Lumumba Lives! Alongside Max, Abbey, Dizzy and Duke in ‘Soundtrack for a Coup d’Etat’
A Young Director’s Dreamlike Portrait of Asian American Artists at SFFILM
Your Extremely Bay Area Guide to the 2024 SFFILM Festival
Greta Gerwig Wants to Make Two More Movies About Sacramento
Higher Rental Costs at Castro Theatre Put Small Film Festivals Under Strain
A Gripping View of Life in San Francisco’s SROs
Peter Nicks Shows a Superstar at His Most Human in New Stephen Curry Documentary
San Quentin Can Rebrand, But Prison Is Still Prison
Five Extremely Bay Area Things to See at the 2023 SFFILM Festival
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Alongside Max, Abbey, Dizzy and Duke in ‘Soundtrack for a Coup d’Etat’","publishDate":1713909321,"format":"standard","headTitle":"Lumumba Lives! Alongside Max, Abbey, Dizzy and Duke in ‘Soundtrack for a Coup d’Etat’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>In the hands of Johan Grimonprez, archival footage carries a 200-volt charge. That dusty patina and musty aroma that envelops most period documentaries? Not a whiff in Grimonprez’s work, which crackles, buzzes and stings like a live wire hitched to the pulse of history.\u003c/p>\n\u003cp>The Belgian filmmaker and visual essayist’s bracing, relentless \u003cem>\u003ca href=\"https://sffilm.org/event/persistence-of-vision-award-johan-grimonprez-soundtrack-for-a-coup-detat/\">Soundtrack for a Coup d’Etat\u003c/a>\u003c/em>, which premiered at Sundance and screens Thursday, April 25 at the Berkeley Art Museum and Pacific Film Archive as part of the San Francisco International Film Festival (April 24–28), takes us back to the mid-1950s through mid-1960s when Africa’s continent-wide movement for independence and solidarity coincided with the Cold War between jousting superpowers as well as the emerging Civil Rights Movement in the United States.\u003c/p>\n\u003cp>[aside postID='arts_13954872,arts_13956111']The film’s through line is Patrice Lumumba, a beer salesman in the Belgian colony of the Congo and skilled public speaker who emerged to lead the successful campaign for independence. In June 1960 he was elected the first prime minister of the Republic of the Congo; seven months later, following a U.S. and Belgium-backed coup by Col. Joseph Mobutu, Lumumba was murdered with two political allies. He was 35.\u003c/p>\n\u003cp>Raoul Peck (\u003cem>I Am Not Your Negro\u003c/em>) made an essential but hard-to-find documentary, \u003cem>Lumumba: Death of a Prophet\u003c/em> (1991), as well as the 2000 biopic \u003cem>Lumumba\u003c/em> (streaming for free on \u003ca href=\"https://www.kanopy.com/en/product/lumumba-2\">Kanopy\u003c/a>). Grimonprez doesn’t retrace Peck’s steps (let alone revisit 19th-century Belgian atrocities) so much as re-cast Lumumba’s visionary pan-Africanism — portrayed by the international media of the time as radical, primitive, violent and Communist-leaning — as reasonable Black expression.\u003c/p>\n\u003cp>To put it another way, the filmmaker is less concerned with the injustice and tragedy of Lumumba’s death than how the white power structure (President Dwight Eisenhower, Director of Central Intelligence Allen Dulles, Belgian and U.S. business interests and European mercenaries) exerted its will, protected its mineral and commercial holdings and changed the path of African history. (I shouldn’t limit myself to the past tense, as Grimonprez’s inclusion of color Tesla and Apple iPhone ads in the black-and-white flow reminds us.)\u003c/p>\n\u003cfigure id=\"attachment_13956485\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-scaled.jpg\" alt=\"Black and white photo of parade with flags and onlookers, two men standing in back of car\" width=\"2560\" height=\"1705\" class=\"size-full wp-image-13956485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-2048x1364.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-1920x1279.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Soundtrack for a Coup d’Etat.’ \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I apologize for withholding until now the “soundtrack” that Grimonprez deploys as poignant, pleasurable counterpoint to the shadowy narrative of devious ambassadors and smug spooks, and cowed United Nations Secretary-General Dag Hammarskjöld. It is vintage, wall-to-wall jazz, beginning with Max Roach and Abbey Lincoln, who will reappear at a climactic UN Security Council meeting in the wake of Lumumba’s murder.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The precise starting point, though, is Louis Armstrong, who toured the world as a goodwill ambassador in the decades after World War II. In fact, the State Department sponsored his trips to Africa in the 1950s. Even without seeing \u003cem>Soundtrack for a Coup d’Etat\u003c/em>, you can imagine Satchmo’s pleasure at his reception in pre-independence Ghana, his fury at the racism and violence that Black Americans experienced at the same time, and his distaste for being used by his government to “Blackwash” its domestic policies abroad.\u003c/p>\n\u003cp>[aside postID='arts_13955977']Grimonprez, who is receiving SFFILM’s annual Persistence of Vision Award presented to a non-narrative filmmaker (previous winners include Trinh T. Minh-ha, Kenneth Anger and Heddy Honigmann), has a rare, ephemeral talent with news footage and vintage interviews that allows us to experience — while the story is moving forward, albeit with digressions — how broadcasters and cameramen framed their subjects at the time. The condescension and racism are palpable.\u003c/p>\n\u003cp>In the event you can’t catch \u003cem>Soundtrack for a Coup d’Etat\u003c/em> at the festival, and even if you can, Kanopy has an earlier, even more visceral Grimonprez foray into moving-image archives. \u003cem>\u003ca href=\"https://www.kanopy.com/en/product/5959289?vp=torontopl\">dial H-I-S-T-O-R-Y\u003c/a>\u003c/em> (1997) is an often-shocking compilation from the ’70s heyday of commercial airline hijackings by terrorists of various stripes that finds the horror in the banality of distanced, objective news footage.\u003c/p>\n\u003cp>One of the pleasures of the new film is the way in which time, context and a skillful editor shift our perspectives of historical figures. Long before Benetton, Nikita Khrushchev (First Secretary of the Communist Party of the Soviet Union and Chairman of the Council of Ministers) and Cuban Prime Minister Fidel Castro are aware of the performative and symbolic value of their public appearances.\u003c/p>\n\u003cp>Every appearance and word in this film by Malcolm X, meanwhile, sparkles with wisdom, insight and courage. He is beyond direct; he’s a genuine prophet. Yet in his lifetime, the media portrayed him as a dangerous fringe figure. How might the world look today if Lumumba and Malcolm had lived longer? Would the promise of African self-rule have come to fruition? Would Johan Grimonprez be in the Bay Area this week with a film called \u003cem>Soundtrack for a Revolution\u003c/em>?\u003c/p>\n\u003cp>Grimonprez doesn’t pose those questions, at least not directly. But they are woven into the film, in the soulful notes of Duke Ellington, Dizzy Gillespie, Thelonius Monk, John Coltrane, Nina Simone, Art Blakey and Ornette Coleman.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The presentation of SFFILM’s Persistence of Vision Award begins at 6:30 p.m. on April 25 at the Berkeley Art Museum and Pacific Film Archive with director Johan Grimonprez and presenter Fumi Okiji expected to attend. ‘Soundtrack for a Coup d’Etat’ plays at 7 p.m. \u003ca href=\"https://sffilm.org/event/persistence-of-vision-award-johan-grimonprez-soundtrack-for-a-coup-detat/\">Find tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"SFFILM’s Persistence of Vision Award-winner Johan Grimonprez revisits African independence in the late 1950s.","status":"publish","parent":0,"modified":1713909488,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":956},"headData":{"title":"‘Soundtrack for a Coup d’Etat’ at SFFILM: Lumumba Lives! | KQED","description":"SFFILM’s Persistence of Vision Award-winner Johan Grimonprez revisits African independence in the late 1950s.","ogTitle":"Lumumba Lives! Alongside Max, Abbey, Dizzy and Duke in ‘Soundtrack for a Coup d’Etat’","ogDescription":"","ogImgId":"","twTitle":"Lumumba Lives! Alongside Max, Abbey, Dizzy and Duke in ‘Soundtrack for a Coup d’Etat’","twDescription":"","twImgId":"","socialTitle":"‘Soundtrack for a Coup d’Etat’ at SFFILM: Lumumba Lives! %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Lumumba Lives! Alongside Max, Abbey, Dizzy and Duke in ‘Soundtrack for a Coup d’Etat’","datePublished":"2024-04-23T21:55:21.000Z","dateModified":"2024-04-23T21:58:08.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"lumumba-lives-alongside-max-abbey-dizzy-and-duke-in-soundtrack-for-a-coup-detat","nprStoryId":"kqed-13956480","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956480/soundtrack-for-a-coup-detat-sffilm-lumumba-jazz","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the hands of Johan Grimonprez, archival footage carries a 200-volt charge. That dusty patina and musty aroma that envelops most period documentaries? Not a whiff in Grimonprez’s work, which crackles, buzzes and stings like a live wire hitched to the pulse of history.\u003c/p>\n\u003cp>The Belgian filmmaker and visual essayist’s bracing, relentless \u003cem>\u003ca href=\"https://sffilm.org/event/persistence-of-vision-award-johan-grimonprez-soundtrack-for-a-coup-detat/\">Soundtrack for a Coup d’Etat\u003c/a>\u003c/em>, which premiered at Sundance and screens Thursday, April 25 at the Berkeley Art Museum and Pacific Film Archive as part of the San Francisco International Film Festival (April 24–28), takes us back to the mid-1950s through mid-1960s when Africa’s continent-wide movement for independence and solidarity coincided with the Cold War between jousting superpowers as well as the emerging Civil Rights Movement in the United States.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954872,arts_13956111","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The film’s through line is Patrice Lumumba, a beer salesman in the Belgian colony of the Congo and skilled public speaker who emerged to lead the successful campaign for independence. In June 1960 he was elected the first prime minister of the Republic of the Congo; seven months later, following a U.S. and Belgium-backed coup by Col. Joseph Mobutu, Lumumba was murdered with two political allies. He was 35.\u003c/p>\n\u003cp>Raoul Peck (\u003cem>I Am Not Your Negro\u003c/em>) made an essential but hard-to-find documentary, \u003cem>Lumumba: Death of a Prophet\u003c/em> (1991), as well as the 2000 biopic \u003cem>Lumumba\u003c/em> (streaming for free on \u003ca href=\"https://www.kanopy.com/en/product/lumumba-2\">Kanopy\u003c/a>). Grimonprez doesn’t retrace Peck’s steps (let alone revisit 19th-century Belgian atrocities) so much as re-cast Lumumba’s visionary pan-Africanism — portrayed by the international media of the time as radical, primitive, violent and Communist-leaning — as reasonable Black expression.\u003c/p>\n\u003cp>To put it another way, the filmmaker is less concerned with the injustice and tragedy of Lumumba’s death than how the white power structure (President Dwight Eisenhower, Director of Central Intelligence Allen Dulles, Belgian and U.S. business interests and European mercenaries) exerted its will, protected its mineral and commercial holdings and changed the path of African history. (I shouldn’t limit myself to the past tense, as Grimonprez’s inclusion of color Tesla and Apple iPhone ads in the black-and-white flow reminds us.)\u003c/p>\n\u003cfigure id=\"attachment_13956485\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-scaled.jpg\" alt=\"Black and white photo of parade with flags and onlookers, two men standing in back of car\" width=\"2560\" height=\"1705\" class=\"size-full wp-image-13956485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-2048x1364.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-1920x1279.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Soundtrack for a Coup d’Etat.’ \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I apologize for withholding until now the “soundtrack” that Grimonprez deploys as poignant, pleasurable counterpoint to the shadowy narrative of devious ambassadors and smug spooks, and cowed United Nations Secretary-General Dag Hammarskjöld. It is vintage, wall-to-wall jazz, beginning with Max Roach and Abbey Lincoln, who will reappear at a climactic UN Security Council meeting in the wake of Lumumba’s murder.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The precise starting point, though, is Louis Armstrong, who toured the world as a goodwill ambassador in the decades after World War II. In fact, the State Department sponsored his trips to Africa in the 1950s. Even without seeing \u003cem>Soundtrack for a Coup d’Etat\u003c/em>, you can imagine Satchmo’s pleasure at his reception in pre-independence Ghana, his fury at the racism and violence that Black Americans experienced at the same time, and his distaste for being used by his government to “Blackwash” its domestic policies abroad.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955977","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Grimonprez, who is receiving SFFILM’s annual Persistence of Vision Award presented to a non-narrative filmmaker (previous winners include Trinh T. Minh-ha, Kenneth Anger and Heddy Honigmann), has a rare, ephemeral talent with news footage and vintage interviews that allows us to experience — while the story is moving forward, albeit with digressions — how broadcasters and cameramen framed their subjects at the time. The condescension and racism are palpable.\u003c/p>\n\u003cp>In the event you can’t catch \u003cem>Soundtrack for a Coup d’Etat\u003c/em> at the festival, and even if you can, Kanopy has an earlier, even more visceral Grimonprez foray into moving-image archives. \u003cem>\u003ca href=\"https://www.kanopy.com/en/product/5959289?vp=torontopl\">dial H-I-S-T-O-R-Y\u003c/a>\u003c/em> (1997) is an often-shocking compilation from the ’70s heyday of commercial airline hijackings by terrorists of various stripes that finds the horror in the banality of distanced, objective news footage.\u003c/p>\n\u003cp>One of the pleasures of the new film is the way in which time, context and a skillful editor shift our perspectives of historical figures. Long before Benetton, Nikita Khrushchev (First Secretary of the Communist Party of the Soviet Union and Chairman of the Council of Ministers) and Cuban Prime Minister Fidel Castro are aware of the performative and symbolic value of their public appearances.\u003c/p>\n\u003cp>Every appearance and word in this film by Malcolm X, meanwhile, sparkles with wisdom, insight and courage. He is beyond direct; he’s a genuine prophet. Yet in his lifetime, the media portrayed him as a dangerous fringe figure. How might the world look today if Lumumba and Malcolm had lived longer? Would the promise of African self-rule have come to fruition? Would Johan Grimonprez be in the Bay Area this week with a film called \u003cem>Soundtrack for a Revolution\u003c/em>?\u003c/p>\n\u003cp>Grimonprez doesn’t pose those questions, at least not directly. But they are woven into the film, in the soulful notes of Duke Ellington, Dizzy Gillespie, Thelonius Monk, John Coltrane, Nina Simone, Art Blakey and Ornette Coleman.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The presentation of SFFILM’s Persistence of Vision Award begins at 6:30 p.m. on April 25 at the Berkeley Art Museum and Pacific Film Archive with director Johan Grimonprez and presenter Fumi Okiji expected to attend. ‘Soundtrack for a Coup d’Etat’ plays at 7 p.m. \u003ca href=\"https://sffilm.org/event/persistence-of-vision-award-johan-grimonprez-soundtrack-for-a-coup-detat/\">Find tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956480/soundtrack-for-a-coup-detat-sffilm-lumumba-jazz","authors":["22"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_69"],"tags":["arts_10278","arts_3772","arts_585"],"featImg":"arts_13956484","label":"arts_140"},"arts_13956111":{"type":"posts","id":"arts_13956111","meta":{"index":"posts_1591205157","site":"arts","id":"13956111","score":null,"sort":[1713801618000]},"guestAuthors":[],"slug":"kaiya-jordan-sf-film-2024-youth-works","title":"A Young Director’s Dreamlike Portrait of Asian American Artists at SFFILM","publishDate":1713801618,"format":"standard","headTitle":"A Young Director’s Dreamlike Portrait of Asian American Artists at SFFILM | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> This story is part of KQED’s \u003ca href=\"https://www.kqed.org/youthtakeover\">Youth Takeover\u003c/a>. Throughout the week of April 22-26, we’re publishing content by high school students from all over the Bay Area. \u003c/em>\u003c/p>\n\u003cp>Walking into \u003ca href=\"https://www.ageliobatle.com/\">Agelio Batle\u003c/a>’s San Leandro art studio, Kaiya Jordan heard an idea that stuck with her: that art should be “like a stone or flower.” \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/anaya.sm_.greyscale.rev_.jpg\" alt=\"\" width=\"160\" height=\"184\">\u003c/p>\n\u003cp>The Berkeley High School student originally set out to make a straightforward documentary, but her plans shifted dramatically after her conversation with the painter and sculptor. They spoke for hours about what art means to them and how to translate their innermost emotions for viewers.\u003c/p>\n\u003cp>“[Batle] is working on these mirrors [with] gold frames, and it’s representing the impact of war on his childhood in the Philippines and how that impacted family dynamics,” says Jordan. “He was the one that inspired the whole idea behind the film.”\u003c/p>\n\u003cp>Jordan uses film as a means to push the boundaries of storytelling. Her latest short film, \u003cem>like a stone or flower\u003c/em>, was inspired by her conversation with Batle and two other Asian American artists of different generations: the dancer-visual artist \u003ca href=\"https://theroadswewalktogether.org/\">Tamara Chu\u003c/a> and illustrator Mika Jordan, who is Jordan’s 14-year-old sister. Jordan’s work often blends film with animation, and her latest piece uses multimedia elements to go beyond a typical documentary and spark reflection in the viewer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think utilizing various different photographs and paintings and animation and incorporating that into my film is freeing in how I’m able to express myself and tell the stories that I want to tell,” she says.\u003c/p>\n\u003cp>\u003cem>like a stone or flower\u003c/em> will premiere at the \u003ca href=\"https://sffilm.org/event/shorts-6-youth-works-2024/\">Youth Works\u003c/a> screening at the Marina Theatre on April 28 as part of the San Francisco International Film Festival. The student director is an alum of SFFILM’s Youth FilmHouse Residency. She also honed her skills at \u003ca href=\"https://problemlibrary.org/\">Problem Library\u003c/a>’s Problem Children, another mentorship program for young Bay Area artists.\u003c/p>\n\u003cfigure id=\"attachment_13956300\" class=\"wp-caption alignright\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956300\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/kaiyas-senior-portrait-scaled.jpeg\" alt=\"\" width=\"2048\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/kaiyas-senior-portrait-scaled.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/kaiyas-senior-portrait-800x1000.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/kaiyas-senior-portrait-1020x1275.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/kaiyas-senior-portrait-160x200.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/kaiyas-senior-portrait-768x960.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/kaiyas-senior-portrait-1229x1536.jpeg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/kaiyas-senior-portrait-1638x2048.jpeg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/kaiyas-senior-portrait-1920x2400.jpeg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Kaiya Jordan is a Berkeley High School senior. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During her time at Youth FilmHouse Residency, Jordan connected with professional filmmakers, and \u003ca href=\"https://www.danieljensenfreeman.com/\">Daniel Freeman\u003c/a>’s experimental approach became an inspiration for \u003cem>like a stone or flower\u003c/em>. “He was the first one to show me how to blend documentary and narrative films in a way where you’re capturing real stories, but then you’re also embedding your own opinion and thoughts and story into the broader documentary itself,” Jordan says.\u003c/p>\n\u003cp>Jordan edited nine hours of interview footage down to just nine minutes, creating a short but thought-provoking film. Jordan wanted to better connect with her own identity as an Asian American artist by seeking out others with similar backgrounds.\u003c/p>\n\u003cp>“Since I was able to interview those three artists, I was really able to understand how their own heritage and community and culture had affected their art,” she says. “Even with my sister, too, we talked about [how] … we’re both half Chinese and half white, and I think that sometimes we both feel that we’re somewhat white-presenting. So I think it can be tough to grapple with that.”\u003c/p>\n\u003cp>As her interview with Batle continued, the need for structured questions melted away, and Jordan allowed the conversation to continue to more philosophical ideas around art. This is reflected in the film, which Jordan says “transcends rationality and logic” in a series of dreamlike montages overlaid with the artists’ speaking about their processes. She intersperses clips from each interview with images of the artists’ work. The film takes on complex questions of artistic motivation and answers them with interwoven, highly personal reflections on self-expression.\u003c/p>\n\u003cfigure id=\"attachment_13956299\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956299\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-2.png\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-2.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-2-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-2-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-2-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-2-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-2-1536x864.png 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Drawings by 14-year-old Mika Jordan, as featured in Kaiya Jordan’s ‘like a stone or flower.’ \u003ccite>(Courtesy of SF Film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All three artists speak about their artistic instincts: Chu’s everyday inspiration, Batle’s serendipitous sculptures and Mika Jordan’s emotional characters. Chu takes abstract photos of “alien landscapes,” rippling scenes of light cast from her windows. She wants her art to allow the viewer to “enter [a] magical land where things that shouldn’t be able to happen are happening,” which is how she feels when light sparks her imagination. She hangs these photos over a lime-green chaise in her cozy and eclectic home, which also provides a set for her dance.\u003c/p>\n\u003cp>The youngest artist, Mika Jordan, draws anime-inspired characters with bold personalities to amplify hidden parts of herself. Her room is covered in posters, and she says at one point that artists are “like superheroes.”\u003c/p>\n\u003cp>“I think that was a particularly impactful moment in the interview process because it was seeing someone so close to me have this moment of realization that I could definitely connect with,” Kaiya Jordan says.\u003c/p>\n\u003cfigure id=\"attachment_13956298\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956298\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-5.png\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-5.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-5-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-5-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-5-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-5-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-5-1536x864.png 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The artists featured in ‘like a stone or flower’ discuss how they share their inner worlds through their work. \u003ccite>(Courtesy of SF Film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Batle comes across as wise and experienced, and focuses on the complexity of art above all else. His studio is filled with mementos of his process: a bright orange geometric structure, glass bell jars, black paper covered in golden grids and finished artwork on the walls. His metaphors for art guide how we interpret the rest of the film.\u003c/p>\n\u003cp>After she finished the filmmaking process, Jordan discovered more about herself, but not in the way she had anticipated. Though she hasn’t chosen her college yet, she plans to continue her journey by studying film production at a four-year university. When reflecting on creating \u003cem>like a stone or flower\u003c/em>, Jordan remembers the “transformative experience” of collaborating in a setting where all ideas were equally respected, regardless of the creator’s age or experience.\u003c/p>\n\u003cp>“I had previously thought of being a youth filmmaker as something that is sort of inferior to adults who have more access to the industry,” she says. “But I think with the help of SFFILM and Problem Library, I’ve been able to understand the importance and beauty of being a youth and having access to adults who will both understand your perspective, but also be there to mentor you. The connection and the community between youth filmmakers is pretty powerful.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘like a stone or flower’ premieres at the San Francisco International Film Festival on April 28. \u003ca href=\"https://sffilm.org/event/shorts-6-youth-works-2024/\">Details and tickets here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Anaya Ertz is currently a sophomore at Marin Academy. She enjoys reading, writing and dancing.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Kaiya Jordan’s short film, ‘like a stone or flower,’ premieres April 28 at Marin Theatre. ","status":"publish","parent":0,"modified":1713807977,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1132},"headData":{"title":"A Young Director’s Dreamlike Portrait of Asian American Artists at SFFILM | KQED","description":"Kaiya Jordan’s short film, ‘like a stone or flower,’ premieres April 28 at Marin Theatre. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Young Director’s Dreamlike Portrait of Asian American Artists at SFFILM","datePublished":"2024-04-22T16:00:18.000Z","dateModified":"2024-04-22T17:46:17.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Anaya Ertz","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13956111/kaiya-jordan-sf-film-2024-youth-works","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> This story is part of KQED’s \u003ca href=\"https://www.kqed.org/youthtakeover\">Youth Takeover\u003c/a>. Throughout the week of April 22-26, we’re publishing content by high school students from all over the Bay Area. \u003c/em>\u003c/p>\n\u003cp>Walking into \u003ca href=\"https://www.ageliobatle.com/\">Agelio Batle\u003c/a>’s San Leandro art studio, Kaiya Jordan heard an idea that stuck with her: that art should be “like a stone or flower.” \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/anaya.sm_.greyscale.rev_.jpg\" alt=\"\" width=\"160\" height=\"184\">\u003c/p>\n\u003cp>The Berkeley High School student originally set out to make a straightforward documentary, but her plans shifted dramatically after her conversation with the painter and sculptor. They spoke for hours about what art means to them and how to translate their innermost emotions for viewers.\u003c/p>\n\u003cp>“[Batle] is working on these mirrors [with] gold frames, and it’s representing the impact of war on his childhood in the Philippines and how that impacted family dynamics,” says Jordan. “He was the one that inspired the whole idea behind the film.”\u003c/p>\n\u003cp>Jordan uses film as a means to push the boundaries of storytelling. Her latest short film, \u003cem>like a stone or flower\u003c/em>, was inspired by her conversation with Batle and two other Asian American artists of different generations: the dancer-visual artist \u003ca href=\"https://theroadswewalktogether.org/\">Tamara Chu\u003c/a> and illustrator Mika Jordan, who is Jordan’s 14-year-old sister. Jordan’s work often blends film with animation, and her latest piece uses multimedia elements to go beyond a typical documentary and spark reflection in the viewer.\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 think utilizing various different photographs and paintings and animation and incorporating that into my film is freeing in how I’m able to express myself and tell the stories that I want to tell,” she says.\u003c/p>\n\u003cp>\u003cem>like a stone or flower\u003c/em> will premiere at the \u003ca href=\"https://sffilm.org/event/shorts-6-youth-works-2024/\">Youth Works\u003c/a> screening at the Marina Theatre on April 28 as part of the San Francisco International Film Festival. The student director is an alum of SFFILM’s Youth FilmHouse Residency. She also honed her skills at \u003ca href=\"https://problemlibrary.org/\">Problem Library\u003c/a>’s Problem Children, another mentorship program for young Bay Area artists.\u003c/p>\n\u003cfigure id=\"attachment_13956300\" class=\"wp-caption alignright\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956300\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/kaiyas-senior-portrait-scaled.jpeg\" alt=\"\" width=\"2048\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/kaiyas-senior-portrait-scaled.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/kaiyas-senior-portrait-800x1000.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/kaiyas-senior-portrait-1020x1275.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/kaiyas-senior-portrait-160x200.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/kaiyas-senior-portrait-768x960.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/kaiyas-senior-portrait-1229x1536.jpeg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/kaiyas-senior-portrait-1638x2048.jpeg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/kaiyas-senior-portrait-1920x2400.jpeg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Kaiya Jordan is a Berkeley High School senior. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During her time at Youth FilmHouse Residency, Jordan connected with professional filmmakers, and \u003ca href=\"https://www.danieljensenfreeman.com/\">Daniel Freeman\u003c/a>’s experimental approach became an inspiration for \u003cem>like a stone or flower\u003c/em>. “He was the first one to show me how to blend documentary and narrative films in a way where you’re capturing real stories, but then you’re also embedding your own opinion and thoughts and story into the broader documentary itself,” Jordan says.\u003c/p>\n\u003cp>Jordan edited nine hours of interview footage down to just nine minutes, creating a short but thought-provoking film. Jordan wanted to better connect with her own identity as an Asian American artist by seeking out others with similar backgrounds.\u003c/p>\n\u003cp>“Since I was able to interview those three artists, I was really able to understand how their own heritage and community and culture had affected their art,” she says. “Even with my sister, too, we talked about [how] … we’re both half Chinese and half white, and I think that sometimes we both feel that we’re somewhat white-presenting. So I think it can be tough to grapple with that.”\u003c/p>\n\u003cp>As her interview with Batle continued, the need for structured questions melted away, and Jordan allowed the conversation to continue to more philosophical ideas around art. This is reflected in the film, which Jordan says “transcends rationality and logic” in a series of dreamlike montages overlaid with the artists’ speaking about their processes. She intersperses clips from each interview with images of the artists’ work. The film takes on complex questions of artistic motivation and answers them with interwoven, highly personal reflections on self-expression.\u003c/p>\n\u003cfigure id=\"attachment_13956299\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956299\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-2.png\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-2.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-2-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-2-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-2-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-2-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-2-1536x864.png 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Drawings by 14-year-old Mika Jordan, as featured in Kaiya Jordan’s ‘like a stone or flower.’ \u003ccite>(Courtesy of SF Film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All three artists speak about their artistic instincts: Chu’s everyday inspiration, Batle’s serendipitous sculptures and Mika Jordan’s emotional characters. Chu takes abstract photos of “alien landscapes,” rippling scenes of light cast from her windows. She wants her art to allow the viewer to “enter [a] magical land where things that shouldn’t be able to happen are happening,” which is how she feels when light sparks her imagination. She hangs these photos over a lime-green chaise in her cozy and eclectic home, which also provides a set for her dance.\u003c/p>\n\u003cp>The youngest artist, Mika Jordan, draws anime-inspired characters with bold personalities to amplify hidden parts of herself. Her room is covered in posters, and she says at one point that artists are “like superheroes.”\u003c/p>\n\u003cp>“I think that was a particularly impactful moment in the interview process because it was seeing someone so close to me have this moment of realization that I could definitely connect with,” Kaiya Jordan says.\u003c/p>\n\u003cfigure id=\"attachment_13956298\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956298\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-5.png\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-5.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-5-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-5-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-5-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-5-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/like-a-stone-or-flower-still-5-1536x864.png 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The artists featured in ‘like a stone or flower’ discuss how they share their inner worlds through their work. \u003ccite>(Courtesy of SF Film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Batle comes across as wise and experienced, and focuses on the complexity of art above all else. His studio is filled with mementos of his process: a bright orange geometric structure, glass bell jars, black paper covered in golden grids and finished artwork on the walls. His metaphors for art guide how we interpret the rest of the film.\u003c/p>\n\u003cp>After she finished the filmmaking process, Jordan discovered more about herself, but not in the way she had anticipated. Though she hasn’t chosen her college yet, she plans to continue her journey by studying film production at a four-year university. When reflecting on creating \u003cem>like a stone or flower\u003c/em>, Jordan remembers the “transformative experience” of collaborating in a setting where all ideas were equally respected, regardless of the creator’s age or experience.\u003c/p>\n\u003cp>“I had previously thought of being a youth filmmaker as something that is sort of inferior to adults who have more access to the industry,” she says. “But I think with the help of SFFILM and Problem Library, I’ve been able to understand the importance and beauty of being a youth and having access to adults who will both understand your perspective, but also be there to mentor you. The connection and the community between youth filmmakers is pretty powerful.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘like a stone or flower’ premieres at the San Francisco International Film Festival on April 28. \u003ca href=\"https://sffilm.org/event/shorts-6-youth-works-2024/\">Details and tickets here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Anaya Ertz is currently a sophomore at Marin Academy. She enjoys reading, writing and dancing.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956111/kaiya-jordan-sf-film-2024-youth-works","authors":["byline_arts_13956111"],"categories":["arts_1","arts_835"],"tags":["arts_10278","arts_3772","arts_4533"],"featImg":"arts_13956297","label":"arts"},"arts_13954872":{"type":"posts","id":"arts_13954872","meta":{"index":"posts_1591205157","site":"arts","id":"13954872","score":null,"sort":[1711576679000]},"guestAuthors":[],"slug":"sffilm-2024-bay-area-filmmakers-films-guide","title":"Your Extremely Bay Area Guide to the 2024 SFFILM Festival","publishDate":1711576679,"format":"standard","headTitle":"Your Extremely Bay Area Guide to the 2024 SFFILM Festival | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The time has come to excitedly pore over the \u003ca href=\"https://sffilm.org/2024-festival-program/\">just-announced program for the 67th San Francisco International Film Festival\u003c/a>, taking place April 24–28 at six San Francisco venues and its traditional East Bay outpost, the Berkeley Art Museum and Pacific Film Archive. \u003c/p>\n\u003cp>But first, some changes. You may have clocked the shortened time frame? This year’s five-day festival is less than half the length of last year’s 11-day fest, but the programming remains just as robust, with 82 films screening in total. \u003c/p>\n\u003cp>Anne Lai, SFFILM’s executive director, said Wednesday morning that the new schedule is an experiment in the festival feel and experience. With a more densely packed program, festival goers might bump into each other more often, or take advantage of a neighborhood’s charms without rushing across the width of the city.\u003c/p>\n\u003cp>On that front, the 2024 festival is centered in the Marina and Presidio, at the Premier Theater, Marina Theatre, Walt Disney Family Museum and Vogue Theatre, with special presentations at Dolby Cinema, SFMOMA and Fort Mason’s Gallery 308. In an “Encore Days” presentation, the Roxie Theater will screen a selection of titles curated from the full festival May 2–4, including audience award winners.\u003c/p>\n\u003cp>Now on to the good stuff: a Fremont-made feature, a celebration of Joan Chen, the future of local filmmaking, and so much more! Here’s your guide to five extremely Bay Area screenings to seek out when festival tickets go on sale to the general public on Friday, March 29 at 10 a.m.\u003c/p>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/opening-night-didi/\">Dìdi (弟弟)\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 24, 7:00 p.m. at Premier Theater\u003cbr>\nApril 24, 8 p.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fremont-born Sean Wang is on a roll. \u003cem>Nǎi Nai and Wài Pó\u003c/em>, his charming portrait of his grandmothers, was nominated for \u003ca href=\"https://www.kqed.org/arts/13952306/sean-wang-oscars-grandma-movie-fremont-wai-po-nai-nai\">best documentary short at the Academy Awards\u003c/a>, and \u003ci>Dìdi (弟弟)\u003c/i>, his feature debut, won two audience awards at Sundance. Now, it’s gracing SFFILM’s opening night. \u003c/p>\n\u003cp>Filmed in Fremont and starring mostly first-time actors from the Bay Area, the semi-autobiographical story is set in 2008 (picture AIM chats and MySpace) and follows a 13-year-old Taiwanese American in the awkward and earnest months leading up to freshman year. \u003c/p>\n\u003cp>As a bonus, Wang will take the stage on April 25 at the SFFILM Festival Lounge to \u003ca href=\"https://sffilm.org/event/festival-talk-filmmaking-in-the-bay-area-and-didi-%e5%bc%9f%e5%bc%9f/\">talk about filmmaking in the Bay Area\u003c/a>.\u003c/p>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/seeking-mavis-beacon/\">Seeking Mavis Beacon\u003c/a>’\u003c/h2>\n\u003cfigure id=\"attachment_13954884\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000.jpg\" alt=\"Figure leans over light table to look at slide images with magnifying loupe\" width=\"2000\" height=\"1055\" class=\"size-full wp-image-13954884\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000-1536x810.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000-1920x1013.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Jazmin Renée Jones’ ‘Seeking Mavis Beacon.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>April 26, 7:00 p.m. at BAMPFA\u003cbr>\nApril 27, 4 p.m. at Premier Theatre\u003c/i>\u003c/p>\n\u003cp>Yes, \u003ci>that\u003c/i> Mavis Beacon. She of the smiling computer software packaging, who taught typing skills to youngsters of a very particular (*cough, millennial*) generation. Director Jazmin Renée Jones picks up the question of “What ever happened to Mavis Beacon?” in this documentary feature, using novel visual approaches in a “spellbinding cyberspace adventure” that looks at issues of representation, feminism and digital personas while celebrating the beauty of glitch art. \u003c/p>\n\u003ch2>\u003ca href=\"https://sffilm.org/event/a-tribute-to-joan-chen-xiu-xiu-the-sent-down-girl/\">A Tribute to Joan Chen + ‘Xiu Xiu: The Sent Down Girl’\u003c/a>\u003c/h2>\n\u003cfigure id=\"attachment_13954886\" class=\"wp-caption aligncenter\" style=\"max-width: 2255px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1.jpeg\" alt=\"Young person smiles while laying on grass\" width=\"2255\" height=\"1421\" class=\"size-full wp-image-13954886\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1.jpeg 2255w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1-800x504.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1-1020x643.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1-160x101.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1-768x484.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1-1536x968.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1-2048x1291.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1-1920x1210.jpeg 1920w\" sizes=\"(max-width: 2255px) 100vw, 2255px\">\u003cfigcaption class=\"wp-caption-text\">A still from Joan Chen’s ‘Xiu Xiu: The Sent Down Girl.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>April 28, 1 p.m. at Premier Theater\u003c/i>\u003c/p>\n\u003cp>San Francisco legend Joan Chen is more than worthy of a tribute night. The actor, screenwriter, producer and director has double-billing at this year’s festival, playing the role of a mother in \u003ci>Dìdi (弟弟)\u003c/i> (which she also executive produced), and getting her flowers alongside a rare 35mm print of her debut directorial feature, 1998’s \u003ci>Xiu Xiu: The Sent Down Girl\u003c/i>. This coming-of-age melodrama, set at the end of the Cultural Revolution, centers on a young girl left in a bleak Tibetan landscape to learn horse breeding. It was described by Jason Sanders in the 1998 SFFILM program as “austere, uncluttered … \u003ci>Xiu Xiu\u003c/i> achieves a purity of vision not found in most contemporary cinema.”\t\u003c/p>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/counted-out/\">Counted Out\u003c/a>’\u003c/h2>\n\u003cfigure id=\"attachment_13954887\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000.jpg\" alt=\"Students around table in classroom\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13954887\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Vicki Abeles’ ‘Counted Out.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>April 28, 5:00 p.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cp>Bay Area filmmaker Vicki Abeles, once a Wall Street lawyer, made her documentary directing debut with 2010’s \u003ci>Race to Nowhere\u003c/i>, about students pushed to their limits by the pressure to achieve academically. Now, she’s turned her lens toward the power of math to determine a child’s future in our increasingly algorithm- and data-driven economy. According to SFFILM, \u003ci>Counted Out\u003c/i> debunks the idea of “math people” and shows what can happen for students when the subject becomes more inclusive.\u003c/p>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/shorts-3-lineages-of-love/\">Shorts 3: Lineages of Love\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 28, 1:30 p.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13954888\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/We-Exist-in-Memory_1.jpg\" alt=\"Older person and young person cuddle in water while swimming\" width=\"1620\" height=\"1080\" class=\"size-full wp-image-13954888\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/We-Exist-in-Memory_1.jpg 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/We-Exist-in-Memory_1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/We-Exist-in-Memory_1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/We-Exist-in-Memory_1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/We-Exist-in-Memory_1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/We-Exist-in-Memory_1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">A still from Darian Woehr’s ‘We Exist in Memory.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We’ve got two Bay Area titles in this shorts program, which centers stories about love bringing people (and animals!) together even when the powers that be would seek to keep them apart. María Luisa Santos’ \u003ci>a film is a goodbye that never ends\u003c/i> is about a woman waiting for a U.S. visa who befriends a dog named Turbo. And San Francisco-based documentary filmmaker Darian Woehr’s \u003ci>We Exist in Memory\u003c/i> centers on conversations between a displaced grandmother and grandchild. Both Santos and Woehr are expected to attend the screening in person.\u003c/p>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/shorts-5-family-films-2024/\">Shorts 6: Family Films\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 27 at 10 a.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cp>Note the family-friendly early start time of this program! The program includes a new Pixar short — Searit Kahsay Huluf’s \u003ci>Self\u003c/i>, featuring a blend of stop-motion and computer-generated animation. And San Francisco-based Japanese animator Daisuke ‘Dice’ Tsutsumi has \u003ci>Bottle George\u003c/i>, a sensitive depiction of alcoholism in a family. Both directors are expected to attend the screening in person.\t\t\t\t\u003c/p>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/shorts-6-youth-works-2024/\">Shorts 6: Youth Works\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 28, 11 a.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Last but absolutely not least, catch this shorts program for a peek at the future of Bay Area filmmaking. Locals Kayen Manovil (\u003ci>FATALE\u003c/i>), Kaiya Jordan (\u003ci>like a stone or flower\u003c/i>) and Kea Morshed (\u003ci>Majid, the Muslim Rapper\u003c/i>) bring their attention to teenage femininity, Asian American artists and an up-and-coming Oakland rapper, respectively. All three directors are expected to attend the screening.\u003c/p>\n\n","blocks":[],"excerpt":"A Fremont-made feature opens the festival, with appearances by Joan Chen and a slate of locally made shorts.","status":"publish","parent":0,"modified":1711583988,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":23,"wordCount":1105},"headData":{"title":"Your Extremely Bay Area Guide to the 2024 SFFILM Festival | KQED","description":"A Fremont-made feature opens the festival, with appearances by Joan Chen and a slate of locally made shorts.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Your Extremely Bay Area Guide to the 2024 SFFILM Festival","datePublished":"2024-03-27T21:57:59.000Z","dateModified":"2024-03-27T23:59:48.000Z","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/13954872/sffilm-2024-bay-area-filmmakers-films-guide","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The time has come to excitedly pore over the \u003ca href=\"https://sffilm.org/2024-festival-program/\">just-announced program for the 67th San Francisco International Film Festival\u003c/a>, taking place April 24–28 at six San Francisco venues and its traditional East Bay outpost, the Berkeley Art Museum and Pacific Film Archive. \u003c/p>\n\u003cp>But first, some changes. You may have clocked the shortened time frame? This year’s five-day festival is less than half the length of last year’s 11-day fest, but the programming remains just as robust, with 82 films screening in total. \u003c/p>\n\u003cp>Anne Lai, SFFILM’s executive director, said Wednesday morning that the new schedule is an experiment in the festival feel and experience. With a more densely packed program, festival goers might bump into each other more often, or take advantage of a neighborhood’s charms without rushing across the width of the city.\u003c/p>\n\u003cp>On that front, the 2024 festival is centered in the Marina and Presidio, at the Premier Theater, Marina Theatre, Walt Disney Family Museum and Vogue Theatre, with special presentations at Dolby Cinema, SFMOMA and Fort Mason’s Gallery 308. In an “Encore Days” presentation, the Roxie Theater will screen a selection of titles curated from the full festival May 2–4, including audience award winners.\u003c/p>\n\u003cp>Now on to the good stuff: a Fremont-made feature, a celebration of Joan Chen, the future of local filmmaking, and so much more! Here’s your guide to five extremely Bay Area screenings to seek out when festival tickets go on sale to the general public on Friday, March 29 at 10 a.m.\u003c/p>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/opening-night-didi/\">Dìdi (弟弟)\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 24, 7:00 p.m. at Premier Theater\u003cbr>\nApril 24, 8 p.m. at Marina Theatre\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>Fremont-born Sean Wang is on a roll. \u003cem>Nǎi Nai and Wài Pó\u003c/em>, his charming portrait of his grandmothers, was nominated for \u003ca href=\"https://www.kqed.org/arts/13952306/sean-wang-oscars-grandma-movie-fremont-wai-po-nai-nai\">best documentary short at the Academy Awards\u003c/a>, and \u003ci>Dìdi (弟弟)\u003c/i>, his feature debut, won two audience awards at Sundance. Now, it’s gracing SFFILM’s opening night. \u003c/p>\n\u003cp>Filmed in Fremont and starring mostly first-time actors from the Bay Area, the semi-autobiographical story is set in 2008 (picture AIM chats and MySpace) and follows a 13-year-old Taiwanese American in the awkward and earnest months leading up to freshman year. \u003c/p>\n\u003cp>As a bonus, Wang will take the stage on April 25 at the SFFILM Festival Lounge to \u003ca href=\"https://sffilm.org/event/festival-talk-filmmaking-in-the-bay-area-and-didi-%e5%bc%9f%e5%bc%9f/\">talk about filmmaking in the Bay Area\u003c/a>.\u003c/p>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/seeking-mavis-beacon/\">Seeking Mavis Beacon\u003c/a>’\u003c/h2>\n\u003cfigure id=\"attachment_13954884\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000.jpg\" alt=\"Figure leans over light table to look at slide images with magnifying loupe\" width=\"2000\" height=\"1055\" class=\"size-full wp-image-13954884\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000-1536x810.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000-1920x1013.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Jazmin Renée Jones’ ‘Seeking Mavis Beacon.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>April 26, 7:00 p.m. at BAMPFA\u003cbr>\nApril 27, 4 p.m. at Premier Theatre\u003c/i>\u003c/p>\n\u003cp>Yes, \u003ci>that\u003c/i> Mavis Beacon. She of the smiling computer software packaging, who taught typing skills to youngsters of a very particular (*cough, millennial*) generation. Director Jazmin Renée Jones picks up the question of “What ever happened to Mavis Beacon?” in this documentary feature, using novel visual approaches in a “spellbinding cyberspace adventure” that looks at issues of representation, feminism and digital personas while celebrating the beauty of glitch art. \u003c/p>\n\u003ch2>\u003ca href=\"https://sffilm.org/event/a-tribute-to-joan-chen-xiu-xiu-the-sent-down-girl/\">A Tribute to Joan Chen + ‘Xiu Xiu: The Sent Down Girl’\u003c/a>\u003c/h2>\n\u003cfigure id=\"attachment_13954886\" class=\"wp-caption aligncenter\" style=\"max-width: 2255px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1.jpeg\" alt=\"Young person smiles while laying on grass\" width=\"2255\" height=\"1421\" class=\"size-full wp-image-13954886\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1.jpeg 2255w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1-800x504.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1-1020x643.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1-160x101.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1-768x484.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1-1536x968.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1-2048x1291.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1-1920x1210.jpeg 1920w\" sizes=\"(max-width: 2255px) 100vw, 2255px\">\u003cfigcaption class=\"wp-caption-text\">A still from Joan Chen’s ‘Xiu Xiu: The Sent Down Girl.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>April 28, 1 p.m. at Premier Theater\u003c/i>\u003c/p>\n\u003cp>San Francisco legend Joan Chen is more than worthy of a tribute night. The actor, screenwriter, producer and director has double-billing at this year’s festival, playing the role of a mother in \u003ci>Dìdi (弟弟)\u003c/i> (which she also executive produced), and getting her flowers alongside a rare 35mm print of her debut directorial feature, 1998’s \u003ci>Xiu Xiu: The Sent Down Girl\u003c/i>. This coming-of-age melodrama, set at the end of the Cultural Revolution, centers on a young girl left in a bleak Tibetan landscape to learn horse breeding. It was described by Jason Sanders in the 1998 SFFILM program as “austere, uncluttered … \u003ci>Xiu Xiu\u003c/i> achieves a purity of vision not found in most contemporary cinema.”\t\u003c/p>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/counted-out/\">Counted Out\u003c/a>’\u003c/h2>\n\u003cfigure id=\"attachment_13954887\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000.jpg\" alt=\"Students around table in classroom\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13954887\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Vicki Abeles’ ‘Counted Out.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>April 28, 5:00 p.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cp>Bay Area filmmaker Vicki Abeles, once a Wall Street lawyer, made her documentary directing debut with 2010’s \u003ci>Race to Nowhere\u003c/i>, about students pushed to their limits by the pressure to achieve academically. Now, she’s turned her lens toward the power of math to determine a child’s future in our increasingly algorithm- and data-driven economy. According to SFFILM, \u003ci>Counted Out\u003c/i> debunks the idea of “math people” and shows what can happen for students when the subject becomes more inclusive.\u003c/p>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/shorts-3-lineages-of-love/\">Shorts 3: Lineages of Love\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 28, 1:30 p.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13954888\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/We-Exist-in-Memory_1.jpg\" alt=\"Older person and young person cuddle in water while swimming\" width=\"1620\" height=\"1080\" class=\"size-full wp-image-13954888\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/We-Exist-in-Memory_1.jpg 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/We-Exist-in-Memory_1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/We-Exist-in-Memory_1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/We-Exist-in-Memory_1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/We-Exist-in-Memory_1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/We-Exist-in-Memory_1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">A still from Darian Woehr’s ‘We Exist in Memory.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We’ve got two Bay Area titles in this shorts program, which centers stories about love bringing people (and animals!) together even when the powers that be would seek to keep them apart. María Luisa Santos’ \u003ci>a film is a goodbye that never ends\u003c/i> is about a woman waiting for a U.S. visa who befriends a dog named Turbo. And San Francisco-based documentary filmmaker Darian Woehr’s \u003ci>We Exist in Memory\u003c/i> centers on conversations between a displaced grandmother and grandchild. Both Santos and Woehr are expected to attend the screening in person.\u003c/p>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/shorts-5-family-films-2024/\">Shorts 6: Family Films\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 27 at 10 a.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cp>Note the family-friendly early start time of this program! The program includes a new Pixar short — Searit Kahsay Huluf’s \u003ci>Self\u003c/i>, featuring a blend of stop-motion and computer-generated animation. And San Francisco-based Japanese animator Daisuke ‘Dice’ Tsutsumi has \u003ci>Bottle George\u003c/i>, a sensitive depiction of alcoholism in a family. Both directors are expected to attend the screening in person.\t\t\t\t\u003c/p>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/shorts-6-youth-works-2024/\">Shorts 6: Youth Works\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 28, 11 a.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Last but absolutely not least, catch this shorts program for a peek at the future of Bay Area filmmaking. Locals Kayen Manovil (\u003ci>FATALE\u003c/i>), Kaiya Jordan (\u003ci>like a stone or flower\u003c/i>) and Kea Morshed (\u003ci>Majid, the Muslim Rapper\u003c/i>) bring their attention to teenage femininity, Asian American artists and an up-and-coming Oakland rapper, respectively. All three directors are expected to attend the screening.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954872/sffilm-2024-bay-area-filmmakers-films-guide","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_74"],"tags":["arts_10278","arts_1146","arts_3772","arts_585"],"featImg":"arts_13954880","label":"arts_140"},"arts_13938908":{"type":"posts","id":"arts_13938908","meta":{"index":"posts_1591205157","site":"arts","id":"13938908","score":null,"sort":[1701798330000]},"guestAuthors":[],"slug":"greta-gerwig-sacramento-ryan-gosling-nicolas-cage-sffilm-awards","title":"Greta Gerwig Wants to Make Two More Movies About Sacramento","publishDate":1701798330,"format":"standard","headTitle":"Greta Gerwig Wants to Make Two More Movies About Sacramento | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>At the SFFILM Awards Night on Monday, \u003cem>Barbie\u003c/em> director Greta Gerwig said she has two more movies about her hometown of Sacramento that she’d like to make. \u003c/p>\n\u003cp>“All filmmakers have a fantasy baseball team of movies they hope to make. And there’s actually two other movies I’d like to make in Sacramento, in the future,” she told KQED. Gerwig’s acclaimed 2017 film \u003cem>Lady Bird\u003c/em> was set and filmed in Sacramento. \u003c/p>\n\u003cp>As for any details on the films, “I have little inklings. But I have to keep them to myself. If I expose them to air, they’ll run away from me,” Gerwig said.\u003c/p>\n\u003cfigure id=\"attachment_13938913\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED.jpg\" alt=\"A person in a suit.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actor Ryan Gosling poses on the red carpet at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Gosling presented the Irving M. Levin Award for Film Direction to director Greta Gerwig, who he worked with on the Barbie movie. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Introduced later by \u003cem>Barbie\u003c/em> star Ryan Gosling, Gerwig joined \u003cem>American Fiction\u003c/em> director Cord Jefferson and Roger Ross Williams as the three directors were honored at the SFFILM Awards Night, held at the Yerba Buena Center for the Arts on Monday. SFFILM also honored Nicolas Cage with a lifetime achievement award for acting during the annual ceremony.\u003c/p>\n\u003ch2>Greta Gerwig’s Bay Area Nostalgia\u003c/h2>\n\u003cp>Amidst a steady flow of booze and a crowd with hundreds of thousands of dollars in donations at the ready, Ryan Gosling described Gerwig to the crowd in a sentence as imaginative as it was befuddling. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Working with Greta Gerwig is like getting a private tour of the Louvre, but you have total access to the Cheesecake Factory menu,” he said. \u003c/p>\n\u003cfigure id=\"attachment_13938917\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED.jpg\" alt=\"A person wearing earrings speaks in front of a row of cameras and microphones.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Director and actress Greta Gerwig speaks to the press at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Gerwig received the Irving M. Levin Award for Film Direction on Monday. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet the description holds up, in a way. Gerwig is known for striking a balance between high art and salt-of-the-Earth, Sacramento realness — where there is in fact a Cheesecake Factory a few miles from where she grew up.\u003c/p>\n\u003cp>Gerwig, who accepted the Irving M. Levin award for film direction, reminisced about seeing plays at Berkeley Repertory Theatre with her parents and thinking San Francisco was “the coolest place ever.” \u003c/p>\n\u003cp>“San Francisco and the East Bay — it was like the place you’d go if you’d cut class senior year and got on Amtrak to Richmond, and then you got on BART, and then you’d go to City Lights bookstore,” she said.\u003c/p>\n\u003ch2>Nicolas Cage on Broadway?\u003c/h2>\n\u003cp>Nicolas Cage, who owned a house on Russian Hill up until the early 2000s, also shared some Bay Area stories on the carpet. He remembered Charlie Sheen’s request when he visited to eat “square tube pasta” at Cafe Tiramisu in downtown San Francisco, and was introduced at the ceremony by the normally reclusive songwriter and singer Tom Waits, who lives in Sonoma County.\u003c/p>\n\u003cfigure id=\"attachment_13938911\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED.jpg\" alt=\"A person in a suit.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938911\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actor Nicolas Cage talks to the media at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Cage received the Maria Manetti Shrem Lifetime Achievement award for his work as an actor. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cage has played roles ranging from rogue treasure hunter to a satirical version of himself, and currently stars as a biology professor in the surreal \u003cem>Dream Scenario\u003c/em>. But there’s another role he’d want to tackle in the future.\u003c/p>\n\u003cp>“I think it would be interesting to try one of these reverse-time things where you’re a child in an adult body, like \u003cem>Big\u003c/em>,” he told KQED. “I remember I loved Martin Short in \u003cem>Clifford\u003c/em> — something like that.”\u003c/p>\n\u003cfigure id=\"attachment_13938912\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED.jpg\" alt=\"A person in a suit in front of a row of cameras and microphones.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938912\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actor Nicolas Cage talks to the media at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Cage received the Maria Manetti Shrem Lifetime Achievement award for his work as an actor. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cage added that he wants to pivot away from movies.\u003c/p>\n\u003cp>“I’ve pretty much said what I’ve wanted to say with screen acting,” he said. “I’m about ready to try my hand at television or Broadway — we’ll see what happens.”\u003c/p>\n\u003ch2>A Gate-Kept Industry for Black Directors\u003c/h2>\n\u003cp>\u003cem>Cassandro\u003c/em> director and storytelling award recipient Roger Ross Williams contributed his own Bay Area memories to the mix, including the premiere of his film at the Castro Theatre and the “incomparable San Francisco audience” in attendance.\u003c/p>\n\u003cp>“The response was so tremendous that it really made us feel that we had something special with this film,” he said. “And I have an incredible relationship with the San Francisco community.”\u003c/p>\n\u003cfigure id=\"attachment_13938914\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED.jpg\" alt='Two people wearing sport coats in front of a backdrop with the words \"SFFILM\" written on it.' width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938914\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Raúl Castillo (left) and Roger Ross Williams (right) pose on the red carpet at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Castillo presented Williams with the Nion McEvoy & Leslie Berriman Award for Storytelling on Monday. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Williams was also Celebrity Grand Marshal for the 2013 San Francisco Pride parade, which he remembers as a deeply powerful moment. Since then, he’s directed nine films, including \u003cem>God Loves Uganda\u003c/em>, \u003cem>Life, Animated\u003c/em> and \u003cem>Love to Love You, Donna Summer\u003c/em>.\u003c/p>\n\u003cp>“I never thought [as] a gay Black man from a small town in Pennsylvania this would ever be possible for someone like me,” Williams said. \u003c/p>\n\u003cp>Williams also reflected on being the first-ever Black director to win an Oscar, in 2010 for the documentary short \u003cem>Music By Prudence\u003c/em>, and explained why he feels it’s a shame.\u003c/p>\n\u003cp>“This to me is a sin considering all the incredible Black directors that came before me should’ve won an Oscar,” he said. “The fact of the matter is the gatekeepers in this business didn’t really see someone like me — my phone didn’t ring after I got that Oscar, no agents called, no managers called.”\u003c/p>\n\u003cfigure id=\"attachment_13938916\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED.jpg\" alt='Two people wearing sport coats in front of a backdrop with the words \"SFFILM\" written on it.' width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actor John Ortiz (left) and director Cord Jefferson (right) pose on the red carpet at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Ortiz presented Jefferson with the George Gund III Award for Virtuosity on Monday. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>American Fiction\u003c/em> director and Award for Virtuosity recipient Cord Jefferson echoed Williams’ sentiment when he described the process for pitching the movie, due to be released Dec. 15, that stars Jeffrey Wright.\u003c/p>\n\u003cp>[aside postID='arts_13932865']“I had several people tell me that this was one of the best scripts they’d read in years,” Jefferson said. “When I asked those same people to give me money to make the film, the vast majority of them — all but one, in fact — said no.”\u003c/p>\n\u003cp>Jefferson was told “it was just too risky,” underscoring a disparity in the speeches of the award recipients. Both Black directors dedicated time to explain how difficult it was to get their movies made, telling stories of structural inequity and discrimination that were not at all present in the speeches of their white counterparts. \u003c/p>\n\u003cfigure id=\"attachment_13938935\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/GettyImages-1832758409.jpg\" alt=\"A man in a black shirt, tousled hair and glasses speaks at a podium.\" width=\"1000\" height=\"683\" class=\"size-full wp-image-13938935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1832758409.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1832758409-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1832758409-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1832758409-768x525.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Musician Tom Waits presents a Lifetime Achievement Award for Acting to Nicolas Cage at the 2023 SFFILM Awards Night on Dec. 4, 2023 in San Francisco, California. \u003ccite>(Steve Jennings/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Filmmakers of the Future\u003c/h2>\n\u003cp>The awards ceremony generated hundreds of thousands of dollars in donations for the nonprofit, including $20,000 each from Gerwig and Gosling. Throughout the night, award recipients and SFFILM staff underscored the need to fund the filmmakers of the future.\u003c/p>\n\u003cp>The night concluded with an earnest and tearful message from Gerwig.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It’s such a gift to make movies,” she said. “It’s the gift of my life, and it’s such a gift to be a part of this community.”\u003c/p>\n\n","blocks":[],"excerpt":"The 'Barbie' director was honored at the SFFILM Awards in San Francisco, along with Nicolas Cage, Roger Ross Williams and Cord Jefferson.","status":"publish","parent":0,"modified":1705003021,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":28,"wordCount":1401},"headData":{"title":"Greta Gerwig Wants to Make Two More Movies About Sacramento | KQED","description":"The 'Barbie' director was honored at the SFFILM Awards in San Francisco, along with Nicolas Cage, Roger Ross Williams and Cord Jefferson.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Greta Gerwig Wants to Make Two More Movies About Sacramento","datePublished":"2023-12-05T17:45:30.000Z","dateModified":"2024-01-11T19:57:01.000Z","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/13938908/greta-gerwig-sacramento-ryan-gosling-nicolas-cage-sffilm-awards","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the SFFILM Awards Night on Monday, \u003cem>Barbie\u003c/em> director Greta Gerwig said she has two more movies about her hometown of Sacramento that she’d like to make. \u003c/p>\n\u003cp>“All filmmakers have a fantasy baseball team of movies they hope to make. And there’s actually two other movies I’d like to make in Sacramento, in the future,” she told KQED. Gerwig’s acclaimed 2017 film \u003cem>Lady Bird\u003c/em> was set and filmed in Sacramento. \u003c/p>\n\u003cp>As for any details on the films, “I have little inklings. But I have to keep them to myself. If I expose them to air, they’ll run away from me,” Gerwig said.\u003c/p>\n\u003cfigure id=\"attachment_13938913\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED.jpg\" alt=\"A person in a suit.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actor Ryan Gosling poses on the red carpet at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Gosling presented the Irving M. Levin Award for Film Direction to director Greta Gerwig, who he worked with on the Barbie movie. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Introduced later by \u003cem>Barbie\u003c/em> star Ryan Gosling, Gerwig joined \u003cem>American Fiction\u003c/em> director Cord Jefferson and Roger Ross Williams as the three directors were honored at the SFFILM Awards Night, held at the Yerba Buena Center for the Arts on Monday. SFFILM also honored Nicolas Cage with a lifetime achievement award for acting during the annual ceremony.\u003c/p>\n\u003ch2>Greta Gerwig’s Bay Area Nostalgia\u003c/h2>\n\u003cp>Amidst a steady flow of booze and a crowd with hundreds of thousands of dollars in donations at the ready, Ryan Gosling described Gerwig to the crowd in a sentence as imaginative as it was befuddling. \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>“Working with Greta Gerwig is like getting a private tour of the Louvre, but you have total access to the Cheesecake Factory menu,” he said. \u003c/p>\n\u003cfigure id=\"attachment_13938917\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED.jpg\" alt=\"A person wearing earrings speaks in front of a row of cameras and microphones.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Director and actress Greta Gerwig speaks to the press at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Gerwig received the Irving M. Levin Award for Film Direction on Monday. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet the description holds up, in a way. Gerwig is known for striking a balance between high art and salt-of-the-Earth, Sacramento realness — where there is in fact a Cheesecake Factory a few miles from where she grew up.\u003c/p>\n\u003cp>Gerwig, who accepted the Irving M. Levin award for film direction, reminisced about seeing plays at Berkeley Repertory Theatre with her parents and thinking San Francisco was “the coolest place ever.” \u003c/p>\n\u003cp>“San Francisco and the East Bay — it was like the place you’d go if you’d cut class senior year and got on Amtrak to Richmond, and then you got on BART, and then you’d go to City Lights bookstore,” she said.\u003c/p>\n\u003ch2>Nicolas Cage on Broadway?\u003c/h2>\n\u003cp>Nicolas Cage, who owned a house on Russian Hill up until the early 2000s, also shared some Bay Area stories on the carpet. He remembered Charlie Sheen’s request when he visited to eat “square tube pasta” at Cafe Tiramisu in downtown San Francisco, and was introduced at the ceremony by the normally reclusive songwriter and singer Tom Waits, who lives in Sonoma County.\u003c/p>\n\u003cfigure id=\"attachment_13938911\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED.jpg\" alt=\"A person in a suit.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938911\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actor Nicolas Cage talks to the media at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Cage received the Maria Manetti Shrem Lifetime Achievement award for his work as an actor. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cage has played roles ranging from rogue treasure hunter to a satirical version of himself, and currently stars as a biology professor in the surreal \u003cem>Dream Scenario\u003c/em>. But there’s another role he’d want to tackle in the future.\u003c/p>\n\u003cp>“I think it would be interesting to try one of these reverse-time things where you’re a child in an adult body, like \u003cem>Big\u003c/em>,” he told KQED. “I remember I loved Martin Short in \u003cem>Clifford\u003c/em> — something like that.”\u003c/p>\n\u003cfigure id=\"attachment_13938912\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED.jpg\" alt=\"A person in a suit in front of a row of cameras and microphones.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938912\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actor Nicolas Cage talks to the media at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Cage received the Maria Manetti Shrem Lifetime Achievement award for his work as an actor. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cage added that he wants to pivot away from movies.\u003c/p>\n\u003cp>“I’ve pretty much said what I’ve wanted to say with screen acting,” he said. “I’m about ready to try my hand at television or Broadway — we’ll see what happens.”\u003c/p>\n\u003ch2>A Gate-Kept Industry for Black Directors\u003c/h2>\n\u003cp>\u003cem>Cassandro\u003c/em> director and storytelling award recipient Roger Ross Williams contributed his own Bay Area memories to the mix, including the premiere of his film at the Castro Theatre and the “incomparable San Francisco audience” in attendance.\u003c/p>\n\u003cp>“The response was so tremendous that it really made us feel that we had something special with this film,” he said. “And I have an incredible relationship with the San Francisco community.”\u003c/p>\n\u003cfigure id=\"attachment_13938914\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED.jpg\" alt='Two people wearing sport coats in front of a backdrop with the words \"SFFILM\" written on it.' width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938914\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Raúl Castillo (left) and Roger Ross Williams (right) pose on the red carpet at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Castillo presented Williams with the Nion McEvoy & Leslie Berriman Award for Storytelling on Monday. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Williams was also Celebrity Grand Marshal for the 2013 San Francisco Pride parade, which he remembers as a deeply powerful moment. Since then, he’s directed nine films, including \u003cem>God Loves Uganda\u003c/em>, \u003cem>Life, Animated\u003c/em> and \u003cem>Love to Love You, Donna Summer\u003c/em>.\u003c/p>\n\u003cp>“I never thought [as] a gay Black man from a small town in Pennsylvania this would ever be possible for someone like me,” Williams said. \u003c/p>\n\u003cp>Williams also reflected on being the first-ever Black director to win an Oscar, in 2010 for the documentary short \u003cem>Music By Prudence\u003c/em>, and explained why he feels it’s a shame.\u003c/p>\n\u003cp>“This to me is a sin considering all the incredible Black directors that came before me should’ve won an Oscar,” he said. “The fact of the matter is the gatekeepers in this business didn’t really see someone like me — my phone didn’t ring after I got that Oscar, no agents called, no managers called.”\u003c/p>\n\u003cfigure id=\"attachment_13938916\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED.jpg\" alt='Two people wearing sport coats in front of a backdrop with the words \"SFFILM\" written on it.' width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actor John Ortiz (left) and director Cord Jefferson (right) pose on the red carpet at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Ortiz presented Jefferson with the George Gund III Award for Virtuosity on Monday. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>American Fiction\u003c/em> director and Award for Virtuosity recipient Cord Jefferson echoed Williams’ sentiment when he described the process for pitching the movie, due to be released Dec. 15, that stars Jeffrey Wright.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13932865","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“I had several people tell me that this was one of the best scripts they’d read in years,” Jefferson said. “When I asked those same people to give me money to make the film, the vast majority of them — all but one, in fact — said no.”\u003c/p>\n\u003cp>Jefferson was told “it was just too risky,” underscoring a disparity in the speeches of the award recipients. Both Black directors dedicated time to explain how difficult it was to get their movies made, telling stories of structural inequity and discrimination that were not at all present in the speeches of their white counterparts. \u003c/p>\n\u003cfigure id=\"attachment_13938935\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/GettyImages-1832758409.jpg\" alt=\"A man in a black shirt, tousled hair and glasses speaks at a podium.\" width=\"1000\" height=\"683\" class=\"size-full wp-image-13938935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1832758409.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1832758409-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1832758409-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1832758409-768x525.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Musician Tom Waits presents a Lifetime Achievement Award for Acting to Nicolas Cage at the 2023 SFFILM Awards Night on Dec. 4, 2023 in San Francisco, California. \u003ccite>(Steve Jennings/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Filmmakers of the Future\u003c/h2>\n\u003cp>The awards ceremony generated hundreds of thousands of dollars in donations for the nonprofit, including $20,000 each from Gerwig and Gosling. Throughout the night, award recipients and SFFILM staff underscored the need to fund the filmmakers of the future.\u003c/p>\n\u003cp>The night concluded with an earnest and tearful message from Gerwig.\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>“It’s such a gift to make movies,” she said. “It’s the gift of my life, and it’s such a gift to be a part of this community.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13938908/greta-gerwig-sacramento-ryan-gosling-nicolas-cage-sffilm-awards","authors":["11872"],"categories":["arts_1","arts_74","arts_235"],"tags":["arts_11374","arts_9943","arts_21780","arts_1146","arts_3772","arts_1040"],"featImg":"arts_13938915","label":"arts"},"arts_13932865":{"type":"posts","id":"arts_13932865","meta":{"index":"posts_1591205157","site":"arts","id":"13932865","score":null,"sort":[1691713578000]},"guestAuthors":[],"slug":"castro-theatre-film-festivals-rental-costs","title":"Higher Rental Costs at Castro Theatre Put Small Film Festivals Under Strain","publishDate":1691713578,"format":"standard","headTitle":"Higher Rental Costs at Castro Theatre Put Small Film Festivals Under Strain | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cem>This report contains a clarification.\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">Castro Theatre\u003c/a> was where Joe Talbot got his very first film job. He was 19, had just dropped out of high school and was hired by \u003ca href=\"https://www.noircity.com/\">Noir City film festival\u003c/a> founder Eddie Muller to make a documentary about the festival’s history at the Castro.\u003c/p>\n\u003cp>Almost 10 years later, Talbot returned to the Castro Theatre — this time in a double-breasted gray suit and Giants cap — for the premiere of his 2019 film \u003ca href=\"https://www.kqed.org/pop/112325/the-last-black-man-in-san-francisco-is-about-who-belongs-in-the-city\" target=\"_blank\" rel=\"noopener\">\u003cem>The Last Black Man in San Francisco\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13917362']For Talbot, the most memorable part of the theater, which was a formative part of his childhood and his film education, is its velvety red seats.\u003c/p>\n\u003cp>But in June, the \u003ca href=\"https://www.kqed.org/news/11952358/sf-supes-ok-effort-renovate-castro-theater\" target=\"_blank\" rel=\"noopener\">San Francisco Board of Supervisors approved a controversial renovation plan\u003c/a> by the theater’s new management, the live music promoter Another Planet Entertainment (APE), to replace the Castro Theatre’s seating and raked floor with multi-level flat tiers suited for standing-room concerts. While APE has said the Castro Theatre will still show film, it will do so far less frequently, and moviegoers will have to sit on temporary chairs.\u003c/p>\n\u003cfigure id=\"attachment_10622105\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2015/05/JoeJimmie.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10622105\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/05/JoeJimmie-800x450.jpg\" alt=\"a white man in a suit and a Black man in a green jacket sit on a sidewalk looking at the camera\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/JoeJimmie.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/JoeJimmie-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joe Talbot and Jimmie Fails on the set of ‘The Last Black Man in San Francisco.’ \u003ccite>(Courtesy of 'The Last Black Man in San Francisco')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s more, higher rental costs under the new management — and fewer seats for which to sell tickets — have put some local film festivals, like the one Talbot made his first paid film about, in jeopardy.\u003c/p>\n\u003cp>“I’m not a fan of it — it’s a big loss,” Talbot said. “It’s a bummer to have people occupying such a wonderful space that don’t appreciate its history or understand its importance.”\u003c/p>\n\u003ch2>‘Like a temple’\u003c/h2>\n\u003cp>Eddie Muller, the founder of the Noir City film festival who gave Talbot the job, has abandoned hope of a future at the Castro Theatre altogether.\u003c/p>\n\u003cp>“Taking out the seats reduces capacity, forces us to upcharge on tickets and makes it inhospitable for film festivals,” Muller said. “They’re changing the whole basic operational strategy of the venue.”\u003c/p>\n\u003cp>For those small festivals that have wanted to stay at the Castro, “now all the accouterments of film festivals are added costs, like hiring someone to operate the projectors, which used to be built in.”\u003c/p>\n\u003cp>Asked if festivals were being asked to shoulder additional costs for a projector and house manager, APE spokesperson David Perry said, “Yes, that is true.”\u003c/p>\n\u003cfigure id=\"attachment_13932962\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/ddieMuller.Castro.jpg\" alt=\"\" width=\"480\" height=\"321\" class=\"size-full wp-image-13932962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ddieMuller.Castro.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ddieMuller.Castro-160x107.jpg 160w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Eddie Muller introduces a film at the Noir City film festival at the Castro Theatre. Having called San Francisco home since 2003, it moved to Oakland’s Grand Lake Theatre in 2022 after new management took over the Castro Theatre. \u003ccite>(Noir City )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the latest installment of her film festival, \u003ca href=\"http://www.cinemaitaliasf.com/\">Cinema Italia\u003c/a>, Amelia Antonucci looked up at the illuminated grand ceiling of the Castro Theatre as she stood at the mezzanine and thought to herself, “this is magical.”\u003c/p>\n\u003cp>“The Castro is like a temple for classic Italian movies,” Antonucci said of its breathtaking and eccentric mishmash of Art Deco, Renaissance and Spanish architecture. “It’s the only place in San Francisco that has this kind of magic.”\u003c/p>\n\u003cp>For the past 10 years, Antonucci has organized the annual and sometimes biannual celebration of Italian film with the help of the Italian Consulate. But the 2022 festival might have been her last.\u003c/p>\n\u003cp>“Now only the festivals that can afford new costs, like Frameline, will continue,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13932964\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-57540368.jpg\" alt=\"(L-R) Actors Robin Williams, Virginia Madsen and Lily Tomlin arrive at the Castro theater for the closing night of the 2006 San Francisco International Film Festival (now known as SFFILM). \" width=\"1024\" height=\"683\" class=\"size-full wp-image-13932964\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Actors Robin Williams, Virginia Madsen and Lily Tomlin arrive at the Castro theater for the closing night of the 2006 San Francisco International Film Festival (now known as SFFILM). \u003ccite>(David Paul Morris/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Antonucci hosted her latest festival — her first under the theater’s new management — there were unexpected extra costs, she says, in addition to existing ones like venue rental fees and film licensing fees. Rather than allow her to use only volunteers as she had in the past, Antonucci said, APE required her to pay additional fees for their staff.\u003c/p>\n\u003cp>“APE said the price was the same, but that wasn’t true,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13917446\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022.jpg\">\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=\"red seats in a beloved movie palace\" 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\">\u003c/a>\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>Perry said that APE’s higher rental fees and expenses for the Castro are “totally in line” with other similarly sized venues, adding that, due to “artificially low” rent and fees, the Castro Theatre had not broken even for 10 years. \u003c/p>\n\u003cp>But as the physical space of the Castro Theatre changes to accommodate concerts and performances, festivals like Cinema Italia are under even more strain to meet costs.\u003c/p>\n\u003cp>With the reducing seating and increased rental fees, “I’m worried what that will mean for festivals like mine,” Antonucci said.\u003c/p>\n\u003ch2>An unsure future for some festivals\u003c/h2>\n\u003cp>The outlook is indeed brighter for Frameline. A festival representative told KQED in an email that the festival “will be at the venue for the entirety of APE’s 20-year lease.”\u003c/p>\n\u003cp>But for others, the future is still unclear. Even the smallest film festivals involve many moving parts and funding sources that have to be coordinated months — if not a year — in advance.\u003c/p>\n\u003cp>Berlin & Beyond Festival Director Sophoan Sorn told KQED in an email that the Castro Theatre was “unavailable” for his 2023 festival and that he has had no communication with APE about the 2024 festival. A representative for CAAMFest declined to comment, but added that the festival hasn’t had recent communication with APE.\u003c/p>\n\u003cp>The Jewish Film Festival declined to comment, while 3rd i, the Arab Film Festival and the Silent Film Festival could not be reached for comment.\u003c/p>\n\u003cfigure id=\"attachment_13932948\" class=\"wp-caption aligncenter\" style=\"max-width: 683px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1388628758.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932948\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1388628758.jpg\" alt=\"The Castro Theatre marquee reads 'SFFILM festival welcome back to the movies'\" width=\"683\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388628758.jpg 683w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388628758-160x240.jpg 160w\" sizes=\"(max-width: 683px) 100vw, 683px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Castro Theatre, was the venue for the 65th annual SFFILM Festival in 2022, but in 2023, following APE’s acquisition, the festival moved to other theaters. SFFILM Executive Director Anne Lai said the 2024 festival will be elsewhere due to renovations. \u003ccite>(Miikka Skaffari/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SFFILM Executive Director Anne Lai told KQED in an email that the Castro won’t be available for SFFILM’s 2024 festival, presumably because of renovation.\u003c/p>\n\u003cp>“What we are more eager to learn from them is what the rental costs and booking availability will be post-renovation so that we can accurately plan and budget,” she wrote.\u003c/p>\n\u003cp>[aside postid='arts_13929572']In a December \u003ca href=\"https://sffilm.org/a-letter-from-sffilm-executive-director-anne-lai/\" target=\"_blank\" rel=\"noopener\">statement\u003c/a>, Lai had expressed concerns about increased cost but also about accessibility and the theater’s importance in San Francisco’s queer history and culture.\u003c/p>\n\u003cp>Muller is skeptical about how APE will preserve the queer roots and community of the Castro Theatre. But he’s optimistic about Noir City’s new home across the Bay at Oakland’s Grand Lake Theatre, despite having to raise ticket prices to make up for the theater’s smaller capacity. The greater loss is a cultural and community one, Muller says.\u003c/p>\n\u003cp>“I honestly don’t feel sorry for myself — I feel sorry for the city,” he said. “The Castro was the last single-screen movie palace in San Francisco, and by changing it into a concert venue, you’re saying that San Francisco is giving up on movies.”\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>\u003cem>Aug. 27: The story has been updated to more accurately reflect the additional expenses of renting the Castro for Cinema Italia.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Additional fees under new management mean smaller film festivals are having to find a new home.","status":"publish","parent":0,"modified":1705005168,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":33,"wordCount":1285},"headData":{"title":"Higher Rental Costs at Castro Theatre Put Small Film Festivals Under Strain | KQED","description":"Additional fees under new management mean smaller film festivals are having to find a new home.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Higher Rental Costs at Castro Theatre Put Small Film Festivals Under Strain","datePublished":"2023-08-11T00:26:18.000Z","dateModified":"2024-01-11T20:32:48.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"higher-rental-costs-at-castro-theatre-put-small-film-festivals-under-strain","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13932865/castro-theatre-film-festivals-rental-costs","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This report contains a clarification.\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">Castro Theatre\u003c/a> was where Joe Talbot got his very first film job. He was 19, had just dropped out of high school and was hired by \u003ca href=\"https://www.noircity.com/\">Noir City film festival\u003c/a> founder Eddie Muller to make a documentary about the festival’s history at the Castro.\u003c/p>\n\u003cp>Almost 10 years later, Talbot returned to the Castro Theatre — this time in a double-breasted gray suit and Giants cap — for the premiere of his 2019 film \u003ca href=\"https://www.kqed.org/pop/112325/the-last-black-man-in-san-francisco-is-about-who-belongs-in-the-city\" target=\"_blank\" rel=\"noopener\">\u003cem>The Last Black Man in San Francisco\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13917362","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>For Talbot, the most memorable part of the theater, which was a formative part of his childhood and his film education, is its velvety red seats.\u003c/p>\n\u003cp>But in June, the \u003ca href=\"https://www.kqed.org/news/11952358/sf-supes-ok-effort-renovate-castro-theater\" target=\"_blank\" rel=\"noopener\">San Francisco Board of Supervisors approved a controversial renovation plan\u003c/a> by the theater’s new management, the live music promoter Another Planet Entertainment (APE), to replace the Castro Theatre’s seating and raked floor with multi-level flat tiers suited for standing-room concerts. While APE has said the Castro Theatre will still show film, it will do so far less frequently, and moviegoers will have to sit on temporary chairs.\u003c/p>\n\u003cfigure id=\"attachment_10622105\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2015/05/JoeJimmie.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10622105\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/05/JoeJimmie-800x450.jpg\" alt=\"a white man in a suit and a Black man in a green jacket sit on a sidewalk looking at the camera\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/JoeJimmie.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/JoeJimmie-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joe Talbot and Jimmie Fails on the set of ‘The Last Black Man in San Francisco.’ \u003ccite>(Courtesy of 'The Last Black Man in San Francisco')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s more, higher rental costs under the new management — and fewer seats for which to sell tickets — have put some local film festivals, like the one Talbot made his first paid film about, in jeopardy.\u003c/p>\n\u003cp>“I’m not a fan of it — it’s a big loss,” Talbot said. “It’s a bummer to have people occupying such a wonderful space that don’t appreciate its history or understand its importance.”\u003c/p>\n\u003ch2>‘Like a temple’\u003c/h2>\n\u003cp>Eddie Muller, the founder of the Noir City film festival who gave Talbot the job, has abandoned hope of a future at the Castro Theatre altogether.\u003c/p>\n\u003cp>“Taking out the seats reduces capacity, forces us to upcharge on tickets and makes it inhospitable for film festivals,” Muller said. “They’re changing the whole basic operational strategy of the venue.”\u003c/p>\n\u003cp>For those small festivals that have wanted to stay at the Castro, “now all the accouterments of film festivals are added costs, like hiring someone to operate the projectors, which used to be built in.”\u003c/p>\n\u003cp>Asked if festivals were being asked to shoulder additional costs for a projector and house manager, APE spokesperson David Perry said, “Yes, that is true.”\u003c/p>\n\u003cfigure id=\"attachment_13932962\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/ddieMuller.Castro.jpg\" alt=\"\" width=\"480\" height=\"321\" class=\"size-full wp-image-13932962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ddieMuller.Castro.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ddieMuller.Castro-160x107.jpg 160w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Eddie Muller introduces a film at the Noir City film festival at the Castro Theatre. Having called San Francisco home since 2003, it moved to Oakland’s Grand Lake Theatre in 2022 after new management took over the Castro Theatre. \u003ccite>(Noir City )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the latest installment of her film festival, \u003ca href=\"http://www.cinemaitaliasf.com/\">Cinema Italia\u003c/a>, Amelia Antonucci looked up at the illuminated grand ceiling of the Castro Theatre as she stood at the mezzanine and thought to herself, “this is magical.”\u003c/p>\n\u003cp>“The Castro is like a temple for classic Italian movies,” Antonucci said of its breathtaking and eccentric mishmash of Art Deco, Renaissance and Spanish architecture. “It’s the only place in San Francisco that has this kind of magic.”\u003c/p>\n\u003cp>For the past 10 years, Antonucci has organized the annual and sometimes biannual celebration of Italian film with the help of the Italian Consulate. But the 2022 festival might have been her last.\u003c/p>\n\u003cp>“Now only the festivals that can afford new costs, like Frameline, will continue,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13932964\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-57540368.jpg\" alt=\"(L-R) Actors Robin Williams, Virginia Madsen and Lily Tomlin arrive at the Castro theater for the closing night of the 2006 San Francisco International Film Festival (now known as SFFILM). \" width=\"1024\" height=\"683\" class=\"size-full wp-image-13932964\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Actors Robin Williams, Virginia Madsen and Lily Tomlin arrive at the Castro theater for the closing night of the 2006 San Francisco International Film Festival (now known as SFFILM). \u003ccite>(David Paul Morris/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Antonucci hosted her latest festival — her first under the theater’s new management — there were unexpected extra costs, she says, in addition to existing ones like venue rental fees and film licensing fees. Rather than allow her to use only volunteers as she had in the past, Antonucci said, APE required her to pay additional fees for their staff.\u003c/p>\n\u003cp>“APE said the price was the same, but that wasn’t true,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13917446\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022.jpg\">\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=\"red seats in a beloved movie palace\" 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\">\u003c/a>\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>Perry said that APE’s higher rental fees and expenses for the Castro are “totally in line” with other similarly sized venues, adding that, due to “artificially low” rent and fees, the Castro Theatre had not broken even for 10 years. \u003c/p>\n\u003cp>But as the physical space of the Castro Theatre changes to accommodate concerts and performances, festivals like Cinema Italia are under even more strain to meet costs.\u003c/p>\n\u003cp>With the reducing seating and increased rental fees, “I’m worried what that will mean for festivals like mine,” Antonucci said.\u003c/p>\n\u003ch2>An unsure future for some festivals\u003c/h2>\n\u003cp>The outlook is indeed brighter for Frameline. A festival representative told KQED in an email that the festival “will be at the venue for the entirety of APE’s 20-year lease.”\u003c/p>\n\u003cp>But for others, the future is still unclear. Even the smallest film festivals involve many moving parts and funding sources that have to be coordinated months — if not a year — in advance.\u003c/p>\n\u003cp>Berlin & Beyond Festival Director Sophoan Sorn told KQED in an email that the Castro Theatre was “unavailable” for his 2023 festival and that he has had no communication with APE about the 2024 festival. A representative for CAAMFest declined to comment, but added that the festival hasn’t had recent communication with APE.\u003c/p>\n\u003cp>The Jewish Film Festival declined to comment, while 3rd i, the Arab Film Festival and the Silent Film Festival could not be reached for comment.\u003c/p>\n\u003cfigure id=\"attachment_13932948\" class=\"wp-caption aligncenter\" style=\"max-width: 683px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1388628758.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932948\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1388628758.jpg\" alt=\"The Castro Theatre marquee reads 'SFFILM festival welcome back to the movies'\" width=\"683\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388628758.jpg 683w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388628758-160x240.jpg 160w\" sizes=\"(max-width: 683px) 100vw, 683px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Castro Theatre, was the venue for the 65th annual SFFILM Festival in 2022, but in 2023, following APE’s acquisition, the festival moved to other theaters. SFFILM Executive Director Anne Lai said the 2024 festival will be elsewhere due to renovations. \u003ccite>(Miikka Skaffari/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SFFILM Executive Director Anne Lai told KQED in an email that the Castro won’t be available for SFFILM’s 2024 festival, presumably because of renovation.\u003c/p>\n\u003cp>“What we are more eager to learn from them is what the rental costs and booking availability will be post-renovation so that we can accurately plan and budget,” she wrote.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13929572","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In a December \u003ca href=\"https://sffilm.org/a-letter-from-sffilm-executive-director-anne-lai/\" target=\"_blank\" rel=\"noopener\">statement\u003c/a>, Lai had expressed concerns about increased cost but also about accessibility and the theater’s importance in San Francisco’s queer history and culture.\u003c/p>\n\u003cp>Muller is skeptical about how APE will preserve the queer roots and community of the Castro Theatre. But he’s optimistic about Noir City’s new home across the Bay at Oakland’s Grand Lake Theatre, despite having to raise ticket prices to make up for the theater’s smaller capacity. The greater loss is a cultural and community one, Muller says.\u003c/p>\n\u003cp>“I honestly don’t feel sorry for myself — I feel sorry for the city,” he said. “The Castro was the last single-screen movie palace in San Francisco, and by changing it into a concert venue, you’re saying that San Francisco is giving up on movies.”\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>\u003cem>Aug. 27: The story has been updated to more accurately reflect the additional expenses of renting the Castro for Cinema Italia.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\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/13932865/castro-theatre-film-festivals-rental-costs","authors":["11872"],"categories":["arts_1","arts_74","arts_235"],"tags":["arts_6192","arts_6476","arts_10342","arts_977","arts_1201","arts_7666","arts_5305","arts_3772"],"featImg":"arts_10822924","label":"arts"},"arts_13932789":{"type":"posts","id":"arts_13932789","meta":{"index":"posts_1591205157","site":"arts","id":"13932789","score":null,"sort":[1691589625000]},"guestAuthors":[],"slug":"a-gripping-view-of-life-in-san-franciscos-sros","title":"A Gripping View of Life in San Francisco’s SROs","publishDate":1691589625,"format":"standard","headTitle":"A Gripping View of Life in San Francisco’s SROs | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>“Before coming here from China, I thought that American homes were large, beautiful and luxurious, from the television,” says Christina, a mother who’s newly single after leaving her abusive husband.\u003c/p>\n\u003cp>She’s crouched on the floor, helping her young daughter get dressed for the day inside their single-room home in San Francisco’s Chinatown. In the 80-square-foot room, piles of folded clothes crowd against a mattress, jammed next to a shelf stacked with toys, boxes, a cooking pot. The bathroom is shared, down the hall.\u003c/p>\n\u003cp>[aside postid='forum_2010101889042']“Had I known the living conditions here,” she says in Cantonese, “I wouldn’t have decided to come to the U.S.”\u003c/p>\n\u003cp>Christina and her daughter are just two of the more than 20,000 people who currently live in San Francisco’s single-room occupancy hotels, commonly referred to as SROs. Theirs is one of five households at the heart of \u003ca href=\"https://www.homeisahotel.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Home Is a Hotel\u003c/em>\u003c/a>, a poignant, powerful documentary about SRO residents from Bay Area filmmaker Kevin Duncan Wong, with co-directors/producers Kar Yin Tham and Todd Sills. Following the film’s premiere at the San Francisco International Film Festival — where it won both the juried Documentary Feature Award and the Audience Award — it makes its non-festival debut at the \u003ca href=\"https://roxie.com/film/home-is-a-hotel/\" target=\"_blank\" rel=\"noopener\">Roxie Theater on Aug. 17. \u003c/a>A second screening at the Roxie is scheduled for \u003ca href=\"https://roxie.com/film/home-is-a-hotel/\" target=\"_blank\" rel=\"noopener\">Aug. 28\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13932822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932822\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-800x450.jpg\" alt=\"a Black woman with braids combs her toddler son's hair\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jacque and her son Zallah at home. \u003ccite>(Courtesy of 'Home Is a Hotel')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shot in and around its subjects’ living spaces in Chinatown, the Mission and the Tenderloin, the character-driven documentary is predicated on a deep, obvious trust between the filmmakers and their housing-insecure subjects. That’s the result, says Wong, of shooting over more than five years.\u003c/p>\n\u003cp>“Part of the challenge, the reason a film like this is hard to make, is it really does require that you spend years getting to know folks and them getting to know you,” says Wong. “You can’t make this kind of film if you’re just parachuting in.”\u003c/p>\n\u003cp>While the viewer gets a basic history of SROs in San Francisco via title cards — they were first introduced here in the ’80s, intended as a temporary way to get people off the street while their names sat on affordable housing waitlists — the filmmakers otherwise let the documentary’s subjects narrate their own stories. Which is smart, because the people in \u003cem>Home Is a Hotel\u003c/em> are compelling, complicated, endearing, tragic, funny and relatable, despite having been dealt some incredibly rough hands.\u003c/p>\n\u003cfigure id=\"attachment_13932823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932823\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-800x450.jpg\" alt=\"three white people sit on the floor of a small room with a dog\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sunbear and Amy with their son Marley inside their SRO. \u003ccite>(Courtesy of 'Home Is a Hotel')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s Jacque, who’s balancing a job and raising a toddler son while searching the city for her older daughter, a teenager who has run away from her foster home. Sylvester, a soft-spoken painter with PTSD, is under house arrest as he awaits a trial for killing a neighbor in self-defense. Esther is an elderly, blind librettist who’s facing eviction. Sunbear and Amy, a former couple in recovery, are trying to do right by their 6-year-old while staying sober, and dealing with a microwave so riddled with cockroaches it’s unusable — not to mention sharing an 80-square-foot home with an ex.\u003c/p>\n\u003cp>“In some ways the entire purpose of the film is about being able to cut through certain things and really reach people at an emotional level,” says Tham, of the filmmakers’ light touch. The severe lack of affordable housing isn’t a political talking point here; it’s the reason a kid is going to school with bedbug bites on his arms.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dicNcmt10DU\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nIn between these intimate, often painful stories, tenderly framed shots of San Francisco provide a moment for the viewer to take a breath — as well as commentary on the staggering inequality that’s come to characterize the city over the last decade. “I really wanted the film to feel like what it feels like to be in San Francisco,” says Wong.\u003c/p>\n\u003cp>That means showing both the beauty and the blight: The city skyline glowing under golden hour sunlight. People dining inside a high-end restaurant while others sleep on the sidewalk outside. Jacque, who is Black, walking the neighborhood with “missing” signs for her daughter, whom she believes is with a child abuser and drug dealer, and noting that “the police don’t seem to give a shit.” Moments later, news blares from a bar TV, reporting that the reward for a missing white woman at the University of Iowa has climbed to $172,000.\u003c/p>\n\u003cp>By the film’s end — again, the narratives span five years — some of the subjects have finally gotten off the Section 8 housing waitlist and into their own homes, modest spaces that feel palatial and triumphant to the viewer after even an hour of watching scenes in SROs. Other subjects are more or less right where we left them. And everyone’s lives have been permanently altered by the pandemic.\u003c/p>\n\u003cfigure id=\"attachment_13932828\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932828\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-800x533.jpg\" alt=\"four people on a stage at a film festival in front of a packed theater\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Filmmakers Kevin Duncan Wong, Kar Yin Tham and Todd Sills spoke with Rod Armstrong, SFFILM’s associate director of programming, at the film festival in April. ‘Home Is a Hotel’ won both the Documentary Feature Award and the Audience Award. \u003ccite>(Tommy Lau, courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They have also been altered in a positive way, the filmmakers hope, by participating in the documentary. Most of the subjects attended the SFFILM premiere in April, and they seemed “touched, and shocked in a good way” by the rapturous applause, says Wong.\u003c/p>\n\u003cp>“Part of the point [of the film] is that this is a population that isn’t listened to very often,” says the director. “So that was probably the most meaningful thing for us, was them being able to feel the audience response, and see how people were responding to their stories.”\u003c/p>\n\u003cp>“It actually gave me more optimism around San Francisco and where we’re headed,” adds Tham. “Because it felt like people really got it, and maybe they left thinking ‘We can do better.’ We can be a different kind of city, you know?”\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>\u003cem>\u003cspan style=\"font-weight: 400\">‘\u003c/span>Home Is a Hotel\u003cspan style=\"font-weight: 400\">’\u003c/span> screens at 6:30 p.m. on Aug. 17 at the Roxie Theater in San Francisco\u003c/em>. \u003cem>The filmmakers and some documentary participants will be in attendance for a post-screening Q&A. A second screening is scheduled for 6:30 p.m. on Aug. 28. \u003ca href=\"https://roxie.com/film/home-is-a-hotel/\" target=\"_blank\" rel=\"noopener\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"The poignant, award-winning documentary ‘Home Is a Hotel’ screens Aug. 17 at the Roxie Theater. ","status":"publish","parent":0,"modified":1705005175,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1150},"headData":{"title":"A Gripping View of Life in San Francisco’s SROs | KQED","description":"The poignant, award-winning documentary ‘Home Is a Hotel’ screens Aug. 17 at the Roxie Theater. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Gripping View of Life in San Francisco’s SROs","datePublished":"2023-08-09T14:00:25.000Z","dateModified":"2024-01-11T20:32:55.000Z","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/13932789/a-gripping-view-of-life-in-san-franciscos-sros","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Before coming here from China, I thought that American homes were large, beautiful and luxurious, from the television,” says Christina, a mother who’s newly single after leaving her abusive husband.\u003c/p>\n\u003cp>She’s crouched on the floor, helping her young daughter get dressed for the day inside their single-room home in San Francisco’s Chinatown. In the 80-square-foot room, piles of folded clothes crowd against a mattress, jammed next to a shelf stacked with toys, boxes, a cooking pot. The bathroom is shared, down the hall.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"forum_2010101889042","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“Had I known the living conditions here,” she says in Cantonese, “I wouldn’t have decided to come to the U.S.”\u003c/p>\n\u003cp>Christina and her daughter are just two of the more than 20,000 people who currently live in San Francisco’s single-room occupancy hotels, commonly referred to as SROs. Theirs is one of five households at the heart of \u003ca href=\"https://www.homeisahotel.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Home Is a Hotel\u003c/em>\u003c/a>, a poignant, powerful documentary about SRO residents from Bay Area filmmaker Kevin Duncan Wong, with co-directors/producers Kar Yin Tham and Todd Sills. Following the film’s premiere at the San Francisco International Film Festival — where it won both the juried Documentary Feature Award and the Audience Award — it makes its non-festival debut at the \u003ca href=\"https://roxie.com/film/home-is-a-hotel/\" target=\"_blank\" rel=\"noopener\">Roxie Theater on Aug. 17. \u003c/a>A second screening at the Roxie is scheduled for \u003ca href=\"https://roxie.com/film/home-is-a-hotel/\" target=\"_blank\" rel=\"noopener\">Aug. 28\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13932822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932822\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-800x450.jpg\" alt=\"a Black woman with braids combs her toddler son's hair\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jacque and her son Zallah at home. \u003ccite>(Courtesy of 'Home Is a Hotel')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shot in and around its subjects’ living spaces in Chinatown, the Mission and the Tenderloin, the character-driven documentary is predicated on a deep, obvious trust between the filmmakers and their housing-insecure subjects. That’s the result, says Wong, of shooting over more than five years.\u003c/p>\n\u003cp>“Part of the challenge, the reason a film like this is hard to make, is it really does require that you spend years getting to know folks and them getting to know you,” says Wong. “You can’t make this kind of film if you’re just parachuting in.”\u003c/p>\n\u003cp>While the viewer gets a basic history of SROs in San Francisco via title cards — they were first introduced here in the ’80s, intended as a temporary way to get people off the street while their names sat on affordable housing waitlists — the filmmakers otherwise let the documentary’s subjects narrate their own stories. Which is smart, because the people in \u003cem>Home Is a Hotel\u003c/em> are compelling, complicated, endearing, tragic, funny and relatable, despite having been dealt some incredibly rough hands.\u003c/p>\n\u003cfigure id=\"attachment_13932823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932823\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-800x450.jpg\" alt=\"three white people sit on the floor of a small room with a dog\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sunbear and Amy with their son Marley inside their SRO. \u003ccite>(Courtesy of 'Home Is a Hotel')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s Jacque, who’s balancing a job and raising a toddler son while searching the city for her older daughter, a teenager who has run away from her foster home. Sylvester, a soft-spoken painter with PTSD, is under house arrest as he awaits a trial for killing a neighbor in self-defense. Esther is an elderly, blind librettist who’s facing eviction. Sunbear and Amy, a former couple in recovery, are trying to do right by their 6-year-old while staying sober, and dealing with a microwave so riddled with cockroaches it’s unusable — not to mention sharing an 80-square-foot home with an ex.\u003c/p>\n\u003cp>“In some ways the entire purpose of the film is about being able to cut through certain things and really reach people at an emotional level,” says Tham, of the filmmakers’ light touch. The severe lack of affordable housing isn’t a political talking point here; it’s the reason a kid is going to school with bedbug bites on his arms.\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/dicNcmt10DU'\n title='//www.youtube.com/embed/dicNcmt10DU'\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>\u003cbr>\nIn between these intimate, often painful stories, tenderly framed shots of San Francisco provide a moment for the viewer to take a breath — as well as commentary on the staggering inequality that’s come to characterize the city over the last decade. “I really wanted the film to feel like what it feels like to be in San Francisco,” says Wong.\u003c/p>\n\u003cp>That means showing both the beauty and the blight: The city skyline glowing under golden hour sunlight. People dining inside a high-end restaurant while others sleep on the sidewalk outside. Jacque, who is Black, walking the neighborhood with “missing” signs for her daughter, whom she believes is with a child abuser and drug dealer, and noting that “the police don’t seem to give a shit.” Moments later, news blares from a bar TV, reporting that the reward for a missing white woman at the University of Iowa has climbed to $172,000.\u003c/p>\n\u003cp>By the film’s end — again, the narratives span five years — some of the subjects have finally gotten off the Section 8 housing waitlist and into their own homes, modest spaces that feel palatial and triumphant to the viewer after even an hour of watching scenes in SROs. Other subjects are more or less right where we left them. And everyone’s lives have been permanently altered by the pandemic.\u003c/p>\n\u003cfigure id=\"attachment_13932828\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932828\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-800x533.jpg\" alt=\"four people on a stage at a film festival in front of a packed theater\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Filmmakers Kevin Duncan Wong, Kar Yin Tham and Todd Sills spoke with Rod Armstrong, SFFILM’s associate director of programming, at the film festival in April. ‘Home Is a Hotel’ won both the Documentary Feature Award and the Audience Award. \u003ccite>(Tommy Lau, courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They have also been altered in a positive way, the filmmakers hope, by participating in the documentary. Most of the subjects attended the SFFILM premiere in April, and they seemed “touched, and shocked in a good way” by the rapturous applause, says Wong.\u003c/p>\n\u003cp>“Part of the point [of the film] is that this is a population that isn’t listened to very often,” says the director. “So that was probably the most meaningful thing for us, was them being able to feel the audience response, and see how people were responding to their stories.”\u003c/p>\n\u003cp>“It actually gave me more optimism around San Francisco and where we’re headed,” adds Tham. “Because it felt like people really got it, and maybe they left thinking ‘We can do better.’ We can be a different kind of city, you know?”\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>\u003cem>\u003cspan style=\"font-weight: 400\">‘\u003c/span>Home Is a Hotel\u003cspan style=\"font-weight: 400\">’\u003c/span> screens at 6:30 p.m. on Aug. 17 at the Roxie Theater in San Francisco\u003c/em>. \u003cem>The filmmakers and some documentary participants will be in attendance for a post-screening Q&A. A second screening is scheduled for 6:30 p.m. on Aug. 28. \u003ca href=\"https://roxie.com/film/home-is-a-hotel/\" target=\"_blank\" rel=\"noopener\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\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/13932789/a-gripping-view-of-life-in-san-franciscos-sros","authors":["7237"],"programs":["arts_140"],"categories":["arts_1","arts_74"],"tags":["arts_11374","arts_2654","arts_13672","arts_10278","arts_7321","arts_17882","arts_3163","arts_3772","arts_1020","arts_585"],"featImg":"arts_13932820","label":"arts_140"},"arts_13927474":{"type":"posts","id":"arts_13927474","meta":{"index":"posts_1591205157","site":"arts","id":"13927474","score":null,"sort":[1681153995000]},"guestAuthors":[],"slug":"stephen-curry-underrated-documentary-peter-nicks","title":"Peter Nicks Shows a Superstar at His Most Human in New Stephen Curry Documentary","publishDate":1681153995,"format":"standard","headTitle":"Peter Nicks Shows a Superstar at His Most Human in New Stephen Curry Documentary | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>There are countless ways to talk about \u003ca href=\"https://www.kqed.org/arts/13914916/stephen-curry-chef-warriors-game-6-nba-finals-2022\">Golden State Warriors megastar, Stephen Wardell Curry\u003c/a>. Champion. “\u003ca href=\"https://www.davidson.edu/news/2022/12/01/home-team-stephen-curry-10-improbable-journey-began-davidson\">Improbable\u003c/a>.” Future Hall of Famer. “\u003ca href=\"https://www.nbcsports.com/bayarea/warriors/ridiculous-steph-curry-slingshot-pass-resulted-perfect-steve-kerr-reaction\">Absurd\u003c/a>.” Humble. “\u003ca href=\"https://www.youtube.com/watch?v=joxzF51REAE\">So inspirational\u003c/a>.” Father. No singular descriptor can capture \u003ca href=\"https://www.youtube.com/watch?v=flm-cZ7r6eE\">the Three-Point God\u003c/a> in all of his matrix-bending dimensionality, but perhaps one word comes close: underrated.\u003c/p>\n\u003cp>But how can the best shooter in basketball’s history — who boasts one of the sport’s best resumes as a two-time league MVP, four-time NBA champion, eight-time All-NBAer and nine-time All-Star, who has definitively splashed the most three-point field goals of all-time — be undervalued, even underappreciated? It’s a question that Bay Area filmmaker, Peter Nicks, set out to investigate with his latest documentary, \u003ca href=\"https://sffilm.org/event/opening-night-stephen-curry-underrated-2/\">\u003ci>Stephen Curry: Underrated\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_13926757']Premiering April 13, on the opening night at the \u003ca href=\"https://www.kqed.org/arts/13926757/2023-sffilm-festival-bay-area-guide\">2023 SFFILM Festival\u003c/a>, the visual biography takes viewers on an intimate ride-along from the early moments of Curry’s high school days to the present — hot off a triumphant 2022 NBA Finals run. The film presents a story of redemption and endurance, sacrifice and celebration, disappointment and euphoria. At its core, it’s the most human depiction you’ll likely ever get of the global phenomenon.\u003c/p>\n\u003cp>Basketball isn’t at the forefront of this film: a messy, perseverant human life is. There are scenes of Curry doing homework after NBA practice to earn his college degree. There are moments with his three children that teeter between frustration and playfulness. And there are flashbacks — lots of flashbacks — to his years as a scrawny, unknown, often-dismissed teenager who went unrecruited by the nation’s top basketball programs and settled for the only option he had: Davidson College, a small liberal arts school in suburban North Carolina with zero basketball notoriety. It was a program he would drastically transform.\u003c/p>\n\u003cp>Despite his herculean achievements, Curry has remained largely “underrated.” He’s never embodied the desired stature or cocky attitude of a dominant athlete. It’s fitting, then, that Nicks — a Bay Area storyteller who has been documenting Oakland’s institutions for the past decade — would be the perfect person to share Curry’s inspiring story with a national audience. Nicks sat down with KQED to talk about his own journey to becoming a filmmaker and the process of creating \u003ci>Underrated\u003c/i>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13927574\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927574\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-1458963294_1920.jpg\" alt=\"Four men stand smiling in front of Sunday step-and-repeat\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1458963294_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1458963294_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1458963294_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1458963294_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1458963294_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1458963294_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Producer Ryan Coogler, director Peter Nicks, Stephen Curry, and producer Erick Peyton at the 2023 Sundance Film Festival for the premiere of ‘Stephen Curry: Underrated.’ \u003ccite>(Photo by Matt Winkelmeyer/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Alan Chazaro: How did your sports fandom influence or inform your approach to this film? Did you grow up rooting for the Warriors?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Peter Nicks:\u003c/b> I grew up a hardcore sports fan from Boston. The \u003ca href=\"https://www.youtube.com/watch?v=pVQUel1Ssq8\">“We Believe” team\u003c/a> was the first time I kinda got shaken out of my complacency and started to pay closer attention [to the Warriors]. The Bay Area in the 2000s was just an incredibly exciting place to be a sports fan.\u003c/p>\n\u003cp>I wasn’t making sports documentaries; I was making films about a community facing challenges — education, criminal justice, healthcare. I noticed that Bay sports arenas were filled with wildly diverse groups of people from all walks of life. I always fantasized making a film about the A’s that celebrated the Bay and the community and how people can come together — like church. Sporting events are a time when people come together for a common purpose. To capture that in film was something I wanted to do.\u003c/p>\n\u003cp>\u003cb>When did the actual recording and interviews happen? What were you most interested in capturing during those moments?\u003c/b>\u003c/p>\n\u003cp>It was several months prior to last year’s season. I met with Steph and explained to him my philosophy of storytelling, which involves observation without filming: hanging out and understanding the ecosystem. If it’s an institution, I spend time with doctors, nurses, patients. In this case, it was with Steph and his family. In a way, he has become his own Bay Area institution, a superstar.\u003c/p>\n\u003cp>How can we make a film about a very well-known athlete that feels unique? Immediately, the first time I met Steph, he got his phone out and started sharing photos and videos from college. He just lit up and you could sense a nostalgia for that moment in his life. You got the sense that this piece of the story hadn’t really been told.\u003c/p>\n\u003cp>\u003cb>Steph and the Warriors ended up winning the NBA Finals in 2022, which aligned perfectly with the theme of Steph’s resilience at Davidson. How did that unlikely Warriors championship shape your filmmaking in the moment? Did the plot evolve while shooting? No pun intended.\u003c/b>\u003c/p>\n\u003cp>[aside postID='arts_13820054']It wasn’t a thought. I encouraged people in meetings to keep a gentle eye on the season. Documentaries are wildly unpredictable. For my film about the police department in Oakland [\u003ci>The Force\u003c/i>], we had to re-edit the entire thing in the final hour because an OPD scandal broke out and it became an integral part of the film. With \u003ci>Homeroom \u003c/i>[about Oakland High School], COVID hit and Black Lives Matter went international. You can’t predict those in a documentary, but if you position yourself to allow those unexpected things to happen and you’re prepared to make a shift in the narrative, that’s where the magical moments happen.\u003c/p>\n\u003cp>The championship was not integral to our narrative. This documentary is a coming-of-age story about an underrated, undersized player who couldn’t even get the opportunity to play at his parent’s alma mater, [Virginia Tech]. The fact that he went on a run in the NBA Finals and it dovetailed with his failed effort in the 2008 [NCAA] tournament was really poignant. It’s beyond serendipity.\u003c/p>\n\u003cp>\u003cb>What are the challenges of piecing all those years and scenes together to tell a coherent narrative?\u003c/b>\u003c/p>\n\u003cp>If you watch the movie, the credit [goes to] JD Marlow, the editor who did a remarkable job, it’s the weaving of three storylines. Maybe four if you count Steph’s relationship with Coach [Bob] McKillop about someone fulfilling their full potential. There’s always a mentor who isn’t a parent in those situations. An uncle, cousin, coach. It makes a difference. In that arc of the Davidson Wildcats, it also tracked the Warriors’ improbable run to a championship and Stephen’s promise to his mom [to complete his college degree].\u003c/p>\n\u003cp>That’s a very difficult task — to weave them together in a coherent way, with pace and entertainment. JD Marlow was the architect behind that. The poignancy of the parallels comes into focus in terms of how [Steph and Coach McKillop] were both able to finally achieve what they couldn’t back in 2008.\u003c/p>\n\u003cp>\u003cb>I’m a Warriors diehard and Steph loyalist, yet even I learned so much and enjoyed lots of the recovered footage in this film. What’s the process of collecting intimate moments to share with an audience? Were you always in the room interviewing Steph?\u003c/b>\u003c/p>\n\u003cp>[aside postID='arts_13914916']I typically don’t do interviews in my movies. It’s observational filming, sometimes filming myself. Hanging out with Steph for an afternoon, he might be working out or with his kids, and it becomes a way to show a behind-the-scenes picture of what it’s like to navigate a crushing schedule while being a husband and father. You don’t know what those scenes are going to ultimately say until you’ve shot them and then watch them with editors.\u003c/p>\n\u003cp>We knew we’d shoot Steph with as much access as we could get. We knew we would interview his parents and the people in his life going back to Davidson to try to understand the impact he had and tell the story of that 2008 run. We interviewed scores of former students from that time to retell that story.\u003c/p>\n\u003cp>The last pieces are archival — personal, family, stuff that students had shot or collected. That was challenging. Matt Fisher was our archival editor; he scraped the internet and reached out to alumni groups, the university, Steph’s family. NCAA and NBA footage [are used] as well. You collect all that stuff and sort of have an idea of where you’re going and then you start putting it together in the editing room. And as the everyday narrative unfolds during the NBA season, you start to shift the narrative more.\u003c/p>\n\u003cfigure id=\"attachment_13926767\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926767\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER.jpg\" alt=\"Young Black man with short hair against blurry background\" width=\"1920\" height=\"1205\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-1020x640.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-1536x964.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Young Stephen Curry in a still from Pete Nicks’ ‘Stephen Curry: Underrated.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>This film is largely about Steph Curry as a fallible, unlikely hero, rather than an invincible superstar. What were the challenges in telling the story in a way that allows audiences to see him — one of the most accomplished players in NBA history — as being underrated? Some would argue he is actually overrated.\u003c/b>\u003c/p>\n\u003cp>The title emerged pretty early. Most of us have gone through some time in our life when we’ve felt underrated, misunderstood, maybe had a chip on our shoulder and felt we had something to prove. Even with a superstar on Steph Curry’s level that can exist. As we got deeper into the details of his early career in high school and him not getting any recognition from D-I schools, we recognized the depth of the lack of vision that people had for his potential.\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='Peter Nicks']‘It goes back to the notion that all of us are connected and that we all need a sense of family and community to represent us.’[/pullquote]In a subtle way, I’ve been exploring that theme in Oakland. What’s at stake when people do not fully see you? Ryan [Coogler, this film’s producer,] told a story with extreme stakes with Oscar Grant — a young Black kid in a hoodie — about the consequences of not being seen as a whole person. Steph’s story is a version of that notion of how we only see the surface — a skinny kid, undersized, might get pushed around. With scouts and journalists, there’s a knee-jerk judgment there that gets layered on top of someone’s potential future. When that happens, it’s very difficult to overcome.\u003c/p>\n\u003cp>We found out how whenever family and a community see you and lift you up, and a mentor steps in and believes in you, powerful things happen. We’ve been unpacking that notion of being underrated and how it applies to athletes, communities, universities. It became a driving idea for \u003ci>Underrated\u003c/i>.\u003c/p>\n\u003cp>\u003cb>In his lowest moments, Steph Curry had his family and Coach McKillop. Who was your mentor, and in what ways have you felt underrated?\u003c/b>\u003c/p>\n\u003cp>In college, I had a significant drug problem and was arrested and sent to federal prison. When I got out, I was getting my life back together and went to Howard to study creative writing. That wasn’t even six years removed from me being in federal prison.\u003c/p>\n\u003cp>I got it in my head to study documentaries. UC Berkeley was a great place for that. \u003ca href=\"https://journalism.berkeley.edu/person/else/\">Jon Else\u003c/a> was a filmmaker there, and had been nominated for Oscars. He was a producer for the seminal PBS series about Civil Rights, \u003ci>Eyes on the Prize\u003c/i>. I didn’t think I’d get in because of my grades and my record. [John Else] talked to me, he listened, he heard my story about why I was there and what I was hoping to achieve, what I had planned for the next five years. He advocated for my admission and I got in. That changed my life.\u003c/p>\n\u003cp>Because I was seen, despite what had happened to me and despite me not meeting the eye test, so to speak, I was nevertheless seen. I thought about that while making this movie: the parallels. I’m 6-foot-2. Steph is 6-foot-2. I’m mixed race. Steph is mixed race. I was born in Akron, Ohio. Steph was born in Akron, Ohio. How do you explain that? It goes back to the notion that all of us are connected and that we all need a sense of family and community to represent us.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Stephen Curry: Underrated’ plays April 13 at the San Francisco International Film Festival with screenings at 6:30 p.m. and 9:30 p.m. at the Grand Lake Theater in Oakland. Peter Nicks and producer Ryan Coogler are expected to attend both screenings. \u003ca href=\"https://sffilm.org/event/opening-night-stephen-curry-underrated/\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Nicks’ newest documentary examines the stakes — even for a four-time NBA champion — of not being fully seen.","status":"publish","parent":0,"modified":1705005643,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":34,"wordCount":2180},"headData":{"title":"Q&A With ‘Stephen Curry: Underrated’ Director Peter Nicks | KQED","description":"Nicks’ newest documentary examines the stakes — even for a four-time NBA champion — of not being fully seen.","ogTitle":"Peter Nicks Shows a Superstar at His Most Human in New Stephen Curry Documentary","ogDescription":"","ogImgId":"","twTitle":"Peter Nicks Shows a Superstar at His Most Human in New Stephen Curry Documentary","twDescription":"","twImgId":"","socialTitle":"Q&A With ‘Stephen Curry: Underrated’ Director Peter Nicks %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Peter Nicks Shows a Superstar at His Most Human in New Stephen Curry Documentary","datePublished":"2023-04-10T19:13:15.000Z","dateModified":"2024-01-11T20:40:43.000Z","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/13927474/stephen-curry-underrated-documentary-peter-nicks","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are countless ways to talk about \u003ca href=\"https://www.kqed.org/arts/13914916/stephen-curry-chef-warriors-game-6-nba-finals-2022\">Golden State Warriors megastar, Stephen Wardell Curry\u003c/a>. Champion. “\u003ca href=\"https://www.davidson.edu/news/2022/12/01/home-team-stephen-curry-10-improbable-journey-began-davidson\">Improbable\u003c/a>.” Future Hall of Famer. “\u003ca href=\"https://www.nbcsports.com/bayarea/warriors/ridiculous-steph-curry-slingshot-pass-resulted-perfect-steve-kerr-reaction\">Absurd\u003c/a>.” Humble. “\u003ca href=\"https://www.youtube.com/watch?v=joxzF51REAE\">So inspirational\u003c/a>.” Father. No singular descriptor can capture \u003ca href=\"https://www.youtube.com/watch?v=flm-cZ7r6eE\">the Three-Point God\u003c/a> in all of his matrix-bending dimensionality, but perhaps one word comes close: underrated.\u003c/p>\n\u003cp>But how can the best shooter in basketball’s history — who boasts one of the sport’s best resumes as a two-time league MVP, four-time NBA champion, eight-time All-NBAer and nine-time All-Star, who has definitively splashed the most three-point field goals of all-time — be undervalued, even underappreciated? It’s a question that Bay Area filmmaker, Peter Nicks, set out to investigate with his latest documentary, \u003ca href=\"https://sffilm.org/event/opening-night-stephen-curry-underrated-2/\">\u003ci>Stephen Curry: Underrated\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13926757","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Premiering April 13, on the opening night at the \u003ca href=\"https://www.kqed.org/arts/13926757/2023-sffilm-festival-bay-area-guide\">2023 SFFILM Festival\u003c/a>, the visual biography takes viewers on an intimate ride-along from the early moments of Curry’s high school days to the present — hot off a triumphant 2022 NBA Finals run. The film presents a story of redemption and endurance, sacrifice and celebration, disappointment and euphoria. At its core, it’s the most human depiction you’ll likely ever get of the global phenomenon.\u003c/p>\n\u003cp>Basketball isn’t at the forefront of this film: a messy, perseverant human life is. There are scenes of Curry doing homework after NBA practice to earn his college degree. There are moments with his three children that teeter between frustration and playfulness. And there are flashbacks — lots of flashbacks — to his years as a scrawny, unknown, often-dismissed teenager who went unrecruited by the nation’s top basketball programs and settled for the only option he had: Davidson College, a small liberal arts school in suburban North Carolina with zero basketball notoriety. It was a program he would drastically transform.\u003c/p>\n\u003cp>Despite his herculean achievements, Curry has remained largely “underrated.” He’s never embodied the desired stature or cocky attitude of a dominant athlete. It’s fitting, then, that Nicks — a Bay Area storyteller who has been documenting Oakland’s institutions for the past decade — would be the perfect person to share Curry’s inspiring story with a national audience. Nicks sat down with KQED to talk about his own journey to becoming a filmmaker and the process of creating \u003ci>Underrated\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>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13927574\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927574\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-1458963294_1920.jpg\" alt=\"Four men stand smiling in front of Sunday step-and-repeat\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1458963294_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1458963294_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1458963294_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1458963294_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1458963294_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1458963294_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Producer Ryan Coogler, director Peter Nicks, Stephen Curry, and producer Erick Peyton at the 2023 Sundance Film Festival for the premiere of ‘Stephen Curry: Underrated.’ \u003ccite>(Photo by Matt Winkelmeyer/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Alan Chazaro: How did your sports fandom influence or inform your approach to this film? Did you grow up rooting for the Warriors?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Peter Nicks:\u003c/b> I grew up a hardcore sports fan from Boston. The \u003ca href=\"https://www.youtube.com/watch?v=pVQUel1Ssq8\">“We Believe” team\u003c/a> was the first time I kinda got shaken out of my complacency and started to pay closer attention [to the Warriors]. The Bay Area in the 2000s was just an incredibly exciting place to be a sports fan.\u003c/p>\n\u003cp>I wasn’t making sports documentaries; I was making films about a community facing challenges — education, criminal justice, healthcare. I noticed that Bay sports arenas were filled with wildly diverse groups of people from all walks of life. I always fantasized making a film about the A’s that celebrated the Bay and the community and how people can come together — like church. Sporting events are a time when people come together for a common purpose. To capture that in film was something I wanted to do.\u003c/p>\n\u003cp>\u003cb>When did the actual recording and interviews happen? What were you most interested in capturing during those moments?\u003c/b>\u003c/p>\n\u003cp>It was several months prior to last year’s season. I met with Steph and explained to him my philosophy of storytelling, which involves observation without filming: hanging out and understanding the ecosystem. If it’s an institution, I spend time with doctors, nurses, patients. In this case, it was with Steph and his family. In a way, he has become his own Bay Area institution, a superstar.\u003c/p>\n\u003cp>How can we make a film about a very well-known athlete that feels unique? Immediately, the first time I met Steph, he got his phone out and started sharing photos and videos from college. He just lit up and you could sense a nostalgia for that moment in his life. You got the sense that this piece of the story hadn’t really been told.\u003c/p>\n\u003cp>\u003cb>Steph and the Warriors ended up winning the NBA Finals in 2022, which aligned perfectly with the theme of Steph’s resilience at Davidson. How did that unlikely Warriors championship shape your filmmaking in the moment? Did the plot evolve while shooting? No pun intended.\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13820054","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>It wasn’t a thought. I encouraged people in meetings to keep a gentle eye on the season. Documentaries are wildly unpredictable. For my film about the police department in Oakland [\u003ci>The Force\u003c/i>], we had to re-edit the entire thing in the final hour because an OPD scandal broke out and it became an integral part of the film. With \u003ci>Homeroom \u003c/i>[about Oakland High School], COVID hit and Black Lives Matter went international. You can’t predict those in a documentary, but if you position yourself to allow those unexpected things to happen and you’re prepared to make a shift in the narrative, that’s where the magical moments happen.\u003c/p>\n\u003cp>The championship was not integral to our narrative. This documentary is a coming-of-age story about an underrated, undersized player who couldn’t even get the opportunity to play at his parent’s alma mater, [Virginia Tech]. The fact that he went on a run in the NBA Finals and it dovetailed with his failed effort in the 2008 [NCAA] tournament was really poignant. It’s beyond serendipity.\u003c/p>\n\u003cp>\u003cb>What are the challenges of piecing all those years and scenes together to tell a coherent narrative?\u003c/b>\u003c/p>\n\u003cp>If you watch the movie, the credit [goes to] JD Marlow, the editor who did a remarkable job, it’s the weaving of three storylines. Maybe four if you count Steph’s relationship with Coach [Bob] McKillop about someone fulfilling their full potential. There’s always a mentor who isn’t a parent in those situations. An uncle, cousin, coach. It makes a difference. In that arc of the Davidson Wildcats, it also tracked the Warriors’ improbable run to a championship and Stephen’s promise to his mom [to complete his college degree].\u003c/p>\n\u003cp>That’s a very difficult task — to weave them together in a coherent way, with pace and entertainment. JD Marlow was the architect behind that. The poignancy of the parallels comes into focus in terms of how [Steph and Coach McKillop] were both able to finally achieve what they couldn’t back in 2008.\u003c/p>\n\u003cp>\u003cb>I’m a Warriors diehard and Steph loyalist, yet even I learned so much and enjoyed lots of the recovered footage in this film. What’s the process of collecting intimate moments to share with an audience? Were you always in the room interviewing Steph?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13914916","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>I typically don’t do interviews in my movies. It’s observational filming, sometimes filming myself. Hanging out with Steph for an afternoon, he might be working out or with his kids, and it becomes a way to show a behind-the-scenes picture of what it’s like to navigate a crushing schedule while being a husband and father. You don’t know what those scenes are going to ultimately say until you’ve shot them and then watch them with editors.\u003c/p>\n\u003cp>We knew we’d shoot Steph with as much access as we could get. We knew we would interview his parents and the people in his life going back to Davidson to try to understand the impact he had and tell the story of that 2008 run. We interviewed scores of former students from that time to retell that story.\u003c/p>\n\u003cp>The last pieces are archival — personal, family, stuff that students had shot or collected. That was challenging. Matt Fisher was our archival editor; he scraped the internet and reached out to alumni groups, the university, Steph’s family. NCAA and NBA footage [are used] as well. You collect all that stuff and sort of have an idea of where you’re going and then you start putting it together in the editing room. And as the everyday narrative unfolds during the NBA season, you start to shift the narrative more.\u003c/p>\n\u003cfigure id=\"attachment_13926767\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926767\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER.jpg\" alt=\"Young Black man with short hair against blurry background\" width=\"1920\" height=\"1205\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-1020x640.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-1536x964.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Young Stephen Curry in a still from Pete Nicks’ ‘Stephen Curry: Underrated.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>This film is largely about Steph Curry as a fallible, unlikely hero, rather than an invincible superstar. What were the challenges in telling the story in a way that allows audiences to see him — one of the most accomplished players in NBA history — as being underrated? Some would argue he is actually overrated.\u003c/b>\u003c/p>\n\u003cp>The title emerged pretty early. Most of us have gone through some time in our life when we’ve felt underrated, misunderstood, maybe had a chip on our shoulder and felt we had something to prove. Even with a superstar on Steph Curry’s level that can exist. As we got deeper into the details of his early career in high school and him not getting any recognition from D-I schools, we recognized the depth of the lack of vision that people had for his potential.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘It goes back to the notion that all of us are connected and that we all need a sense of family and community to represent us.’","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"Peter Nicks","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In a subtle way, I’ve been exploring that theme in Oakland. What’s at stake when people do not fully see you? Ryan [Coogler, this film’s producer,] told a story with extreme stakes with Oscar Grant — a young Black kid in a hoodie — about the consequences of not being seen as a whole person. Steph’s story is a version of that notion of how we only see the surface — a skinny kid, undersized, might get pushed around. With scouts and journalists, there’s a knee-jerk judgment there that gets layered on top of someone’s potential future. When that happens, it’s very difficult to overcome.\u003c/p>\n\u003cp>We found out how whenever family and a community see you and lift you up, and a mentor steps in and believes in you, powerful things happen. We’ve been unpacking that notion of being underrated and how it applies to athletes, communities, universities. It became a driving idea for \u003ci>Underrated\u003c/i>.\u003c/p>\n\u003cp>\u003cb>In his lowest moments, Steph Curry had his family and Coach McKillop. Who was your mentor, and in what ways have you felt underrated?\u003c/b>\u003c/p>\n\u003cp>In college, I had a significant drug problem and was arrested and sent to federal prison. When I got out, I was getting my life back together and went to Howard to study creative writing. That wasn’t even six years removed from me being in federal prison.\u003c/p>\n\u003cp>I got it in my head to study documentaries. UC Berkeley was a great place for that. \u003ca href=\"https://journalism.berkeley.edu/person/else/\">Jon Else\u003c/a> was a filmmaker there, and had been nominated for Oscars. He was a producer for the seminal PBS series about Civil Rights, \u003ci>Eyes on the Prize\u003c/i>. I didn’t think I’d get in because of my grades and my record. [John Else] talked to me, he listened, he heard my story about why I was there and what I was hoping to achieve, what I had planned for the next five years. He advocated for my admission and I got in. That changed my life.\u003c/p>\n\u003cp>Because I was seen, despite what had happened to me and despite me not meeting the eye test, so to speak, I was nevertheless seen. I thought about that while making this movie: the parallels. I’m 6-foot-2. Steph is 6-foot-2. I’m mixed race. Steph is mixed race. I was born in Akron, Ohio. Steph was born in Akron, Ohio. How do you explain that? It goes back to the notion that all of us are connected and that we all need a sense of family and community to represent us.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Stephen Curry: Underrated’ plays April 13 at the San Francisco International Film Festival with screenings at 6:30 p.m. and 9:30 p.m. at the Grand Lake Theater in Oakland. Peter Nicks and producer Ryan Coogler are expected to attend both screenings. \u003ca href=\"https://sffilm.org/event/opening-night-stephen-curry-underrated/\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13927474/stephen-curry-underrated-documentary-peter-nicks","authors":["11748"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_13238"],"tags":["arts_13672","arts_10278","arts_977","arts_9346","arts_3772","arts_4506","arts_17843","arts_585","arts_20232"],"featImg":"arts_13927475","label":"arts_140"},"arts_13926813":{"type":"posts","id":"arts_13926813","meta":{"index":"posts_1591205157","site":"arts","id":"13926813","score":null,"sort":[1680027590000]},"guestAuthors":[],"slug":"san-quentin-prison-adamu-chan-what-these-walls-cant-hold","title":"San Quentin Can Rebrand, But Prison Is Still Prison","publishDate":1680027590,"format":"standard","headTitle":"San Quentin Can Rebrand, But Prison Is Still Prison | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Behind the concrete walls and steel bars of San Quentin State Prison sit more than 3,000 people, currently serving time. The facility itself sits on 432 acres of land in Marin County, one of the top five wealthiest counties per capita in the United States, where well-off residents walk their dogs and take in gorgeous views of the San Francisco Bay on a beach that’s just a stone’s throw from the 171-year-old complex.\u003c/p>\n\u003cp>While the natural environment surrounding San Quentin is a reminder of why so many love this region, inside, the prison exemplifies one of the largest issues plaguing this country: a failed carceral system.\u003c/p>\n\u003cfigure id=\"attachment_13927021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927021\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/WhatTheseWalls.bay_-800x450.jpg\" alt=\"A man gazes toward a large concrete complex that sits near a bay of water.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WhatTheseWalls.bay_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WhatTheseWalls.bay_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WhatTheseWalls.bay_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WhatTheseWalls.bay_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WhatTheseWalls.bay_-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WhatTheseWalls.bay_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Quentin State Prison, the subject of Adamu Chan’s new documentary, ‘What These Walls Won’t Hold.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2020, San Quentin was home to \u003ca href=\"https://www.kqed.org/news/11825930/as-coronavirus-cases-surge-at-san-quentin-lawmakers-demand-an-explanation\">one of the largest COVID-19 outbreaks of any prison in the country\u003c/a>. Since then, according to the California Department of Corrections and Rehabilitation, San Quentin has been the site of \u003ca href=\"https://www.cdcr.ca.gov/covid19/population-status-tracking/\">over 3,000 confirmed cases and 28 total deaths\u003c/a> directly related to the virus.\u003c/p>\n\u003cp>Just a few months after the initial outbreak at San Quentin, filmmaker \u003ca href=\"https://www.adamuchan.com/\" target=\"_blank\" rel=\"noopener\">Adamu Chan\u003c/a> was released from its gates. And in April, \u003ca href=\"https://sffilm.org/event/what-these-walls-wont-hold-how-we-get-free-sol-in-the-garden-cgv/\" target=\"_blank\" rel=\"noopener\">the San Francisco Film Festival\u003c/a> will screen Chan’s latest film, inspired by his experiences, titled \u003cem>What These Walls Won’t Hold\u003c/em>.\u003c/p>\n\u003cp>[aside postID='arts_13889012']Taking viewers into the United States’ massive prison system, the film focuses on how people rely upon each other in order to navigate the dehumanizing elements of a system that controls them and the facility that confines them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Throughout the story, Chan shares personal reflections about the circle of friends he developed inside of San Quentin, as well as the community outside of its walls. He details the contradictions between the harsh reality of being behind bars and the intrinsic beauty of the natural environment around the facility.\u003c/p>\n\u003cp>Driving the story are written letters to and from Chan. Through these notes, viewers gain an understanding of Chan’s friendship with poet and organizer \u003ca href=\"http://isaborgeson.com/\" target=\"_blank\" rel=\"noopener\">Isa Borgeson\u003c/a>. And just as viewers see Chan’s own reentry process, the film covers the homecoming ceremonies of \u003cem>San Quentin News\u003c/em> editor \u003ca href=\"https://www.nbcbayarea.com/news/local/stories-by-joe-rosato-jr/long-time-editor-of-san-quentin-newspaper-savors-freedom-after-23-years/2568246/\" target=\"_blank\" rel=\"noopener\">Richard “Bonaru” Richardson\u003c/a>, Ear Hustle co-host \u003ca href=\"https://www.kqed.org/arts/13924925/ear-hustle-podcast-co-host-rahsaan-thomas-is-free-from-san-quentin-prison\" target=\"_blank\" rel=\"noopener\">Rahsaan “New York” Thomas\u003c/a> and longtime San Quentin resident and restorative justice practitioner \u003ca href=\"https://www.sfweekly.com/archives/no-way-out/article_9ab986b7-eefd-54d0-9520-bdf921963b58.html\" target=\"_blank\" rel=\"noopener\">Lonnie Morris\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13927023\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927023\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/WhatTheseWalls.hug_-800x450.jpg\" alt=\"A man with graying hair and a plaid shirt embraces a shorter woman, burying his head in her shoulders.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WhatTheseWalls.hug_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WhatTheseWalls.hug_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WhatTheseWalls.hug_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WhatTheseWalls.hug_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WhatTheseWalls.hug_-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WhatTheseWalls.hug_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Quentin News editor Richard ‘Bonaru’ Richardson comes home in Adamu Chan’s documentary ‘What These Walls Won’t Hold.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Morris’ scene is especially poignant; after making his way out of San Quentin’s gates, he’s embraced with congratulatory hugs, comments of love, and praises of “you did it.” (He’s quick to correct people, saying “\u003cem>we\u003c/em> did it.”) Addressing the crowd with a speech that toes the line of a prayer, Morris speaks on the importance of living in the present moment, valuing those around you, and honoring the creator. As his speech winds down, someone in the crowd says “Now let’s get away from San Quentin!” — to which Morris vigorously agrees.\u003c/p>\n\u003cp>But just because you’re home doesn’t mean you’re \u003cem>free\u003c/em>, as Chan explains to me. When we talk, Chan — a \u003ca href=\"https://ccsre.stanford.edu/people/adamu-chan\" target=\"_blank\" rel=\"noopener\">2022 CCSRE Mellon Arts Fellow\u003c/a> at Stanford University — lets out a laugh of frustration and tells me he’s just gotten word that he was denied the ability to travel to New York, where he was scheduled to attend and present at a conference at Columbia University.\u003c/p>\n\u003cp>Chan’s disheartening call came days after Governor Gavin Newsom announced plans to change the model of San Quentin: from California’s oldest functional prison, with the largest death row in the nation, to a restorative facility largely based on prison models in Norway. The idea came after stakeholders, elected officials and people who’ve spent time in prison visited the Scandinavian country last year.\u003c/p>\n\u003cp>[aside postID='arts_13904492']“Norway does a better job in certain senses,” says Chan, who was part of the Norway trip. He saw firsthand how prisons in the European country differ from the ones in the United States. But ultimately, he says, one thing remains the same: “It’s a prison system.”\u003c/p>\n\u003cp>Chan recognized that he was on a guided tour, he tells me, and adds that “they will only show you what they want you to see.” San Quentin, which also offers tours to visitors, similarly offers a selective view.\u003c/p>\n\u003cp>“(San Quentin) is like a living museum, a show prison. They’ll show carceral practices of the past so they can show you how far we’ve progressed,” Chan tells me, using the example of the prison’s relatively new hospital, which sits atop a defunct dungeon.\u003c/p>\n\u003cfigure id=\"attachment_13927022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927022\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Whatthesewalls.camera-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Whatthesewalls.camera-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Whatthesewalls.camera-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Whatthesewalls.camera-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Whatthesewalls.camera-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Whatthesewalls.camera-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Whatthesewalls.camera-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Whatthesewalls.camera-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Filming ‘What These Walls Won’t Hold.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inside of San Quentin, a wide array of programs are available, such as coding, theatre, restorative justice, and an award-winning newspaper. But space within those programs is limited, and not every person can benefit.\u003c/p>\n\u003cp>Chan, who did benefit from San Quentin’s programs, is in support of people inside having greater freedoms and access. But he questions the overall notion of rehabilitation coming from state-sanctioned isolation.\u003c/p>\n\u003cp>While the stuff he saw in Norway was moving — a full grocery store, spacious bunks — people there are still isolated, separated from friends and family, and controlled by a governing system. Fundamentally, Chan says, it’s no different than what people experience in the States.\u003c/p>\n\u003cp>[aside postID='forum_2010101888959']“What we need is better prisons?” Chan asks rhetorically, questioning the philosophy behind the proposed changes. “No,” Chan answers, “What we need is something that deals with the larger issues we’re up against. We need to question where violence comes from. We need to question, \u003ci>what is violence\u003c/i>?”\u003c/p>\n\u003cp>In the face of the sweeping natural hills that surround San Quentin, big claims of rehabilitation from elected officials, and resources permitted to San Quentin residents that aren’t accessible to folks in other prisons in California, Chan is clear about how he survived while incarcerated: community.\u003c/p>\n\u003cp>“The people that I was privileged to be around,” Chan tells me, “we benefited from building our own community, smaller systems of care and accountability, and supporting each other.”\u003c/p>\n\u003cp>Now, Chan is looking to share this story beyond the prison’s walls.\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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘What These Walls Won’t Hold’ screens as part of the San Francisco Film Festival on Saturday, April 15 at 12pm and Sunday, April 16 at 2pm. \u003ca href=\"//sffilm.org/2023-festival-program/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Adamu Chan's film 'What These Walls Won't Hold' shows the circles of support required to live behind San Quentin's walls.","status":"publish","parent":0,"modified":1705005694,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1153},"headData":{"title":"New Documentary on San Quentin, 'What These Walls Won't Hold' | KQED","description":"Adamu Chan's film shows the circles of support required to live behind San Quentin's dehumanizing walls.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"New Documentary on San Quentin, 'What These Walls Won't Hold' %%page%% %%sep%% KQED","socialDescription":"Adamu Chan's film shows the circles of support required to live behind San Quentin's dehumanizing walls.","schema":{"@context":"http://schema.org","@type":"Article","headline":"San Quentin Can Rebrand, But Prison Is Still Prison","datePublished":"2023-03-28T18:19:50.000Z","dateModified":"2024-01-11T20:41:34.000Z","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/13926813/san-quentin-prison-adamu-chan-what-these-walls-cant-hold","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Behind the concrete walls and steel bars of San Quentin State Prison sit more than 3,000 people, currently serving time. The facility itself sits on 432 acres of land in Marin County, one of the top five wealthiest counties per capita in the United States, where well-off residents walk their dogs and take in gorgeous views of the San Francisco Bay on a beach that’s just a stone’s throw from the 171-year-old complex.\u003c/p>\n\u003cp>While the natural environment surrounding San Quentin is a reminder of why so many love this region, inside, the prison exemplifies one of the largest issues plaguing this country: a failed carceral system.\u003c/p>\n\u003cfigure id=\"attachment_13927021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927021\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/WhatTheseWalls.bay_-800x450.jpg\" alt=\"A man gazes toward a large concrete complex that sits near a bay of water.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WhatTheseWalls.bay_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WhatTheseWalls.bay_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WhatTheseWalls.bay_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WhatTheseWalls.bay_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WhatTheseWalls.bay_-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WhatTheseWalls.bay_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Quentin State Prison, the subject of Adamu Chan’s new documentary, ‘What These Walls Won’t Hold.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2020, San Quentin was home to \u003ca href=\"https://www.kqed.org/news/11825930/as-coronavirus-cases-surge-at-san-quentin-lawmakers-demand-an-explanation\">one of the largest COVID-19 outbreaks of any prison in the country\u003c/a>. Since then, according to the California Department of Corrections and Rehabilitation, San Quentin has been the site of \u003ca href=\"https://www.cdcr.ca.gov/covid19/population-status-tracking/\">over 3,000 confirmed cases and 28 total deaths\u003c/a> directly related to the virus.\u003c/p>\n\u003cp>Just a few months after the initial outbreak at San Quentin, filmmaker \u003ca href=\"https://www.adamuchan.com/\" target=\"_blank\" rel=\"noopener\">Adamu Chan\u003c/a> was released from its gates. And in April, \u003ca href=\"https://sffilm.org/event/what-these-walls-wont-hold-how-we-get-free-sol-in-the-garden-cgv/\" target=\"_blank\" rel=\"noopener\">the San Francisco Film Festival\u003c/a> will screen Chan’s latest film, inspired by his experiences, titled \u003cem>What These Walls Won’t Hold\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13889012","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Taking viewers into the United States’ massive prison system, the film focuses on how people rely upon each other in order to navigate the dehumanizing elements of a system that controls them and the facility that confines them.\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>Throughout the story, Chan shares personal reflections about the circle of friends he developed inside of San Quentin, as well as the community outside of its walls. He details the contradictions between the harsh reality of being behind bars and the intrinsic beauty of the natural environment around the facility.\u003c/p>\n\u003cp>Driving the story are written letters to and from Chan. Through these notes, viewers gain an understanding of Chan’s friendship with poet and organizer \u003ca href=\"http://isaborgeson.com/\" target=\"_blank\" rel=\"noopener\">Isa Borgeson\u003c/a>. And just as viewers see Chan’s own reentry process, the film covers the homecoming ceremonies of \u003cem>San Quentin News\u003c/em> editor \u003ca href=\"https://www.nbcbayarea.com/news/local/stories-by-joe-rosato-jr/long-time-editor-of-san-quentin-newspaper-savors-freedom-after-23-years/2568246/\" target=\"_blank\" rel=\"noopener\">Richard “Bonaru” Richardson\u003c/a>, Ear Hustle co-host \u003ca href=\"https://www.kqed.org/arts/13924925/ear-hustle-podcast-co-host-rahsaan-thomas-is-free-from-san-quentin-prison\" target=\"_blank\" rel=\"noopener\">Rahsaan “New York” Thomas\u003c/a> and longtime San Quentin resident and restorative justice practitioner \u003ca href=\"https://www.sfweekly.com/archives/no-way-out/article_9ab986b7-eefd-54d0-9520-bdf921963b58.html\" target=\"_blank\" rel=\"noopener\">Lonnie Morris\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13927023\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927023\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/WhatTheseWalls.hug_-800x450.jpg\" alt=\"A man with graying hair and a plaid shirt embraces a shorter woman, burying his head in her shoulders.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WhatTheseWalls.hug_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WhatTheseWalls.hug_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WhatTheseWalls.hug_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WhatTheseWalls.hug_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WhatTheseWalls.hug_-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/WhatTheseWalls.hug_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Quentin News editor Richard ‘Bonaru’ Richardson comes home in Adamu Chan’s documentary ‘What These Walls Won’t Hold.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Morris’ scene is especially poignant; after making his way out of San Quentin’s gates, he’s embraced with congratulatory hugs, comments of love, and praises of “you did it.” (He’s quick to correct people, saying “\u003cem>we\u003c/em> did it.”) Addressing the crowd with a speech that toes the line of a prayer, Morris speaks on the importance of living in the present moment, valuing those around you, and honoring the creator. As his speech winds down, someone in the crowd says “Now let’s get away from San Quentin!” — to which Morris vigorously agrees.\u003c/p>\n\u003cp>But just because you’re home doesn’t mean you’re \u003cem>free\u003c/em>, as Chan explains to me. When we talk, Chan — a \u003ca href=\"https://ccsre.stanford.edu/people/adamu-chan\" target=\"_blank\" rel=\"noopener\">2022 CCSRE Mellon Arts Fellow\u003c/a> at Stanford University — lets out a laugh of frustration and tells me he’s just gotten word that he was denied the ability to travel to New York, where he was scheduled to attend and present at a conference at Columbia University.\u003c/p>\n\u003cp>Chan’s disheartening call came days after Governor Gavin Newsom announced plans to change the model of San Quentin: from California’s oldest functional prison, with the largest death row in the nation, to a restorative facility largely based on prison models in Norway. The idea came after stakeholders, elected officials and people who’ve spent time in prison visited the Scandinavian country last year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13904492","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“Norway does a better job in certain senses,” says Chan, who was part of the Norway trip. He saw firsthand how prisons in the European country differ from the ones in the United States. But ultimately, he says, one thing remains the same: “It’s a prison system.”\u003c/p>\n\u003cp>Chan recognized that he was on a guided tour, he tells me, and adds that “they will only show you what they want you to see.” San Quentin, which also offers tours to visitors, similarly offers a selective view.\u003c/p>\n\u003cp>“(San Quentin) is like a living museum, a show prison. They’ll show carceral practices of the past so they can show you how far we’ve progressed,” Chan tells me, using the example of the prison’s relatively new hospital, which sits atop a defunct dungeon.\u003c/p>\n\u003cfigure id=\"attachment_13927022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927022\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Whatthesewalls.camera-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Whatthesewalls.camera-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Whatthesewalls.camera-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Whatthesewalls.camera-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Whatthesewalls.camera-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Whatthesewalls.camera-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Whatthesewalls.camera-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Whatthesewalls.camera-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Filming ‘What These Walls Won’t Hold.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inside of San Quentin, a wide array of programs are available, such as coding, theatre, restorative justice, and an award-winning newspaper. But space within those programs is limited, and not every person can benefit.\u003c/p>\n\u003cp>Chan, who did benefit from San Quentin’s programs, is in support of people inside having greater freedoms and access. But he questions the overall notion of rehabilitation coming from state-sanctioned isolation.\u003c/p>\n\u003cp>While the stuff he saw in Norway was moving — a full grocery store, spacious bunks — people there are still isolated, separated from friends and family, and controlled by a governing system. Fundamentally, Chan says, it’s no different than what people experience in the States.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"forum_2010101888959","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“What we need is better prisons?” Chan asks rhetorically, questioning the philosophy behind the proposed changes. “No,” Chan answers, “What we need is something that deals with the larger issues we’re up against. We need to question where violence comes from. We need to question, \u003ci>what is violence\u003c/i>?”\u003c/p>\n\u003cp>In the face of the sweeping natural hills that surround San Quentin, big claims of rehabilitation from elected officials, and resources permitted to San Quentin residents that aren’t accessible to folks in other prisons in California, Chan is clear about how he survived while incarcerated: community.\u003c/p>\n\u003cp>“The people that I was privileged to be around,” Chan tells me, “we benefited from building our own community, smaller systems of care and accountability, and supporting each other.”\u003c/p>\n\u003cp>Now, Chan is looking to share this story beyond the prison’s walls.\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>\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>‘What These Walls Won’t Hold’ screens as part of the San Francisco Film Festival on Saturday, April 15 at 12pm and Sunday, April 16 at 2pm. \u003ca href=\"//sffilm.org/2023-festival-program/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13926813/san-quentin-prison-adamu-chan-what-these-walls-cant-hold","authors":["11491"],"programs":["arts_140"],"categories":["arts_1","arts_74"],"tags":["arts_10127","arts_1893","arts_10342","arts_10278","arts_10328","arts_11661","arts_1526","arts_1985","arts_3772","arts_585"],"featImg":"arts_13926814","label":"arts_140"},"arts_13926757":{"type":"posts","id":"arts_13926757","meta":{"index":"posts_1591205157","site":"arts","id":"13926757","score":null,"sort":[1679522634000]},"guestAuthors":[],"slug":"2023-sffilm-festival-bay-area-guide","title":"Five Extremely Bay Area Things to See at the 2023 SFFILM Festival","publishDate":1679522634,"format":"aside","headTitle":"Five Extremely Bay Area Things to See at the 2023 SFFILM Festival | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The 66th \u003ca href=\"https://sffilm.org/\">San Francisco International Film Festival\u003c/a> is back for a fully in-person celebration of cinema, with 96 public programs spread across theaters in San Francisco, Oakland and Berkeley, April 13–23. While there’s plenty to be excited about — numerous world premieres, a free screening of \u003ci>\u003ca href=\"https://sffilm.org/event/community-screening-are-you-there-god-its-me-margaret/\">Are You There God, It’s Me Margaret\u003c/a>\u003c/i> (RSVPs required!), playwright Celine Song’s lovely looking \u003ci>\u003ca href=\"https://sffilm.org/event/centerpiece-past-lives/\">Past Lives\u003c/a>\u003c/i> — we’re most proud of the strong Bay Area showing.\u003c/p>\n\u003cp>We’ve got feature films from local filmmakers, documentaries about our musical and political legends and the first four episodes of what’s sure to be the weirdest show on Amazon. Here’s your guide to five extremely Bay Area screenings to seek out when festival tickets go on sale to the general public this Friday, March 24 at 10 a.m.\u003c/p>\n\u003cfigure id=\"attachment_13926767\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926767\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER.jpg\" alt=\"Young Black man with short hair against blurry background\" width=\"1920\" height=\"1205\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-1020x640.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-1536x964.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Young Stephen Curry in a still from Pete Nicks’ ‘Stephen Curry: Underrated.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/opening-night-stephen-curry-underrated/\">Stephen Curry: Underrated\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>April 13, 6:30 p.m. at Grand Lake Theater\u003c/em>\u003cbr>\n\u003cem>April 13, 9:30 p.m. at Grand Lake Theater\u003c/em>\u003c/p>\n\u003cp>It’s no surprise Pete Nicks’ latest documentary is this year’s opening night film. After focusing on a trio of Oakland institutions with \u003ci>The Waiting Room\u003c/i> (Highland Hospital), \u003ci>The Force\u003c/i> (the Oakland Police Department), and \u003ci>Homeroom\u003c/i> (Oakland High School), he’s turned his lens on another kind of local icon: Golden State Warrior Stephen Curry. The film mingles the 2021–22 season (when Curry led the team to his fourth ring) with footage from his early days at Davidson College, along with off-court footage of everyday life for a routinely dismissed yet consistently impressive basketball superstar. Nicks and producer Ryan Coogler will be present at both screenings, and depending on how the rest of this rocky season goes, we may hope there are no Warriors in attendance.\u003c/p>\n\u003cfigure id=\"attachment_13926768\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926768\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/JOAN-BAEZ_1.jpg\" alt=\"Black-and-white photo of woman in striped shirt playing guitar in front of mic\" width=\"1920\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/JOAN-BAEZ_1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/JOAN-BAEZ_1-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/JOAN-BAEZ_1-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/JOAN-BAEZ_1-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/JOAN-BAEZ_1-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/JOAN-BAEZ_1-1536x960.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Miri Navasky, Maeve O’Boyle and Karen O’Connor’s ‘Joan Baez I Am A Noise.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/joan-baez-i-am-a-noise/\">Joan Baez I Am a Noise\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 18, 5 p.m. at Castro Theatre\u003c/i>\u003c/p>\n\u003cp>Joan Baez is an internationally acclaimed singer, songwriter and activist, but the Palo Alto High grad has always meant something special to the Bay. This documentary from directors Miri Navasky, Karen O’Connor and Maeve O’Boyle combines music, oral history and archival footage for a non-linear approach to the folk singer’s multi-faceted career. Interspersed with scenes from Baez’s 2018-2019 Fare Thee Well Tour is a narrative that traces her rise to stardom in her early 20s, collaborations with Bob Dylan and other formative relationships, and her prolific activism, beginning with anti-Vietnam War protests and carrying through to the fight for LGBTQ rights and the Occupy movement. Here, too, are more intimate, complex stories about her nuclear family, of which Baez is the last living member. The singer and longtime Woodside resident is expected to be in attendance alongside the film’s directors.\u003c/p>\n\u003cfigure id=\"attachment_13926766\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926766\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RALLY_1_1920.jpg\" alt=\"Black-and-white photo of two men and one Asian woman in front of blackboard covered in names\" width=\"1920\" height=\"1413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RALLY_1_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RALLY_1_1920-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RALLY_1_1920-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RALLY_1_1920-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RALLY_1_1920-768x565.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RALLY_1_1920-1536x1130.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Rooth Tang’s ‘Rally.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/rally/\">Rally\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>April 21, 5:30 p.m. at CGV 3, San Francisco\u003cbr>\nApril 23, 12 p.m. at BAMPFA\u003c/em>\u003c/p>\n\u003cp>It’s high time for a Rose Pak documentary, especially given the \u003ca href=\"https://www.kqed.org/news/11094253/rose-pak-chinatown-dynamo-opened-doors-for-asians\">divisive reputation of the late powerbroker\u003c/a> — she preferred the title of “community organizer” — in San Francisco’s Chinatown. Director Rooth Tang covers Pak’s early days as an immigrant, \u003ci>San Francisco Chronicle\u003c/i> journalist and activist before she assumed the role of “atypical kingmaker” and fierce advocate for the local Chinese communities. With that role came questions of her ties to the Chinese government, as well as accusations of corruption and bullying. Her impact on the local landscape (look no further than the finally open Central Subway, one of her causes) is part of a complex and necessary story about the inner workings of San Francisco politics.\u003c/p>\n\u003cfigure id=\"attachment_13926764\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926764\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/1000_-Me-Growing-Up-Mixed_07_1920.jpg\" alt=\"Grid of nine stills of families on couches and at tables\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1000_-Me-Growing-Up-Mixed_07_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1000_-Me-Growing-Up-Mixed_07_1920-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1000_-Me-Growing-Up-Mixed_07_1920-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1000_-Me-Growing-Up-Mixed_07_1920-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1000_-Me-Growing-Up-Mixed_07_1920-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1000_-Me-Growing-Up-Mixed_07_1920-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Stills from W. Kamau Bell’s ‘1000% Me: Growing Up Mixed.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/1000-me-growing-up-mixed-creating-things-southern-afternoon/\">1000% Me: Growing Up Mixed\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>April 22, 12 p.m. at BAMPFA\u003c/em>\u003c/p>\n\u003cp>W. Kamau Bell brings a very personal story to the screen in this hourlong documentary. Starting with his own kids, Bell talks to Bay Area children growing up in mixed-race families, giving young people a chance to lead their own conversations about race. Billed as “tender,” “charming” and “timely,” \u003ci>1000% Me\u003c/i> does a rare thing at a moment when the entire country seems focused on the well-being of children: it lets them speak for themselves about the highs and lows of dealing with the outside forces that seek to define them. As a bonus, the film will be paired with two family-minded shorts: \u003ci>Creating Things\u003c/i>, about filmmaker Bryan Simpson and his brother revisiting their father’s art; and \u003ci>Southern Afternoon\u003c/i>, Tian Lan’s short drama about a Uyghur father who suspects his teenager has received a love letter, but first needs to decipher the Chinese characters.\u003c/p>\n\u003cfigure id=\"attachment_13926765\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926765\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/IMAVIRGO_3_1920.jpg\" alt=\"A giant Black man with locs sits on front steps in purple outfit\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMAVIRGO_3_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMAVIRGO_3_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMAVIRGO_3_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMAVIRGO_3_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMAVIRGO_3_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMAVIRGO_3_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Boots Riley’s television show ‘I’m a Virgo.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/im-a-virgo/\">I’m a Virgo\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>April 23, 6 p.m. at CGV 3, San Francisco\u003c/em>\u003cbr>\n\u003cem>April 23, 7:30 p.m. at CGV 2, San Francisco\u003c/em>\u003c/p>\n\u003cp>When Boots Riley’s \u003cem>Sorry to Bother You\u003c/em> had its California premiere as the SFFILM Festival’s 2018 centerpiece, one theater wasn’t big enough to contain the hometown enthusiasm: the film screened to boisterous, sold-out crowds on both sides of the Bay, at the Castro and Grand Lake theaters, on the same night.\u003c/p>\n\u003cp>\u003ci>I’m a Virgo\u003c/i>, the Coup frontman-and-activist-turned-filmmaker’s first foray into streaming television, promises to be even bigger. It centers around a 13-foot-tall man named Cootie (Emmy winner Jharrel Jerome, \u003ci>When They See Us\u003c/i>) who’s coming of age in Oakland, making friends and enemies, and learning about romance, revolution and sideshow stunts along the way. The series, which was shot in Oakland and New Orleans (dressed up as Oakland), garnered serious buzz at South By Southwest, but an SFFILM closing-night premiere is special in a different way — Riley has a long relationship with the organization, and was an SFFILM Filmmaker-In-Residence when he began developing his debut. He’ll be in attendance for a Q&A.\u003c/p>\n\u003cfigure id=\"attachment_13926791\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926791\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/EARTH-MAMA_1_1920.jpg\" alt=\"Young Black woman lays on hood of car leaning against windshield\" width=\"1920\" height=\"1273\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/EARTH-MAMA_1_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/EARTH-MAMA_1_1920-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/EARTH-MAMA_1_1920-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/EARTH-MAMA_1_1920-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/EARTH-MAMA_1_1920-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/EARTH-MAMA_1_1920-1536x1018.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Savanah Leaf’s ‘Earth Mama,’ starring Tia Nomore. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Briefly Noted\u003c/h2>\n\u003cp>\u003ci>\u003cb>\u003ca href=\"https://sffilm.org/event/earth-mama/\">Earth Mama\u003c/a>\u003c/b>\u003c/i>\u003cbr>\n\u003ci>April 14, 8 p.m. at BAMPFA\u003cbr>\nApril 15, 6 p.m. at CGV 3\u003c/i>\u003cbr>\nDirected by newcomer (and former Olympian) Savanah Leaf, this feature stars local musician \u003ca href=\"https://www.kqed.org/arts/13925905/tia-nomore-earth-mama-a24-savanah-leaf\">Tia Nomore\u003c/a> as a single mother in Oakland navigating the foster care system as she prepares for the birth of another child.\u003c/p>\n\u003cp>\u003cb>Mel Novikoff Award: Firelight Media and \u003ci>The Black Panthers: Vanguard of the Revolution\u003c/i>\u003c/b>\u003cbr>\n\u003ci>April 15, 3:15 p.m. at CGV 2\u003c/i>\u003cbr>\nThis screening of Stanley Nelson’s incredible 2015 doc helps celebrate Firelight Media, founded by Nelson and Marcia Smith in 1998, which backs filmmakers of color through labs, fellowships and film funds.\u003c/p>\n\u003cp>\u003ci>\u003cb>\u003ca href=\"https://sffilm.org/event/fremont/\">Fremont\u003c/a>\u003c/b>\u003c/i>\u003cbr>\n\u003ci>April 22, 3 p.m. at CGV 2\u003cbr>\nApril 23, 3 p.m. at BAMPFA\u003c/i>\u003cbr>\nFilmed in lush black and white, Babak Jalali’s narrative film centers on a former U.S. military translator who now lives in the title city’s Afghan community, writing fortune cookies and adjusting to life in the American suburbs.\u003c/p>\n\u003cp>\u003ci>\u003cb>\u003ca href=\"https://sffilm.org/event/home-is-a-hotel/\">Home is a Hotel\u003c/a>\u003c/b>\u003c/i>\u003cbr>\n\u003ci>April 22, 12:45 p.m. at CGV 3\u003c/i>\u003cbr>\nThis documentary from Kevin Duncan Wong, Tod Sills and Kar Yin Tham visits the diverse residents of San Francisco’s cramped, noisy and often vermin-filled SROs. Not unhoused but not well-housed, the film’s participants show just how complicated the city’s housing situation really is.\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>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Documentaries about Stephen Curry and Joan Baez top our list alongside Boots Riley’s weird and wild streaming TV debut.","status":"publish","parent":0,"modified":1705005712,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":1359},"headData":{"title":"Your 2023 SFFILM Festival Guide: Extremely Bay Area | KQED","description":"Documentaries about Stephen Curry and Joan Baez top our list alongside Boots Riley’s weird and wild streaming TV debut.","ogTitle":"Five Extremely Bay Area Things to See at the 2023 SFFILM Festival","ogDescription":"","ogImgId":"","twTitle":"Five Extremely Bay Area Things to See at the 2023 SFFILM Festival","twDescription":"","twImgId":"","socialTitle":"Your 2023 SFFILM Festival Guide: Extremely Bay Area %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Five Extremely Bay Area Things to See at the 2023 SFFILM Festival","datePublished":"2023-03-22T22:03:54.000Z","dateModified":"2024-01-11T20:41:52.000Z","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/13926757/2023-sffilm-festival-bay-area-guide","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 66th \u003ca href=\"https://sffilm.org/\">San Francisco International Film Festival\u003c/a> is back for a fully in-person celebration of cinema, with 96 public programs spread across theaters in San Francisco, Oakland and Berkeley, April 13–23. While there’s plenty to be excited about — numerous world premieres, a free screening of \u003ci>\u003ca href=\"https://sffilm.org/event/community-screening-are-you-there-god-its-me-margaret/\">Are You There God, It’s Me Margaret\u003c/a>\u003c/i> (RSVPs required!), playwright Celine Song’s lovely looking \u003ci>\u003ca href=\"https://sffilm.org/event/centerpiece-past-lives/\">Past Lives\u003c/a>\u003c/i> — we’re most proud of the strong Bay Area showing.\u003c/p>\n\u003cp>We’ve got feature films from local filmmakers, documentaries about our musical and political legends and the first four episodes of what’s sure to be the weirdest show on Amazon. Here’s your guide to five extremely Bay Area screenings to seek out when festival tickets go on sale to the general public this Friday, March 24 at 10 a.m.\u003c/p>\n\u003cfigure id=\"attachment_13926767\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926767\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER.jpg\" alt=\"Young Black man with short hair against blurry background\" width=\"1920\" height=\"1205\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-1020x640.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-1536x964.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Young Stephen Curry in a still from Pete Nicks’ ‘Stephen Curry: Underrated.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/opening-night-stephen-curry-underrated/\">Stephen Curry: Underrated\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>April 13, 6:30 p.m. at Grand Lake Theater\u003c/em>\u003cbr>\n\u003cem>April 13, 9:30 p.m. at Grand Lake Theater\u003c/em>\u003c/p>\n\u003cp>It’s no surprise Pete Nicks’ latest documentary is this year’s opening night film. After focusing on a trio of Oakland institutions with \u003ci>The Waiting Room\u003c/i> (Highland Hospital), \u003ci>The Force\u003c/i> (the Oakland Police Department), and \u003ci>Homeroom\u003c/i> (Oakland High School), he’s turned his lens on another kind of local icon: Golden State Warrior Stephen Curry. The film mingles the 2021–22 season (when Curry led the team to his fourth ring) with footage from his early days at Davidson College, along with off-court footage of everyday life for a routinely dismissed yet consistently impressive basketball superstar. Nicks and producer Ryan Coogler will be present at both screenings, and depending on how the rest of this rocky season goes, we may hope there are no Warriors in attendance.\u003c/p>\n\u003cfigure id=\"attachment_13926768\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926768\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/JOAN-BAEZ_1.jpg\" alt=\"Black-and-white photo of woman in striped shirt playing guitar in front of mic\" width=\"1920\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/JOAN-BAEZ_1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/JOAN-BAEZ_1-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/JOAN-BAEZ_1-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/JOAN-BAEZ_1-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/JOAN-BAEZ_1-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/JOAN-BAEZ_1-1536x960.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Miri Navasky, Maeve O’Boyle and Karen O’Connor’s ‘Joan Baez I Am A Noise.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/joan-baez-i-am-a-noise/\">Joan Baez I Am a Noise\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 18, 5 p.m. at Castro Theatre\u003c/i>\u003c/p>\n\u003cp>Joan Baez is an internationally acclaimed singer, songwriter and activist, but the Palo Alto High grad has always meant something special to the Bay. This documentary from directors Miri Navasky, Karen O’Connor and Maeve O’Boyle combines music, oral history and archival footage for a non-linear approach to the folk singer’s multi-faceted career. Interspersed with scenes from Baez’s 2018-2019 Fare Thee Well Tour is a narrative that traces her rise to stardom in her early 20s, collaborations with Bob Dylan and other formative relationships, and her prolific activism, beginning with anti-Vietnam War protests and carrying through to the fight for LGBTQ rights and the Occupy movement. Here, too, are more intimate, complex stories about her nuclear family, of which Baez is the last living member. The singer and longtime Woodside resident is expected to be in attendance alongside the film’s directors.\u003c/p>\n\u003cfigure id=\"attachment_13926766\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926766\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RALLY_1_1920.jpg\" alt=\"Black-and-white photo of two men and one Asian woman in front of blackboard covered in names\" width=\"1920\" height=\"1413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RALLY_1_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RALLY_1_1920-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RALLY_1_1920-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RALLY_1_1920-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RALLY_1_1920-768x565.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RALLY_1_1920-1536x1130.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Rooth Tang’s ‘Rally.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/rally/\">Rally\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>April 21, 5:30 p.m. at CGV 3, San Francisco\u003cbr>\nApril 23, 12 p.m. at BAMPFA\u003c/em>\u003c/p>\n\u003cp>It’s high time for a Rose Pak documentary, especially given the \u003ca href=\"https://www.kqed.org/news/11094253/rose-pak-chinatown-dynamo-opened-doors-for-asians\">divisive reputation of the late powerbroker\u003c/a> — she preferred the title of “community organizer” — in San Francisco’s Chinatown. Director Rooth Tang covers Pak’s early days as an immigrant, \u003ci>San Francisco Chronicle\u003c/i> journalist and activist before she assumed the role of “atypical kingmaker” and fierce advocate for the local Chinese communities. With that role came questions of her ties to the Chinese government, as well as accusations of corruption and bullying. Her impact on the local landscape (look no further than the finally open Central Subway, one of her causes) is part of a complex and necessary story about the inner workings of San Francisco politics.\u003c/p>\n\u003cfigure id=\"attachment_13926764\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926764\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/1000_-Me-Growing-Up-Mixed_07_1920.jpg\" alt=\"Grid of nine stills of families on couches and at tables\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1000_-Me-Growing-Up-Mixed_07_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1000_-Me-Growing-Up-Mixed_07_1920-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1000_-Me-Growing-Up-Mixed_07_1920-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1000_-Me-Growing-Up-Mixed_07_1920-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1000_-Me-Growing-Up-Mixed_07_1920-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1000_-Me-Growing-Up-Mixed_07_1920-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Stills from W. Kamau Bell’s ‘1000% Me: Growing Up Mixed.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/1000-me-growing-up-mixed-creating-things-southern-afternoon/\">1000% Me: Growing Up Mixed\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>April 22, 12 p.m. at BAMPFA\u003c/em>\u003c/p>\n\u003cp>W. Kamau Bell brings a very personal story to the screen in this hourlong documentary. Starting with his own kids, Bell talks to Bay Area children growing up in mixed-race families, giving young people a chance to lead their own conversations about race. Billed as “tender,” “charming” and “timely,” \u003ci>1000% Me\u003c/i> does a rare thing at a moment when the entire country seems focused on the well-being of children: it lets them speak for themselves about the highs and lows of dealing with the outside forces that seek to define them. As a bonus, the film will be paired with two family-minded shorts: \u003ci>Creating Things\u003c/i>, about filmmaker Bryan Simpson and his brother revisiting their father’s art; and \u003ci>Southern Afternoon\u003c/i>, Tian Lan’s short drama about a Uyghur father who suspects his teenager has received a love letter, but first needs to decipher the Chinese characters.\u003c/p>\n\u003cfigure id=\"attachment_13926765\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926765\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/IMAVIRGO_3_1920.jpg\" alt=\"A giant Black man with locs sits on front steps in purple outfit\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMAVIRGO_3_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMAVIRGO_3_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMAVIRGO_3_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMAVIRGO_3_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMAVIRGO_3_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMAVIRGO_3_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Boots Riley’s television show ‘I’m a Virgo.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/im-a-virgo/\">I’m a Virgo\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>April 23, 6 p.m. at CGV 3, San Francisco\u003c/em>\u003cbr>\n\u003cem>April 23, 7:30 p.m. at CGV 2, San Francisco\u003c/em>\u003c/p>\n\u003cp>When Boots Riley’s \u003cem>Sorry to Bother You\u003c/em> had its California premiere as the SFFILM Festival’s 2018 centerpiece, one theater wasn’t big enough to contain the hometown enthusiasm: the film screened to boisterous, sold-out crowds on both sides of the Bay, at the Castro and Grand Lake theaters, on the same night.\u003c/p>\n\u003cp>\u003ci>I’m a Virgo\u003c/i>, the Coup frontman-and-activist-turned-filmmaker’s first foray into streaming television, promises to be even bigger. It centers around a 13-foot-tall man named Cootie (Emmy winner Jharrel Jerome, \u003ci>When They See Us\u003c/i>) who’s coming of age in Oakland, making friends and enemies, and learning about romance, revolution and sideshow stunts along the way. The series, which was shot in Oakland and New Orleans (dressed up as Oakland), garnered serious buzz at South By Southwest, but an SFFILM closing-night premiere is special in a different way — Riley has a long relationship with the organization, and was an SFFILM Filmmaker-In-Residence when he began developing his debut. He’ll be in attendance for a Q&A.\u003c/p>\n\u003cfigure id=\"attachment_13926791\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926791\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/EARTH-MAMA_1_1920.jpg\" alt=\"Young Black woman lays on hood of car leaning against windshield\" width=\"1920\" height=\"1273\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/EARTH-MAMA_1_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/EARTH-MAMA_1_1920-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/EARTH-MAMA_1_1920-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/EARTH-MAMA_1_1920-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/EARTH-MAMA_1_1920-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/EARTH-MAMA_1_1920-1536x1018.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Savanah Leaf’s ‘Earth Mama,’ starring Tia Nomore. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Briefly Noted\u003c/h2>\n\u003cp>\u003ci>\u003cb>\u003ca href=\"https://sffilm.org/event/earth-mama/\">Earth Mama\u003c/a>\u003c/b>\u003c/i>\u003cbr>\n\u003ci>April 14, 8 p.m. at BAMPFA\u003cbr>\nApril 15, 6 p.m. at CGV 3\u003c/i>\u003cbr>\nDirected by newcomer (and former Olympian) Savanah Leaf, this feature stars local musician \u003ca href=\"https://www.kqed.org/arts/13925905/tia-nomore-earth-mama-a24-savanah-leaf\">Tia Nomore\u003c/a> as a single mother in Oakland navigating the foster care system as she prepares for the birth of another child.\u003c/p>\n\u003cp>\u003cb>Mel Novikoff Award: Firelight Media and \u003ci>The Black Panthers: Vanguard of the Revolution\u003c/i>\u003c/b>\u003cbr>\n\u003ci>April 15, 3:15 p.m. at CGV 2\u003c/i>\u003cbr>\nThis screening of Stanley Nelson’s incredible 2015 doc helps celebrate Firelight Media, founded by Nelson and Marcia Smith in 1998, which backs filmmakers of color through labs, fellowships and film funds.\u003c/p>\n\u003cp>\u003ci>\u003cb>\u003ca href=\"https://sffilm.org/event/fremont/\">Fremont\u003c/a>\u003c/b>\u003c/i>\u003cbr>\n\u003ci>April 22, 3 p.m. at CGV 2\u003cbr>\nApril 23, 3 p.m. at BAMPFA\u003c/i>\u003cbr>\nFilmed in lush black and white, Babak Jalali’s narrative film centers on a former U.S. military translator who now lives in the title city’s Afghan community, writing fortune cookies and adjusting to life in the American suburbs.\u003c/p>\n\u003cp>\u003ci>\u003cb>\u003ca href=\"https://sffilm.org/event/home-is-a-hotel/\">Home is a Hotel\u003c/a>\u003c/b>\u003c/i>\u003cbr>\n\u003ci>April 22, 12:45 p.m. at CGV 3\u003c/i>\u003cbr>\nThis documentary from Kevin Duncan Wong, Tod Sills and Kar Yin Tham visits the diverse residents of San Francisco’s cramped, noisy and often vermin-filled SROs. Not unhoused but not well-housed, the film’s participants show just how complicated the city’s housing situation really is.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\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/13926757/2023-sffilm-festival-bay-area-guide","authors":["61","7237"],"programs":["arts_140"],"categories":["arts_1","arts_11615","arts_74"],"tags":["arts_1998","arts_13672","arts_977","arts_1201","arts_2415","arts_9346","arts_3772","arts_4506","arts_585","arts_2450"],"featImg":"arts_13926765","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/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. It is produced in partnership with WNYC.","imageSrc":"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png","officialWebsiteLink":"http://freakonomics.com/","airtime":"SUN 1am-2am, SAT 3pm-4pm","meta":{"site":"radio","source":"WNYC"},"link":"/radio/program/freakonomics-radio","subscribe":{"npr":"https://rpb3r.app.goo.gl/4s8b","apple":"https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519","tuneIn":"https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/","rss":"https://feeds.feedburner.com/freakonomicsradio"}},"fresh-air":{"id":"fresh-air","title":"Fresh Air","info":"Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.","airtime":"MON-FRI 7pm-8pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/fresh-air/","meta":{"site":"radio","source":"npr"},"link":"/radio/program/fresh-air","subscribe":{"npr":"https://rpb3r.app.goo.gl/4s8b","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/Fresh-Air-p17/","rss":"https://feeds.npr.org/381444908/podcast.xml"}},"here-and-now":{"id":"here-and-now","title":"Here & Now","info":"A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.","airtime":"MON-THU 11am-12pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"http://www.wbur.org/hereandnow","meta":{"site":"news","source":"npr"},"link":"/radio/program/here-and-now","subsdcribe":{"apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661","tuneIn":"https://tunein.com/radio/Here--Now-p211/","rss":"https://feeds.npr.org/510051/podcast.xml"}},"how-i-built-this":{"id":"how-i-built-this","title":"How I Built This with Guy Raz","info":"Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.","imageSrc":"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png","officialWebsiteLink":"https://www.npr.org/podcasts/510313/how-i-built-this","airtime":"SUN 7:30pm-8pm","meta":{"site":"news","source":"npr"},"link":"/radio/program/how-i-built-this","subscribe":{"npr":"https://rpb3r.app.goo.gl/3zxy","apple":"https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2","tuneIn":"https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/","rss":"https://feeds.npr.org/510313/podcast.xml"}},"inside-europe":{"id":"inside-europe","title":"Inside Europe","info":"Inside Europe, a one-hour weekly news magazine hosted by Helen Seeney and Keith Walker, explores the topical issues shaping the continent. No other part of the globe has experienced such dynamic political and social change in recent years.","airtime":"SAT 3am-4am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Inside-Europe-Podcast-Tile-300x300-1.jpg","meta":{"site":"news","source":"Deutsche Welle"},"link":"/radio/program/inside-europe","subscribe":{"apple":"https://itunes.apple.com/us/podcast/inside-europe/id80106806?mt=2","tuneIn":"https://tunein.com/radio/Inside-Europe-p731/","rss":"https://partner.dw.com/xml/podcast_inside-europe"}},"latino-usa":{"id":"latino-usa","title":"Latino USA","airtime":"MON 1am-2am, SUN 6pm-7pm","info":"Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg","officialWebsiteLink":"http://latinousa.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/latino-usa","subscribe":{"npr":"https://rpb3r.app.goo.gl/xtTd","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/Latino-USA-p621/","rss":"https://feeds.npr.org/510016/podcast.xml"}},"live-from-here-highlights":{"id":"live-from-here-highlights","title":"Live from Here Highlights","info":"Chris Thile steps to the mic as the host of Live from Here (formerly A Prairie Home Companion), a live public radio variety show. 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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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