “Could’ve Been” represents the Bay Area. As the singer reacted to Obama’s endorsement on Twitter, “Look mama I made it!”\u003c/p>\n\u003cp>Like the \u003ca href=\"https://www.kqed.org/arts/13846501/sorry-to-bother-you-blindspotting-shut-out-of-golden-globe-nominations\">Golden Globe nominations\u003c/a>, Oakland artist Boots Riley’s pro-labor comedy \u003cem>Sorry to Bother You\u003c/em> was shut out of Obama’s list. \u003c/p>\n\u003cp>Find Obama’s entire year-end list \u003ca href=\"https://www.facebook.com/barackobama/posts/10156393283416749?__tn__=K-R\">here\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"vimeo","attributes":{"named":{"w":"640","h":"360","label":"278727750"},"numeric":["278727750"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\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":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13847716/barack-obama-includes-bay-area-authors-movies-on-year-end-list","authors":["11091"],"categories":["arts_1","arts_73","arts_74","arts_69","arts_235"],"tags":["arts_3675","arts_3563","arts_2468","arts_928","arts_2467","arts_1118","arts_746","arts_596","arts_3961"],"featImg":"arts_13837237","label":"arts"}},"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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And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. 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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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Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.","airtime":"MON-FRI 3am-9am","imageSrc":"https://ww2.kqed.org/app/uploads/2021/10/ME_1400.jpg","officialWebsiteLink":"https://www.npr.org/programs/morning-edition/","meta":{"site":"news","source":"npr"},"link":"/radio/program/morning-edition"},"onourwatch":{"id":"onourwatch","title":"On Our Watch","tagline":"Police secrets, unsealed","info":"For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/01/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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