Blockbuster Returns (Kinda!) to the Bay Area
The ‘Qing’ of Queens
Local Surfers Raise Awareness, Call for Ceasefire with ‘Gaza Surf Club’ Screening
Art Strikes Back: Indies, Blockbusters and Film Festivals to Catch This Fall
Who 'Oppenheimer' Erases
Leaping Into Drama: A Fall ’22 Movie Guide
There’s Only One Castro Theatre. Why Change It Now?
Bay Area Film Festivals and Premieres Worth Your While This Fall
Bay Area Historic Movie Theaters Move Towards Greater Accessibility
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Her writing has appeared in the \u003cem>San Francisco Chronicle\u003c/em> and The San Francisco Standard.","avatar":"https://secure.gravatar.com/avatar/a8c0baa30219ce1071a9474f4c14141f?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]}],"headData":{"title":"Olivia Cruz Mayeda | KQED","description":"Editorial Intern ","ogImgSrc":"https://secure.gravatar.com/avatar/a8c0baa30219ce1071a9474f4c14141f?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/a8c0baa30219ce1071a9474f4c14141f?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/omayeda"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13955250":{"type":"posts","id":"arts_13955250","meta":{"index":"posts_1591205157","site":"arts","id":"13955250","score":null,"sort":[1712180992000]},"guestAuthors":[],"slug":"blockbuster-returns-kinda-to-the-bay-area","title":"Blockbuster Returns (Kinda!) to the Bay Area","publishDate":1712180992,"format":"standard","headTitle":"Blockbuster Returns (Kinda!) to the Bay Area | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>In the summer of 1999, \u003ci>Deep Blue Sea\u003c/i> was released as a top-budget action blockbuster, wherein Samuel L. Jackson (spoiler alert) gets devoured by a ravenously brain-enhanced shark. It’s not the kind of cinema that garners awards; for most, the movie is now forgotten in the streaming age of endless new content.\u003c/p>\n\u003cp>But \u003ci>Deep Blue Sea\u003c/i> is exactly the sort of faint cinematic memory that Benicia resident Thomas Brungardt is hoping to add to his vintage VHS tape collection. With roughly 450 VHS tapes between him and his business partner, Tony Bernasconi, the duo sells old, odd films at \u003ca href=\"https://www.instagram.com/pocketmonkeyvintage/\">Pocket Monkey Vintage\u003c/a> in downtown Benicia.\u003c/p>\n\u003cp>Now, they’re taking their cinephile nostalgia to the next level by launching Benicia’s first and only \u003ca href=\"https://www.instagram.com/freeblockbusterbayarea/\">Free Blockbuster neighborhood kiosk\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13955368\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955368\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3647.jpg\" alt=\"a refurbished news stand is displayed with old VHS tapes and DVDs inside with the two creators standing beside it\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3647.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3647-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3647-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3647-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3647-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3647-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thomas Brungardt (left) and Tony Bernasconi refurbished a donated newsrack and turned it into a community exchange program for VHS tapes and DVDs. \u003ccite>(Courtesy Thomas Brungardt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On April 1, Brungardt and Bernasconi launched the community lending program by installing a refurbished newsrack on First Street in front of Pocket Monkey Vintage. The outdoor newsrack, donated by the city’s 121-year-old newspaper \u003cem>\u003ca href=\"https://beniciaheraldonline.com/about/\">The Benicia Herald\u003c/a>\u003c/em>, is painted in the iconic blue-and-yellow theme of a Blockbuster video rental shop.\u003c/p>\n\u003cp>Think of it as one of those \u003ca href=\"https://littlefreelibrary.org/\">Little Free Libraries\u003c/a> where passersby take or leave a book. Except instead of books, strangers exchange movies like \u003ci>Indiana Jones\u003c/i>, \u003ci>Jurassic Park\u003c/i>, \u003ci>Titanic\u003c/i> and \u003ci>The Empire Strikes Back\u003c/i>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We love video rental stores,” Brungardt says. “I used to go to mom ‘n’ pop video stores and Blockbuster for cult classics. [Free Blockbuster] is for those who still like having the physical form, and for younger generations who haven’t used [VHS or DVD] before. We wanted a way for people to have that. It’s just about bringing that joy back.”\u003c/p>\n\u003cp>Brungardt and Bernasconi aren’t alone in their fondness for Blockbuster. In fact, \u003ca href=\"https://www.freeblockbuster.org/\">Free Blockbuster began in 2019\u003c/a> when a former Blockbuster employee in Los Angeles installed the first DIY community box in his neighborhood, and invited others to do the same in their own cities. There are now \u003ca href=\"https://thehill.com/homenews/nexstar_media_wire/3565102-miss-blockbuster-heres-how-you-can-kind-of-relive-the-magic/\">at least 340 reported locations\u003c/a> around the globe, with a handful already in the Bay Area. \u003c/p>\n\u003cp>So far, Brungardt says, younger people in particular have responded favorably. \u003c/p>\n\u003cp>“The younger generation has never seen a VCR or TV that is square,” says Brungardt. “They watch the movies and experience something new and they take out their phones and post it on TikTok. It’s quirky for them. A few young folks have turned into collectors now. It’s cool to expose them to what we had growing up. And their parents come by, too.”\u003c/p>\n\u003cfigure id=\"attachment_13955364\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955364\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3642.jpg\" alt=\"a refurbished news stand is displayed with old VHS tapes and DVDs inside\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3642.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3642-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3642-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3642-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3642-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3642-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The formerly beat-up newsrack was donated by The Benicia Herald, and can be found in front of Pocket Monkey Vintage. \u003ccite>(Courtesy Thomas Brungardt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inside Pocket Monkey Vintage, Brungardt and Bernasconi — who also operate \u003ca href=\"https://www.instagram.com/travelingmuseum/\">The Traveling Museum\u003c/a>, a roving collection of items from the ’80s, ’90s and aughts housed in a 1978 Ford van — have set up a makeshift watch room, where movie collectors can pop a VHS tape into a VCR and test out the quality of each tape. (They also have a vintage Playstation 1 on deck).\u003c/p>\n\u003cp>The two friends get most of their material from estate sales, where they buy boxes in bulk and sift until they find the good stuff. Many of their duplicates populate their Free Blockbuster box. They’re hoping other local movie lovers will also drop off any extras while taking something to add to their own collections.\u003c/p>\n\u003cp>For Brungardt and Bernasconi, it’s a basic act of kindness that also unleashes a childhood sense of satisfaction. There’s also something innately altruistic about trading VHS tapes and DVDs with strangers. It recalls the age-old adage that movie shops once preached — “Be Kind, Rewind” — a reminder to think about the next person in line.\u003c/p>\n\u003cp>“We’re not changing lives,” Brungardt admits. “Our goal is to spark nostalgia and bring happiness to others. If we can make someone happy for just 10 minutes a day, that’s what it’s about.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The newest \u003c/i>\u003ca href=\"https://www.instagram.com/freeblockbusterbayarea/\">\u003ci>Free Blockbuster Bay Area\u003c/i>\u003c/a>\u003ci> is located in front of Pocket Monkey Vintage (560 1st St, Benicia). \u003c/i>\u003ca href=\"https://www.instagram.com/travelingmuseum/\">\u003ci>Traveling Museum\u003c/i>\u003c/a>\u003ci> is a retro mobile that pops-up around the Bay Area; check their page for listings.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Free VHS tapes and DVDs are now available as part of a growing 'Free Blockbuster' exchange program.","status":"publish","parent":0,"modified":1712180992,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":765},"headData":{"title":"Blockbuster Returns (Kinda!) to the Bay Area | KQED","description":"Free VHS tapes and DVDs are now available as part of a growing 'Free Blockbuster' exchange program.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Blockbuster Returns (Kinda!) to the Bay Area","datePublished":"2024-04-03T21:49:52.000Z","dateModified":"2024-04-03T21:49:52.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955250/blockbuster-returns-kinda-to-the-bay-area","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the summer of 1999, \u003ci>Deep Blue Sea\u003c/i> was released as a top-budget action blockbuster, wherein Samuel L. Jackson (spoiler alert) gets devoured by a ravenously brain-enhanced shark. It’s not the kind of cinema that garners awards; for most, the movie is now forgotten in the streaming age of endless new content.\u003c/p>\n\u003cp>But \u003ci>Deep Blue Sea\u003c/i> is exactly the sort of faint cinematic memory that Benicia resident Thomas Brungardt is hoping to add to his vintage VHS tape collection. With roughly 450 VHS tapes between him and his business partner, Tony Bernasconi, the duo sells old, odd films at \u003ca href=\"https://www.instagram.com/pocketmonkeyvintage/\">Pocket Monkey Vintage\u003c/a> in downtown Benicia.\u003c/p>\n\u003cp>Now, they’re taking their cinephile nostalgia to the next level by launching Benicia’s first and only \u003ca href=\"https://www.instagram.com/freeblockbusterbayarea/\">Free Blockbuster neighborhood kiosk\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13955368\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955368\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3647.jpg\" alt=\"a refurbished news stand is displayed with old VHS tapes and DVDs inside with the two creators standing beside it\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3647.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3647-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3647-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3647-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3647-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3647-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thomas Brungardt (left) and Tony Bernasconi refurbished a donated newsrack and turned it into a community exchange program for VHS tapes and DVDs. \u003ccite>(Courtesy Thomas Brungardt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On April 1, Brungardt and Bernasconi launched the community lending program by installing a refurbished newsrack on First Street in front of Pocket Monkey Vintage. The outdoor newsrack, donated by the city’s 121-year-old newspaper \u003cem>\u003ca href=\"https://beniciaheraldonline.com/about/\">The Benicia Herald\u003c/a>\u003c/em>, is painted in the iconic blue-and-yellow theme of a Blockbuster video rental shop.\u003c/p>\n\u003cp>Think of it as one of those \u003ca href=\"https://littlefreelibrary.org/\">Little Free Libraries\u003c/a> where passersby take or leave a book. Except instead of books, strangers exchange movies like \u003ci>Indiana Jones\u003c/i>, \u003ci>Jurassic Park\u003c/i>, \u003ci>Titanic\u003c/i> and \u003ci>The Empire Strikes Back\u003c/i>.\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>“We love video rental stores,” Brungardt says. “I used to go to mom ‘n’ pop video stores and Blockbuster for cult classics. [Free Blockbuster] is for those who still like having the physical form, and for younger generations who haven’t used [VHS or DVD] before. We wanted a way for people to have that. It’s just about bringing that joy back.”\u003c/p>\n\u003cp>Brungardt and Bernasconi aren’t alone in their fondness for Blockbuster. In fact, \u003ca href=\"https://www.freeblockbuster.org/\">Free Blockbuster began in 2019\u003c/a> when a former Blockbuster employee in Los Angeles installed the first DIY community box in his neighborhood, and invited others to do the same in their own cities. There are now \u003ca href=\"https://thehill.com/homenews/nexstar_media_wire/3565102-miss-blockbuster-heres-how-you-can-kind-of-relive-the-magic/\">at least 340 reported locations\u003c/a> around the globe, with a handful already in the Bay Area. \u003c/p>\n\u003cp>So far, Brungardt says, younger people in particular have responded favorably. \u003c/p>\n\u003cp>“The younger generation has never seen a VCR or TV that is square,” says Brungardt. “They watch the movies and experience something new and they take out their phones and post it on TikTok. It’s quirky for them. A few young folks have turned into collectors now. It’s cool to expose them to what we had growing up. And their parents come by, too.”\u003c/p>\n\u003cfigure id=\"attachment_13955364\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955364\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3642.jpg\" alt=\"a refurbished news stand is displayed with old VHS tapes and DVDs inside\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3642.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3642-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3642-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3642-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3642-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3642-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The formerly beat-up newsrack was donated by The Benicia Herald, and can be found in front of Pocket Monkey Vintage. \u003ccite>(Courtesy Thomas Brungardt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inside Pocket Monkey Vintage, Brungardt and Bernasconi — who also operate \u003ca href=\"https://www.instagram.com/travelingmuseum/\">The Traveling Museum\u003c/a>, a roving collection of items from the ’80s, ’90s and aughts housed in a 1978 Ford van — have set up a makeshift watch room, where movie collectors can pop a VHS tape into a VCR and test out the quality of each tape. (They also have a vintage Playstation 1 on deck).\u003c/p>\n\u003cp>The two friends get most of their material from estate sales, where they buy boxes in bulk and sift until they find the good stuff. Many of their duplicates populate their Free Blockbuster box. They’re hoping other local movie lovers will also drop off any extras while taking something to add to their own collections.\u003c/p>\n\u003cp>For Brungardt and Bernasconi, it’s a basic act of kindness that also unleashes a childhood sense of satisfaction. There’s also something innately altruistic about trading VHS tapes and DVDs with strangers. It recalls the age-old adage that movie shops once preached — “Be Kind, Rewind” — a reminder to think about the next person in line.\u003c/p>\n\u003cp>“We’re not changing lives,” Brungardt admits. “Our goal is to spark nostalgia and bring happiness to others. If we can make someone happy for just 10 minutes a day, that’s what it’s about.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The newest \u003c/i>\u003ca href=\"https://www.instagram.com/freeblockbusterbayarea/\">\u003ci>Free Blockbuster Bay Area\u003c/i>\u003c/a>\u003ci> is located in front of Pocket Monkey Vintage (560 1st St, Benicia). \u003c/i>\u003ca href=\"https://www.instagram.com/travelingmuseum/\">\u003ci>Traveling Museum\u003c/i>\u003c/a>\u003ci> is a retro mobile that pops-up around the Bay Area; check their page for listings.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955250/blockbuster-returns-kinda-to-the-bay-area","authors":["11748"],"categories":["arts_1","arts_835","arts_74"],"tags":["arts_10493","arts_18849","arts_5569","arts_10278","arts_3465","arts_22058"],"featImg":"arts_13955365","label":"arts"},"arts_13951286":{"type":"posts","id":"arts_13951286","meta":{"index":"posts_1591205157","site":"arts","id":"13951286","score":null,"sort":[1706785253000]},"guestAuthors":[],"slug":"the-qing-of-queens","title":"The ‘Qing’ of Queens","publishDate":1706785253,"format":"audio","headTitle":"The ‘Qing’ of Queens | KQED","labelTerm":{"term":8720,"site":"arts"},"content":"\u003cp>\u003cem>Warning: This episode contains explicit language.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/allhailtheqing/\" target=\"_blank\" rel=\"noopener\">Qing Qi\u003c/a>’s lyrics are explicit for a reason.\u003c/p>\n\u003cp>She looks at the atrocities that readily happen in this country and all around the world, from bombings to kidnappings, and asks: what’s wrong with saying a few four letter words or euphemisms for genitalia?\u003c/p>\n\u003cp>Qing Qi also doesn’t shy away from the hardships she’s navigated while living in the Bay Area. She pours her observations and personal experiences into her lyrics, delivering brash bars over bangin’ beats. It doesn’t matter if she’s talking about her “\u003ca href=\"https://www.youtube.com/watch?v=rsMhenbNtjE\" target=\"_blank\" rel=\"noopener\">Big D\u003c/a>” in a song composed by the late \u003ca href=\"https://www.instagram.com/traxamillion/\" target=\"_blank\" rel=\"noopener\">Traxamillion\u003c/a>, or if she’s spitting bars over a \u003ca href=\"https://www.instagram.com/trackademicks/\" target=\"_blank\" rel=\"noopener\">Trackademicks\u003c/a> production, like last year’s release “\u003ca href=\"https://www.youtube.com/watch?app=desktop&v=y0-v8xFUWus\" target=\"_blank\" rel=\"noopener\">Do It All\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13951317\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13951317 size-large\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screenshot-2024-01-31-at-12.11.10-PM-1020x1414.png\" alt=\"Qing Qi spitting bars in the studio. \" width=\"640\" height=\"887\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screenshot-2024-01-31-at-12.11.10-PM-1020x1414.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screenshot-2024-01-31-at-12.11.10-PM-800x1109.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screenshot-2024-01-31-at-12.11.10-PM-160x222.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screenshot-2024-01-31-at-12.11.10-PM-768x1064.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screenshot-2024-01-31-at-12.11.10-PM.png 1088w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Qing Qi spitting bars in the studio. \u003ccite>(Kayla de Guzman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last year she also got into acting, playing the role of Ally in the indie film \u003ca href=\"https://www.kqed.org/arts/13937140/donna-and-ally-movie-review-oakland-cousin-shy-quin-qui\" target=\"_blank\" rel=\"noopener\">\u003cem>Donna and Ally\u003c/em>\u003c/a>. The movie, written by and co-starring \u003ca href=\"https://www.instagram.com/cousinshy/\" target=\"_blank\" rel=\"noopener\">Cousin Shy\u003c/a>, is a dark slapstick comedy rife with underlying messages that critique the sexist and exploitative nature of our society.\u003c/p>\n\u003cp>Much like Qing Qi herself, Ally’s character is witty but prone to finding herself in unfortunate situations; luckily her resilience allows her to persevere.\u003c/p>\n\u003cp>So this week, we talk to Qing Qi about music and movies, as well as the art of using comedy as a stress reliever, and why being real with your children is the best form of parenthood — and she means being \u003cem>really real\u003c/em>.\u003c/p>\n\u003cp>(Qing Qi and the \u003ca href=\"https://www.instagram.com/putangclanofficial/\" target=\"_blank\" rel=\"noopener\">Pu Tang Clan\u003c/a> are throwing their annual “Kill Your Lover” party on Friday, Feb. 16 at \u003ca href=\"https://www.instagram.com/9lives.510/\" target=\"_blank\" rel=\"noopener\">9 Lives in Oakland.\u003c/a> You can find \u003ca href=\"https://www.eventbrite.com/e/kill-your-lover-2024-tickets-800352875997\" target=\"_blank\" rel=\"noopener\">more information here\u003c/a>.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ecQ1AWSz-m8\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC8892003257&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, host: \u003c/b>\u003cspan style=\"font-weight: 400\">Wassup yall, It’s ya patna Pen, Pendarvis Harshaw for short. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Today we’re talking to the one and only Qing Qi. She’s an artist who’s spent time all around the Bay Area soaking up game, now living in Oakland and doing her thang. She’s a talented MC, who has recently hit the big screen while co-starring in the indie film, “Donna and Ally”.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Qing Qi’s character in the film, Ally, much like Qing Qi herself, is clever, colorful, critical and above all– a real one.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, in clip: \u003c/b>\u003cspan style=\"font-weight: 400\">how do you define yourself as an artist? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Qing Qi, in clip: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m art man. You know what I’m saying? Like that’s it. We all are born as artists. And then, like, society or life or something beats it out of us, right? Well, I’m one of those people, you can’t beat it out of me, baby. You know, like, I’m here for art. That’s me. Like when I talk, when I walk, when I, uh.uh uh uh. You feel me? But I, I want to be a superstar, you know? So that’s the answer to the question. My question to you is, so how many Qing Qi songs are on your playlist? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I want to say two right now. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Qing Qi: \u003c/b>\u003cspan style=\"font-weight: 400\">That’s two! Too less. Okay. We need at least 6 to 12. All right.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">six to twelve. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, by the end of this convo I not only add more songs to my playlist, I also walk away understanding Qing Qi’s utter disdain for bathrooms and her profound perspective on parenthood… You’re gonna wanna stay tuned!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Where did you grow up and how did you grow up? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Qing Qi, guest: \u003c/b>\u003cspan style=\"font-weight: 400\">I was born in Palo Alto. My dad’s family, my dad is from East Palo Alto and my mom is from Redwood City. So I grew up in both of those places a little bit, but I came to the city when I was 14. That was home. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">We grew up homeless. So, you know, I was kind of living a nomadic lifestyle, always having to meet new friends, go to different schools. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Those experiences can be pretty heavy as a child, and I imagine that it informs your art, your view on society. Your views on family, um, and at the same time, you seem to use comedy as like a valve, like a release. And I’m wondering where would you be if you didn’t have comedy as a valve? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Qing Qi: \u003c/b>\u003cspan style=\"font-weight: 400\">Killer \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. I’d be a murderer or something. I’ll be, probably in the pen, you know, with ten bitches. You feel me? Like this! Working out on the yard like ‘You got my shit today?’ You feel me? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I think that I probably couldn’t have survived my childhood without comedy. I think, like as an adult now, I’m 30. You know, and I feel like 30 is when you really. Okay, you know, you kind of fucked around in your teens, your 20s, but 30 is when you’re like, let me figure out what I’m doing here. You know, let me try to get on that path. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I be thinking about the legacy of trauma and sexual violence and domestic violence and, you know, um, institutionalization in my families on both side of my families. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You know, you grow up mad at your parents. And then as an adult now I’m like, ‘damn, like y’all did what ya’ll could to survive.’ And thank God, they’re hella funny people, you know, like, they’re mean, trifling, dirty, shady. Don’t leave $5 around… around them people, but they’re fucking hilarious, you know? So, um. Yeah. We don’t want to know where I’d be without comedy. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You didn’t get into arts until you were in your teenage years. What was your introduction to it? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Qing Qi: \u003c/b>\u003cspan style=\"font-weight: 400\">My family is really musical. Like my brother, he loved Frank Sinatra, my oldest brother.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Qing Qi: \u003c/b>\u003cspan style=\"font-weight: 400\">Like I used to go steal his CDs from, you know, the big CD cases we had that was like a, it was like a book! He had all the NAS, Jay-Z. He had a Will Smith CD, like, you know, all the all the shit.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I used to always just be influenced by, like, his musical taste, and my mom, Bob Marley, Johnny Cash, like, all the, like, Marvin Gaye, Sam Cooke, you know. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I would probably say through poetry and writing I started fucking wit it probably when I was in elementary school. But my brother started rapping at the Boys and Girls Club. They had a like fire studio in the Boys and Girls Club, and he was rapping. So, you know, I… a lot of times I’d see my brother do something I’m like, oh, ‘he could do it, I could do it.’ \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Then I just started rapping. We got a little girl group together. We was writing the songs, you know, and, um, I don’t know, I feel like from starting music, um, like… in the studio at 12 to like 2017, when I really dropped my first project, I was trying to find my voice, you know, and trying to figure out my creative path and then 2017, I found it. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[snaps]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> I ran with it, and now I’m like, on a new exploration, you know, like, as an artist, you always meet yourself every year. You’re a different person, every experience there’s different art.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I love the fact that you said you meet yourself, you constantly meet yourself, and you’re growing and you evolve as a person and as an artist. But before we get there, take me back to when you first started. Do you remember what your goal was as an artist? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Qing Qi: \u003c/b>\u003cspan style=\"font-weight: 400\">When I first started, my goal was to find an engineer and a place to record that I felt comfortable and safe as an artist. It was so hard for the first years trying to find a studio where I can make music and explore my sound and get comfortable. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now it’s like, that seems so far away from now, where my mind is and what my goals are now, you know? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">With that said, though, in your music. You talk unapologetically about your appreciation for women, your disdain for sexism and double standards, and you regularly crack jokes about, like, masculine tropes and things like that. And so with that evolution that you’ve experienced in your life, what’s your goal now as an artist? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Qing Qi: \u003c/b>\u003cspan style=\"font-weight: 400\">Challenge myself creatively. You know, like my brother, he always be telling me: “Every morning, get up, move your body in a different way. Like do a weird dance. Listen to a different sound because it affects, like, our brain waves and like our body rhythms. And if you can expose yourself to something different physically or, you know, phonetically, then you can make something new as a musician, as an artist.”\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I love it, more evolution. You organize events mostly in the Bay, but often in L.A. as well. You have the recurring event “Pussy Function”, which is a rap party, and then show, and then you have the “Kill Your Lover”, which is an event that you throw around Valentine’s Day. And at these events, you’re mindful to work with specifically women, Black women. And I’m wondering what are the highlights of being deeply involved in this circle of Black women creatives in the Bay Area? \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Qing Qi: \u003c/b>\u003cspan style=\"font-weight: 400\">As a little girl, I would look at some women and I would be like, wow, like, look how poppin they are. Like, look how beautiful they are like. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[Qing Qi, in song]\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’ve been up and I’ve been down\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’ve been depressed but I’m okay now\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’ve been doubted and discouraged\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m just tryna make my way out.\u003c/span>\u003cb>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Qing Qi:\u003c/b>\u003cspan style=\"font-weight: 400\"> The number one thing is that I get to experience that every time I throw a show, every time we are in community, like last night we had pussy function and I could stop and do a 360 and be like, oh, boom, she over here is doing this. She does this, she does. And it’s everybody’s hella talented and beautiful and creative and… it just makes me feel like, oh I’m like satisfying that little girl’s dreams of, like, that’s the kind of woman I wanted to be, you know, like, sometimes I stop and I’m like, I am that! Look at all my poppin’ ass friends and look at this sick shit we’re doing, you know? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[Qing Qi, in song]\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You gon’ make it to the top\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I be like go bitch, go bitch, you got it keep winning\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So that’s the number one thing. And the number two thing is being able to pay my people, you know, like, just like when I get paid for my art, like, I could cry, you know, that somebody feels this is valuable enough to give me money that was their time, you know, and their effort, for me to just show up and talk my shit on a microphone. So to be able to give that feeling to my peers, I don’t know, I just, it makes me feel like this is a success.\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Like little you is really happy with who big you became?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Qing Qi: \u003c/b>\u003cspan style=\"font-weight: 400\">Every time I’m sad, I think about where I’ve been before, you know? And think about how 15 years ago you would have fucking, uhhhh, what you would have done to be where you are right now, you know? So… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, it made me think of little me as well. Dang! Like, now look at me. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Qing Qi: \u003c/b>\u003cspan style=\"font-weight: 400\">This what you got to do. You got to stop and, like, picture yourself on the beach with little you, and he’s running to you. And he jumps in your arms and you swing him around. You guys are like, ahhhhhh, you know? That’s what you gotta do. That’s how you heal your inner child.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I don’t know if current me could carry little me? \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Qing Qi: \u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah yeah, um a lot of elements of your life… things you talked about, The appreciation of Black woman sisterhood, of your experiences growing up, of just being in Oakland. They are elements that also appear in the film that you acted in, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Donna and Ally,\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> which is written in and and co-stars Cousin Shy. It was recently released. I won’t give away all the details, but again, it’s about friendship. It dabbles in, uh, professional sex work, dominatrix work. Um, it’s about hustling. It’s about Oakland. Uh, how much of this film is based on your real life experiences? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Qing Qi: \u003c/b>\u003cspan style=\"font-weight: 400\">Well I mean\u003c/span> \u003cspan style=\"font-weight: 400\">when Shy had come to me about doing the film and I didn’t know her at that time, um, she was telling me, like, “I wrote this. I started writing this character around who I see you as on. It’s like Instagram.” You know, like, that’s how she… she had come across me. Um, so when I was, um, getting into the script, I’m like, ‘oh, this ain’t acting. Oh, man. I mean me and Ally ain’t that different,’ You feel me? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Um, and I never, like, done dominatrix work. But I would say for the most part, all of it is pretty, like, you know, they’re in a group home. I was in foster home. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ally trying to make it and having to, like, be in Donna’s ear, like, come on, like we the shit. I’m not going down like this. I’m not going out like this!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Donna’s she’s kind of like, a little off, kind of getting fucking shit up a lot, you know, dealing with her own, like, issues, like with the PMDD. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Movie clip from Donna and Ally]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Donna: \u003c/b>\u003cspan style=\"font-weight: 400\">“Let me worry about me.”\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ally:\u003c/b>\u003cspan style=\"font-weight: 400\"> “…Not the bitch who was just finna fight Trina over nothing! Look, we can’t fuck this club up, if we fuck this club up, that’s it for us Donna. There’s no give back. It’s done for us.”\u003c/span>\u003c/p>\n\u003cp>\u003cb>Donna:\u003c/b>\u003cspan style=\"font-weight: 400\"> “That’s okay I’ve got it. I can control it. Let me control it. Let me worry about me.”\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ally:\u003c/b>\u003cspan style=\"font-weight: 400\"> “Bitch, let me find out you can control these demonic ass episodes after thirteen years! The fuck?”\u003c/span>\u003c/p>\n\u003cp>\u003cb>Donna:\u003c/b>\u003cspan style=\"font-weight: 400\"> “I’ve been breathing, doing those exercises. Sometimes I sit with my legs crossed, and just sit there and be still and I don’t do nothing…”\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ally:\u003c/b>\u003cspan style=\"font-weight: 400\"> “You mean like, meditate?”\u003c/span>\u003c/p>\n\u003cp>\u003cb>Donna: \u003c/b>\u003cspan style=\"font-weight: 400\">“Yeah, yeah, sometimes I meditate. I’ve got it. Believe in me, like I believe in you.”\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ally: \u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\">[sighs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> “Okay, I guess.”\u003c/span>\u003c/p>\n\u003cp>\u003cb>Qing Qi: \u003c/b>\u003cspan style=\"font-weight: 400\">And, um, so, I don’t know, I feel like it definitely, there’s a lot of similarities, but I think it’s such a relatable experience for young women of color from the Bay area in general, because I have so many people coming… people came up to me at the Oakland premiere and the Memphis premiere, crying like, “Man, like I was feeling it.” I’m like, this was a comedy. Like what? Where is the tears? But, you know, it’s just like people seeing their unique experiences, you know, reflected back to them. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Do you have a favorite scene from that film? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Qing Qi: \u003c/b>\u003cspan style=\"font-weight: 400\">The whole scene of Ally and Donna, when they’re kind of at a point where they’re in conflict and what they both need is conflicting, and they’re kind of getting into it. I hated filming that scene, like I hated it! \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Uh, I hate bathrooms. They disgust me. I just like, even my own bathroom. I just be like, fuck, I can’t believe I have to do this so many times a day, you know? And we had to, like, roll around on this bathroom floor near a toilet. Uh uh uh, I was like, uh uh, but I loved seeing it on screen.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Movie clip, in which Donna and Ally fight on the ground. Donna is crying.]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Qing Qi as Ally: \u003c/b>\u003cspan style=\"font-weight: 400\">What happened to all your monster strength, huh? You’re just a basic bitch now.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Qing Qi: \u003c/b>\u003cspan style=\"font-weight: 400\">I don’t know,\u003c/span> \u003cspan style=\"font-weight: 400\">it also made me feel like me and Shy got closer, you know, doing those scenes, where it was like, we were more serious with each other. We were mad at each other. We are fighting. She pees on me, like, you know. So yeah, that’s probably my favorite. And Shy looked good the whole movie but I definitely looked good during those scenes, you know. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You also have a devout following that has a name, a group. What’s the name of the group that supports you, the collective that supports you?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Qing Qi: \u003c/b>\u003cspan style=\"font-weight: 400\">Pu \u003c/span>\u003cspan style=\"font-weight: 400\">Tang Clan! You feel me? Eyyyy, Taaang Gaaang! \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I mean, from the jump, it always felt hella tight, you know, like, um, when we started, we were a group of 10 girls who were all rapping and performing. And now we boil down to like, you know, me and my sister are the solid, consistent two and we have a revolving door of artists and creators that support us and are a part of Pu Tang and, you know, really came into a movement for real. Like there’s somebody in Washington and they sent me their tattoo it says “Tang Gang”. Like, you know, people really go hard for it! \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music – FWM by Qing Qi]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You ain’t gotta hit licks when you fucking with me\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Only bad little chicks when you fucking with Qi\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Niggas all up in my phone, bout seven for free\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Said they never cop a plea but they do it for me\u003c/span>\u003c/p>\n\u003cp>\u003cb>Qing Qi: \u003c/b>\u003cspan style=\"font-weight: 400\">When we was at Pussy Function and my sister was performing, she was like, “I’ma say, Pu, you say Tang! Pu!…” And everybody throwing it up, and it just, it just made me feel like, uh, you know, like, it just makes you feel so happy to be a woman and a femme person. And I just love women. Like, I always thought I was gay, you know, like I always did. And I’m not, you know. I aint …I, you feel me? But it’s just, I love women like, they’re amazing, you know? And so, yeah, it’s just it’s constantly just good, good energy. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I love it, I love how outspoken you are and you don’t hold anything back. You’re very clear about who you are, and what you’re projecting, even when you have questions about yourself, you will vocalize that. When I saw you freestyle in 2022, at the second Monday event presented by Gold Beams, your child was there and you didn’t hold anything back, even with him around. What, what does your son make of your performances? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Qing Qi: \u003c/b>\u003cspan style=\"font-weight: 400\">Well\u003c/span> \u003cspan style=\"font-weight: 400\">when he came to the Oakland premiere of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Donna and Ally\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and he was disturbed. He was like, you know, the dildos, the…he looked at me, he said, “I hate this. I absolutely hate this.” \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And\u003c/span> \u003cspan style=\"font-weight: 400\">he’s proud of me or whatever but um, and when he was younger, you know, he used to go a lot harder with it, like, “Yeah, turn it up, mom!” But now as he’s growing into, you know, he’s a young man, he has his own thing. He listens to his own music. He’s his…he knows who he is.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Qing Qi: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s interesting how like, being so vulgar… Like this lady told me last night at the film festival, the Afro Comic Con Fest Film Festival, she said, “I loved your video. I loved your video. Quite vulgar, actually it was really vulgar,” and she was like, “you know, even if you cleaned it up a little bit, like take all the cuss words out, you could show it in schools.” And I’m just like, “Okay, cool. Like, yeah, what a great suggestion.” You know, it’s crazy how much weight people put on cuss words! \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ya know! When like as we’re chilling, as I’m on my couch, like children are being bombs, you know, and it’s not even like children are being bombed for the first time, you know, and like, women are going missing and like, just mainey shit happens in the world that we support, like, unintentionally or subconsciously or financially every day that you think a kid hearing me say, ‘fuck the DA, the FDA, you know, like fuck a man who give a rapist leeway!’ Like that’s a problem, you know? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So, I don’t know, I just I think it’s interesting that because, like, you can’t be a good parent or a or a respectable or agreeable parent if you’re so vulgar or explicit, you know, it’s like, “Oh, your son’s around. Don’t say that.” And I’m like, ‘No, my son’s around. I have to say that. Come on, Brody, like.’ \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Wait, say that again. Say that again. Your son’s around. “I have to say that.” Like that is a profound sentiment. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Qing Qi: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m a profound person nah \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. My son, he sees me every day working hard and putting myself out there for something I believe in and something I love, you know? And in a way, it’s like I’m very much the 4 year old, 5 year old, 12 year old child that, you know, experienced these like crazy traumas, you know, so I’m I’m coming into these spaces as that child a lot of times, like healing myself and, you know, being honest with myself and making space and allowing that child to be present. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When I was growing up, my mom never really told me the truth. Like she used to, I used to walk in on her crying, but she would never, like, sit down and be candid with me or tell me how she felt or how hard it was for her, you know, that affects you as a kid.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was so hard for me to see my mother’s humanity because she never had that emotional like connection to, you know, like, let me in, in that way. So I always told myself, you know what, I’m going to tell my son… You know, I ain’t telling him all my business, but I’m going to talk to him truthfully. And I’ma tell him, ahh, look, you know, and like, I smoke weed. My son’s always. He told me he’s like, “you are limiting your potential. You need to put the weed down and you need to get to the gym with me.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I said, ‘Listen, you are right, but I am depressed and therefore I’m gonna make it to the gym when I can. But in the meantime, I’m finna smoke some weed because it helps me get through it for now. Okay?’ And you know, he understands, like I’ve built a foundation for him. He knows who he is. He knows how to process his emotions. He has space to share his emotions and disagree with me. I’m not always right. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Maybe it’s not something people can believe that you can be like,”Pussy ass bitch. Fuck that nigga there!” And then my son’s like, “Hello? How are you doing? Yes. Nice to meet you. Thank you.” You know, um, but it’s working \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Parenting 101. I did not expect to get that from Qing Qi but also, that’s exactly what you’re saying! Don’t judge someone from the outside. Really take time to understand the method to the madness, especially in this world that’s so full of madness. And you are keeping it 100 with your son, which, honesty is the best policy, like they always say that. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so. Yeah. Wow. Well, yeah. I’m sorry, I’m just thinking about how much I shelter my daughter from, like, cuss words or I try, you know, you get uneasy… a romantic scene might come up on the film. It’s not necessarily sex, but it’s like something romantic. You know, you get uneasy when you watch that with your parent. You’re like ehhhh.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I’m trying to tell my daughter it’s okay to express love when you’re an adult, you know, and of age and can consent. And at the same time, let’s change the channel. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Qing Qi: \u003c/b>\u003cspan style=\"font-weight: 400\">Right. Right. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> But you’re like, nah, let’s talk about it. Let’s be real. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\"> What’s next for you as an artist? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Qing Qi:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’m a full time student. I go to Laney College. Shout out to the Peralta Community College network. Um, I’m taking, like, digital media classes, theater, um, you know, script writing. I feel like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Donna and Ally \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">was definitely, like, opened a part of my brain that I didn’t see for myself yet. Um, so I’m getting into film, like script writing and shorts and just trying to immerse myself into that world of acting. And, you know, shit maybe do a little play or something.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Oh, and Pu-Tang! I am transitioning Pu-Tang Clan into a cooperative, so we are going to transition to event production and, a creative production cooperative. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Many hats, I can appreciate it. As an artist that’s the way to keep the ball rolling, like constantly, constantly on the move, constantly growing. Of all those things that you mentioned, do any of them make you nervous? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Qing Qi:\u003c/b>\u003cspan style=\"font-weight: 400\"> Money. Like, that’s cra-… It’s crazy that my first answers are money, but being able to show up financially in that way and keep my word, you know, when somebody shares their art or shares space with me is really important to me.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Qing Qi: \u003c/b>\u003cspan style=\"font-weight: 400\">My rent going to have to wait, you know? Fuck rent! Art over rent. By the time they try to evict me, I’m already had pay the rent. You feel me? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">We\u003c/span> \u003cspan style=\"font-weight: 400\">love it. More of it. Um, keep sharing your voice because there’s definitely audiences listening and audiences learning from you. And I’m part of that audience so thank you. For sure\u003c/span>\u003c/p>\n\u003cp>\u003cb>Qing Qi:\u003c/b>\u003cspan style=\"font-weight: 400\"> Right, right. Thank you. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Qing Qi, you are as real as they come. Thank you! Thank you for taking time out of your schedule to chop it up, give some insight that I needed to hear and share your story with everyone on the internet, ever. Yeah.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To keep up with Qing Qi’s events, movies and more, find her on the socials– her IG is allhailtheqing. That’s A-L-L-H-A-i-L-T-H-E-Q-i-N-G. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Find her music on all streaming platforms, keep in mind that her name is spelled Q-i-N-G Q-i. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And if you’re in the Bay, pull up to her “Kill Your Lover” party on Feb 16th at 9 Lives in Oakland.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw. \u003c/span>\u003cspan style=\"font-weight: 400\">It was produced by Marisol Medina-Cadena. \u003c/span>\u003cspan style=\"font-weight: 400\">Chris Hambrick is our editor. Sheree Bishop is our production intern. \u003c/span>\u003cspan style=\"font-weight: 400\">Christopher Beale is our engineer. Additional support provided by Jen Chien, Katie Sprenger, Cesar Saldaña, Ugur Dursun and Holly Kernan.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thank you all for listening, be sure to tell a friend to tap in, leave a comment, rate the podcast, all of that. Thank you again!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED Production.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Until next time, peace.\u003c/span>\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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]=\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Qing Qi talks about music and movies, as well as the art of using comedy as a stress relief.","status":"publish","parent":0,"modified":1706817482,"stats":{"hasAudio":true,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":127,"wordCount":5148},"headData":{"title":"The ‘Qing’ of Queens | KQED","description":"We talk to Qing Qi about music and movies, as well as the art of using comedy as a stress relief, and why being real with your children is the best form of parenthood-- and she means being really real.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialDescription":"We talk to Qing Qi about music and movies, as well as the art of using comedy as a stress relief, and why being real with your children is the best form of parenthood-- and she means being really real.","schema":{"@context":"http://schema.org","@type":"Article","headline":"The ‘Qing’ of Queens","datePublished":"2024-02-01T11:00:53.000Z","dateModified":"2024-02-01T19:58:02.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.podtrac.com/pts/redirect.mp3/chrt.fm/track/G6C7C3/traffic.megaphone.fm/KQINC8892003257.mp3?updated=1706754788","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13951286/the-qing-of-queens","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Warning: This episode contains explicit language.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/allhailtheqing/\" target=\"_blank\" rel=\"noopener\">Qing Qi\u003c/a>’s lyrics are explicit for a reason.\u003c/p>\n\u003cp>She looks at the atrocities that readily happen in this country and all around the world, from bombings to kidnappings, and asks: what’s wrong with saying a few four letter words or euphemisms for genitalia?\u003c/p>\n\u003cp>Qing Qi also doesn’t shy away from the hardships she’s navigated while living in the Bay Area. She pours her observations and personal experiences into her lyrics, delivering brash bars over bangin’ beats. It doesn’t matter if she’s talking about her “\u003ca href=\"https://www.youtube.com/watch?v=rsMhenbNtjE\" target=\"_blank\" rel=\"noopener\">Big D\u003c/a>” in a song composed by the late \u003ca href=\"https://www.instagram.com/traxamillion/\" target=\"_blank\" rel=\"noopener\">Traxamillion\u003c/a>, or if she’s spitting bars over a \u003ca href=\"https://www.instagram.com/trackademicks/\" target=\"_blank\" rel=\"noopener\">Trackademicks\u003c/a> production, like last year’s release “\u003ca href=\"https://www.youtube.com/watch?app=desktop&v=y0-v8xFUWus\" target=\"_blank\" rel=\"noopener\">Do It All\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13951317\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13951317 size-large\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screenshot-2024-01-31-at-12.11.10-PM-1020x1414.png\" alt=\"Qing Qi spitting bars in the studio. \" width=\"640\" height=\"887\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screenshot-2024-01-31-at-12.11.10-PM-1020x1414.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screenshot-2024-01-31-at-12.11.10-PM-800x1109.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screenshot-2024-01-31-at-12.11.10-PM-160x222.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screenshot-2024-01-31-at-12.11.10-PM-768x1064.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screenshot-2024-01-31-at-12.11.10-PM.png 1088w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Qing Qi spitting bars in the studio. \u003ccite>(Kayla de Guzman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last year she also got into acting, playing the role of Ally in the indie film \u003ca href=\"https://www.kqed.org/arts/13937140/donna-and-ally-movie-review-oakland-cousin-shy-quin-qui\" target=\"_blank\" rel=\"noopener\">\u003cem>Donna and Ally\u003c/em>\u003c/a>. The movie, written by and co-starring \u003ca href=\"https://www.instagram.com/cousinshy/\" target=\"_blank\" rel=\"noopener\">Cousin Shy\u003c/a>, is a dark slapstick comedy rife with underlying messages that critique the sexist and exploitative nature of our society.\u003c/p>\n\u003cp>Much like Qing Qi herself, Ally’s character is witty but prone to finding herself in unfortunate situations; luckily her resilience allows her to persevere.\u003c/p>\n\u003cp>So this week, we talk to Qing Qi about music and movies, as well as the art of using comedy as a stress reliever, and why being real with your children is the best form of parenthood — and she means being \u003cem>really real\u003c/em>.\u003c/p>\n\u003cp>(Qing Qi and the \u003ca href=\"https://www.instagram.com/putangclanofficial/\" target=\"_blank\" rel=\"noopener\">Pu Tang Clan\u003c/a> are throwing their annual “Kill Your Lover” party on Friday, Feb. 16 at \u003ca href=\"https://www.instagram.com/9lives.510/\" target=\"_blank\" rel=\"noopener\">9 Lives in Oakland.\u003c/a> You can find \u003ca href=\"https://www.eventbrite.com/e/kill-your-lover-2024-tickets-800352875997\" target=\"_blank\" rel=\"noopener\">more information here\u003c/a>.)\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/ecQ1AWSz-m8'\n title='//www.youtube.com/embed/ecQ1AWSz-m8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC8892003257&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, host: \u003c/b>\u003cspan style=\"font-weight: 400\">Wassup yall, It’s ya patna Pen, Pendarvis Harshaw for short. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Today we’re talking to the one and only Qing Qi. She’s an artist who’s spent time all around the Bay Area soaking up game, now living in Oakland and doing her thang. She’s a talented MC, who has recently hit the big screen while co-starring in the indie film, “Donna and Ally”.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Qing Qi’s character in the film, Ally, much like Qing Qi herself, is clever, colorful, critical and above all– a real one.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, in clip: \u003c/b>\u003cspan style=\"font-weight: 400\">how do you define yourself as an artist? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Qing Qi, in clip: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m art man. You know what I’m saying? Like that’s it. We all are born as artists. And then, like, society or life or something beats it out of us, right? Well, I’m one of those people, you can’t beat it out of me, baby. You know, like, I’m here for art. That’s me. Like when I talk, when I walk, when I, uh.uh uh uh. You feel me? But I, I want to be a superstar, you know? So that’s the answer to the question. My question to you is, so how many Qing Qi songs are on your playlist? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I want to say two right now. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Qing Qi: \u003c/b>\u003cspan style=\"font-weight: 400\">That’s two! Too less. Okay. We need at least 6 to 12. All right.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">six to twelve. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, by the end of this convo I not only add more songs to my playlist, I also walk away understanding Qing Qi’s utter disdain for bathrooms and her profound perspective on parenthood… You’re gonna wanna stay tuned!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Where did you grow up and how did you grow up? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Qing Qi, guest: \u003c/b>\u003cspan style=\"font-weight: 400\">I was born in Palo Alto. My dad’s family, my dad is from East Palo Alto and my mom is from Redwood City. So I grew up in both of those places a little bit, but I came to the city when I was 14. That was home. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">We grew up homeless. So, you know, I was kind of living a nomadic lifestyle, always having to meet new friends, go to different schools. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Those experiences can be pretty heavy as a child, and I imagine that it informs your art, your view on society. Your views on family, um, and at the same time, you seem to use comedy as like a valve, like a release. And I’m wondering where would you be if you didn’t have comedy as a valve? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Qing Qi: \u003c/b>\u003cspan style=\"font-weight: 400\">Killer \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. I’d be a murderer or something. I’ll be, probably in the pen, you know, with ten bitches. You feel me? Like this! Working out on the yard like ‘You got my shit today?’ You feel me? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I think that I probably couldn’t have survived my childhood without comedy. I think, like as an adult now, I’m 30. You know, and I feel like 30 is when you really. Okay, you know, you kind of fucked around in your teens, your 20s, but 30 is when you’re like, let me figure out what I’m doing here. You know, let me try to get on that path. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I be thinking about the legacy of trauma and sexual violence and domestic violence and, you know, um, institutionalization in my families on both side of my families. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You know, you grow up mad at your parents. And then as an adult now I’m like, ‘damn, like y’all did what ya’ll could to survive.’ And thank God, they’re hella funny people, you know, like, they’re mean, trifling, dirty, shady. Don’t leave $5 around… around them people, but they’re fucking hilarious, you know? So, um. Yeah. We don’t want to know where I’d be without comedy. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You didn’t get into arts until you were in your teenage years. What was your introduction to it? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Qing Qi: \u003c/b>\u003cspan style=\"font-weight: 400\">My family is really musical. Like my brother, he loved Frank Sinatra, my oldest brother.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Qing Qi: \u003c/b>\u003cspan style=\"font-weight: 400\">Like I used to go steal his CDs from, you know, the big CD cases we had that was like a, it was like a book! He had all the NAS, Jay-Z. He had a Will Smith CD, like, you know, all the all the shit.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I used to always just be influenced by, like, his musical taste, and my mom, Bob Marley, Johnny Cash, like, all the, like, Marvin Gaye, Sam Cooke, you know. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I would probably say through poetry and writing I started fucking wit it probably when I was in elementary school. But my brother started rapping at the Boys and Girls Club. They had a like fire studio in the Boys and Girls Club, and he was rapping. So, you know, I… a lot of times I’d see my brother do something I’m like, oh, ‘he could do it, I could do it.’ \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Then I just started rapping. We got a little girl group together. We was writing the songs, you know, and, um, I don’t know, I feel like from starting music, um, like… in the studio at 12 to like 2017, when I really dropped my first project, I was trying to find my voice, you know, and trying to figure out my creative path and then 2017, I found it. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[snaps]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> I ran with it, and now I’m like, on a new exploration, you know, like, as an artist, you always meet yourself every year. You’re a different person, every experience there’s different art.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I love the fact that you said you meet yourself, you constantly meet yourself, and you’re growing and you evolve as a person and as an artist. But before we get there, take me back to when you first started. Do you remember what your goal was as an artist? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Qing Qi: \u003c/b>\u003cspan style=\"font-weight: 400\">When I first started, my goal was to find an engineer and a place to record that I felt comfortable and safe as an artist. It was so hard for the first years trying to find a studio where I can make music and explore my sound and get comfortable. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now it’s like, that seems so far away from now, where my mind is and what my goals are now, you know? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">With that said, though, in your music. You talk unapologetically about your appreciation for women, your disdain for sexism and double standards, and you regularly crack jokes about, like, masculine tropes and things like that. And so with that evolution that you’ve experienced in your life, what’s your goal now as an artist? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Qing Qi: \u003c/b>\u003cspan style=\"font-weight: 400\">Challenge myself creatively. You know, like my brother, he always be telling me: “Every morning, get up, move your body in a different way. Like do a weird dance. Listen to a different sound because it affects, like, our brain waves and like our body rhythms. And if you can expose yourself to something different physically or, you know, phonetically, then you can make something new as a musician, as an artist.”\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I love it, more evolution. You organize events mostly in the Bay, but often in L.A. as well. You have the recurring event “Pussy Function”, which is a rap party, and then show, and then you have the “Kill Your Lover”, which is an event that you throw around Valentine’s Day. And at these events, you’re mindful to work with specifically women, Black women. And I’m wondering what are the highlights of being deeply involved in this circle of Black women creatives in the Bay Area? \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Qing Qi: \u003c/b>\u003cspan style=\"font-weight: 400\">As a little girl, I would look at some women and I would be like, wow, like, look how poppin they are. Like, look how beautiful they are like. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[Qing Qi, in song]\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’ve been up and I’ve been down\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’ve been depressed but I’m okay now\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’ve been doubted and discouraged\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m just tryna make my way out.\u003c/span>\u003cb>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Qing Qi:\u003c/b>\u003cspan style=\"font-weight: 400\"> The number one thing is that I get to experience that every time I throw a show, every time we are in community, like last night we had pussy function and I could stop and do a 360 and be like, oh, boom, she over here is doing this. She does this, she does. And it’s everybody’s hella talented and beautiful and creative and… it just makes me feel like, oh I’m like satisfying that little girl’s dreams of, like, that’s the kind of woman I wanted to be, you know, like, sometimes I stop and I’m like, I am that! Look at all my poppin’ ass friends and look at this sick shit we’re doing, you know? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[Qing Qi, in song]\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You gon’ make it to the top\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I be like go bitch, go bitch, you got it keep winning\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So that’s the number one thing. And the number two thing is being able to pay my people, you know, like, just like when I get paid for my art, like, I could cry, you know, that somebody feels this is valuable enough to give me money that was their time, you know, and their effort, for me to just show up and talk my shit on a microphone. So to be able to give that feeling to my peers, I don’t know, I just, it makes me feel like this is a success.\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Like little you is really happy with who big you became?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Qing Qi: \u003c/b>\u003cspan style=\"font-weight: 400\">Every time I’m sad, I think about where I’ve been before, you know? And think about how 15 years ago you would have fucking, uhhhh, what you would have done to be where you are right now, you know? So… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, it made me think of little me as well. Dang! Like, now look at me. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Qing Qi: \u003c/b>\u003cspan style=\"font-weight: 400\">This what you got to do. You got to stop and, like, picture yourself on the beach with little you, and he’s running to you. And he jumps in your arms and you swing him around. You guys are like, ahhhhhh, you know? That’s what you gotta do. That’s how you heal your inner child.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I don’t know if current me could carry little me? \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Qing Qi: \u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah yeah, um a lot of elements of your life… things you talked about, The appreciation of Black woman sisterhood, of your experiences growing up, of just being in Oakland. They are elements that also appear in the film that you acted in, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Donna and Ally,\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> which is written in and and co-stars Cousin Shy. It was recently released. I won’t give away all the details, but again, it’s about friendship. It dabbles in, uh, professional sex work, dominatrix work. Um, it’s about hustling. It’s about Oakland. Uh, how much of this film is based on your real life experiences? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Qing Qi: \u003c/b>\u003cspan style=\"font-weight: 400\">Well I mean\u003c/span> \u003cspan style=\"font-weight: 400\">when Shy had come to me about doing the film and I didn’t know her at that time, um, she was telling me, like, “I wrote this. I started writing this character around who I see you as on. It’s like Instagram.” You know, like, that’s how she… she had come across me. Um, so when I was, um, getting into the script, I’m like, ‘oh, this ain’t acting. Oh, man. I mean me and Ally ain’t that different,’ You feel me? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Um, and I never, like, done dominatrix work. But I would say for the most part, all of it is pretty, like, you know, they’re in a group home. I was in foster home. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ally trying to make it and having to, like, be in Donna’s ear, like, come on, like we the shit. I’m not going down like this. I’m not going out like this!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Donna’s she’s kind of like, a little off, kind of getting fucking shit up a lot, you know, dealing with her own, like, issues, like with the PMDD. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Movie clip from Donna and Ally]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Donna: \u003c/b>\u003cspan style=\"font-weight: 400\">“Let me worry about me.”\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ally:\u003c/b>\u003cspan style=\"font-weight: 400\"> “…Not the bitch who was just finna fight Trina over nothing! Look, we can’t fuck this club up, if we fuck this club up, that’s it for us Donna. There’s no give back. It’s done for us.”\u003c/span>\u003c/p>\n\u003cp>\u003cb>Donna:\u003c/b>\u003cspan style=\"font-weight: 400\"> “That’s okay I’ve got it. I can control it. Let me control it. Let me worry about me.”\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ally:\u003c/b>\u003cspan style=\"font-weight: 400\"> “Bitch, let me find out you can control these demonic ass episodes after thirteen years! The fuck?”\u003c/span>\u003c/p>\n\u003cp>\u003cb>Donna:\u003c/b>\u003cspan style=\"font-weight: 400\"> “I’ve been breathing, doing those exercises. Sometimes I sit with my legs crossed, and just sit there and be still and I don’t do nothing…”\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ally:\u003c/b>\u003cspan style=\"font-weight: 400\"> “You mean like, meditate?”\u003c/span>\u003c/p>\n\u003cp>\u003cb>Donna: \u003c/b>\u003cspan style=\"font-weight: 400\">“Yeah, yeah, sometimes I meditate. I’ve got it. Believe in me, like I believe in you.”\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ally: \u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\">[sighs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> “Okay, I guess.”\u003c/span>\u003c/p>\n\u003cp>\u003cb>Qing Qi: \u003c/b>\u003cspan style=\"font-weight: 400\">And, um, so, I don’t know, I feel like it definitely, there’s a lot of similarities, but I think it’s such a relatable experience for young women of color from the Bay area in general, because I have so many people coming… people came up to me at the Oakland premiere and the Memphis premiere, crying like, “Man, like I was feeling it.” I’m like, this was a comedy. Like what? Where is the tears? But, you know, it’s just like people seeing their unique experiences, you know, reflected back to them. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Do you have a favorite scene from that film? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Qing Qi: \u003c/b>\u003cspan style=\"font-weight: 400\">The whole scene of Ally and Donna, when they’re kind of at a point where they’re in conflict and what they both need is conflicting, and they’re kind of getting into it. I hated filming that scene, like I hated it! \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Uh, I hate bathrooms. They disgust me. I just like, even my own bathroom. I just be like, fuck, I can’t believe I have to do this so many times a day, you know? And we had to, like, roll around on this bathroom floor near a toilet. Uh uh uh, I was like, uh uh, but I loved seeing it on screen.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Movie clip, in which Donna and Ally fight on the ground. Donna is crying.]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Qing Qi as Ally: \u003c/b>\u003cspan style=\"font-weight: 400\">What happened to all your monster strength, huh? You’re just a basic bitch now.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Qing Qi: \u003c/b>\u003cspan style=\"font-weight: 400\">I don’t know,\u003c/span> \u003cspan style=\"font-weight: 400\">it also made me feel like me and Shy got closer, you know, doing those scenes, where it was like, we were more serious with each other. We were mad at each other. We are fighting. She pees on me, like, you know. So yeah, that’s probably my favorite. And Shy looked good the whole movie but I definitely looked good during those scenes, you know. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You also have a devout following that has a name, a group. What’s the name of the group that supports you, the collective that supports you?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Qing Qi: \u003c/b>\u003cspan style=\"font-weight: 400\">Pu \u003c/span>\u003cspan style=\"font-weight: 400\">Tang Clan! You feel me? Eyyyy, Taaang Gaaang! \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I mean, from the jump, it always felt hella tight, you know, like, um, when we started, we were a group of 10 girls who were all rapping and performing. And now we boil down to like, you know, me and my sister are the solid, consistent two and we have a revolving door of artists and creators that support us and are a part of Pu Tang and, you know, really came into a movement for real. Like there’s somebody in Washington and they sent me their tattoo it says “Tang Gang”. Like, you know, people really go hard for it! \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music – FWM by Qing Qi]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You ain’t gotta hit licks when you fucking with me\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Only bad little chicks when you fucking with Qi\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Niggas all up in my phone, bout seven for free\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Said they never cop a plea but they do it for me\u003c/span>\u003c/p>\n\u003cp>\u003cb>Qing Qi: \u003c/b>\u003cspan style=\"font-weight: 400\">When we was at Pussy Function and my sister was performing, she was like, “I’ma say, Pu, you say Tang! Pu!…” And everybody throwing it up, and it just, it just made me feel like, uh, you know, like, it just makes you feel so happy to be a woman and a femme person. And I just love women. Like, I always thought I was gay, you know, like I always did. And I’m not, you know. I aint …I, you feel me? But it’s just, I love women like, they’re amazing, you know? And so, yeah, it’s just it’s constantly just good, good energy. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I love it, I love how outspoken you are and you don’t hold anything back. You’re very clear about who you are, and what you’re projecting, even when you have questions about yourself, you will vocalize that. When I saw you freestyle in 2022, at the second Monday event presented by Gold Beams, your child was there and you didn’t hold anything back, even with him around. What, what does your son make of your performances? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Qing Qi: \u003c/b>\u003cspan style=\"font-weight: 400\">Well\u003c/span> \u003cspan style=\"font-weight: 400\">when he came to the Oakland premiere of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Donna and Ally\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and he was disturbed. He was like, you know, the dildos, the…he looked at me, he said, “I hate this. I absolutely hate this.” \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And\u003c/span> \u003cspan style=\"font-weight: 400\">he’s proud of me or whatever but um, and when he was younger, you know, he used to go a lot harder with it, like, “Yeah, turn it up, mom!” But now as he’s growing into, you know, he’s a young man, he has his own thing. He listens to his own music. He’s his…he knows who he is.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Qing Qi: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s interesting how like, being so vulgar… Like this lady told me last night at the film festival, the Afro Comic Con Fest Film Festival, she said, “I loved your video. I loved your video. Quite vulgar, actually it was really vulgar,” and she was like, “you know, even if you cleaned it up a little bit, like take all the cuss words out, you could show it in schools.” And I’m just like, “Okay, cool. Like, yeah, what a great suggestion.” You know, it’s crazy how much weight people put on cuss words! \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ya know! When like as we’re chilling, as I’m on my couch, like children are being bombs, you know, and it’s not even like children are being bombed for the first time, you know, and like, women are going missing and like, just mainey shit happens in the world that we support, like, unintentionally or subconsciously or financially every day that you think a kid hearing me say, ‘fuck the DA, the FDA, you know, like fuck a man who give a rapist leeway!’ Like that’s a problem, you know? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So, I don’t know, I just I think it’s interesting that because, like, you can’t be a good parent or a or a respectable or agreeable parent if you’re so vulgar or explicit, you know, it’s like, “Oh, your son’s around. Don’t say that.” And I’m like, ‘No, my son’s around. I have to say that. Come on, Brody, like.’ \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Wait, say that again. Say that again. Your son’s around. “I have to say that.” Like that is a profound sentiment. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Qing Qi: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m a profound person nah \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. My son, he sees me every day working hard and putting myself out there for something I believe in and something I love, you know? And in a way, it’s like I’m very much the 4 year old, 5 year old, 12 year old child that, you know, experienced these like crazy traumas, you know, so I’m I’m coming into these spaces as that child a lot of times, like healing myself and, you know, being honest with myself and making space and allowing that child to be present. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When I was growing up, my mom never really told me the truth. Like she used to, I used to walk in on her crying, but she would never, like, sit down and be candid with me or tell me how she felt or how hard it was for her, you know, that affects you as a kid.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was so hard for me to see my mother’s humanity because she never had that emotional like connection to, you know, like, let me in, in that way. So I always told myself, you know what, I’m going to tell my son… You know, I ain’t telling him all my business, but I’m going to talk to him truthfully. And I’ma tell him, ahh, look, you know, and like, I smoke weed. My son’s always. He told me he’s like, “you are limiting your potential. You need to put the weed down and you need to get to the gym with me.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I said, ‘Listen, you are right, but I am depressed and therefore I’m gonna make it to the gym when I can. But in the meantime, I’m finna smoke some weed because it helps me get through it for now. Okay?’ And you know, he understands, like I’ve built a foundation for him. He knows who he is. He knows how to process his emotions. He has space to share his emotions and disagree with me. I’m not always right. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Maybe it’s not something people can believe that you can be like,”Pussy ass bitch. Fuck that nigga there!” And then my son’s like, “Hello? How are you doing? Yes. Nice to meet you. Thank you.” You know, um, but it’s working \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Parenting 101. I did not expect to get that from Qing Qi but also, that’s exactly what you’re saying! Don’t judge someone from the outside. Really take time to understand the method to the madness, especially in this world that’s so full of madness. And you are keeping it 100 with your son, which, honesty is the best policy, like they always say that. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so. Yeah. Wow. Well, yeah. I’m sorry, I’m just thinking about how much I shelter my daughter from, like, cuss words or I try, you know, you get uneasy… a romantic scene might come up on the film. It’s not necessarily sex, but it’s like something romantic. You know, you get uneasy when you watch that with your parent. You’re like ehhhh.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I’m trying to tell my daughter it’s okay to express love when you’re an adult, you know, and of age and can consent. And at the same time, let’s change the channel. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Qing Qi: \u003c/b>\u003cspan style=\"font-weight: 400\">Right. Right. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> But you’re like, nah, let’s talk about it. Let’s be real. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\"> What’s next for you as an artist? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Qing Qi:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’m a full time student. I go to Laney College. Shout out to the Peralta Community College network. Um, I’m taking, like, digital media classes, theater, um, you know, script writing. I feel like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Donna and Ally \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">was definitely, like, opened a part of my brain that I didn’t see for myself yet. Um, so I’m getting into film, like script writing and shorts and just trying to immerse myself into that world of acting. And, you know, shit maybe do a little play or something.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Oh, and Pu-Tang! I am transitioning Pu-Tang Clan into a cooperative, so we are going to transition to event production and, a creative production cooperative. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Many hats, I can appreciate it. As an artist that’s the way to keep the ball rolling, like constantly, constantly on the move, constantly growing. Of all those things that you mentioned, do any of them make you nervous? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Qing Qi:\u003c/b>\u003cspan style=\"font-weight: 400\"> Money. Like, that’s cra-… It’s crazy that my first answers are money, but being able to show up financially in that way and keep my word, you know, when somebody shares their art or shares space with me is really important to me.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Qing Qi: \u003c/b>\u003cspan style=\"font-weight: 400\">My rent going to have to wait, you know? Fuck rent! Art over rent. By the time they try to evict me, I’m already had pay the rent. You feel me? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">We\u003c/span> \u003cspan style=\"font-weight: 400\">love it. More of it. Um, keep sharing your voice because there’s definitely audiences listening and audiences learning from you. And I’m part of that audience so thank you. For sure\u003c/span>\u003c/p>\n\u003cp>\u003cb>Qing Qi:\u003c/b>\u003cspan style=\"font-weight: 400\"> Right, right. Thank you. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Qing Qi, you are as real as they come. Thank you! Thank you for taking time out of your schedule to chop it up, give some insight that I needed to hear and share your story with everyone on the internet, ever. Yeah.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To keep up with Qing Qi’s events, movies and more, find her on the socials– her IG is allhailtheqing. That’s A-L-L-H-A-i-L-T-H-E-Q-i-N-G. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Find her music on all streaming platforms, keep in mind that her name is spelled Q-i-N-G Q-i. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And if you’re in the Bay, pull up to her “Kill Your Lover” party on Feb 16th at 9 Lives in Oakland.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw. \u003c/span>\u003cspan style=\"font-weight: 400\">It was produced by Marisol Medina-Cadena. \u003c/span>\u003cspan style=\"font-weight: 400\">Chris Hambrick is our editor. Sheree Bishop is our production intern. \u003c/span>\u003cspan style=\"font-weight: 400\">Christopher Beale is our engineer. Additional support provided by Jen Chien, Katie Sprenger, Cesar Saldaña, Ugur Dursun and Holly Kernan.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thank you all for listening, be sure to tell a friend to tap in, leave a comment, rate the podcast, all of that. Thank you again!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED Production.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Until next time, peace.\u003c/span>\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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\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/13951286/the-qing-of-queens","authors":["11491","11528"],"programs":["arts_8720"],"categories":["arts_1"],"tags":["arts_1331","arts_21907","arts_831","arts_3465","arts_681","arts_1143","arts_21906","arts_7580","arts_21908","arts_21909"],"featImg":"arts_13951314","label":"arts_8720"},"arts_13937866":{"type":"posts","id":"arts_13937866","meta":{"index":"posts_1591205157","site":"arts","id":"13937866","score":null,"sort":[1699902024000]},"guestAuthors":[],"slug":"local-surfers-screening-gaza-surf-club","title":"Local Surfers Raise Awareness, Call for Ceasefire with ‘Gaza Surf Club’ Screening","publishDate":1699902024,"format":"standard","headTitle":"Local Surfers Raise Awareness, Call for Ceasefire with ‘Gaza Surf Club’ Screening | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>“Gaza is nothing without the beach. It’s the only escape for the people.”\u003c/p>\n\u003cp>That’s a line from a Palestinian surfer in \u003ca href=\"https://www.youtube.com/watch?v=FdHF9AOZeGw\">\u003ci>Gaza Surf Club\u003c/i>\u003c/a>, a 2016 film which documents an intergenerational and mixed-gender group of surfers in Gaza. On Friday, Nov. 17, the documentary screens in San Francisco and Berkeley as part of a grassroots effort to raise relief funds for families impacted by the ongoing conflict between Israel and Hamas.\u003c/p>\n\u003cp>The death toll from Israeli air strikes in Gaza surpassed 11,000 late last week, according to Gaza’s ministry of health. While the Israeli government has said its air strikes are a necessary response to the Oct. 7 attacks by Hamas that took around 240 people hostage and killed approximately 1,200 in Israel, a human rights expert from the U.N. has said the Israeli military’s current bombardment could soon amount to “\u003ca href=\"https://www.ohchr.org/en/press-releases/2023/10/un-expert-warns-new-instance-mass-ethnic-cleansing-palestinians-calls\">ethnic cleansing\u003c/a>.”\u003c/p>\n\u003cp>“This is about amplifying Palestinian voices, which aren’t very accessible right now,” says Yasmine El-Hage, a Bay Area surfer of Lebanese, Peruvian and Iranian descent who is co-organizing the San Francisco event. “Lives in the Middle East and for people of color worldwide aren’t valued equally in our discourse. We see the numbers [of deaths] rising to 11,000, but we need to be reminded that these are people with dreams, just like us.”\u003c/p>\n\u003cp>For El-Hage and her community of waveriders, that means cultivating a space for connection and discourse centered on a universal human need: access to water. El-Hage — who has volunteered her time as a member of an oil spill emergency response team, and who is active in advocating for clean water rights in San Francisco’s Bayview-Hunters Point community — has previously worked in refugee camps amid various crises. For her, surfing is an escape and a reflection of the human condition, regardless of where you stand on a map.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“[Surfing is] a taste of freedom for all of us, no matter what you’re doing, whatever is going on, you just go out into the ocean and it’s incredibly peaceful,” El-Hage says. “So many of us understand that feeling deeply.”\u003c/p>\n\u003cp>The screening marks a collaboration between El-Hage and other surfers and community advocates: Drew Madsen of the \u003ca href=\"https://bwtf.surfrider.org/\">Blue Water Task Force\u003c/a> and Golden Gate Longboard Collective; Leenah, a surfer who is organizing a Surf Power Hour in solidarity with Palestinians in the Peninsula; and Marie Salem, a California community organizer.\u003c/p>\n\u003cp>The organizers welcome those in the Bay Area who care about the conflict in Gaza but haven’t been quite sure how to get involved. In addition to the screening, a friend of El-Hage, who grew up in Gaza and currently has family there, will speak about their experiences in a Q&A after the film. And the Bay Area’s own \u003ca href=\"https://www.kqed.org/arts/13928345/mishmish-vegan-palestinian-pop-up\">vegan Palestinian pop-up, Mishmish\u003c/a>, will be on hand to serve diasporic plates throughout the night.\u003c/p>\n\u003cfigure id=\"attachment_13928355\" class=\"wp-caption alignnone\" style=\"max-width: 1366px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928355\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/5HOA9KqO.jpg-large.jpeg\" alt=\"\" width=\"1366\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large.jpeg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-800x1199.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-1020x1529.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-768x1151.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-1025x1536.jpeg 1025w\" sizes=\"(max-width: 1366px) 100vw, 1366px\">\u003cfigcaption class=\"wp-caption-text\">Bazella, a carrot and green pea stew, served at Mishmish. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The screening will be hosted at a private location with a suggestion donation of $10, and the option to lend additional aid to the \u003ca href=\"https://www.palestinercs.org/en\">Palestine Red Crescent Society\u003c/a>, a member of the International Red Cross. In order to attend, audience members must show proof of having reached out to their representatives \u003ca href=\"https://www.jewishvoiceforpeace.org/resource/call-congress-support-ceasefire/\">calling for a ceasefire\u003c/a>.\u003c/p>\n\u003cp>Coincidentally, the East Bay surf club \u003ca href=\"https://www.instagram.com/queersurf/?hl=en\">Queer Surf\u003c/a>, in conjunction with Cinema Iran, will screen the film in Berkeley that same night. El-Hage says the events weren’t coordinated, but are a reflection of a “collective consciousness in this heavy moment.”\u003c/p>\n\u003cp>El-Hage, who is in the process of applying to medical school, notes that 2.2 million people in Gaza currently don’t have access to food, water, fuel, electricity, medicine and other basic needs. “Why are we calling for a ceasefire? People are lacking basic services and are under siege,” she says. “\u003ca href=\"https://www.npr.org/2023/10/19/1206479861/israel-gaza-hamas-children-population-war-palestinians\">40% of them are under the age of 14\u003c/a>. That’s a crucial humanitarian issue.”\u003c/p>\n\u003cp>El-Hage continues: “Here in the Bay Area, we love surfing. We love the ocean. We can all approach this with that love and learn about a group of amazing people who just happen to speak another language, and that can lead to taking more action.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone 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>\u003ca href=\"https://gazasurfclub.com/\">‘Gaza Surf Club’\u003c/a> screens in San Francisco on Friday, Nov. 17 at 7 p.m. For more details, \u003ca href=\"mailto:sfsurfingpals@gmail.com\">email the organizers\u003c/a>. \u003ca href=\"https://www.instagram.com/queersurf/?hl=en\">Queer Surf\u003c/a> will screen the film Friday, Nov. 17 at 7 p.m. at \u003ca href=\"https://www.2727.today/\">2727 Gallery\u003c/a> (2727 California St., Berkeley). $10 donation suggested. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Two events on Nov. 17 seek to amplify Palestinian voices and provide an entry point for people looking to get involved. ","status":"publish","parent":0,"modified":1705003107,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":802},"headData":{"title":"Local Surfers to Screen ‘Gaza Surf Club’ in SF and Berkeley | KQED","description":"Two events on Nov. 17 seek to amplify Palestinian voices and provide an entry point for people looking to get involved. ","ogTitle":"Local Surfers Raise Funds, Awareness with ‘Gaza Surf Club’ Screening","ogDescription":"","ogImgId":"","twTitle":"Local Surfers Raise Funds, Awareness with ‘Gaza Surf Club’ Screening","twDescription":"","twImgId":"","socialTitle":"Local Surfers to Screen ‘Gaza Surf Club’ in SF and Berkeley %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Local Surfers Raise Awareness, Call for Ceasefire with ‘Gaza Surf Club’ Screening","datePublished":"2023-11-13T19:00:24.000Z","dateModified":"2024-01-11T19:58:27.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13937866/local-surfers-screening-gaza-surf-club","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Gaza is nothing without the beach. It’s the only escape for the people.”\u003c/p>\n\u003cp>That’s a line from a Palestinian surfer in \u003ca href=\"https://www.youtube.com/watch?v=FdHF9AOZeGw\">\u003ci>Gaza Surf Club\u003c/i>\u003c/a>, a 2016 film which documents an intergenerational and mixed-gender group of surfers in Gaza. On Friday, Nov. 17, the documentary screens in San Francisco and Berkeley as part of a grassroots effort to raise relief funds for families impacted by the ongoing conflict between Israel and Hamas.\u003c/p>\n\u003cp>The death toll from Israeli air strikes in Gaza surpassed 11,000 late last week, according to Gaza’s ministry of health. While the Israeli government has said its air strikes are a necessary response to the Oct. 7 attacks by Hamas that took around 240 people hostage and killed approximately 1,200 in Israel, a human rights expert from the U.N. has said the Israeli military’s current bombardment could soon amount to “\u003ca href=\"https://www.ohchr.org/en/press-releases/2023/10/un-expert-warns-new-instance-mass-ethnic-cleansing-palestinians-calls\">ethnic cleansing\u003c/a>.”\u003c/p>\n\u003cp>“This is about amplifying Palestinian voices, which aren’t very accessible right now,” says Yasmine El-Hage, a Bay Area surfer of Lebanese, Peruvian and Iranian descent who is co-organizing the San Francisco event. “Lives in the Middle East and for people of color worldwide aren’t valued equally in our discourse. We see the numbers [of deaths] rising to 11,000, but we need to be reminded that these are people with dreams, just like us.”\u003c/p>\n\u003cp>For El-Hage and her community of waveriders, that means cultivating a space for connection and discourse centered on a universal human need: access to water. El-Hage — who has volunteered her time as a member of an oil spill emergency response team, and who is active in advocating for clean water rights in San Francisco’s Bayview-Hunters Point community — has previously worked in refugee camps amid various crises. For her, surfing is an escape and a reflection of the human condition, regardless of where you stand on a map.\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>“[Surfing is] a taste of freedom for all of us, no matter what you’re doing, whatever is going on, you just go out into the ocean and it’s incredibly peaceful,” El-Hage says. “So many of us understand that feeling deeply.”\u003c/p>\n\u003cp>The screening marks a collaboration between El-Hage and other surfers and community advocates: Drew Madsen of the \u003ca href=\"https://bwtf.surfrider.org/\">Blue Water Task Force\u003c/a> and Golden Gate Longboard Collective; Leenah, a surfer who is organizing a Surf Power Hour in solidarity with Palestinians in the Peninsula; and Marie Salem, a California community organizer.\u003c/p>\n\u003cp>The organizers welcome those in the Bay Area who care about the conflict in Gaza but haven’t been quite sure how to get involved. In addition to the screening, a friend of El-Hage, who grew up in Gaza and currently has family there, will speak about their experiences in a Q&A after the film. And the Bay Area’s own \u003ca href=\"https://www.kqed.org/arts/13928345/mishmish-vegan-palestinian-pop-up\">vegan Palestinian pop-up, Mishmish\u003c/a>, will be on hand to serve diasporic plates throughout the night.\u003c/p>\n\u003cfigure id=\"attachment_13928355\" class=\"wp-caption alignnone\" style=\"max-width: 1366px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928355\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/5HOA9KqO.jpg-large.jpeg\" alt=\"\" width=\"1366\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large.jpeg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-800x1199.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-1020x1529.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-768x1151.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-1025x1536.jpeg 1025w\" sizes=\"(max-width: 1366px) 100vw, 1366px\">\u003cfigcaption class=\"wp-caption-text\">Bazella, a carrot and green pea stew, served at Mishmish. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The screening will be hosted at a private location with a suggestion donation of $10, and the option to lend additional aid to the \u003ca href=\"https://www.palestinercs.org/en\">Palestine Red Crescent Society\u003c/a>, a member of the International Red Cross. In order to attend, audience members must show proof of having reached out to their representatives \u003ca href=\"https://www.jewishvoiceforpeace.org/resource/call-congress-support-ceasefire/\">calling for a ceasefire\u003c/a>.\u003c/p>\n\u003cp>Coincidentally, the East Bay surf club \u003ca href=\"https://www.instagram.com/queersurf/?hl=en\">Queer Surf\u003c/a>, in conjunction with Cinema Iran, will screen the film in Berkeley that same night. El-Hage says the events weren’t coordinated, but are a reflection of a “collective consciousness in this heavy moment.”\u003c/p>\n\u003cp>El-Hage, who is in the process of applying to medical school, notes that 2.2 million people in Gaza currently don’t have access to food, water, fuel, electricity, medicine and other basic needs. “Why are we calling for a ceasefire? People are lacking basic services and are under siege,” she says. “\u003ca href=\"https://www.npr.org/2023/10/19/1206479861/israel-gaza-hamas-children-population-war-palestinians\">40% of them are under the age of 14\u003c/a>. That’s a crucial humanitarian issue.”\u003c/p>\n\u003cp>El-Hage continues: “Here in the Bay Area, we love surfing. We love the ocean. We can all approach this with that love and learn about a group of amazing people who just happen to speak another language, and that can lead to taking more action.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone 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>\u003ca href=\"https://gazasurfclub.com/\">‘Gaza Surf Club’\u003c/a> screens in San Francisco on Friday, Nov. 17 at 7 p.m. For more details, \u003ca href=\"mailto:sfsurfingpals@gmail.com\">email the organizers\u003c/a>. \u003ca href=\"https://www.instagram.com/queersurf/?hl=en\">Queer Surf\u003c/a> will screen the film Friday, Nov. 17 at 7 p.m. at \u003ca href=\"https://www.2727.today/\">2727 Gallery\u003c/a> (2727 California St., Berkeley). $10 donation suggested. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13937866/local-surfers-screening-gaza-surf-club","authors":["11748"],"programs":["arts_140"],"categories":["arts_1","arts_74"],"tags":["arts_1270","arts_8838","arts_3465","arts_21682","arts_1146","arts_585"],"featImg":"arts_13937876","label":"arts_140"},"arts_13933239":{"type":"posts","id":"arts_13933239","meta":{"index":"posts_1591205157","site":"arts","id":"13933239","score":null,"sort":[1692828021000]},"guestAuthors":[],"slug":"art-strikes-back-indies-blockbusters-and-film-festivals-to-catch-this-fall","title":"Art Strikes Back: Indies, Blockbusters and Film Festivals to Catch This Fall","publishDate":1692828021,"format":"standard","headTitle":"Art Strikes Back: Indies, Blockbusters and Film Festivals to Catch This Fall | KQED","labelTerm":{},"content":"\u003cp>\u003cem>\u003cstrong>Find more of KQED’s picks for the best \u003ca href=\"https://www.kqed.org/fallguide2023\">fall 2023 events here\u003c/a>.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cem>This guide contains an update.\u003c/em>\u003c/p>\n\u003cp>The fall movie schedule is rife with behemoths that, Hollywood hopes, will continue the theatergoing boom driven by \u003cem>Barbie\u003c/em>, \u003cem>Oppenheimer\u003c/em> and a few aging action franchises. A shadow darkens the landscape, however: the ongoing Writers Guild and Screen Actors Guild-American Federation of Television and Radio Artists strikes for a fair contract from the streamers and studios. One immediate though small consequence is that a few releases were bumped to next year, after agreements are signed and the talent is available to hawk the merchandise.\u003c/p>\n\u003cp>You won’t miss ’em, though — in part because Hollywood isn’t the whole picture.\u003c/p>\n\u003cfigure id=\"attachment_13933876\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Photo-1-6_BU2B8689.jpg\" alt=\"\" width=\"1620\" height=\"1080\" class=\"size-full wp-image-13933876\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Photo-1-6_BU2B8689.jpg 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Photo-1-6_BU2B8689-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Photo-1-6_BU2B8689-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Photo-1-6_BU2B8689-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Photo-1-6_BU2B8689-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Photo-1-6_BU2B8689-1536x1024.jpg 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘26.2 to Life.’ \u003ccite>(Courtesy the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://roxie.com/film/26-2-to-life/\" target=\"_blank\" rel=\"noopener\">26.2 to Life\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 22\u003cbr>\nRoxie Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>Run, don’t walk, to Christine Yoo’s locally produced documentary shot on location at San Quentin. Blending intimate character study with big-picture social issue, Yoo profiles some of the marathon runners (and their volunteer coaches) in the state prison’s 1000 Mile Club. This is where the rubber(-soled shoes) meet the road, on a “track” of unforgiving gravel surrounded by high walls, under the gaze of guards. Winner of the Audience Award at SF DocFest, \u003cem>26.2 to Life\u003c/em> takes us into a circle of runners determinedly and hopefully sprinting toward a way out.\u003c/p>\n\u003cfigure id=\"attachment_13933614\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-599513516-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933614\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-599513516-800x549.jpg\" alt=\"a middle-aged Latino man, Carlos Santana, smiles while playing guitar\" width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-599513516-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-599513516-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-599513516-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-599513516-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-599513516-1536x1054.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-599513516-2048x1405.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-599513516-1920x1317.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Carlos Santana performs at AT&T Park in San Francisco on Sept. 4, 2016. (Steve Jennings/WireImage) \u003ccite>(Steve Jennings/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.carlosglobalpremiere.com/\" target=\"_blank\" rel=\"noopener\">Carlos\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Bay Area screenings Sept. 23, 24 and 27; wider release Sept. 29\u003cbr>\nAMC Metreon and Balboa Theater in S.F.; other theaters around the Bay Area\u003c/em>\u003c/p>\n\u003cp>The San Francisco sound wasn’t birthed entirely in the Haight by the Grateful Dead and Jefferson Airplane. Carlos Santana exploded out of the Mission (after learning his chops in his native Mexico) in August 1969, his eponymous band’s debut album hitting stores the week after their electrifying performance at Woodstock. Rudy Valdez’s documentary depicts a seeker and an experimenter, an artist whose ’70s forays into jazz fusion and beyond flummoxed record company execs wanting the guitarist to repeat his Latin rock (star) riffs.\u003c/p>\n\u003cp>Pre-opening screenings are slated for theaters all over the Bay Area Sept. 23, 24 and 27, with onscreen appearances by Santana and Valdez. There won’t be a big S.F. premiere, regrettably — not even in conjunction with the \u003ca href=\"https://www.cinemassf.org/\" target=\"_blank\" rel=\"noopener\">S.F. Latino Film Festival\u003c/a> (Sept. 28–Oct. 14), marking a missed opportunity for former \u003cem>Rolling Stone\u003c/em> journalist and interviewer par excellence Ben Fong Torres to play master of ceremonies.\u003c/p>\n\u003cfigure id=\"attachment_13933641\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/2_Barbara-Dane-_-the-Chambers-Brothers-%C2%A9-Diana-Davies.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933641\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/2_Barbara-Dane-_-the-Chambers-Brothers-%C2%A9-Diana-Davies-800x599.jpg\" alt=\"a group of singers around a microphone, four Black men and one white woman, in a black and white photo\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2_Barbara-Dane-_-the-Chambers-Brothers-©-Diana-Davies-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2_Barbara-Dane-_-the-Chambers-Brothers-©-Diana-Davies-1020x763.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2_Barbara-Dane-_-the-Chambers-Brothers-©-Diana-Davies-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2_Barbara-Dane-_-the-Chambers-Brothers-©-Diana-Davies-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2_Barbara-Dane-_-the-Chambers-Brothers-©-Diana-Davies-1536x1149.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2_Barbara-Dane-_-the-Chambers-Brothers-©-Diana-Davies-2048x1532.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2_Barbara-Dane-_-the-Chambers-Brothers-©-Diana-Davies-1920x1437.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Oakland singer-activist Barbara Dane sings with the Chambers Brothers at the Newport Folk Festival 1965. Maureen Gosling’s new documentary about Dane will premiere at the 46th annual Mill Valley Film Festival. \u003ccite>(Courtesy Diana Davies)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.mvff.com/\" target=\"_blank\" rel=\"noopener\">46th Annual Mill Valley Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 5–15\u003c/em>\u003cbr>\n\u003cem>Theaters throughout Marin County, additional screenings at the Roxie in San Francisco and BAMPFA, Berkeley\u003c/em>\u003c/p>\n\u003cp>For the last 20 or so autumns, the stars have come out to Marin County to launch their dramas on the path to (they hope) Academy Awards. But actors aren’t promoting their films during the strikes, so MVFF director Mark Fishkin gets up every day nervously rooting for a resolution. It may turn out that Bay Area documentary filmmakers — another pillar of the festival program — soak up more of the spotlight this year. Cue East Bay director and editor extraordinaire Maureen Gosling, whose brand new \u003cem>The 9 Lives of Barbara Dane\u003c/em> pays tribute to the Oakland nonagenarian singer-activist who (among her many, many accomplishments) opened a blues club in North Beach in 1961. Lynn Hershman Leeson, the visionary local artist and filmmaker (\u003cem>Conceiving Ada\u003c/em>, \u003cem>Teknolust\u003c/em>, \u003cem>Strange Culture\u003c/em>) and early explorer of the effects of new technology on our perceptions, privacy and humanity, takes the stage for a tribute. Errol Morris returns to the Bay Area (his pivotal encounter with Werner Herzog in the ’70s in Berkeley is the stuff of legend) with \u003cem>The Pigeon Tunnel\u003c/em> (Oct. 20 in theaters and Apple TV+), a deep dive into British spy-cum-novelist John Le Carré that confirms truth is slipperier than fiction.\u003c/p>\n\u003cfigure id=\"attachment_13933272\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Apple_TV_Killers_of_the_Flower_Moon_key_art-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933272\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Apple_TV_Killers_of_the_Flower_Moon_key_art-800x533.jpg\" alt=\"a still of a dark haired actress and a blond actor at a brown table\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Apple_TV_Killers_of_the_Flower_Moon_key_art-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Apple_TV_Killers_of_the_Flower_Moon_key_art-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Apple_TV_Killers_of_the_Flower_Moon_key_art-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Apple_TV_Killers_of_the_Flower_Moon_key_art-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Apple_TV_Killers_of_the_Flower_Moon_key_art-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Apple_TV_Killers_of_the_Flower_Moon_key_art-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Apple_TV_Killers_of_the_Flower_Moon_key_art-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lily Gladstone and Leonardo DiCaprio in ‘Killers of the Flower Moon.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.apple.com/tv-pr/originals/killers-of-the-flower-moon/\" target=\"_blank\" rel=\"noopener\">Killers of the Flower Moon\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oct. 20\u003cbr>\nTheaters around the Bay Area, subsequently streaming on Apple TV+\u003c/em>\u003c/p>\n\u003cp>Martin Scorsese drops another self-important, three-and-a-half-hour true-crime saga that his devotees will devour in theaters and the rest of us will watch over a couple nights on our couches. Adapted from David Grann’s 2017 nonfiction book \u003cem>Killers of the Flower Moon: The Osage Murders and The Birth of The FBI\u003c/em>, the movie depicts a 20th century smash-and-grab of Native American property by white people. In the 1920s, after the Osage people were awarded rights to the oil found on their Oklahoma land, they were bedeviled by swindlers, extortionists and murderers. (Are you shocked that there will be blood in a Scorsese film?) Here’s hoping the quintessential New Yorker’s neo-Western piques an interest in hearing contemporary Indigenous voices — like those centered every year in the American Indian Film Festival (Nov. 3–11 at the SFPL and other venues).\u003c/p>\n\u003cfigure id=\"attachment_13933275\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/A24_Priscilla_VeniceFinal-1-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933275\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/A24_Priscilla_VeniceFinal-1-800x533.jpg\" alt=\"a woman with black hair looks out the window of a limo in a crowd of people\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A24_Priscilla_VeniceFinal-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A24_Priscilla_VeniceFinal-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A24_Priscilla_VeniceFinal-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A24_Priscilla_VeniceFinal-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A24_Priscilla_VeniceFinal-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A24_Priscilla_VeniceFinal-1-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A24_Priscilla_VeniceFinal-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cailee Spaeny is Priscilla Presley in ‘Priscilla.’ \u003ccite>( Sabrina Lantos/A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://a24films.com/films/priscilla\" target=\"_blank\" rel=\"noopener\">Priscilla\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oct. 27\u003cbr>\nTheaters everywhere\u003c/em>\u003c/p>\n\u003cp>Sofia Coppola (\u003cem>Marie Antoinette\u003c/em>) revisits and revises the legendary life(style) of another King from the female perspective. Priscilla Presley’s best-selling 1985 memoir \u003cem>Elvis and Me\u003c/em> provides the perfect vehicle for the filmmaker’s fascination with the interior lives of famous (and famously underrated) women with spare-no-expense interior decorators. Priscilla (played here by Cailee Spaeny) was only 14 when she met the star (he was 24), so expect plenty of psychosexual melodrama and heartbreak hotel before Priscilla establishes her own identity and prevails despite the tabloid press. Jacob Elordi as Elvis does double duty as troubled villain and eye candy.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1hkspAW-r-0\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://apeconcerts.com/events/claudio-simonettis-goblin-231027/\" target=\"_blank\" rel=\"noopener\">Demons\u003c/a>’ with live score by Goblin\u003c/h2>\n\u003cp>\u003cem>Oct. 27\u003c/em>\u003cbr>\n\u003cem>The Castro Theatre, San Francisco\u003c/em>\u003c/p>\n\u003cp>It may be a tad early to start making your adult Halloween plans. Unless, that is, horror is your home, your haven, your happy place. It certainly is for composer and keyboard player Claudio Simonetti, who got his start working with giallo master Dario Argento back in the day as part of the Italian prog-rock band Goblin. The group has evolved over the years while Simonetti established himself as a prolific composer for scary movies and TV shows. The band’s back together and primed to perform Simonetti’s score to the gory, nonsensical and fun \u003cem>Demons\u003c/em> (1985). Co-written and produced by Argento and starring the immortal Urbano Barberini, Natasha Hovey and Karl Zinny as horror moviegoers trapped in a demon-infested theater, it’s a meta experience nicely suited to the Castro. Goblin returns to the stage after the film and intermission to play their hits and passages from other movie scores.\u003c/p>\n\u003cfigure id=\"attachment_13933721\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933721\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Vogue_byTommyLau_03_2000.jpg\" alt=\"Dark movie theater with view over heads of audience looking at screen\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Vogue_byTommyLau_03_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Vogue_byTommyLau_03_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Vogue_byTommyLau_03_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Vogue_byTommyLau_03_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Vogue_byTommyLau_03_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Vogue_byTommyLau_03_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Vogue_byTommyLau_03_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A Doc Stories screening at the Vogue in 2022. \u003ccite>(Photo by Tommy Lau; Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sffilm.org/year-round-programming/doc-stories/?gad=1&gclid=CjwKCAjw5_GmBhBIEiwA5QSMxFujO_GnZOpRidBMAwim6601G7nwpBWUf_xxHpF3LFV2Ue6OefvFoBoCDNAQAvD_BwE\" target=\"_blank\" rel=\"noopener\">Doc Stories\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 2–9\u003cbr>\nVogue Theatre, San Francisco\u003c/em>\u003c/p>\n\u003cp>Noting the Mill Valley Film Festival’s emergence as an important stop for prestige narratives, SFFILM is positioning Doc Stories to be a magnet for nonfiction films with awards ambitions. (How come we’re so fortunate? The Bay Area boasts the most Academy and guild voters after Los Angeles, New York and London.) Titles of particular local interest premiering at the Toronto International Film Festival that could make their way here include \u003cem>Menus-Plaisirs Les Troisgros\u003c/em>, Frederick Wiseman’s four-hour feast for gastronomes, and \u003cem>Summer Qamp\u003c/em>, Jen Markowitz’s portrait of a rural Canadian outpost for queer, nonbinary and trans kids. Karim Amer’s (\u003cem>The Square\u003c/em>) latest urgent verité missive from a global hotspot, \u003cem>Defiant\u003c/em>, puts us in the room with Ukraine Foreign Minister Dmytro Kuleba.\u003c/p>\n\u003cp>https://youtu.be/4lBqMhZ3NBg?feature=shared\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003c/p>\n\u003ch2>‘Rustin’\u003c/h2>\n\u003cp>\u003ci>Nov. 3 in theaters, Nov. 17 on Netflix\u003c/i>\u003c/p>\n\u003cp>East Bay filmmaker Nancy Kates and Bennett Singer’s 2003 documentary, \u003cem>Brother Outsider: The Life of Bayard Rustin\u003c/em> (streaming for free on \u003ca href=\"https://www.kanopy.com/en/product/139631?vp=calstatela\">Kanopy\u003c/a>), remains a revelatory portrait of Dr. Martin Luther King Jr.’s confidant and the organizer of the 1963 March on Washington. Rustin never received his due — he largely had to remain behind the scenes — because depraved G-man J. Edgar Hoover would have used Rustin’s homosexuality to undermine public support for the Civil Rights Movement (which he deemed a domestic threat). \u003cem>Brother Outsider\u003c/em> debuted at Sundance and aired on PBS, yet history suggests George C. Wolfe’s biopic (produced by Netflix, starring Colman Domingo and co-written by Julian Breece and Dustin Lance Black, who wrote \u003cem>Milk\u003c/em> and, ahem, Clint Eastwood’s \u003cem>J. Edgar\u003c/em>) will reach even wider audiences.\u003c/p>\n\u003cfigure id=\"attachment_13933595\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-953151484-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933595\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-953151484-800x569.jpg\" alt=\"an older white man, filmmaker Werner Herzog, gestures in front of a microphone on stage\" width=\"800\" height=\"569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-953151484-800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-953151484-1020x725.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-953151484-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-953151484-768x546.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-953151484-1536x1092.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-953151484-2048x1456.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-953151484-1920x1365.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Werner Herzog gestures during a 2018 press conference in Peru, where his 1982 drama ‘Fitzcarraldo,’ was set. The acclaimed filmmaker will appear at the Berkeley Art Museum and Pacific Film Archive to kick off a nearly four month-long retrospective of his work. \u003ccite>(RIS BOURONCLE/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://bampfa.org/program/infinite-horizons-films-werner-herzog\" target=\"_blank\" rel=\"noopener\">Infinite Horizons: The Films of Werner Herzog\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 9 through Feb. 28\u003cbr>\nBAMPFA, Berkeley\u003c/em>\u003c/p>\n\u003cp>Who would have predicted that the oddest oddball of the New German Cinema would become the most beloved filmmaker on the planet, the great demolisher of “objective” documentary and a patron saint of American independent film? Indefatigable, endlessly curious and larger than life, Herzog made the arthouse masterpieces \u003cem>Aguirre, the Wrath of God\u003c/em> and \u003cem>Fitzcarraldo,\u003c/em> and the nonfiction classics \u003cem>Grizzly Man\u003c/em> and \u003cem>Encounters at the End of the World\u003c/em> (among the many, many films included in this retrospective). An iconoclast’s iconoclast, Herzog crashed the barricades between narrative and documentary and changed the movies forever. His appearances at the Nov. 9\u003cem>–\u003c/em>12 screenings are essentially sold out.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AhKLpJmHhIg\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003c/p>\n\u003ch2>‘The Holdovers’\u003c/h2>\n\u003cp>\u003cem>Nov. 10\u003cbr>\nTheaters everywhere\u003c/em>\u003c/p>\n\u003cp>Alexander Payne and Paul Giamatti pop a cork some two decades after \u003cem>Sideways\u003c/em> with a period film that aims to ace the holiday heart-warmer sweepstakes. Giamatti plays a cynical East Coast prep school teacher (Scrooge Lite?) given the less-than-cheerful Christmas assignment of tending those students with nowhere to go on break. The tried-and-true tropes of bonding, mutual respect and transformation are on the menu, though Payne and Giamatti’s talents for tiptoeing through schmaltz should keep the sentimentality at bay. The trailer, interestingly, gives off serious ‘70s vibes, from the Traffic and Badfinger songs to the typeface of the title. If Payne was visited by the spirits of Robert Altman, Alan J. Pakula and Hal Ashby, I’ll welcome a little grit in the fruitcake.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OAZWXUkrjPc\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003c/p>\n\u003ch2>‘Napoleon’\u003c/h2>\n\u003cp>\u003cem>Nov. 22\u003c/em>\u003cbr>\n\u003cem>Theaters everywhere\u003c/em>\u003c/p>\n\u003cp>Oscar season invades for real with the thunderous arrival of another Ridley Scott horse opera about a Great Man. Or maybe I’ve got it all wrong and we’re not in for the spectacle of a Method actor (Joaquin Phoenix) in a tri-corner hat stomping through Russian mud in a maelstrom of bluster and angst. The logline, you see, suggests that Napoleon’s relationship with Empress Josephine (Vanessa Kirby) is the focus of the movie, but no biographical study would be complete without the volcano of ambition, success and failure. It seems unlikely, though, that Scott is going to reinvent Josephine as history’s first career coach, not when he’s choreographing CGI-enhanced battle scenes to “rival” Abel Gance’s silent masterpiece \u003cem>Napoleon\u003c/em>.\u003c/p>\n\u003cp>\u003ci>Aug. 28: This guide was updated to replace the listing for ‘Dune: Part Two,’ which will now be released March 15, with a recommendation for ‘Rustin.’\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Escape from reality with a little help from Carlos Santana, Martin Scorsese, Sofia Coppola and Werner Herzog.","status":"publish","parent":0,"modified":1705005111,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":34,"wordCount":2051},"headData":{"title":"Art Strikes Back: Indies, Blockbusters and Film Festivals to Catch This Fall | KQED","description":"Escape from reality with a little help from Carlos Santana, Martin Scorsese, Sofia Coppola and Werner Herzog.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Art Strikes Back: Indies, Blockbusters and Film Festivals to Catch This Fall","datePublished":"2023-08-23T22:00:21.000Z","dateModified":"2024-01-11T20:31:51.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Fall Guide 2023","sourceUrl":"/fallguide2023","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13933239/art-strikes-back-indies-blockbusters-and-film-festivals-to-catch-this-fall","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Find more of KQED’s picks for the best \u003ca href=\"https://www.kqed.org/fallguide2023\">fall 2023 events here\u003c/a>.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cem>This guide contains an update.\u003c/em>\u003c/p>\n\u003cp>The fall movie schedule is rife with behemoths that, Hollywood hopes, will continue the theatergoing boom driven by \u003cem>Barbie\u003c/em>, \u003cem>Oppenheimer\u003c/em> and a few aging action franchises. A shadow darkens the landscape, however: the ongoing Writers Guild and Screen Actors Guild-American Federation of Television and Radio Artists strikes for a fair contract from the streamers and studios. One immediate though small consequence is that a few releases were bumped to next year, after agreements are signed and the talent is available to hawk the merchandise.\u003c/p>\n\u003cp>You won’t miss ’em, though — in part because Hollywood isn’t the whole picture.\u003c/p>\n\u003cfigure id=\"attachment_13933876\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Photo-1-6_BU2B8689.jpg\" alt=\"\" width=\"1620\" height=\"1080\" class=\"size-full wp-image-13933876\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Photo-1-6_BU2B8689.jpg 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Photo-1-6_BU2B8689-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Photo-1-6_BU2B8689-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Photo-1-6_BU2B8689-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Photo-1-6_BU2B8689-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Photo-1-6_BU2B8689-1536x1024.jpg 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘26.2 to Life.’ \u003ccite>(Courtesy the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://roxie.com/film/26-2-to-life/\" target=\"_blank\" rel=\"noopener\">26.2 to Life\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 22\u003cbr>\nRoxie Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>Run, don’t walk, to Christine Yoo’s locally produced documentary shot on location at San Quentin. Blending intimate character study with big-picture social issue, Yoo profiles some of the marathon runners (and their volunteer coaches) in the state prison’s 1000 Mile Club. This is where the rubber(-soled shoes) meet the road, on a “track” of unforgiving gravel surrounded by high walls, under the gaze of guards. Winner of the Audience Award at SF DocFest, \u003cem>26.2 to Life\u003c/em> takes us into a circle of runners determinedly and hopefully sprinting toward a way out.\u003c/p>\n\u003cfigure id=\"attachment_13933614\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-599513516-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933614\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-599513516-800x549.jpg\" alt=\"a middle-aged Latino man, Carlos Santana, smiles while playing guitar\" width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-599513516-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-599513516-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-599513516-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-599513516-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-599513516-1536x1054.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-599513516-2048x1405.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-599513516-1920x1317.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Carlos Santana performs at AT&T Park in San Francisco on Sept. 4, 2016. (Steve Jennings/WireImage) \u003ccite>(Steve Jennings/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.carlosglobalpremiere.com/\" target=\"_blank\" rel=\"noopener\">Carlos\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Bay Area screenings Sept. 23, 24 and 27; wider release Sept. 29\u003cbr>\nAMC Metreon and Balboa Theater in S.F.; other theaters around the Bay Area\u003c/em>\u003c/p>\n\u003cp>The San Francisco sound wasn’t birthed entirely in the Haight by the Grateful Dead and Jefferson Airplane. Carlos Santana exploded out of the Mission (after learning his chops in his native Mexico) in August 1969, his eponymous band’s debut album hitting stores the week after their electrifying performance at Woodstock. Rudy Valdez’s documentary depicts a seeker and an experimenter, an artist whose ’70s forays into jazz fusion and beyond flummoxed record company execs wanting the guitarist to repeat his Latin rock (star) riffs.\u003c/p>\n\u003cp>Pre-opening screenings are slated for theaters all over the Bay Area Sept. 23, 24 and 27, with onscreen appearances by Santana and Valdez. There won’t be a big S.F. premiere, regrettably — not even in conjunction with the \u003ca href=\"https://www.cinemassf.org/\" target=\"_blank\" rel=\"noopener\">S.F. Latino Film Festival\u003c/a> (Sept. 28–Oct. 14), marking a missed opportunity for former \u003cem>Rolling Stone\u003c/em> journalist and interviewer par excellence Ben Fong Torres to play master of ceremonies.\u003c/p>\n\u003cfigure id=\"attachment_13933641\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/2_Barbara-Dane-_-the-Chambers-Brothers-%C2%A9-Diana-Davies.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933641\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/2_Barbara-Dane-_-the-Chambers-Brothers-%C2%A9-Diana-Davies-800x599.jpg\" alt=\"a group of singers around a microphone, four Black men and one white woman, in a black and white photo\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2_Barbara-Dane-_-the-Chambers-Brothers-©-Diana-Davies-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2_Barbara-Dane-_-the-Chambers-Brothers-©-Diana-Davies-1020x763.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2_Barbara-Dane-_-the-Chambers-Brothers-©-Diana-Davies-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2_Barbara-Dane-_-the-Chambers-Brothers-©-Diana-Davies-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2_Barbara-Dane-_-the-Chambers-Brothers-©-Diana-Davies-1536x1149.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2_Barbara-Dane-_-the-Chambers-Brothers-©-Diana-Davies-2048x1532.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2_Barbara-Dane-_-the-Chambers-Brothers-©-Diana-Davies-1920x1437.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Oakland singer-activist Barbara Dane sings with the Chambers Brothers at the Newport Folk Festival 1965. Maureen Gosling’s new documentary about Dane will premiere at the 46th annual Mill Valley Film Festival. \u003ccite>(Courtesy Diana Davies)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.mvff.com/\" target=\"_blank\" rel=\"noopener\">46th Annual Mill Valley Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 5–15\u003c/em>\u003cbr>\n\u003cem>Theaters throughout Marin County, additional screenings at the Roxie in San Francisco and BAMPFA, Berkeley\u003c/em>\u003c/p>\n\u003cp>For the last 20 or so autumns, the stars have come out to Marin County to launch their dramas on the path to (they hope) Academy Awards. But actors aren’t promoting their films during the strikes, so MVFF director Mark Fishkin gets up every day nervously rooting for a resolution. It may turn out that Bay Area documentary filmmakers — another pillar of the festival program — soak up more of the spotlight this year. Cue East Bay director and editor extraordinaire Maureen Gosling, whose brand new \u003cem>The 9 Lives of Barbara Dane\u003c/em> pays tribute to the Oakland nonagenarian singer-activist who (among her many, many accomplishments) opened a blues club in North Beach in 1961. Lynn Hershman Leeson, the visionary local artist and filmmaker (\u003cem>Conceiving Ada\u003c/em>, \u003cem>Teknolust\u003c/em>, \u003cem>Strange Culture\u003c/em>) and early explorer of the effects of new technology on our perceptions, privacy and humanity, takes the stage for a tribute. Errol Morris returns to the Bay Area (his pivotal encounter with Werner Herzog in the ’70s in Berkeley is the stuff of legend) with \u003cem>The Pigeon Tunnel\u003c/em> (Oct. 20 in theaters and Apple TV+), a deep dive into British spy-cum-novelist John Le Carré that confirms truth is slipperier than fiction.\u003c/p>\n\u003cfigure id=\"attachment_13933272\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Apple_TV_Killers_of_the_Flower_Moon_key_art-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933272\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Apple_TV_Killers_of_the_Flower_Moon_key_art-800x533.jpg\" alt=\"a still of a dark haired actress and a blond actor at a brown table\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Apple_TV_Killers_of_the_Flower_Moon_key_art-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Apple_TV_Killers_of_the_Flower_Moon_key_art-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Apple_TV_Killers_of_the_Flower_Moon_key_art-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Apple_TV_Killers_of_the_Flower_Moon_key_art-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Apple_TV_Killers_of_the_Flower_Moon_key_art-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Apple_TV_Killers_of_the_Flower_Moon_key_art-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Apple_TV_Killers_of_the_Flower_Moon_key_art-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lily Gladstone and Leonardo DiCaprio in ‘Killers of the Flower Moon.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.apple.com/tv-pr/originals/killers-of-the-flower-moon/\" target=\"_blank\" rel=\"noopener\">Killers of the Flower Moon\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oct. 20\u003cbr>\nTheaters around the Bay Area, subsequently streaming on Apple TV+\u003c/em>\u003c/p>\n\u003cp>Martin Scorsese drops another self-important, three-and-a-half-hour true-crime saga that his devotees will devour in theaters and the rest of us will watch over a couple nights on our couches. Adapted from David Grann’s 2017 nonfiction book \u003cem>Killers of the Flower Moon: The Osage Murders and The Birth of The FBI\u003c/em>, the movie depicts a 20th century smash-and-grab of Native American property by white people. In the 1920s, after the Osage people were awarded rights to the oil found on their Oklahoma land, they were bedeviled by swindlers, extortionists and murderers. (Are you shocked that there will be blood in a Scorsese film?) Here’s hoping the quintessential New Yorker’s neo-Western piques an interest in hearing contemporary Indigenous voices — like those centered every year in the American Indian Film Festival (Nov. 3–11 at the SFPL and other venues).\u003c/p>\n\u003cfigure id=\"attachment_13933275\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/A24_Priscilla_VeniceFinal-1-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933275\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/A24_Priscilla_VeniceFinal-1-800x533.jpg\" alt=\"a woman with black hair looks out the window of a limo in a crowd of people\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A24_Priscilla_VeniceFinal-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A24_Priscilla_VeniceFinal-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A24_Priscilla_VeniceFinal-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A24_Priscilla_VeniceFinal-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A24_Priscilla_VeniceFinal-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A24_Priscilla_VeniceFinal-1-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A24_Priscilla_VeniceFinal-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cailee Spaeny is Priscilla Presley in ‘Priscilla.’ \u003ccite>( Sabrina Lantos/A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://a24films.com/films/priscilla\" target=\"_blank\" rel=\"noopener\">Priscilla\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oct. 27\u003cbr>\nTheaters everywhere\u003c/em>\u003c/p>\n\u003cp>Sofia Coppola (\u003cem>Marie Antoinette\u003c/em>) revisits and revises the legendary life(style) of another King from the female perspective. Priscilla Presley’s best-selling 1985 memoir \u003cem>Elvis and Me\u003c/em> provides the perfect vehicle for the filmmaker’s fascination with the interior lives of famous (and famously underrated) women with spare-no-expense interior decorators. Priscilla (played here by Cailee Spaeny) was only 14 when she met the star (he was 24), so expect plenty of psychosexual melodrama and heartbreak hotel before Priscilla establishes her own identity and prevails despite the tabloid press. Jacob Elordi as Elvis does double duty as troubled villain and eye candy.\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/1hkspAW-r-0'\n title='//www.youtube.com/embed/1hkspAW-r-0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://apeconcerts.com/events/claudio-simonettis-goblin-231027/\" target=\"_blank\" rel=\"noopener\">Demons\u003c/a>’ with live score by Goblin\u003c/h2>\n\u003cp>\u003cem>Oct. 27\u003c/em>\u003cbr>\n\u003cem>The Castro Theatre, San Francisco\u003c/em>\u003c/p>\n\u003cp>It may be a tad early to start making your adult Halloween plans. Unless, that is, horror is your home, your haven, your happy place. It certainly is for composer and keyboard player Claudio Simonetti, who got his start working with giallo master Dario Argento back in the day as part of the Italian prog-rock band Goblin. The group has evolved over the years while Simonetti established himself as a prolific composer for scary movies and TV shows. The band’s back together and primed to perform Simonetti’s score to the gory, nonsensical and fun \u003cem>Demons\u003c/em> (1985). Co-written and produced by Argento and starring the immortal Urbano Barberini, Natasha Hovey and Karl Zinny as horror moviegoers trapped in a demon-infested theater, it’s a meta experience nicely suited to the Castro. Goblin returns to the stage after the film and intermission to play their hits and passages from other movie scores.\u003c/p>\n\u003cfigure id=\"attachment_13933721\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933721\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Vogue_byTommyLau_03_2000.jpg\" alt=\"Dark movie theater with view over heads of audience looking at screen\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Vogue_byTommyLau_03_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Vogue_byTommyLau_03_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Vogue_byTommyLau_03_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Vogue_byTommyLau_03_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Vogue_byTommyLau_03_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Vogue_byTommyLau_03_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Vogue_byTommyLau_03_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A Doc Stories screening at the Vogue in 2022. \u003ccite>(Photo by Tommy Lau; Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sffilm.org/year-round-programming/doc-stories/?gad=1&gclid=CjwKCAjw5_GmBhBIEiwA5QSMxFujO_GnZOpRidBMAwim6601G7nwpBWUf_xxHpF3LFV2Ue6OefvFoBoCDNAQAvD_BwE\" target=\"_blank\" rel=\"noopener\">Doc Stories\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 2–9\u003cbr>\nVogue Theatre, San Francisco\u003c/em>\u003c/p>\n\u003cp>Noting the Mill Valley Film Festival’s emergence as an important stop for prestige narratives, SFFILM is positioning Doc Stories to be a magnet for nonfiction films with awards ambitions. (How come we’re so fortunate? The Bay Area boasts the most Academy and guild voters after Los Angeles, New York and London.) Titles of particular local interest premiering at the Toronto International Film Festival that could make their way here include \u003cem>Menus-Plaisirs Les Troisgros\u003c/em>, Frederick Wiseman’s four-hour feast for gastronomes, and \u003cem>Summer Qamp\u003c/em>, Jen Markowitz’s portrait of a rural Canadian outpost for queer, nonbinary and trans kids. Karim Amer’s (\u003cem>The Square\u003c/em>) latest urgent verité missive from a global hotspot, \u003cem>Defiant\u003c/em>, puts us in the room with Ukraine Foreign Minister Dmytro Kuleba.\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/4lBqMhZ3NBg'\n title='//www.youtube.com/embed/4lBqMhZ3NBg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003c/p>\n\u003ch2>‘Rustin’\u003c/h2>\n\u003cp>\u003ci>Nov. 3 in theaters, Nov. 17 on Netflix\u003c/i>\u003c/p>\n\u003cp>East Bay filmmaker Nancy Kates and Bennett Singer’s 2003 documentary, \u003cem>Brother Outsider: The Life of Bayard Rustin\u003c/em> (streaming for free on \u003ca href=\"https://www.kanopy.com/en/product/139631?vp=calstatela\">Kanopy\u003c/a>), remains a revelatory portrait of Dr. Martin Luther King Jr.’s confidant and the organizer of the 1963 March on Washington. Rustin never received his due — he largely had to remain behind the scenes — because depraved G-man J. Edgar Hoover would have used Rustin’s homosexuality to undermine public support for the Civil Rights Movement (which he deemed a domestic threat). \u003cem>Brother Outsider\u003c/em> debuted at Sundance and aired on PBS, yet history suggests George C. Wolfe’s biopic (produced by Netflix, starring Colman Domingo and co-written by Julian Breece and Dustin Lance Black, who wrote \u003cem>Milk\u003c/em> and, ahem, Clint Eastwood’s \u003cem>J. Edgar\u003c/em>) will reach even wider audiences.\u003c/p>\n\u003cfigure id=\"attachment_13933595\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-953151484-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933595\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-953151484-800x569.jpg\" alt=\"an older white man, filmmaker Werner Herzog, gestures in front of a microphone on stage\" width=\"800\" height=\"569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-953151484-800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-953151484-1020x725.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-953151484-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-953151484-768x546.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-953151484-1536x1092.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-953151484-2048x1456.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-953151484-1920x1365.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Werner Herzog gestures during a 2018 press conference in Peru, where his 1982 drama ‘Fitzcarraldo,’ was set. The acclaimed filmmaker will appear at the Berkeley Art Museum and Pacific Film Archive to kick off a nearly four month-long retrospective of his work. \u003ccite>(RIS BOURONCLE/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://bampfa.org/program/infinite-horizons-films-werner-herzog\" target=\"_blank\" rel=\"noopener\">Infinite Horizons: The Films of Werner Herzog\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 9 through Feb. 28\u003cbr>\nBAMPFA, Berkeley\u003c/em>\u003c/p>\n\u003cp>Who would have predicted that the oddest oddball of the New German Cinema would become the most beloved filmmaker on the planet, the great demolisher of “objective” documentary and a patron saint of American independent film? Indefatigable, endlessly curious and larger than life, Herzog made the arthouse masterpieces \u003cem>Aguirre, the Wrath of God\u003c/em> and \u003cem>Fitzcarraldo,\u003c/em> and the nonfiction classics \u003cem>Grizzly Man\u003c/em> and \u003cem>Encounters at the End of the World\u003c/em> (among the many, many films included in this retrospective). An iconoclast’s iconoclast, Herzog crashed the barricades between narrative and documentary and changed the movies forever. His appearances at the Nov. 9\u003cem>–\u003c/em>12 screenings are essentially sold out.\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/AhKLpJmHhIg'\n title='//www.youtube.com/embed/AhKLpJmHhIg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003c/p>\n\u003ch2>‘The Holdovers’\u003c/h2>\n\u003cp>\u003cem>Nov. 10\u003cbr>\nTheaters everywhere\u003c/em>\u003c/p>\n\u003cp>Alexander Payne and Paul Giamatti pop a cork some two decades after \u003cem>Sideways\u003c/em> with a period film that aims to ace the holiday heart-warmer sweepstakes. Giamatti plays a cynical East Coast prep school teacher (Scrooge Lite?) given the less-than-cheerful Christmas assignment of tending those students with nowhere to go on break. The tried-and-true tropes of bonding, mutual respect and transformation are on the menu, though Payne and Giamatti’s talents for tiptoeing through schmaltz should keep the sentimentality at bay. The trailer, interestingly, gives off serious ‘70s vibes, from the Traffic and Badfinger songs to the typeface of the title. If Payne was visited by the spirits of Robert Altman, Alan J. Pakula and Hal Ashby, I’ll welcome a little grit in the fruitcake.\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/OAZWXUkrjPc'\n title='//www.youtube.com/embed/OAZWXUkrjPc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003c/p>\n\u003ch2>‘Napoleon’\u003c/h2>\n\u003cp>\u003cem>Nov. 22\u003c/em>\u003cbr>\n\u003cem>Theaters everywhere\u003c/em>\u003c/p>\n\u003cp>Oscar season invades for real with the thunderous arrival of another Ridley Scott horse opera about a Great Man. Or maybe I’ve got it all wrong and we’re not in for the spectacle of a Method actor (Joaquin Phoenix) in a tri-corner hat stomping through Russian mud in a maelstrom of bluster and angst. The logline, you see, suggests that Napoleon’s relationship with Empress Josephine (Vanessa Kirby) is the focus of the movie, but no biographical study would be complete without the volcano of ambition, success and failure. It seems unlikely, though, that Scott is going to reinvent Josephine as history’s first career coach, not when he’s choreographing CGI-enhanced battle scenes to “rival” Abel Gance’s silent masterpiece \u003cem>Napoleon\u003c/em>.\u003c/p>\n\u003cp>\u003ci>Aug. 28: This guide was updated to replace the listing for ‘Dune: Part Two,’ which will now be released March 15, with a recommendation for ‘Rustin.’\u003c/i>\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/13933239/art-strikes-back-indies-blockbusters-and-film-festivals-to-catch-this-fall","authors":["22"],"programs":["arts_140"],"categories":["arts_1","arts_74"],"tags":["arts_21522","arts_2701","arts_3465","arts_585"],"featImg":"arts_13933638","label":"source_arts_13933239"},"arts_13932204":{"type":"posts","id":"arts_13932204","meta":{"index":"posts_1591205157","site":"arts","id":"13932204","score":null,"sort":[1690573762000]},"guestAuthors":[],"slug":"oppenheimer-japanese-erasure","title":"Who 'Oppenheimer' Erases","publishDate":1690573762,"format":"standard","headTitle":"Who ‘Oppenheimer’ Erases | KQED","labelTerm":{},"content":"\u003cp>After Li Lai watched an advance screening of \u003cem>Oppenheimer\u003c/em> in Seattle, she didn’t expect her take on the movie to go viral — or for it to receive so much backlash from “WWII bros,” as Lai calls them.\u003c/p>\n\u003cp>“People seem to love #Oppenheimer, but I’ll just say it,” \u003ca href=\"https://twitter.com/MediaversityRev/status/1681534717043277824\">wrote Lai\u003c/a>, the Bay Area-born Taiwanese American founder of a site called Mediaversity that grades films based on their diversity, before she went to bed that night. “I was uncomfy watching yet another movie about tortured white male genius when the victims of the atrocities glossed over by the script — Japanese people, interned Japanese Americans, and Native Americans — had no voice.”\u003c/p>\n\u003cp>“It isn’t about Japanese Americans or native Americans,” one Twitter user replied. “Anything more you wanna cry about?”\u003c/p>\n\u003cp>[aside postID='news_11906518']One only has to glance at the replies to Lai to see that people have complicated feelings about \u003cem>Oppenheimer\u003c/em>, and that some still justify the atomic bombing of Japan and its ongoing consequences for victims’ families.\u003c/p>\n\u003cp>As a Japanese and Filipina American who has lived with the generational trauma caused by the bomb, I felt conflicted about whether or not to even see \u003cem>Oppenheimer\u003c/em>. Of course, it turned out I wasn’t alone.\u003c/p>\n\u003ch2>‘Who was this movie intended for?’\u003c/h2>\n\u003cp>Miya Sommers is a fifth-generation Japanese American living in Oakland who doesn’t plan on seeing \u003cem>Oppenheimer\u003c/em>. Sommers’ grandfather lived in a town outside of Hiroshima when the atomic bomb hit, killing several of her family members.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m feeling more and more resistant to wanting to pay money to sit through that, knowing that it’s going to be pretty traumatizing,” Sommers said. “I don’t care about [Oppenheimer’s sense of] guilt. Basically my whole family is dead because of him.”\u003c/p>\n\u003cfigure id=\"attachment_13931578\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931578\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM-800x498.png\" alt=\"A thin white man with sharp cheekbones stands alone outside, concern etched on his face. He is wearing a brown suit and hat.\" width=\"800\" height=\"498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM-800x498.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM-1020x634.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM-768x478.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM-1536x955.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM.png 1878w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cillian Murphy stars in ‘Oppenheimer.’ \u003ccite>(Syncopy/ Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Oppenheimer\u003c/em>, the post-bomb carnage that Sommers’ grandfather once described to her in vivid detail — severed limbs, bodies stripped of skin — goes unseen by the viewer. In its place are the reactions of Robert Oppenheimer and other white Americans as he watches a slideshow of the aftermath, his stiff, haunted face illuminated by the white glow of a projector screen thousands of miles from the final resting places of over 100,000 Japanese people.\u003c/p>\n\u003cp>Granted, Oppenheimer’s own perspective is to be expected in an Oppenheimer biopic. But the total absence of Japanese people in the film raises questions for Lai.\u003c/p>\n\u003cp>“It was very chilling that you never get to see any Japanese or Japanese Americans in the movie,” Lai said. “Like, who was this movie intended for? Was the erasure of Japanese voices purposeful or was it just lazy?”\u003c/p>\n\u003cp>Karen Umemoto, a second-generation Japanese American and the director of Asian American Studies at the University of California Los Angeles, says that she can’t erase the graphic images of bomb victims she saw at the Hiroshima Peace Memorial Museum in Japan from her mind.\u003c/p>\n\u003cp>“But those images were what made me so resolute in my belief that the nuclear option is bad and should be destroyed,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13932210\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1255649844.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932210\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1255649844-800x534.jpg\" alt=\"The Atomic Bomb Dome at the Hiroshima Peace Memorial\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1255649844-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1255649844-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1255649844-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1255649844-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1255649844.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Atomic Bomb Dome is seen at the Hiroshima Peace Memorial ahead of the G7 Leaders’ Summit in Hiroshima on May 18, 2023. \u003ccite>(Ludovic Marin/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Umemoto, a former community organizer for Bay Area Asians for Nuclear Disarmament, says that the vast majority of Americans don’t understand the full horrific gravity of nuclear warfare, which is what makes images of the atomic bombings so powerful.\u003c/p>\n\u003cp>“I would show depictions of the bombings that are raw and honest,” Umemoto said. “But that’s not what sells movie tickets.”\u003c/p>\n\u003cp>What makes a film like \u003cem>Oppenheimer\u003c/em> feel even weightier is absence of blockbuster Hollywood films that represent nonwhite perspectives on the war, says Umemoto.\u003c/p>\n\u003ch2>‘A powerful tool for white male perspectives’\u003c/h2>\n\u003cp>Directed by acclaimed filmmaker Christopher Nolan, the film has also received praise — even from critics of its exclusively white male viewpoint of Asian pain. For some, its technical and cinematic merits have made the debate about its narrow perspective even more fraught.\u003c/p>\n\u003cp>“I thought it was cool that the movie achieved this sense of uneasiness, which I think was purposeful,” Lai said. “I just don’t feel good about it for other reasons.”\u003c/p>\n\u003cp>[aside postID='news_11821133']Ponipate Rokolekutu, a professor of Race and Resistance Studies at San Francisco State University, said he wanted to scream out into the theater of mostly white moviegoers when he saw the film. As an Indigenous Fijian, Rokolekutu had hoped that Oppenheimer might shed light on the Manhattan project’s consequences for the Pacific Islands; \u003ca href=\"https://www.latimes.com/projects/marshall-islands-nuclear-testing-sea-level-rise/\">the U.S. dropped 67 nuclear test bombs\u003c/a> on and above the Marshall Islands between 1946 and 1958. He was also hoping for the perspectives of Japanese and Japanese American people, whose home nation was also brutally occupying islands in the Pacific during the war.\u003c/p>\n\u003cp>“I was struck by the dilemma that Oppenheimer had when he was fighting with the morality of the whole project,” Rokolekutu said. But what was more striking, he said, was everyone who was left out, who is consistently left out in blockbuster war movies.\u003c/p>\n\u003cp>“Hollywood is a powerful tool for white perspectives,” he said. “They don’t want other histories to be known.”\u003c/p>\n\u003cp>The film does bring nuance to Oppenheimer’s experience, from his emotional suffering over the atomic bomb to the anti-Communist witch hunt levied against him in 1954. Elsewhere in the film, though, Nolan hints at people of color as expediently as possible.[pullquote size='large' align='right' citation='Miya Sommers']Basically my whole family is dead because of him.[/pullquote]\u003c/p>\n\u003cp>When the Manhattan project breaks ground in Los Alamos, Oppenheimer makes a short quip about the “Indians” who live there, but the film doesn’t elaborate on that detail. \u003ca href=\"https://nuclearprinceton.princeton.edu/impacts-native-communities-hanford-site#:~:text=The%20Manhattan%20project%20had%20profound,uranium%20mining%20and%20Los%20Alamos\">The Native peoples who were displaced by the project\u003c/a> and whose resources were contaminated by uranium mining and nuclear testing are mentioned only one more time: after the bombing, when Oppenheimer, talking about the land, says, “give it back to the Indians.”\u003c/p>\n\u003cp>For Lai, watching the point of view that Hollywood deemed worthy of a $100 million budget, “I felt very invisible and lonely for another three hours dedicated to a white male genius.”\u003c/p>\n\u003cfigure id=\"attachment_13932208\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1555745048.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932208\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1555745048-800x534.jpg\" alt=\"movie posters for 'barbie' and 'oppenheimer' next to each other\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1555745048-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1555745048-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1555745048-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1555745048-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1555745048.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Movie posters for ‘Barbie’ and ‘Oppenheimer’ are pictured outside of the Cinemark Somerdale 16 and XD in Somerdale, New Jersey. \u003ccite>(Hannah Beier/Washington Post/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the end, I decided it was worth seeing \u003cem>Oppenheimer\u003c/em>, because I wanted to know how the film did and didn’t uphold Hollywood’s legacy. When my partner and I made our way to the auditorium through crowds of monochromatic Barbie-goers, we felt nervous about what we were about to put ourselves through as Japanese Americans. (The “Barbenheimer” media frenzy, including fan-made costumes and movie poster mashups of Barbie with a fiery mushroom cloud, only further obscures \u003cem>Oppenheimer\u003c/em>’s omissions.)\u003c/p>\n\u003cp>As Oppenheimer and friends triumphed onscreen — their successful test bomb bathing the theater in blinding orange light — we sobbed quietly.\u003c/p>\n\u003cp>[aside postID='news_11956611']“That scene made me think of how my grandfather climbed to the top of a hill near his house outside Hiroshima when he was 10 and watched the mushroom cloud get bigger,” my partner told me as we exited the theater.\u003c/p>\n\u003cp>By the film’s end, Oppenheimer is remorseful — not that he ever apologized for the atrocities in Japan — and completes his heavy-hearted hero’s journey with a profound understanding of how his invention will change the world. I was left thinking of the quote by Scottish comedian Frankie Boyle: “Not only will America go to your country and kill all your people … they’ll come back 20 years later and make a movie about how killing your people made their soldiers feel sad.”\u003c/p>\n\u003cp>\u003cem>Oppenheimer\u003c/em> does stay true to its scope, which is one man’s perspective. It’s also disappointingly faithful to a Hollywood canon that prioritizes white American experiences, leaving the pain, self-reflections and nuanced interiority of America’s victims unseen and unheard.\u003c/p>\n\u003cp>[ad floatright]\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\n","blocks":[],"excerpt":"The film's omission of Japanese bombing victims is an all too common failure in Hollywood.","status":"publish","parent":0,"modified":1705005220,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":31,"wordCount":1439},"headData":{"title":"The Japanese Erasure of 'Oppenheimer' | KQED","description":"The film's omission of bombing victims is an all too common Hollywood failure.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"The Japanese Erasure of 'Oppenheimer' %%page%% %%sep%% KQED","socialDescription":"The film's omission of bombing victims is an all too common Hollywood failure.","schema":{"@context":"http://schema.org","@type":"Article","headline":"Who 'Oppenheimer' Erases","datePublished":"2023-07-28T19:49:22.000Z","dateModified":"2024-01-11T20:33:40.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"commentary","sourceUrl":"https://www.kqed.org/artscommentary","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13932204/oppenheimer-japanese-erasure","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>After Li Lai watched an advance screening of \u003cem>Oppenheimer\u003c/em> in Seattle, she didn’t expect her take on the movie to go viral — or for it to receive so much backlash from “WWII bros,” as Lai calls them.\u003c/p>\n\u003cp>“People seem to love #Oppenheimer, but I’ll just say it,” \u003ca href=\"https://twitter.com/MediaversityRev/status/1681534717043277824\">wrote Lai\u003c/a>, the Bay Area-born Taiwanese American founder of a site called Mediaversity that grades films based on their diversity, before she went to bed that night. “I was uncomfy watching yet another movie about tortured white male genius when the victims of the atrocities glossed over by the script — Japanese people, interned Japanese Americans, and Native Americans — had no voice.”\u003c/p>\n\u003cp>“It isn’t about Japanese Americans or native Americans,” one Twitter user replied. “Anything more you wanna cry about?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11906518","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>One only has to glance at the replies to Lai to see that people have complicated feelings about \u003cem>Oppenheimer\u003c/em>, and that some still justify the atomic bombing of Japan and its ongoing consequences for victims’ families.\u003c/p>\n\u003cp>As a Japanese and Filipina American who has lived with the generational trauma caused by the bomb, I felt conflicted about whether or not to even see \u003cem>Oppenheimer\u003c/em>. Of course, it turned out I wasn’t alone.\u003c/p>\n\u003ch2>‘Who was this movie intended for?’\u003c/h2>\n\u003cp>Miya Sommers is a fifth-generation Japanese American living in Oakland who doesn’t plan on seeing \u003cem>Oppenheimer\u003c/em>. Sommers’ grandfather lived in a town outside of Hiroshima when the atomic bomb hit, killing several of her family members.\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>“I’m feeling more and more resistant to wanting to pay money to sit through that, knowing that it’s going to be pretty traumatizing,” Sommers said. “I don’t care about [Oppenheimer’s sense of] guilt. Basically my whole family is dead because of him.”\u003c/p>\n\u003cfigure id=\"attachment_13931578\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931578\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM-800x498.png\" alt=\"A thin white man with sharp cheekbones stands alone outside, concern etched on his face. He is wearing a brown suit and hat.\" width=\"800\" height=\"498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM-800x498.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM-1020x634.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM-768x478.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM-1536x955.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM.png 1878w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cillian Murphy stars in ‘Oppenheimer.’ \u003ccite>(Syncopy/ Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Oppenheimer\u003c/em>, the post-bomb carnage that Sommers’ grandfather once described to her in vivid detail — severed limbs, bodies stripped of skin — goes unseen by the viewer. In its place are the reactions of Robert Oppenheimer and other white Americans as he watches a slideshow of the aftermath, his stiff, haunted face illuminated by the white glow of a projector screen thousands of miles from the final resting places of over 100,000 Japanese people.\u003c/p>\n\u003cp>Granted, Oppenheimer’s own perspective is to be expected in an Oppenheimer biopic. But the total absence of Japanese people in the film raises questions for Lai.\u003c/p>\n\u003cp>“It was very chilling that you never get to see any Japanese or Japanese Americans in the movie,” Lai said. “Like, who was this movie intended for? Was the erasure of Japanese voices purposeful or was it just lazy?”\u003c/p>\n\u003cp>Karen Umemoto, a second-generation Japanese American and the director of Asian American Studies at the University of California Los Angeles, says that she can’t erase the graphic images of bomb victims she saw at the Hiroshima Peace Memorial Museum in Japan from her mind.\u003c/p>\n\u003cp>“But those images were what made me so resolute in my belief that the nuclear option is bad and should be destroyed,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13932210\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1255649844.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932210\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1255649844-800x534.jpg\" alt=\"The Atomic Bomb Dome at the Hiroshima Peace Memorial\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1255649844-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1255649844-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1255649844-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1255649844-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1255649844.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Atomic Bomb Dome is seen at the Hiroshima Peace Memorial ahead of the G7 Leaders’ Summit in Hiroshima on May 18, 2023. \u003ccite>(Ludovic Marin/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Umemoto, a former community organizer for Bay Area Asians for Nuclear Disarmament, says that the vast majority of Americans don’t understand the full horrific gravity of nuclear warfare, which is what makes images of the atomic bombings so powerful.\u003c/p>\n\u003cp>“I would show depictions of the bombings that are raw and honest,” Umemoto said. “But that’s not what sells movie tickets.”\u003c/p>\n\u003cp>What makes a film like \u003cem>Oppenheimer\u003c/em> feel even weightier is absence of blockbuster Hollywood films that represent nonwhite perspectives on the war, says Umemoto.\u003c/p>\n\u003ch2>‘A powerful tool for white male perspectives’\u003c/h2>\n\u003cp>Directed by acclaimed filmmaker Christopher Nolan, the film has also received praise — even from critics of its exclusively white male viewpoint of Asian pain. For some, its technical and cinematic merits have made the debate about its narrow perspective even more fraught.\u003c/p>\n\u003cp>“I thought it was cool that the movie achieved this sense of uneasiness, which I think was purposeful,” Lai said. “I just don’t feel good about it for other reasons.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11821133","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Ponipate Rokolekutu, a professor of Race and Resistance Studies at San Francisco State University, said he wanted to scream out into the theater of mostly white moviegoers when he saw the film. As an Indigenous Fijian, Rokolekutu had hoped that Oppenheimer might shed light on the Manhattan project’s consequences for the Pacific Islands; \u003ca href=\"https://www.latimes.com/projects/marshall-islands-nuclear-testing-sea-level-rise/\">the U.S. dropped 67 nuclear test bombs\u003c/a> on and above the Marshall Islands between 1946 and 1958. He was also hoping for the perspectives of Japanese and Japanese American people, whose home nation was also brutally occupying islands in the Pacific during the war.\u003c/p>\n\u003cp>“I was struck by the dilemma that Oppenheimer had when he was fighting with the morality of the whole project,” Rokolekutu said. But what was more striking, he said, was everyone who was left out, who is consistently left out in blockbuster war movies.\u003c/p>\n\u003cp>“Hollywood is a powerful tool for white perspectives,” he said. “They don’t want other histories to be known.”\u003c/p>\n\u003cp>The film does bring nuance to Oppenheimer’s experience, from his emotional suffering over the atomic bomb to the anti-Communist witch hunt levied against him in 1954. Elsewhere in the film, though, Nolan hints at people of color as expediently as possible.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"Basically my whole family is dead because of him.","name":"pullquote","attributes":{"named":{"size":"large","align":"right","citation":"Miya Sommers","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When the Manhattan project breaks ground in Los Alamos, Oppenheimer makes a short quip about the “Indians” who live there, but the film doesn’t elaborate on that detail. \u003ca href=\"https://nuclearprinceton.princeton.edu/impacts-native-communities-hanford-site#:~:text=The%20Manhattan%20project%20had%20profound,uranium%20mining%20and%20Los%20Alamos\">The Native peoples who were displaced by the project\u003c/a> and whose resources were contaminated by uranium mining and nuclear testing are mentioned only one more time: after the bombing, when Oppenheimer, talking about the land, says, “give it back to the Indians.”\u003c/p>\n\u003cp>For Lai, watching the point of view that Hollywood deemed worthy of a $100 million budget, “I felt very invisible and lonely for another three hours dedicated to a white male genius.”\u003c/p>\n\u003cfigure id=\"attachment_13932208\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1555745048.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932208\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1555745048-800x534.jpg\" alt=\"movie posters for 'barbie' and 'oppenheimer' next to each other\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1555745048-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1555745048-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1555745048-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1555745048-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1555745048.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Movie posters for ‘Barbie’ and ‘Oppenheimer’ are pictured outside of the Cinemark Somerdale 16 and XD in Somerdale, New Jersey. \u003ccite>(Hannah Beier/Washington Post/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the end, I decided it was worth seeing \u003cem>Oppenheimer\u003c/em>, because I wanted to know how the film did and didn’t uphold Hollywood’s legacy. When my partner and I made our way to the auditorium through crowds of monochromatic Barbie-goers, we felt nervous about what we were about to put ourselves through as Japanese Americans. (The “Barbenheimer” media frenzy, including fan-made costumes and movie poster mashups of Barbie with a fiery mushroom cloud, only further obscures \u003cem>Oppenheimer\u003c/em>’s omissions.)\u003c/p>\n\u003cp>As Oppenheimer and friends triumphed onscreen — their successful test bomb bathing the theater in blinding orange light — we sobbed quietly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11956611","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“That scene made me think of how my grandfather climbed to the top of a hill near his house outside Hiroshima when he was 10 and watched the mushroom cloud get bigger,” my partner told me as we exited the theater.\u003c/p>\n\u003cp>By the film’s end, Oppenheimer is remorseful — not that he ever apologized for the atrocities in Japan — and completes his heavy-hearted hero’s journey with a profound understanding of how his invention will change the world. I was left thinking of the quote by Scottish comedian Frankie Boyle: “Not only will America go to your country and kill all your people … they’ll come back 20 years later and make a movie about how killing your people made their soldiers feel sad.”\u003c/p>\n\u003cp>\u003cem>Oppenheimer\u003c/em> does stay true to its scope, which is one man’s perspective. It’s also disappointingly faithful to a Hollywood canon that prioritizes white American experiences, leaving the pain, self-reflections and nuanced interiority of America’s victims unseen and unheard.\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>\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\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13932204/oppenheimer-japanese-erasure","authors":["11872"],"categories":["arts_1","arts_2303","arts_835","arts_74"],"tags":["arts_4672","arts_11977","arts_2767","arts_10342","arts_10278","arts_2640","arts_17106","arts_3465","arts_21156"],"featImg":"arts_13932247","label":"source_arts_13932204"},"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":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Leaping Into Drama: A Fall ’22 Movie Guide","datePublished":"2022-08-30T16:00:47.000Z","dateModified":"2024-01-11T20:54:01.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"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_13917362":{"type":"posts","id":"arts_13917362","meta":{"index":"posts_1591205157","site":"arts","id":"13917362","score":null,"sort":[1660238904000]},"guestAuthors":[],"slug":"castro-theatre-seating-renovation-town-hall","title":"There’s Only One Castro Theatre. Why Change It Now?","publishDate":1660238904,"format":"aside","headTitle":"There’s Only One Castro Theatre. Why Change It Now? | KQED","labelTerm":{"site":"arts"},"content":"\u003cfigure id=\"attachment_13917427\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917427\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.MAIN_-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The interior of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em; float: left; line-height: 0.733em; padding: 0.05em 0.1em 0 0; font-family: times, serif, georgia;\">F\u003c/span>irst things first: Everybody loves the Castro Theatre.\u003c/p>\n\u003cp>That much should be evident during a town hall this Thursday, Aug. 11, hosted by \u003ca href=\"https://www.kqed.org/arts/13908311/castro-theatre-to-become-live-music-and-events-venue-after-renovation\" target=\"_blank\" rel=\"noopener noreferrer\">the theater’s new operators\u003c/a>, the live-music promoters \u003ca href=\"https://apeconcerts.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Another Planet Entertainment\u003c/a>. But love for the Castro Theatre may be where consensus ends on Thursday.\u003c/p>\n\u003cp>Another Planet Entertainment (APE) is proposing a restoration and renovation of the 100-year-old theater, which includes the ceiling, marquee, proscenium, dressing rooms, bathrooms, ADA compliance and more—upgrades widely welcomed. One part of APE’s proposal, however, has inspired over 5,000 opponents to sign \u003ca href=\"https://www.change.org/p/save-the-castro-theatre\" rel=\"noopener noreferrer\" target=\"_blank\">a petition\u003c/a> launched by the nonprofit Castro Theatre Conservancy, which names famous film directors like Martin Scorsese, Steven Spielberg and Francis Ford Coppola among its supporters.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#castrotheatre\">Want to share your thoughts on the Castro Theatre with KQED?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003cp>The controversy comes down to the raked theater floor and the Castro’s traditional orchestra-style theater seating, which APE has proposed replacing with removable seats on multi-level, flat platforms more conducive to standing-room concerts. (\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Plans-429-Castro-Street.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">The plans submitted\u003c/a> to San Francisco’s planning department \u003ca href=\"https://meyersound.com/wp-content/uploads/2016/12/fox_theater_7.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">look similar to the Fox Theater in Oakland\u003c/a>, which APE helped restore and now operates.)\u003c/p>\n\u003cfigure id=\"attachment_13917433\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917433\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.seating.jpg\" alt=\"\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.seating.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.seating-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.seating-768x532.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of plans for the Castro Theatre submitted to the Planning Department, showing concession/bar areas in the back of the theater and multi-level tiers, which would be equipped for removable seating. The building’s new operators call the plans “very, very preliminary.” \u003ccite>(San Francisco Planning Department)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why in the world would anyone change a historic theater that everyone loves? In short, APE’s answer is that the Castro needs some TLC, which APE can offer, but only if it’s allowed to present more than just film, including live music. And in order to present live music in a profitable, sustainable way, APE believes it needs to install a multi-level floor, or else audiences won’t come and it won’t make enough money to keep the doors open.\u003c/p>\n\u003cp>If you’re wondering why a bunch of seats stir such passion, you can get an earful of answers on Thursday night, sitting in those very seats where a century of San Francisco moviegoers have gazed up at a flickering screen and had life-changing experiences. As APE sees it, they’re preserving a crown jewel of the neighborhood, and paving a way to keep it open for another 100 years. But to so many who love it, the Castro is church, and altering its seating would be like ripping out the pews at Grace Cathedral.\u003c/p>\n\u003cfigure id=\"attachment_13917424\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917424\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.Seatsfromavobe-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The seats and carpet on the orchestra level of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em; float: left; line-height: 0.733em; padding: 0.05em 0.1em 0 0; font-family: times, serif, georgia;\">P\u003c/span>eter Pastreich is among the film congregation. “If they are able to flatten the floors and remove all of those seats, the building will no longer be suitable for film,” Pastreich says. “They’ll make it great for rock concerts and other events, and virtually unusable for all kinds of other things, particularly film.”\u003c/p>\n\u003cp>Pastreich is the executive director of the nonprofit \u003ca href=\"https://www.savethecastrotheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Castro Theatre Conservancy\u003c/a>, formed in June, which opposes APE’s floor plans. He admits that it’s virtually impossible in the modern day to keep a large, single-screen movie theater running on movies alone, at least with a for-profit model. In 2020, he says, members of his group approached the owners of the theater—Bay Properties, Inc., run by the Nasser family, whose ancestors built the theater in 1922—with a proposal to operate the Castro as a nonprofit, similar to the Roxie Theater in San Francisco or Film Forum in New York City.\u003c/p>\n\u003cp>[aside postID='arts_13908311']“Instead, they made a deal with APE. Which isn’t really a problem, until APE converts the theater,” Pastreich says, noting that while APE plans to present film at the Castro, it operates no other venues that regularly show film.\u003c/p>\n\u003cp>“I’ve heard Gregg Perloff from Another Planet say, ‘The public will tell us what they want to see, and we will respond to that.’ Well, what that means, I fear, is if they can sell 1,400 tickets to Metallica, and only 300 tickets to a showing of \u003cem>Casablanca\u003c/em>, of course they’re going to bring in Metallica and not \u003cem>Casablanca\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13917446\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917446\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The interior of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Conservancy is asking District 8 Supervisor Rafael Mandelman to amend his enhanced landmark designation for the theater, which preserves “the full historical, architectural, aesthetic and cultural interest and value of the Castro Theatre,” to specifically include preservation of the orchestra-style seating. (Mandelman did not reply to a request for comment.) They are joined by the Castro LGBTQ+ Cultural District, which warns against “the intangible assets that are in danger of being lost if film repertory programming is ended at the theater.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They’re not alone in their worries, as evidenced by the \u003ca href=\"https://www.instagram.com/p/CY69fTPrI4G/\" target=\"_blank\" rel=\"noopener noreferrer\">online comments\u003c/a> on the announcement of the Castro’s new management. And the Conservancy boasts the support of legendary film directors including Martin Scorcese, Francis Ford Coppola, Joel Coen, Paul Thomas Anderson, Steven Spielberg, Barry Jenkins, Guillermo del Toro, Terry Zwigoff, and John Waters, as well as San Francisco figures like Art Agnos, Jello Biafra, Cleve Jones, Sister Roma and Rebecca Solnit.\u003c/p>\n\u003cp>As for Thursday’s town hall hosted by APE, Pastreich is dismayed at the lack of a livestreaming option, as well as the format. His group has been given just five minutes to present, he says. “And the Q&A is handled by [former Supervisor] Bevan Dufty, who’s on the APE payroll, so he can recognize or not recognize whomever he wishes.”\u003c/p>\n\u003cp>Still, he’s hoping for a minor miracle: that film fans will voice such overwhelming opposition that APE will change their plans. “And realize,” he says, “that they’ve miscalculated.”\u003c/p>\n\u003cfigure id=\"attachment_13917426\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917426\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.Projector-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Century projector at the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em; float: left; line-height: 0.733em; padding: 0.05em 0.1em 0 0; font-family: times, serif, georgia;\">O\u003c/span>n the phone, David Perry is adamant: “Film is, has been and always will be part of the Castro Theatre experience,” he says.\u003c/p>\n\u003cp>The owner of a public relations firm, Perry, like former Supervisor Dufty, was hired by APE this year specifically to manage controversy about the Castro Theatre. Like many, he recalls fondly his first visit to the theatre, in 1986. But in 2022, he says, “single-screen theaters around the country are on life support. That’s the reality in which we live.” A 1,400 seat theater, he says, needs to diversify its offerings to be sustainable.\u003c/p>\n\u003cp>Perry insists that the floor plans submitted to the city “are very, very much preliminary plans,” subject to input from sightline specialists, architects, and the film community. He denies the charge made by the Castro Theatre Conservancy that smaller film festivals and LGBTQ+ organizations will be “priced out” of using the Castro as a community resource, and clarifies that APE will keep the Castro’s rare 70mm projector that visiting filmmakers like Paul Thomas Anderson have utilized in the past.\u003c/p>\n\u003cfigure id=\"attachment_13917425\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917425\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.Proscenium-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The original 1922 proscenium of the Castro Theatre in San Francisco on Aug. 10, 2022, which Another Planet plans to restore. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perry takes issue with the criticism that APE is a giant, corporate promoter that’s out of step with the independent, community-focused history and spirit of the theater. (The company puts on the Outside Lands music festival every year, which \u003ca href=\"https://news.pollstar.com/2019/08/27/by-the-numbers-outside-lands-grosses-highest-yet-29-6-million/\" target=\"_blank\" rel=\"noopener noreferrer\">in 2019 grossed $29.6 million\u003c/a>.) Perry describes APE as a “small, local business” that “understands the Castro.”\u003c/p>\n\u003cp>Like the Paramount in Oakland or the Orpheum in Los Angeles, the Castro could theoretically host concerts, comedy, events and film with the theatre seating intact, as it’s already done for years. Asked why APE couldn’t simply keep the current seats—and consider removing the first five to eight rows for concerts—Perry defers to APE’s experience, and their “good sense of what it takes to program a multi-use venue.”\u003c/p>\n\u003cp>APE also has a good sense of what it takes to compete in the live music market. Their two direct rivals, Live Nation and Goldenvoice, operate multiple theaters and ballrooms in San Francisco: the Warfield (capacity 2,300), the Masonic Auditorium (3,481), the Fillmore (1,300), and the Regency Ballroom (1,400). APE, on the other hand, operates the small Independent (500) and the large Bill Graham Civic Auditorium (8,500), with no mid-sized options in between.\u003c/p>\n\u003cfigure id=\"attachment_13917434\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917434\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.Marquee-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Another Planet Entertainment plans restorations of both the marquee and neon “blade” of the Castro Theatre in San Francisco’s Castro District, pictured here on July 28, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So, in San Francisco, APE needs a venue like the Castro to stay competitive. Which explains why, as APE CEO Gregg Perloff told KQED in January, APE approached the Nassers during the pandemic with a proposal to operate the theater.\u003c/p>\n\u003cp>“They were looking for the right stewardship for the theater,” Perloff said. “This is their baby. And we need to respect the tremendous work they’ve done in making the theater a part of the community.”\u003c/p>\n\u003cp>The Castro has become such a part of the community, in fact, that generations of moviegoers feel a strong sense of ownership over the theater. Part of what’s happening now is the shock that they are not the owners; the Nassers are, and they’re entitled to do what they want with it.\u003c/p>\n\u003cp>But the way the Castro Theatre has become such a community asset is primarily through film. As Sister Roma of the Sisters of Perpetual Indulgence asks, “Do we really need another concrete concert hall when glamorous film houses are disappearing around the country?”\u003c/p>\n\u003cp>In other words: while there are already plenty of music venues in San Francisco, there’s only one Castro Theatre.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cem>A \u003ca href=\"https://www.castrotheatre.com/community-meeting/\" target=\"_blank\" rel=\"noopener noreferrer\">Town Hall on the future of the Castro Theatre\u003c/a> takes place at 6pm on Thursday, Aug. 11, at the Castro Theatre in San Francisco. Questions and comments for the Q&A must be submitted at the event via an online portal. \u003ca href=\"https://www.castrotheatre.com/community-meeting/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003ch2>\u003ca id=\"castrotheatre\">\u003c/a>Share your thoughts\u003c/h2>\n\u003cp>However the future may look for the Castro Theatre, a live-music promoter taking over its operations marks an end of an era for this iconic space. And ahead of these potential changes, here at KQED we want to take a moment to highlight your memories of the venue.\u003c/p>\n\u003cp>Tell us using the box below: \u003cstrong>What was your favorite movie you saw at the Castro Theatre? The most memorable night you had? The best (or worst) date you went on?\u003c/strong>\u003c/p>\n\u003cp>Share your thoughts, and we’d love to feature your words here on KQED.org and on our social media channels.\u003c/p>\n\u003cp>[hearken id=”9857″ src=”https://modules.wearehearken.com/kqed/embed/9857.js”]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"A concert promoter’s plan to remove the theater’s current seating is the subject of a town hall Thursday night. ","status":"publish","parent":0,"modified":1705006510,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":true,"hasPolis":false,"paragraphCount":33,"wordCount":1898},"headData":{"title":"There’s Only One Castro Theatre. Why Change It Now? | KQED","description":"A concert promoter’s plan to remove the theater’s current seating is the subject of a town hall Thursday night. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"There’s Only One Castro Theatre. Why Change It Now?","datePublished":"2022-08-11T17:28:24.000Z","dateModified":"2024-01-11T20:55:10.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"theres-only-one-castro-theatre-why-change-it-now","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13917362/castro-theatre-seating-renovation-town-hall","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13917427\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917427\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.MAIN_-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The interior of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em; float: left; line-height: 0.733em; padding: 0.05em 0.1em 0 0; font-family: times, serif, georgia;\">F\u003c/span>irst things first: Everybody loves the Castro Theatre.\u003c/p>\n\u003cp>That much should be evident during a town hall this Thursday, Aug. 11, hosted by \u003ca href=\"https://www.kqed.org/arts/13908311/castro-theatre-to-become-live-music-and-events-venue-after-renovation\" target=\"_blank\" rel=\"noopener noreferrer\">the theater’s new operators\u003c/a>, the live-music promoters \u003ca href=\"https://apeconcerts.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Another Planet Entertainment\u003c/a>. But love for the Castro Theatre may be where consensus ends on Thursday.\u003c/p>\n\u003cp>Another Planet Entertainment (APE) is proposing a restoration and renovation of the 100-year-old theater, which includes the ceiling, marquee, proscenium, dressing rooms, bathrooms, ADA compliance and more—upgrades widely welcomed. One part of APE’s proposal, however, has inspired over 5,000 opponents to sign \u003ca href=\"https://www.change.org/p/save-the-castro-theatre\" rel=\"noopener noreferrer\" target=\"_blank\">a petition\u003c/a> launched by the nonprofit Castro Theatre Conservancy, which names famous film directors like Martin Scorsese, Steven Spielberg and Francis Ford Coppola among its supporters.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#castrotheatre\">Want to share your thoughts on the Castro Theatre with KQED?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003cp>The controversy comes down to the raked theater floor and the Castro’s traditional orchestra-style theater seating, which APE has proposed replacing with removable seats on multi-level, flat platforms more conducive to standing-room concerts. (\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Plans-429-Castro-Street.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">The plans submitted\u003c/a> to San Francisco’s planning department \u003ca href=\"https://meyersound.com/wp-content/uploads/2016/12/fox_theater_7.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">look similar to the Fox Theater in Oakland\u003c/a>, which APE helped restore and now operates.)\u003c/p>\n\u003cfigure id=\"attachment_13917433\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917433\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.seating.jpg\" alt=\"\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.seating.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.seating-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.seating-768x532.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of plans for the Castro Theatre submitted to the Planning Department, showing concession/bar areas in the back of the theater and multi-level tiers, which would be equipped for removable seating. The building’s new operators call the plans “very, very preliminary.” \u003ccite>(San Francisco Planning Department)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why in the world would anyone change a historic theater that everyone loves? In short, APE’s answer is that the Castro needs some TLC, which APE can offer, but only if it’s allowed to present more than just film, including live music. And in order to present live music in a profitable, sustainable way, APE believes it needs to install a multi-level floor, or else audiences won’t come and it won’t make enough money to keep the doors open.\u003c/p>\n\u003cp>If you’re wondering why a bunch of seats stir such passion, you can get an earful of answers on Thursday night, sitting in those very seats where a century of San Francisco moviegoers have gazed up at a flickering screen and had life-changing experiences. As APE sees it, they’re preserving a crown jewel of the neighborhood, and paving a way to keep it open for another 100 years. But to so many who love it, the Castro is church, and altering its seating would be like ripping out the pews at Grace Cathedral.\u003c/p>\n\u003cfigure id=\"attachment_13917424\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917424\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.Seatsfromavobe-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The seats and carpet on the orchestra level of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em; float: left; line-height: 0.733em; padding: 0.05em 0.1em 0 0; font-family: times, serif, georgia;\">P\u003c/span>eter Pastreich is among the film congregation. “If they are able to flatten the floors and remove all of those seats, the building will no longer be suitable for film,” Pastreich says. “They’ll make it great for rock concerts and other events, and virtually unusable for all kinds of other things, particularly film.”\u003c/p>\n\u003cp>Pastreich is the executive director of the nonprofit \u003ca href=\"https://www.savethecastrotheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Castro Theatre Conservancy\u003c/a>, formed in June, which opposes APE’s floor plans. He admits that it’s virtually impossible in the modern day to keep a large, single-screen movie theater running on movies alone, at least with a for-profit model. In 2020, he says, members of his group approached the owners of the theater—Bay Properties, Inc., run by the Nasser family, whose ancestors built the theater in 1922—with a proposal to operate the Castro as a nonprofit, similar to the Roxie Theater in San Francisco or Film Forum in New York City.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13908311","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“Instead, they made a deal with APE. Which isn’t really a problem, until APE converts the theater,” Pastreich says, noting that while APE plans to present film at the Castro, it operates no other venues that regularly show film.\u003c/p>\n\u003cp>“I’ve heard Gregg Perloff from Another Planet say, ‘The public will tell us what they want to see, and we will respond to that.’ Well, what that means, I fear, is if they can sell 1,400 tickets to Metallica, and only 300 tickets to a showing of \u003cem>Casablanca\u003c/em>, of course they’re going to bring in Metallica and not \u003cem>Casablanca\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13917446\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917446\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The interior of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Conservancy is asking District 8 Supervisor Rafael Mandelman to amend his enhanced landmark designation for the theater, which preserves “the full historical, architectural, aesthetic and cultural interest and value of the Castro Theatre,” to specifically include preservation of the orchestra-style seating. (Mandelman did not reply to a request for comment.) They are joined by the Castro LGBTQ+ Cultural District, which warns against “the intangible assets that are in danger of being lost if film repertory programming is ended at the theater.”\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>They’re not alone in their worries, as evidenced by the \u003ca href=\"https://www.instagram.com/p/CY69fTPrI4G/\" target=\"_blank\" rel=\"noopener noreferrer\">online comments\u003c/a> on the announcement of the Castro’s new management. And the Conservancy boasts the support of legendary film directors including Martin Scorcese, Francis Ford Coppola, Joel Coen, Paul Thomas Anderson, Steven Spielberg, Barry Jenkins, Guillermo del Toro, Terry Zwigoff, and John Waters, as well as San Francisco figures like Art Agnos, Jello Biafra, Cleve Jones, Sister Roma and Rebecca Solnit.\u003c/p>\n\u003cp>As for Thursday’s town hall hosted by APE, Pastreich is dismayed at the lack of a livestreaming option, as well as the format. His group has been given just five minutes to present, he says. “And the Q&A is handled by [former Supervisor] Bevan Dufty, who’s on the APE payroll, so he can recognize or not recognize whomever he wishes.”\u003c/p>\n\u003cp>Still, he’s hoping for a minor miracle: that film fans will voice such overwhelming opposition that APE will change their plans. “And realize,” he says, “that they’ve miscalculated.”\u003c/p>\n\u003cfigure id=\"attachment_13917426\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917426\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.Projector-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Century projector at the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em; float: left; line-height: 0.733em; padding: 0.05em 0.1em 0 0; font-family: times, serif, georgia;\">O\u003c/span>n the phone, David Perry is adamant: “Film is, has been and always will be part of the Castro Theatre experience,” he says.\u003c/p>\n\u003cp>The owner of a public relations firm, Perry, like former Supervisor Dufty, was hired by APE this year specifically to manage controversy about the Castro Theatre. Like many, he recalls fondly his first visit to the theatre, in 1986. But in 2022, he says, “single-screen theaters around the country are on life support. That’s the reality in which we live.” A 1,400 seat theater, he says, needs to diversify its offerings to be sustainable.\u003c/p>\n\u003cp>Perry insists that the floor plans submitted to the city “are very, very much preliminary plans,” subject to input from sightline specialists, architects, and the film community. He denies the charge made by the Castro Theatre Conservancy that smaller film festivals and LGBTQ+ organizations will be “priced out” of using the Castro as a community resource, and clarifies that APE will keep the Castro’s rare 70mm projector that visiting filmmakers like Paul Thomas Anderson have utilized in the past.\u003c/p>\n\u003cfigure id=\"attachment_13917425\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917425\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.Proscenium-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The original 1922 proscenium of the Castro Theatre in San Francisco on Aug. 10, 2022, which Another Planet plans to restore. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perry takes issue with the criticism that APE is a giant, corporate promoter that’s out of step with the independent, community-focused history and spirit of the theater. (The company puts on the Outside Lands music festival every year, which \u003ca href=\"https://news.pollstar.com/2019/08/27/by-the-numbers-outside-lands-grosses-highest-yet-29-6-million/\" target=\"_blank\" rel=\"noopener noreferrer\">in 2019 grossed $29.6 million\u003c/a>.) Perry describes APE as a “small, local business” that “understands the Castro.”\u003c/p>\n\u003cp>Like the Paramount in Oakland or the Orpheum in Los Angeles, the Castro could theoretically host concerts, comedy, events and film with the theatre seating intact, as it’s already done for years. Asked why APE couldn’t simply keep the current seats—and consider removing the first five to eight rows for concerts—Perry defers to APE’s experience, and their “good sense of what it takes to program a multi-use venue.”\u003c/p>\n\u003cp>APE also has a good sense of what it takes to compete in the live music market. Their two direct rivals, Live Nation and Goldenvoice, operate multiple theaters and ballrooms in San Francisco: the Warfield (capacity 2,300), the Masonic Auditorium (3,481), the Fillmore (1,300), and the Regency Ballroom (1,400). APE, on the other hand, operates the small Independent (500) and the large Bill Graham Civic Auditorium (8,500), with no mid-sized options in between.\u003c/p>\n\u003cfigure id=\"attachment_13917434\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917434\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.Marquee-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Another Planet Entertainment plans restorations of both the marquee and neon “blade” of the Castro Theatre in San Francisco’s Castro District, pictured here on July 28, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So, in San Francisco, APE needs a venue like the Castro to stay competitive. Which explains why, as APE CEO Gregg Perloff told KQED in January, APE approached the Nassers during the pandemic with a proposal to operate the theater.\u003c/p>\n\u003cp>“They were looking for the right stewardship for the theater,” Perloff said. “This is their baby. And we need to respect the tremendous work they’ve done in making the theater a part of the community.”\u003c/p>\n\u003cp>The Castro has become such a part of the community, in fact, that generations of moviegoers feel a strong sense of ownership over the theater. Part of what’s happening now is the shock that they are not the owners; the Nassers are, and they’re entitled to do what they want with it.\u003c/p>\n\u003cp>But the way the Castro Theatre has become such a community asset is primarily through film. As Sister Roma of the Sisters of Perpetual Indulgence asks, “Do we really need another concrete concert hall when glamorous film houses are disappearing around the country?”\u003c/p>\n\u003cp>In other words: while there are already plenty of music venues in San Francisco, there’s only one Castro Theatre.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cem>A \u003ca href=\"https://www.castrotheatre.com/community-meeting/\" target=\"_blank\" rel=\"noopener noreferrer\">Town Hall on the future of the Castro Theatre\u003c/a> takes place at 6pm on Thursday, Aug. 11, at the Castro Theatre in San Francisco. Questions and comments for the Q&A must be submitted at the event via an online portal. \u003ca href=\"https://www.castrotheatre.com/community-meeting/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003ch2>\u003ca id=\"castrotheatre\">\u003c/a>Share your thoughts\u003c/h2>\n\u003cp>However the future may look for the Castro Theatre, a live-music promoter taking over its operations marks an end of an era for this iconic space. And ahead of these potential changes, here at KQED we want to take a moment to highlight your memories of the venue.\u003c/p>\n\u003cp>Tell us using the box below: \u003cstrong>What was your favorite movie you saw at the Castro Theatre? The most memorable night you had? The best (or worst) date you went on?\u003c/strong>\u003c/p>\n\u003cp>Share your thoughts, and we’d love to feature your words here on KQED.org and on our social media channels.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"hearken","attributes":{"named":{"id":"”9857″","src":"”https://modules.wearehearken.com/kqed/embed/9857.js”","label":""},"numeric":[]}},{"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/13917362/castro-theatre-seating-renovation-town-hall","authors":["185"],"categories":["arts_1","arts_74","arts_235"],"tags":["arts_10589","arts_6192","arts_3547","arts_6476","arts_10342","arts_10278","arts_977","arts_5544","arts_3465"],"featImg":"arts_13917429","label":"arts"},"arts_13901612":{"type":"posts","id":"arts_13901612","meta":{"index":"posts_1591205157","site":"arts","id":"13901612","score":null,"sort":[1630522824000]},"guestAuthors":[],"slug":"festivals-premieres-and-highlights-of-bay-area-film-to-see-this-fall","title":"Bay Area Film Festivals and Premieres Worth Your While This Fall","publishDate":1630522824,"format":"standard","headTitle":"Bay Area Film Festivals and Premieres Worth Your While This Fall | KQED","labelTerm":{},"content":"\u003cp>Just a few months ago, theater chains and distributors (especially the rapacious studios) were salivating about the turnstile-spinning, popcorn-chomping return of the masses to the multiplex. A few summer superheroes were primed to light up the box office, setting the stage for a steady parade of fall moneymakers, holiday hits and executive Christmas bonuses.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/fallarts2021\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13901773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>\u003c/p>\n\u003cp>Then came the delta variant, possibly postponing the storybook ending yet again. Film festivals have devised a dual-platform approach, with some in-person screenings and a ramped-up online program. The studios, meanwhile, are agonizing over the big, expensive movies (like the latest James Bond adventure, gathering dust on a shelf for the last year and a half) they’re counting on to mint millions in October—if, and only if, theatergoers feel safe crowded together (with or without masks).\u003c/p>\n\u003cp>This is not to overlook streaming, which is a permanent part of the landscape now. But it can never replace the big-screen experience of sitting in the dark with strangers. Here are the highlights of what’s headed our way in the next couple months, that is, if the schedule holds.\u003c/p>\n\u003cp>\u003ci>\u003cb>Reminder:\u003c/b> COVID precautions remain in flux. Proof of vaccination is a requirement for many indoor events. Before making plans, and again before arrival, be sure to check event websites for the latest protocols.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/AXhpTZeG4eg\u003c/p>\n\u003ch2>\u003ca href=\"https://www.20thcenturystudios.com/movies/everybodys-talking-about-jamie\" rel=\"noopener noreferrer\" target=\"_blank\">‘Everybody’s Talking About Jamie’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Limited theatrical release Sept. 10; streaming on Amazon Prime Sept. 17\u003c/i>\u003c/p>\n\u003cp>Jamie Campbell knew who he was in high school in the English town of Bishop Auckland, and he resolved to express it. Supported by his mum (though not his dad) and accompanied by a film crew—a protective strategy Jamie devised, and arranged by pitching a documentary to a production company—he wore a dress to prom and made his drag debut as Fifi la True. \u003cem>\u003ca href=\"https://www.amazon.com/Jamie-Drag-Queen-at-16/dp/B07RX3H932\" rel=\"noopener noreferrer\" target=\"_blank\">Jamie: Drag Queen at 16\u003c/a>\u003c/em> aired on British TV in 2011, inspiring Sheffield theater director Jonathan Butterell to create the exuberant, affirming 2017 musical that went on to become a West End hit. Butterell’s screen adaptation of the same name, starring newcomer Max Harwood and featuring Richard E. Grant as the confident queen who takes Jamie under his wing, precedes the musical’s North American premiere, slated for L.A.’s Ahmanson Theatre in January. \u003c/p>\n\u003cfigure id=\"attachment_13902155\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/4-USE-RL-Marti%CC%81nez1_1200.jpg\" alt=\"View of forest with colorful, smoky overlay.\" width=\"1200\" height=\"724\" class=\"size-full wp-image-13902155\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200-1020x615.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200-768x463.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">J.M. Martínez, ‘Recursive Lattice.’ \u003ccite>(SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfcinematheque.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Crossroads\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Livestreamed Sept. 17–23\u003cbr>\nIn-person shows Oct. 16–17 at the Roxie Theater, San Francisco\u003cbr>\nMost programs online through Oct. 21\u003c/i>\u003c/p>\n\u003cp>Sixty years young, San Francisco Cinematheque keeps the flame of avant-garde film and video alive and aloft. It’s more of a beacon, really, as the long-running Crossroads festival attracts a remarkable range of new short works from established and young filmmakers around the world. The lineup features world premieres by Takahiro Suzuki, Jennie MaryTai Liu, Julia Dogra-Brazell and J.M. Martínez, among others. Experimental film is the least-commercial form of moviemaking—although its stylistic and technical innovations are routinely co-opted by ad agencies—and arguably the purest. \u003c/p>\n\u003cp>https://youtu.be/eMMLRnXPPJk\u003c/p>\n\u003ch2>\u003ca href=\"https://www.searchlightpictures.com/theeyesoftammyfaye/\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Eyes of Tammy Faye’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>In theaters Sept. 17\u003c/i>\u003c/p>\n\u003cp>It’s anybody’s guess, at this late date, if the late evangelist and eyelash fashionista Tammy Faye Bakker is more revered in queer or Evangelical circles. Jessica Chastain channels our heroine, with Andrew Garfield playing hubby Jim and Vincent D’Onofrio inhabiting the snake skin of Jerry Falwell, in Michael Showalter’s moving saga of a crisis of prosperity gospel—I mean, faith.\u003c/p>\n\u003cfigure id=\"attachment_13902249\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200.jpg\" alt=\"Three teenagers on a suburban street, one in a cheerleading uniform.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13902249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Inde Navarrette in the short film ‘#WHITINA,’ directed by J. Sean Smith. \u003ccite>(Courtesy SF Latino Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.cinemassf.org/\" rel=\"noopener noreferrer\" target=\"_blank\">SF Latino Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 1–17 online and in-person\u003c/i>\u003c/p>\n\u003cp>There’s an astonishing depth and breadth of narrative filmmaking in Latin and South America that people in this country are often oblivious to. That’s especially regrettable given 1) the simplistic headlines that drive our shallow understanding of life in the southern hemisphere and 2) its geographic proximity. Cine+Mas’ annual festival compiles a cornucopia of small treasures for local audiences, sprinkled with fiction and documentary portraits of Latinx life in the U.S. The 13th edition promises to be, as always, vibrant and tough-minded.\u003c/p>\n\u003cfigure id=\"attachment_13902161\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/SeriousMoviesCombo_1800.jpg\" alt=\"\" width=\"1800\" height=\"450\" class=\"size-full wp-image-13902161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-800x200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-1020x255.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-160x40.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-768x192.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-1536x384.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Stills (L–R) from ‘The Many Saints of Newark,’ ‘No Time to Die’ and ‘The Last Duel’ prove all films with a blue tinge should be taken seriously. \u003ccite>(Warner Bros. / Universal Pictures / 20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.warnerbros.com/movies/many-saints-newark\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Many Saints of Newark,’\u003c/a> \u003ca href=\"https://www.007.com/no-time-to-die/\" rel=\"noopener noreferrer\" target=\"_blank\">‘No Time to Die’\u003c/a> & \u003ca href=\"https://www.20thcenturystudios.com/movies/the-last-duel\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Last Duel’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 1; Oct. 8; Oct. 15, respectively\u003ci>\u003c/i>\u003c/i>\u003c/p>\n\u003cp>October brings what passes for mainstream adult entertainment: Violent action with a thin veneer of serious, deep themes. First up is the Sopranos prequel that nobody asked for, with Alessandro Nivola, Vera Farmiga and Corey Stoll doing the heavy lifting and Michael Gandolfini as Young Tony. \u003cem>No Time to Die\u003c/em> is the aforementioned Bond flick, with Daniel Craig playing 007 for the last time and Oakland-born Cary Joji Fukunaga at the helm for the first time. The trifecta is completed by Ridley Scott’s \u003cem>The Last Duel\u003c/em>, which unfolds in 14th-century France and involves honor, betrayal, a woman asserting her free will and a duel. So of course Matt Damon, Adam Driver and Ben Affleck play the leads (alongside Jodie Comer). Nothing to do with Affleck and Damon penning the script, with the help of Nicole Holofcener. I don’t suppose France would ever recall their ambassador over a movie, but it’s an amusing fantasy.\u003c/p>\n\u003cfigure id=\"attachment_13902208\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13902208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Rebecca Hall’s ‘Passing,’ featuring Clare (Ruth Negga) and Irene (Tessa Thompson). \u003ccite>(Courtesy Mill Valley Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.mvff.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Mill Valley Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 7–17 online and in-person\u003c/i>\u003c/p>\n\u003cp>Marin County’s long-running soirée is a supreme apple-picker, plucking the most promising titles from the Telluride, Venice, Toronto and New York festivals (which all take place in September) on their way to theatrical releases and end-of-year awards. The juicy offerings include Todd Haynes’ documentary \u003cem>The Velvet Underground\u003c/em> (opening Oct. 15 before streaming on Apple+), Denis Villeneuve’s take on Frank Herbert’s \u003cem>Dune\u003c/em> (Oct. 22) and Eve Husson’s adaptation of Graham Swift’s \u003cem>Mothering Sunday\u003c/em> (Nov. 19).\u003c/p>\n\u003cp>The dazzling list of women directors also includes Maggie Gyllenhaal (\u003cem>The Lost Daughter\u003c/em>), Rebecca Hall (\u003cem>Passing\u003c/em>, adapted from Harlem Renaissance author Nella Larsen’s 1929 novel) and Jane Campion (\u003cem>The Power of the Dog\u003c/em>). Release dates are forthcoming for all three films, with the latter two coming to Netflix.\u003c/p>\n\u003cp>MVFF also has the local premieres of a slew of Bay Area documentaries, including Susan Stern’s \u003cem>Bad Attitude: The Art of Spain Rodriguez\u003c/em>, Suzanne Joe Kai’s \u003cem>Like a Rolling Stone: The Life & Times of Ben Fong-Torres\u003c/em> and Andres Alegria and Abel Sanchez’s \u003cem>Song for Cesar\u003c/em>. Local filmmakers have been busy during the pandemic, and we’re about to reap the benefits.\u003c/p>\n\u003cfigure id=\"attachment_13902189\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13902189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Bangarra Dance Ensemble performing ‘Whistler’ from ‘Ones Country.’ \u003ccite>(Daniel Boud)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfdancefilmfest.org/\" rel=\"noopener noreferrer\" target=\"_blank\">SF Dance Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 15–24 in-theater screenings and online through Marquee TV\u003c/i>\u003c/p>\n\u003cp>The growth of the SFDFF’s programming, in good times and pandemic times, is one of the more impressive developments on the local film scene. Yes, the vast majority of the 123 pieces (from 25 countries) are shorts, but the variety of approaches (both choreographic and cinematic) in a single program is an enticement for audiences (although no less of a challenge for programmers). Feature-length offerings include the captivating Bollywood fable \u003cem>Natyam\u003c/em> and the Australian documentary \u003cem>Firestarter: The Story of Bangarra\u003c/em>, which salutes the dance company forever changed by three Aboriginal brothers over 30 years ago. The SFDFF also screens the recent docs \u003cem>Ailey\u003c/em> and \u003cem>Can You Bring It? Bill T. Jones and D-Man in the Waters\u003c/em> for those who missed them the first time around.\u003c/p>\n\u003cp>https://youtu.be/TcPk2p0Zaw4\u003c/p>\n\u003ch2>\u003ca href=\"https://www.searchlightpictures.com/thefrenchdispatch/\" rel=\"noopener noreferrer\" target=\"_blank\">‘The French Dispatch’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Opens Oct. 22\u003c/i>\u003c/p>\n\u003cp>Wes Anderson’s latest obsessively designed gingerbread house of a movie revolves around a fictional literary magazine published in the last century by American expatriates in a French town. His regular retinue of stars playing oddballs (Bill Murray, Jason Schwartzman, Elisabeth Moss, Owen Wilson, Anjelica Huston) is abetted by Frances McDormand, Benicio del Toro, Jeffery Wright, Timothée Chalemet and Gallic stars Mathieu Amalric and Léa Seydoux. Whether they infuse the twee proceedings with life and emotion is both the key question and beside the point: Anderson’s movies are an inside joke, and you know if you get them (and like them) or not.\u003c/p>\n\u003cp>https://youtu.be/Lagauhb5GyY\u003c/p>\n\u003ch2>\u003ca href=\"https://neonrated.com/films/spencer\" rel=\"noopener noreferrer\" target=\"_blank\">‘Spencer’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Opens Nov. 5\u003c/i>\u003c/p>\n\u003cp>A decade or so ago, when she was winsomely emoting in the \u003cem>Twilight\u003c/em> movies, nobody could have imagined Kristen Stewart would someday be an Oscar candidate. Especially in one of those emotionally fraught, home-for-the-holidays movies. Ah, but what if the home is, uh, a palace? (Sandringham Estate, actually.) Stewart plays Princess Diana at a low point in her marriage to Prince Charles (Jack Farthing) in this speculative drama penned by Steven Knight (\u003cstrong>Peaky Blinders\u003c/strong>). The Chilean director Pablo Larraín (\u003cem>Jackie\u003c/em>, \u003cem>Ema\u003c/em>) continues his recent exploration of women in desperate circumstances asserting their power and claiming their independence.\u003c/p>\n\u003cp>https://youtu.be/kAJXFRshQfw\u003c/p>\n\u003ch2>\u003ca href=\"https://www.netflix.com/title/81149184\" rel=\"noopener noreferrer\" target=\"_blank\">‘tick, tick…BOOM!’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Limited theatrical release Nov. 12\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Netflix drops Lin-Manuel Miranda’s directorial debut, adapted from Jonathan Larson’s early-’90s autobiographical musical, into theaters for a qualifying run for little gold statues before streaming it far and wide Nov. 19. Larson wrote \u003cem>tick, tick…BOOM!\u003c/em> to expunge his disappointment and frustration after his previous musical didn’t receive a New York production. He did go on to have the success he wanted with \u003cem>Rent\u003c/em>, but couldn’t enjoy it. The day of its first off-Broadway preview, Larsen died of a misdiagnosed heart condition. Don’t let it bring you down: Andrew Garfield (as Jon) and Bradley Whitford (as Stephen Sondheim) lead the cast of Miranda’s homage to creativity, ambition and the vagaries of love.\u003c/p>\n\n","blocks":[],"excerpt":"Our fall film guide is full of local fests, long-delayed big-screen premieres and plenty of streaming options.","status":"publish","parent":0,"modified":1705007824,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":29,"wordCount":1750},"headData":{"title":"Bay Area Film Festivals and Premieres Worth Your While This Fall | KQED","description":"Our fall film guide is full of local fests, long-delayed big-screen premieres and plenty of streaming options.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bay Area Film Festivals and Premieres Worth Your While This Fall","datePublished":"2021-09-01T19:00:24.000Z","dateModified":"2024-01-11T21:17:04.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Fall Arts Guide 2021","sourceUrl":"https://www.kqed.org/arts/tag/fallarts2021","sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13901612/festivals-premieres-and-highlights-of-bay-area-film-to-see-this-fall","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just a few months ago, theater chains and distributors (especially the rapacious studios) were salivating about the turnstile-spinning, popcorn-chomping return of the masses to the multiplex. A few summer superheroes were primed to light up the box office, setting the stage for a steady parade of fall moneymakers, holiday hits and executive Christmas bonuses.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/fallarts2021\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13901773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>\u003c/p>\n\u003cp>Then came the delta variant, possibly postponing the storybook ending yet again. Film festivals have devised a dual-platform approach, with some in-person screenings and a ramped-up online program. The studios, meanwhile, are agonizing over the big, expensive movies (like the latest James Bond adventure, gathering dust on a shelf for the last year and a half) they’re counting on to mint millions in October—if, and only if, theatergoers feel safe crowded together (with or without masks).\u003c/p>\n\u003cp>This is not to overlook streaming, which is a permanent part of the landscape now. But it can never replace the big-screen experience of sitting in the dark with strangers. Here are the highlights of what’s headed our way in the next couple months, that is, if the schedule holds.\u003c/p>\n\u003cp>\u003ci>\u003cb>Reminder:\u003c/b> COVID precautions remain in flux. Proof of vaccination is a requirement for many indoor events. Before making plans, and again before arrival, be sure to check event websites for the latest protocols.\u003c/i>\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/AXhpTZeG4eg'\n title='//www.youtube.com/embed/AXhpTZeG4eg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.20thcenturystudios.com/movies/everybodys-talking-about-jamie\" rel=\"noopener noreferrer\" target=\"_blank\">‘Everybody’s Talking About Jamie’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Limited theatrical release Sept. 10; streaming on Amazon Prime Sept. 17\u003c/i>\u003c/p>\n\u003cp>Jamie Campbell knew who he was in high school in the English town of Bishop Auckland, and he resolved to express it. Supported by his mum (though not his dad) and accompanied by a film crew—a protective strategy Jamie devised, and arranged by pitching a documentary to a production company—he wore a dress to prom and made his drag debut as Fifi la True. \u003cem>\u003ca href=\"https://www.amazon.com/Jamie-Drag-Queen-at-16/dp/B07RX3H932\" rel=\"noopener noreferrer\" target=\"_blank\">Jamie: Drag Queen at 16\u003c/a>\u003c/em> aired on British TV in 2011, inspiring Sheffield theater director Jonathan Butterell to create the exuberant, affirming 2017 musical that went on to become a West End hit. Butterell’s screen adaptation of the same name, starring newcomer Max Harwood and featuring Richard E. Grant as the confident queen who takes Jamie under his wing, precedes the musical’s North American premiere, slated for L.A.’s Ahmanson Theatre in January. \u003c/p>\n\u003cfigure id=\"attachment_13902155\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/4-USE-RL-Marti%CC%81nez1_1200.jpg\" alt=\"View of forest with colorful, smoky overlay.\" width=\"1200\" height=\"724\" class=\"size-full wp-image-13902155\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200-1020x615.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200-768x463.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">J.M. Martínez, ‘Recursive Lattice.’ \u003ccite>(SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfcinematheque.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Crossroads\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Livestreamed Sept. 17–23\u003cbr>\nIn-person shows Oct. 16–17 at the Roxie Theater, San Francisco\u003cbr>\nMost programs online through Oct. 21\u003c/i>\u003c/p>\n\u003cp>Sixty years young, San Francisco Cinematheque keeps the flame of avant-garde film and video alive and aloft. It’s more of a beacon, really, as the long-running Crossroads festival attracts a remarkable range of new short works from established and young filmmakers around the world. The lineup features world premieres by Takahiro Suzuki, Jennie MaryTai Liu, Julia Dogra-Brazell and J.M. Martínez, among others. Experimental film is the least-commercial form of moviemaking—although its stylistic and technical innovations are routinely co-opted by ad agencies—and arguably the purest. \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/eMMLRnXPPJk'\n title='//www.youtube.com/embed/eMMLRnXPPJk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.searchlightpictures.com/theeyesoftammyfaye/\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Eyes of Tammy Faye’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>In theaters Sept. 17\u003c/i>\u003c/p>\n\u003cp>It’s anybody’s guess, at this late date, if the late evangelist and eyelash fashionista Tammy Faye Bakker is more revered in queer or Evangelical circles. Jessica Chastain channels our heroine, with Andrew Garfield playing hubby Jim and Vincent D’Onofrio inhabiting the snake skin of Jerry Falwell, in Michael Showalter’s moving saga of a crisis of prosperity gospel—I mean, faith.\u003c/p>\n\u003cfigure id=\"attachment_13902249\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200.jpg\" alt=\"Three teenagers on a suburban street, one in a cheerleading uniform.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13902249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Inde Navarrette in the short film ‘#WHITINA,’ directed by J. Sean Smith. \u003ccite>(Courtesy SF Latino Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.cinemassf.org/\" rel=\"noopener noreferrer\" target=\"_blank\">SF Latino Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 1–17 online and in-person\u003c/i>\u003c/p>\n\u003cp>There’s an astonishing depth and breadth of narrative filmmaking in Latin and South America that people in this country are often oblivious to. That’s especially regrettable given 1) the simplistic headlines that drive our shallow understanding of life in the southern hemisphere and 2) its geographic proximity. Cine+Mas’ annual festival compiles a cornucopia of small treasures for local audiences, sprinkled with fiction and documentary portraits of Latinx life in the U.S. The 13th edition promises to be, as always, vibrant and tough-minded.\u003c/p>\n\u003cfigure id=\"attachment_13902161\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/SeriousMoviesCombo_1800.jpg\" alt=\"\" width=\"1800\" height=\"450\" class=\"size-full wp-image-13902161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-800x200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-1020x255.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-160x40.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-768x192.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-1536x384.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Stills (L–R) from ‘The Many Saints of Newark,’ ‘No Time to Die’ and ‘The Last Duel’ prove all films with a blue tinge should be taken seriously. \u003ccite>(Warner Bros. / Universal Pictures / 20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.warnerbros.com/movies/many-saints-newark\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Many Saints of Newark,’\u003c/a> \u003ca href=\"https://www.007.com/no-time-to-die/\" rel=\"noopener noreferrer\" target=\"_blank\">‘No Time to Die’\u003c/a> & \u003ca href=\"https://www.20thcenturystudios.com/movies/the-last-duel\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Last Duel’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 1; Oct. 8; Oct. 15, respectively\u003ci>\u003c/i>\u003c/i>\u003c/p>\n\u003cp>October brings what passes for mainstream adult entertainment: Violent action with a thin veneer of serious, deep themes. First up is the Sopranos prequel that nobody asked for, with Alessandro Nivola, Vera Farmiga and Corey Stoll doing the heavy lifting and Michael Gandolfini as Young Tony. \u003cem>No Time to Die\u003c/em> is the aforementioned Bond flick, with Daniel Craig playing 007 for the last time and Oakland-born Cary Joji Fukunaga at the helm for the first time. The trifecta is completed by Ridley Scott’s \u003cem>The Last Duel\u003c/em>, which unfolds in 14th-century France and involves honor, betrayal, a woman asserting her free will and a duel. So of course Matt Damon, Adam Driver and Ben Affleck play the leads (alongside Jodie Comer). Nothing to do with Affleck and Damon penning the script, with the help of Nicole Holofcener. I don’t suppose France would ever recall their ambassador over a movie, but it’s an amusing fantasy.\u003c/p>\n\u003cfigure id=\"attachment_13902208\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13902208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Rebecca Hall’s ‘Passing,’ featuring Clare (Ruth Negga) and Irene (Tessa Thompson). \u003ccite>(Courtesy Mill Valley Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.mvff.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Mill Valley Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 7–17 online and in-person\u003c/i>\u003c/p>\n\u003cp>Marin County’s long-running soirée is a supreme apple-picker, plucking the most promising titles from the Telluride, Venice, Toronto and New York festivals (which all take place in September) on their way to theatrical releases and end-of-year awards. The juicy offerings include Todd Haynes’ documentary \u003cem>The Velvet Underground\u003c/em> (opening Oct. 15 before streaming on Apple+), Denis Villeneuve’s take on Frank Herbert’s \u003cem>Dune\u003c/em> (Oct. 22) and Eve Husson’s adaptation of Graham Swift’s \u003cem>Mothering Sunday\u003c/em> (Nov. 19).\u003c/p>\n\u003cp>The dazzling list of women directors also includes Maggie Gyllenhaal (\u003cem>The Lost Daughter\u003c/em>), Rebecca Hall (\u003cem>Passing\u003c/em>, adapted from Harlem Renaissance author Nella Larsen’s 1929 novel) and Jane Campion (\u003cem>The Power of the Dog\u003c/em>). Release dates are forthcoming for all three films, with the latter two coming to Netflix.\u003c/p>\n\u003cp>MVFF also has the local premieres of a slew of Bay Area documentaries, including Susan Stern’s \u003cem>Bad Attitude: The Art of Spain Rodriguez\u003c/em>, Suzanne Joe Kai’s \u003cem>Like a Rolling Stone: The Life & Times of Ben Fong-Torres\u003c/em> and Andres Alegria and Abel Sanchez’s \u003cem>Song for Cesar\u003c/em>. Local filmmakers have been busy during the pandemic, and we’re about to reap the benefits.\u003c/p>\n\u003cfigure id=\"attachment_13902189\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13902189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Bangarra Dance Ensemble performing ‘Whistler’ from ‘Ones Country.’ \u003ccite>(Daniel Boud)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfdancefilmfest.org/\" rel=\"noopener noreferrer\" target=\"_blank\">SF Dance Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 15–24 in-theater screenings and online through Marquee TV\u003c/i>\u003c/p>\n\u003cp>The growth of the SFDFF’s programming, in good times and pandemic times, is one of the more impressive developments on the local film scene. Yes, the vast majority of the 123 pieces (from 25 countries) are shorts, but the variety of approaches (both choreographic and cinematic) in a single program is an enticement for audiences (although no less of a challenge for programmers). Feature-length offerings include the captivating Bollywood fable \u003cem>Natyam\u003c/em> and the Australian documentary \u003cem>Firestarter: The Story of Bangarra\u003c/em>, which salutes the dance company forever changed by three Aboriginal brothers over 30 years ago. The SFDFF also screens the recent docs \u003cem>Ailey\u003c/em> and \u003cem>Can You Bring It? Bill T. Jones and D-Man in the Waters\u003c/em> for those who missed them the first time around.\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/TcPk2p0Zaw4'\n title='//www.youtube.com/embed/TcPk2p0Zaw4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.searchlightpictures.com/thefrenchdispatch/\" rel=\"noopener noreferrer\" target=\"_blank\">‘The French Dispatch’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Opens Oct. 22\u003c/i>\u003c/p>\n\u003cp>Wes Anderson’s latest obsessively designed gingerbread house of a movie revolves around a fictional literary magazine published in the last century by American expatriates in a French town. His regular retinue of stars playing oddballs (Bill Murray, Jason Schwartzman, Elisabeth Moss, Owen Wilson, Anjelica Huston) is abetted by Frances McDormand, Benicio del Toro, Jeffery Wright, Timothée Chalemet and Gallic stars Mathieu Amalric and Léa Seydoux. Whether they infuse the twee proceedings with life and emotion is both the key question and beside the point: Anderson’s movies are an inside joke, and you know if you get them (and like them) or not.\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/Lagauhb5GyY'\n title='//www.youtube.com/embed/Lagauhb5GyY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://neonrated.com/films/spencer\" rel=\"noopener noreferrer\" target=\"_blank\">‘Spencer’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Opens Nov. 5\u003c/i>\u003c/p>\n\u003cp>A decade or so ago, when she was winsomely emoting in the \u003cem>Twilight\u003c/em> movies, nobody could have imagined Kristen Stewart would someday be an Oscar candidate. Especially in one of those emotionally fraught, home-for-the-holidays movies. Ah, but what if the home is, uh, a palace? (Sandringham Estate, actually.) Stewart plays Princess Diana at a low point in her marriage to Prince Charles (Jack Farthing) in this speculative drama penned by Steven Knight (\u003cstrong>Peaky Blinders\u003c/strong>). The Chilean director Pablo Larraín (\u003cem>Jackie\u003c/em>, \u003cem>Ema\u003c/em>) continues his recent exploration of women in desperate circumstances asserting their power and claiming their independence.\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/kAJXFRshQfw'\n title='//www.youtube.com/embed/kAJXFRshQfw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.netflix.com/title/81149184\" rel=\"noopener noreferrer\" target=\"_blank\">‘tick, tick…BOOM!’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Limited theatrical release Nov. 12\u003c/i>\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>Netflix drops Lin-Manuel Miranda’s directorial debut, adapted from Jonathan Larson’s early-’90s autobiographical musical, into theaters for a qualifying run for little gold statues before streaming it far and wide Nov. 19. Larson wrote \u003cem>tick, tick…BOOM!\u003c/em> to expunge his disappointment and frustration after his previous musical didn’t receive a New York production. He did go on to have the success he wanted with \u003cem>Rent\u003c/em>, but couldn’t enjoy it. The day of its first off-Broadway preview, Larsen died of a misdiagnosed heart condition. Don’t let it bring you down: Andrew Garfield (as Jon) and Bradley Whitford (as Stephen Sondheim) lead the cast of Miranda’s homage to creativity, ambition and the vagaries of love.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13901612/festivals-premieres-and-highlights-of-bay-area-film-to-see-this-fall","authors":["22"],"categories":["arts_1","arts_74"],"tags":["arts_5051","arts_15307","arts_10278","arts_977","arts_1006","arts_2701","arts_3465","arts_5710","arts_585"],"featImg":"arts_13902209","label":"source_arts_13901612"},"arts_13899598":{"type":"posts","id":"arts_13899598","meta":{"index":"posts_1591205157","site":"arts","id":"13899598","score":null,"sort":[1625238018000]},"guestAuthors":[],"slug":"bay-area-historic-movie-theaters-move-towards-greater-accessibility","title":"Bay Area Historic Movie Theaters Move Towards Greater Accessibility","publishDate":1625238018,"format":"audio","headTitle":"Bay Area Historic Movie Theaters Move Towards Greater Accessibility | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cspan style=\"font-weight: 400\">Angela Chan hardly misses a film at the \u003ca href=\"https://www.roxie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Roxie Theater\u003c/a>, even though she takes public transportation all the way from where she lives in Millbrae to get to the San Francisco Mission District venue.\u003c/span>\u003c/p>\n\u003cp>“When you get a membership, you’re going to want to see more than two movies a month,” the avid moviegoer says, crossing 16th Street on the way to catch a screening of \u003ca href=\"https://www.imdb.com/title/tt14030552/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Kid Candidate\u003c/em>\u003c/a> as part of the Roxie’s \u003ca href=\"https://sfdocfest2021.eventive.org/welcome\" target=\"_blank\" rel=\"noopener noreferrer\">DocFest\u003c/a> programming. “And patron members get free popcorn.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Chan is legally blind, and because she has scoliosis, she uses a walker. So she’s thrilled to discover the theater’s shiny new wheelchair-accessible door, which glides open at the push of a big button. She’s also happy the Roxie remodeled its formerly wheelchair-inaccessible bathroom.\u003c/span>\u003c/p>\n\u003cp>“It’s huge,” she says. “And everything’s white, so it’s easy to see.”\u003c/p>\n\u003cp>One of the pandemic’s few silver linings is that it gave some of the Bay Area’s shuttered historic movie theaters, like the Roxie, the time and space to undertake much-needed accessibility upgrades. For these older theaters, built long before current codes, making the moviegoing experience more welcoming for the \u003ca href=\"https://www.cdc.gov/ncbddd/disabilityandhealth/impacts/california.html\" target=\"_blank\" rel=\"noopener noreferrer\">23% of adults in California\u003c/a> who live with a disability has been a long time coming.\u003c/p>\n\u003ch2>Accessibility Nightmare\u003c/h2>\n\u003cp>“There was a time in which myself as a wheelchair user could not get into many theaters at all,” says Oakland-based film director and sound designer \u003ca href=\"https://en.wikipedia.org/wiki/James_LeBrecht\" target=\"_blank\" rel=\"noopener noreferrer\">Jim LeBrecht\u003c/a>, who’s in his mid-60s. “Maybe they would allow me to sit in the aisle, but I was a fire hazard. Or maybe when I was a younger guy I was able to transfer to a seat, and then my wheelchair was stashed somewhere else.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Together with \u003ca href=\"https://en.wikipedia.org/wiki/Nicole_Newnham\" target=\"_blank\" rel=\"noopener noreferrer\">Nicole Newnham\u003c/a>, LeBrecht wrote, directed and co-produced the Oscar-nominated movie \u003ca href=\"http://www.cripcamp.com\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Crip Camp\u003c/em>\u003c/a>, which tells the story of a group of disabled teens—LeBrecht among them—whose memorable experiences at a summer camp in the early 1970s sparked a nationwide surge in disability rights activism.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"CRIP CAMP: A DISABILITY REVOLUTION | Official Trailer | Netflix | Documentary\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/XRrIs22plz0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>LeBrecht says his moviegoing experience has steadily improved since the passage of the \u003ca href=\"https://www.ada.gov/pubs/adastatute08.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Americans with Disabilities Act\u003c/a> (ADA) in 1990. \u003cspan style=\"font-weight: 400\">But he sees compliance with the ADA as “a floor, not a ceiling.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This poses a challenge for \u003c/span>\u003cspan style=\"font-weight: 400\">historic\u003c/span>\u003cspan style=\"font-weight: 400\"> theaters, built decades before the establishment of ADA codes. Many are in constant need of other more pressing repairs, and, as small local businesses, they’ve traditionally been held less accountable for complying with accessibility laws, \u003cspan style=\"font-weight: 400\">LeBrecht says\u003c/span>.\u003c/span>\u003c/p>\n\u003cp>“Some have really not done much of anything, saying that the cost is so great, they are not obligated under the law,” LeBrecht says. Another common argument from historic theaters is that making accessibility upgrades would destroy their historic architecture.\u003c/p>\n\u003ch2>Historic Theaters Step It Up\u003c/h2>\n\u003cp>But things are changing. More owners and managers of historic theaters are seeing the value of making their spaces more inclusive, and finding the funds to follow through.\u003c/p>\n\u003cp>“There’s a huge audience out there that wants to come to the movies,” says the Roxie’s executive director Lex Sloan, who used the majority of a $150,000 grant from the \u003ca href=\"https://savingplaces.org/\" target=\"_blank\" rel=\"noopener noreferrer\">National Trust for Historic Preservation\u003c/a> to make accessibility upgrades to the 108-year-old venue. “And so let’s make sure that we have what they need to feel comfortable here.”\u003c/p>\n\u003cfigure id=\"attachment_13899767\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899767\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/RS50210_lex-sloan-roxie-ada-door-copy-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RS50210_lex-sloan-roxie-ada-door-copy-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RS50210_lex-sloan-roxie-ada-door-copy-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RS50210_lex-sloan-roxie-ada-door-copy-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RS50210_lex-sloan-roxie-ada-door-copy-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RS50210_lex-sloan-roxie-ada-door-copy-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RS50210_lex-sloan-roxie-ada-door-copy-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lex Sloan, executive director of the Roxie, demonstrates the new ADA door. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We feel that that’s sort of a social responsibility of a business, and wherever possible needs to be achieved,” says Allen Michaan, owner and operator of Oakland’s 95-year-old \u003ca href=\"http://www.renaissancerialto.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Grand Lake Theatre\u003c/a>. Michaan says he’s used business profits steadily over the years to make upgrades, like adding more seats for wheelchair users in prime spots.\u003c/p>\n\u003cp>Meanwhile, over in Marin County, the \u003ca href=\"https://larktheater.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Lark Theater\u003c/a> in Larkspur, opened in 1940, is making its existing ADA bathrooms and lobby concession counters more wheelchair-friendly with funds from a capital campaign and a private donor. “It’s very important that we do this,” says the Lark’s executive director Ellie Mednick. “We have had people with disabilities come to our theater for a long time, and have always asked how we can improve.” The theater began these renovations a few months ago and plans to reopen in October.\u003c/p>\n\u003ch2>Some Lag Behind\u003c/h2>\n\u003cp>But some historic Bay Area theaters are lagging behind—notably San Francisco’s \u003ca href=\"https://www.castrotheatre.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Castro Theatre\u003c/a>, which was built in 1922.\u003c/p>\n\u003cp>“All sorts of people with disabilities have been saying, ‘Look, we can’t access half the theater. It’s not available to us,'” says Catherine Kudlick, who directs the \u003ca href=\"https://longmoreinstitute.sfsu.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Paul K. Longmore Institute on Disability\u003c/a> at \u003ca href=\"https://www.sfsu.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco State University\u003c/a>, which hosts \u003ca href=\"https://longmoreinstitute.sfsu.edu/superfest\" target=\"_blank\" rel=\"noopener noreferrer\">Superfest\u003c/a>, touted as “the world’s longest running disability film festival.”\u003c/p>\n\u003cp>Kudlick is among several people interviewed for this story who want the famed San Francisco movie palace to make a variety of accessibility upgrades, including providing more desirable seating options for wheelchair users, implementing audio description and closed captioning technology for people who are hearing or sight impaired, and making the stage and mezzanine accessible to people who can’t climb stairs.\u003c/p>\n\u003cp>“If there’s a will, there’s a way,” says Kudlick. “The problem is you’ve got to get people to the point where they need to be willing to do this.”\u003c/p>\n\u003cfigure id=\"attachment_13887089\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887089\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/CastroTheatre.covid_-800x450.jpg\" alt=\"The Castro Theatre at night. The theatre has been closed since March due to coronavirus restrictions.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/CastroTheatre.covid_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/CastroTheatre.covid_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/CastroTheatre.covid_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/CastroTheatre.covid_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/CastroTheatre.covid_-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/CastroTheatre.covid_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Castro Theatre. \u003ccite>(Castro Theatre/Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The Castro is\u003cb>\u003c/b> a wonderful theater, the absolute centerpiece of our cinematic community, and I appreciate it deeply,” says filmmaker LeBrecht. “But it is a horrible place for me to go see a movie.”\u003c/p>\n\u003ch2>Working Toward Improvements\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">LeBrecht and Kudlick are part of a \u003ca href=\"https://sffilm.org/accessibility/\" target=\"_blank\" rel=\"noopener noreferrer\">Disability Advisory Board\u003c/a> set up three years ago by \u003ca href=\"https://sffilm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SFFILM\u003c/a>, which hosts many \u003ca href=\"https://sffilm.org/sffilm-festival/?gclid=CjwKCAjwz_WGBhA1EiwAUAxIcREwVAJI7xRZUCo3tgUFvBOPr40iHKjTsyq5yk0IH0jfu6UYoZdWuxoCCs8QAvD_BwE\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco International Film Festival\u003c/a> screenings and other events throughout the year at the Castro, among other local venues. The board’s initiatives, with the help of funding from the \u003ca href=\"https://krfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Kenneth Rainin Foundation\u003c/a>, include improving accessibility at historic movie theaters, supporting filmmakers with disabilities, and increasing access to closed captioning and audio description both for digital and in-person film events. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">LeBrecht says his group is helping SFFILM work with its partner venues, including the Castro, to address accessibility issues. \u003c/span>\u003c/p>\n\u003cp>The Castro’s general manager, Steve Nasser, says he’s committed to addressing their concerns, though he’s vague on specifics and a timeline at this stage.\u003c/p>\n\u003cp>“You know, we’re looking at a variety of options, is what I would say,” Nasser says. “Our architect and historical consultants have met with the city.”\u003c/p>\n\u003ch2>The Audio Description Challenge\u003c/h2>\n\u003cp>Even theaters that \u003cem>have\u003c/em> embraced accessibility can’t always create the most optimal experience for disabled customers.\u003c/p>\n\u003cp>The Roxie, for example, has a stock of closed captioning and audio description devices. Small \u003ca href=\"https://en.wikipedia.org/wiki/Closed_captioning\" target=\"_blank\" rel=\"noopener noreferrer\">closed captioning\u003c/a> boxes, for people who have trouble hearing, fit in seat cupholders with text captions showing up on the boxes’ screens. \u003ca href=\"https://en.wikipedia.org/wiki/Audio_description\" target=\"_blank\" rel=\"noopener noreferrer\">Audio description\u003c/a>, for patrons who are sight-impaired, is provided through headphones. A voice describes the action unfolding on the movie theater screen.\u003c/p>\n\u003cp>But these devices are mostly only useful to visually and hearing impaired filmgoers if the films on view are outfitted with closed captioning and audio descriptions. And making a film caption- and audio description-ready is the responsibility of the filmmaker or film distributor. (Sloan adds a caveat that audio headsets have a setting which will increase the loudness of any film’s basic audio track, so this can help some people who have trouble hearing, even if the film itself doesn’t come with audio description. But it’s not much help to people who can’t see very well.)\u003c/p>\n\u003cfigure id=\"attachment_13899768\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899768\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/RS50209_audio-decription-headset-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RS50209_audio-decription-headset-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RS50209_audio-decription-headset-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RS50209_audio-decription-headset-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RS50209_audio-decription-headset-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RS50209_audio-decription-headset-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RS50209_audio-decription-headset-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An audio description headset. \u003ccite>(Lex Sloan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Roxie’s screening of indie documentary \u003cem>Kid Candidate \u003c/em>didn’t come with audio description. So film buff and Roxie member Chan had to sit in the very front row to follow the action on screen and the post-show Q&A with the director.\u003c/p>\n\u003cp>“Big studio films have the money to provide that kind of service,” Chan says. “Independent films and foreign films generally won’t have that available.”\u003c/p>\n\u003cp>Closed captioning is now \u003ca href=\"https://www.ada.gov/regs2016/movie_captioning_qa.html\" target=\"_blank\" rel=\"noopener noreferrer\">legally required\u003c/a> and can be done cheaply, or even for free using automated speech-to-text technology. So films with captioning are fairly ubiquitous these days. Movies with audio description are much less prevalent.\u003c/p>\n\u003cp>The Longmore Institute’s Kudlick, who is vision impaired, says audio description is more hands-on and subjective. “Someone has to decide what to describe, so it’s more complex and pricey to produce. It’s also still more niche and in its infancy as a service, so a lot of folks don’t know about it.”\u003c/p>\n\u003cp>According to data provided to KQED by the Rainin Foundation via email, audio description costs $20-$30 per minute. Captioning costs around $4 per minute.\u003c/p>\n\u003cp>But Kudlick’s colleague, Longmore Institute associate director Emily Beitiks, says indie filmmakers shouldn’t be let off the hook for providing audio description because of budget size. She says more of them are starting to include the service as part of the basic package that goes along with their films. “They write it into grants or get reduced costs from access providers who want to see these titles provided with access,” Beitiks says.\u003c/p>\n\u003ch2>Accessibility For All\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Filmmaker LeBrecht says the movie industry is starting to understand that accessibility isn’t just about meeting the needs of a niche group or fulfilling legal requirements. \u003c/span>\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">There is this shift, finally, of support and validation for the disabled community that we have been fighting for for years,” he says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Also, LeBrecht points out, the mere act of aging comes with accessibility needs.\u003c/span>\u003c/p>\n\u003cp>“If you are fortunate enough to live long enough, you are going to start experiencing things with your body that are going to make it more difficult for you to access a cinema or just society in general without some kind of accommodation,” LeBrecht says.\u003c/p>\n\u003cp>So the more that movie theaters prioritize accessibility, the more moviegoers they can reach.\u003c/p>\n\u003cp>“There’s an audience out there!” LeBrecht says. “They spend money in your theater!”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n","blocks":[],"excerpt":"More owners and managers of older theaters are finding funds to make their venues more inclusive.","status":"publish","parent":0,"modified":1705008106,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":41,"wordCount":1796},"headData":{"title":"Bay Area Historic Movie Theaters Move Towards Greater Accessibility | KQED","description":"More owners and managers of older theaters are finding funds to make their venues more inclusive.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bay Area Historic Movie Theaters Move Towards Greater Accessibility","datePublished":"2021-07-02T15:00:18.000Z","dateModified":"2024-01-11T21:21:46.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/0094d27e-8ef3-4818-afe8-ad67012b2750/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13899598/bay-area-historic-movie-theaters-move-towards-greater-accessibility","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Angela Chan hardly misses a film at the \u003ca href=\"https://www.roxie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Roxie Theater\u003c/a>, even though she takes public transportation all the way from where she lives in Millbrae to get to the San Francisco Mission District venue.\u003c/span>\u003c/p>\n\u003cp>“When you get a membership, you’re going to want to see more than two movies a month,” the avid moviegoer says, crossing 16th Street on the way to catch a screening of \u003ca href=\"https://www.imdb.com/title/tt14030552/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Kid Candidate\u003c/em>\u003c/a> as part of the Roxie’s \u003ca href=\"https://sfdocfest2021.eventive.org/welcome\" target=\"_blank\" rel=\"noopener noreferrer\">DocFest\u003c/a> programming. “And patron members get free popcorn.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Chan is legally blind, and because she has scoliosis, she uses a walker. So she’s thrilled to discover the theater’s shiny new wheelchair-accessible door, which glides open at the push of a big button. She’s also happy the Roxie remodeled its formerly wheelchair-inaccessible bathroom.\u003c/span>\u003c/p>\n\u003cp>“It’s huge,” she says. “And everything’s white, so it’s easy to see.”\u003c/p>\n\u003cp>One of the pandemic’s few silver linings is that it gave some of the Bay Area’s shuttered historic movie theaters, like the Roxie, the time and space to undertake much-needed accessibility upgrades. For these older theaters, built long before current codes, making the moviegoing experience more welcoming for the \u003ca href=\"https://www.cdc.gov/ncbddd/disabilityandhealth/impacts/california.html\" target=\"_blank\" rel=\"noopener noreferrer\">23% of adults in California\u003c/a> who live with a disability has been a long time coming.\u003c/p>\n\u003ch2>Accessibility Nightmare\u003c/h2>\n\u003cp>“There was a time in which myself as a wheelchair user could not get into many theaters at all,” says Oakland-based film director and sound designer \u003ca href=\"https://en.wikipedia.org/wiki/James_LeBrecht\" target=\"_blank\" rel=\"noopener noreferrer\">Jim LeBrecht\u003c/a>, who’s in his mid-60s. “Maybe they would allow me to sit in the aisle, but I was a fire hazard. Or maybe when I was a younger guy I was able to transfer to a seat, and then my wheelchair was stashed somewhere else.”\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>Together with \u003ca href=\"https://en.wikipedia.org/wiki/Nicole_Newnham\" target=\"_blank\" rel=\"noopener noreferrer\">Nicole Newnham\u003c/a>, LeBrecht wrote, directed and co-produced the Oscar-nominated movie \u003ca href=\"http://www.cripcamp.com\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Crip Camp\u003c/em>\u003c/a>, which tells the story of a group of disabled teens—LeBrecht among them—whose memorable experiences at a summer camp in the early 1970s sparked a nationwide surge in disability rights activism.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"CRIP CAMP: A DISABILITY REVOLUTION | Official Trailer | Netflix | Documentary\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/XRrIs22plz0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>LeBrecht says his moviegoing experience has steadily improved since the passage of the \u003ca href=\"https://www.ada.gov/pubs/adastatute08.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Americans with Disabilities Act\u003c/a> (ADA) in 1990. \u003cspan style=\"font-weight: 400\">But he sees compliance with the ADA as “a floor, not a ceiling.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This poses a challenge for \u003c/span>\u003cspan style=\"font-weight: 400\">historic\u003c/span>\u003cspan style=\"font-weight: 400\"> theaters, built decades before the establishment of ADA codes. Many are in constant need of other more pressing repairs, and, as small local businesses, they’ve traditionally been held less accountable for complying with accessibility laws, \u003cspan style=\"font-weight: 400\">LeBrecht says\u003c/span>.\u003c/span>\u003c/p>\n\u003cp>“Some have really not done much of anything, saying that the cost is so great, they are not obligated under the law,” LeBrecht says. Another common argument from historic theaters is that making accessibility upgrades would destroy their historic architecture.\u003c/p>\n\u003ch2>Historic Theaters Step It Up\u003c/h2>\n\u003cp>But things are changing. More owners and managers of historic theaters are seeing the value of making their spaces more inclusive, and finding the funds to follow through.\u003c/p>\n\u003cp>“There’s a huge audience out there that wants to come to the movies,” says the Roxie’s executive director Lex Sloan, who used the majority of a $150,000 grant from the \u003ca href=\"https://savingplaces.org/\" target=\"_blank\" rel=\"noopener noreferrer\">National Trust for Historic Preservation\u003c/a> to make accessibility upgrades to the 108-year-old venue. “And so let’s make sure that we have what they need to feel comfortable here.”\u003c/p>\n\u003cfigure id=\"attachment_13899767\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899767\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/RS50210_lex-sloan-roxie-ada-door-copy-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RS50210_lex-sloan-roxie-ada-door-copy-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RS50210_lex-sloan-roxie-ada-door-copy-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RS50210_lex-sloan-roxie-ada-door-copy-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RS50210_lex-sloan-roxie-ada-door-copy-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RS50210_lex-sloan-roxie-ada-door-copy-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RS50210_lex-sloan-roxie-ada-door-copy-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lex Sloan, executive director of the Roxie, demonstrates the new ADA door. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We feel that that’s sort of a social responsibility of a business, and wherever possible needs to be achieved,” says Allen Michaan, owner and operator of Oakland’s 95-year-old \u003ca href=\"http://www.renaissancerialto.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Grand Lake Theatre\u003c/a>. Michaan says he’s used business profits steadily over the years to make upgrades, like adding more seats for wheelchair users in prime spots.\u003c/p>\n\u003cp>Meanwhile, over in Marin County, the \u003ca href=\"https://larktheater.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Lark Theater\u003c/a> in Larkspur, opened in 1940, is making its existing ADA bathrooms and lobby concession counters more wheelchair-friendly with funds from a capital campaign and a private donor. “It’s very important that we do this,” says the Lark’s executive director Ellie Mednick. “We have had people with disabilities come to our theater for a long time, and have always asked how we can improve.” The theater began these renovations a few months ago and plans to reopen in October.\u003c/p>\n\u003ch2>Some Lag Behind\u003c/h2>\n\u003cp>But some historic Bay Area theaters are lagging behind—notably San Francisco’s \u003ca href=\"https://www.castrotheatre.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Castro Theatre\u003c/a>, which was built in 1922.\u003c/p>\n\u003cp>“All sorts of people with disabilities have been saying, ‘Look, we can’t access half the theater. It’s not available to us,'” says Catherine Kudlick, who directs the \u003ca href=\"https://longmoreinstitute.sfsu.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Paul K. Longmore Institute on Disability\u003c/a> at \u003ca href=\"https://www.sfsu.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco State University\u003c/a>, which hosts \u003ca href=\"https://longmoreinstitute.sfsu.edu/superfest\" target=\"_blank\" rel=\"noopener noreferrer\">Superfest\u003c/a>, touted as “the world’s longest running disability film festival.”\u003c/p>\n\u003cp>Kudlick is among several people interviewed for this story who want the famed San Francisco movie palace to make a variety of accessibility upgrades, including providing more desirable seating options for wheelchair users, implementing audio description and closed captioning technology for people who are hearing or sight impaired, and making the stage and mezzanine accessible to people who can’t climb stairs.\u003c/p>\n\u003cp>“If there’s a will, there’s a way,” says Kudlick. “The problem is you’ve got to get people to the point where they need to be willing to do this.”\u003c/p>\n\u003cfigure id=\"attachment_13887089\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887089\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/CastroTheatre.covid_-800x450.jpg\" alt=\"The Castro Theatre at night. The theatre has been closed since March due to coronavirus restrictions.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/CastroTheatre.covid_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/CastroTheatre.covid_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/CastroTheatre.covid_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/CastroTheatre.covid_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/CastroTheatre.covid_-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/CastroTheatre.covid_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Castro Theatre. \u003ccite>(Castro Theatre/Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The Castro is\u003cb>\u003c/b> a wonderful theater, the absolute centerpiece of our cinematic community, and I appreciate it deeply,” says filmmaker LeBrecht. “But it is a horrible place for me to go see a movie.”\u003c/p>\n\u003ch2>Working Toward Improvements\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">LeBrecht and Kudlick are part of a \u003ca href=\"https://sffilm.org/accessibility/\" target=\"_blank\" rel=\"noopener noreferrer\">Disability Advisory Board\u003c/a> set up three years ago by \u003ca href=\"https://sffilm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SFFILM\u003c/a>, which hosts many \u003ca href=\"https://sffilm.org/sffilm-festival/?gclid=CjwKCAjwz_WGBhA1EiwAUAxIcREwVAJI7xRZUCo3tgUFvBOPr40iHKjTsyq5yk0IH0jfu6UYoZdWuxoCCs8QAvD_BwE\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco International Film Festival\u003c/a> screenings and other events throughout the year at the Castro, among other local venues. The board’s initiatives, with the help of funding from the \u003ca href=\"https://krfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Kenneth Rainin Foundation\u003c/a>, include improving accessibility at historic movie theaters, supporting filmmakers with disabilities, and increasing access to closed captioning and audio description both for digital and in-person film events. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">LeBrecht says his group is helping SFFILM work with its partner venues, including the Castro, to address accessibility issues. \u003c/span>\u003c/p>\n\u003cp>The Castro’s general manager, Steve Nasser, says he’s committed to addressing their concerns, though he’s vague on specifics and a timeline at this stage.\u003c/p>\n\u003cp>“You know, we’re looking at a variety of options, is what I would say,” Nasser says. “Our architect and historical consultants have met with the city.”\u003c/p>\n\u003ch2>The Audio Description Challenge\u003c/h2>\n\u003cp>Even theaters that \u003cem>have\u003c/em> embraced accessibility can’t always create the most optimal experience for disabled customers.\u003c/p>\n\u003cp>The Roxie, for example, has a stock of closed captioning and audio description devices. Small \u003ca href=\"https://en.wikipedia.org/wiki/Closed_captioning\" target=\"_blank\" rel=\"noopener noreferrer\">closed captioning\u003c/a> boxes, for people who have trouble hearing, fit in seat cupholders with text captions showing up on the boxes’ screens. \u003ca href=\"https://en.wikipedia.org/wiki/Audio_description\" target=\"_blank\" rel=\"noopener noreferrer\">Audio description\u003c/a>, for patrons who are sight-impaired, is provided through headphones. A voice describes the action unfolding on the movie theater screen.\u003c/p>\n\u003cp>But these devices are mostly only useful to visually and hearing impaired filmgoers if the films on view are outfitted with closed captioning and audio descriptions. And making a film caption- and audio description-ready is the responsibility of the filmmaker or film distributor. (Sloan adds a caveat that audio headsets have a setting which will increase the loudness of any film’s basic audio track, so this can help some people who have trouble hearing, even if the film itself doesn’t come with audio description. But it’s not much help to people who can’t see very well.)\u003c/p>\n\u003cfigure id=\"attachment_13899768\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899768\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/RS50209_audio-decription-headset-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RS50209_audio-decription-headset-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RS50209_audio-decription-headset-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RS50209_audio-decription-headset-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RS50209_audio-decription-headset-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RS50209_audio-decription-headset-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/RS50209_audio-decription-headset-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An audio description headset. \u003ccite>(Lex Sloan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Roxie’s screening of indie documentary \u003cem>Kid Candidate \u003c/em>didn’t come with audio description. So film buff and Roxie member Chan had to sit in the very front row to follow the action on screen and the post-show Q&A with the director.\u003c/p>\n\u003cp>“Big studio films have the money to provide that kind of service,” Chan says. “Independent films and foreign films generally won’t have that available.”\u003c/p>\n\u003cp>Closed captioning is now \u003ca href=\"https://www.ada.gov/regs2016/movie_captioning_qa.html\" target=\"_blank\" rel=\"noopener noreferrer\">legally required\u003c/a> and can be done cheaply, or even for free using automated speech-to-text technology. So films with captioning are fairly ubiquitous these days. Movies with audio description are much less prevalent.\u003c/p>\n\u003cp>The Longmore Institute’s Kudlick, who is vision impaired, says audio description is more hands-on and subjective. “Someone has to decide what to describe, so it’s more complex and pricey to produce. It’s also still more niche and in its infancy as a service, so a lot of folks don’t know about it.”\u003c/p>\n\u003cp>According to data provided to KQED by the Rainin Foundation via email, audio description costs $20-$30 per minute. Captioning costs around $4 per minute.\u003c/p>\n\u003cp>But Kudlick’s colleague, Longmore Institute associate director Emily Beitiks, says indie filmmakers shouldn’t be let off the hook for providing audio description because of budget size. She says more of them are starting to include the service as part of the basic package that goes along with their films. “They write it into grants or get reduced costs from access providers who want to see these titles provided with access,” Beitiks says.\u003c/p>\n\u003ch2>Accessibility For All\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Filmmaker LeBrecht says the movie industry is starting to understand that accessibility isn’t just about meeting the needs of a niche group or fulfilling legal requirements. \u003c/span>\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">There is this shift, finally, of support and validation for the disabled community that we have been fighting for for years,” he says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Also, LeBrecht points out, the mere act of aging comes with accessibility needs.\u003c/span>\u003c/p>\n\u003cp>“If you are fortunate enough to live long enough, you are going to start experiencing things with your body that are going to make it more difficult for you to access a cinema or just society in general without some kind of accommodation,” LeBrecht says.\u003c/p>\n\u003cp>So the more that movie theaters prioritize accessibility, the more moviegoers they can reach.\u003c/p>\n\u003cp>“There’s an audience out there!” LeBrecht says. “They spend money in your theater!”\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> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13899598/bay-area-historic-movie-theaters-move-towards-greater-accessibility","authors":["8608"],"categories":["arts_1"],"tags":["arts_6476","arts_9693","arts_977","arts_5544","arts_3465","arts_3163","arts_1072"],"featImg":"arts_13899766","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/2024/04/Possible-Podcast-Tile-360x360-1.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. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. Plus, KQED’s Bianca Taylor brings you the local KQED news you need to know.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Consider-This-Podcast-Tile-703x703-1.jpg","imageAlt":"Consider This from NPR and KQED","officialWebsiteLink":"/podcasts/considerthis","meta":{"site":"news","source":"kqed","order":"7"},"link":"/podcasts/considerthis","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1503226625?mt=2&at=11l79Y&ct=nprdirectory","npr":"https://rpb3r.app.goo.gl/coronavirusdaily","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM1NS9wb2RjYXN0LnhtbA","spotify":"https://open.spotify.com/show/3Z6JdCS2d0eFEpXHKI6WqH"}},"forum":{"id":"forum","title":"Forum","tagline":"The conversation starts here","info":"KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.","airtime":"MON-FRI 9am-11am, 10pm-11pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED Forum with Mina Kim and Alexis Madrigal","officialWebsiteLink":"/forum","meta":{"site":"news","source":"kqed","order":"8"},"link":"/forum","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz","npr":"https://www.npr.org/podcasts/432307980/forum","stitcher":"https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast","rss":"https://feeds.megaphone.fm/KQINC9557381633"}},"freakonomics-radio":{"id":"freakonomics-radio","title":"Freakonomics Radio","info":"Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. 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Updated Monday through Friday at about 3:30 p.m. PT.","airtime":"MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.marketplace.org/","meta":{"site":"news","source":"American Public Media"},"link":"/radio/program/marketplace","subscribe":{"apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/APM-Marketplace-p88/","rss":"https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"}},"mindshift":{"id":"mindshift","title":"MindShift","tagline":"A podcast about the future of learning and how we raise our kids","info":"The MindShift podcast explores the innovations in education that are shaping how kids learn. 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