The ‘Door’ That Saved (Only) Rose in ‘Titanic’ Just Sold for $718k
‘25 Years Later’ Revisits the ‘Trancestors’ of 2005’s ‘The Aggressives’ Documentary
Your Extremely Bay Area Guide to the 2024 SFFILM Festival
Alice Rohrwacher’s Tombaroli Tale ‘La Chimera’ Is Pure Magic
Tennessee Becomes the First State to Protect Musicians and Other Artists Against AI
A New Shirley Chisholm Biopic Undersells Its Impressive Subject
Filmmaker Edward Yang’s Taipei Stories Shimmer at BAMPFA
Experimental Animations Relocate from YBCA to Shapeshifters Cinema
Things Get Scary for Sydney Sweeney in a Creepy Italian Convent in ‘Immaculate’
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Born and raised in Wales, she started her career in London, as a music journalist for uproarious rock ’n’ roll magazine, \u003cem>\u003ca href=\"https://www.kerrang.com/features/an-oral-history-of-alternative-tentacles-40-years-of-keeping-punk-alive/\">Kerrang!\u003c/a>\u003c/em>. In America, she got her start at alt-weeklies including \u003ca href=\"https://archives.sfweekly.com/sanfrancisco/ArticleArchives?author=2127078&excludeCategoryType=Blog\">\u003cem>SF Weekly\u003c/em>\u003c/a> and the \u003ca href=\"https://www.villagevoice.com/author/raealexandra/\">\u003cem>Village Voice\u003c/em>\u003c/a>, and freelanced for a great many other publications. Her undying love for San Francisco has, more recently, turned her into \u003ca href=\"https://www.kqed.org/arts/tag/bayareahistory/\">a history nerd\u003c/a>. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture.","avatar":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g","twitter":"raemondjjjj","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"news","roles":["editor"]},{"site":"pop","roles":["editor"]},{"site":"bayareabites","roles":["editor"]},{"site":"science","roles":["editor"]}],"headData":{"title":"Rae Alexandra | KQED","description":"Staff Writer","ogImgSrc":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/ralexandra"},"ltsai":{"type":"authors","id":"11743","meta":{"index":"authors_1591205172","id":"11743","found":true},"name":"Luke Tsai","firstName":"Luke","lastName":"Tsai","slug":"ltsai","email":"ltsai@kqed.org","display_author_email":true,"staff_mastheads":["arts"],"title":"Food Editor","bio":"Luke Tsai is KQED's food editor and resident stinky tofu connoisseur. 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When he isn't writing or editing, you'll find him eating most everything he can get his hands on.","avatar":"https://secure.gravatar.com/avatar/d1ff591a3047b143a0e23cf7f28fcac0?s=600&d=blank&r=g","twitter":"theluketsai","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"","roles":["editor"]},{"site":"arts","roles":["administrator"]},{"site":"bayareabites","roles":["editor"]},{"site":"food","roles":["editor"]}],"headData":{"title":"Luke Tsai | KQED","description":"Food 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FM","link":"/"}},"arts_13954957":{"type":"posts","id":"arts_13954957","meta":{"index":"posts_1591205157","site":"arts","id":"13954957","score":null,"sort":[1711666132000]},"guestAuthors":[],"slug":"titanic-auction-rose-jack-room-on-the-door-mythbusters","title":"The ‘Door’ That Saved (Only) Rose in ‘Titanic’ Just Sold for $718k","publishDate":1711666132,"format":"standard","headTitle":"The ‘Door’ That Saved (Only) Rose in ‘Titanic’ Just Sold for $718k | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>Some of the most iconic props in Hollywood history hit the auction block last week, from Indiana Jones’ trusty whip to Forrest Gump’s assorted chocolates to the infamous axe from \u003cem>The Shining\u003c/em>.\u003c/p>\n\u003cp>But the top-selling item was a piece of debris, albeit one that’s stirred imagination and debate for over a quarter century.\u003c/p>\n\u003cp>[aside postid='arts_13935076']“The wood panel from \u003cem>Titanic \u003c/em>that saved Rose — but, controversially, not Jack — was the king of the auction, realizing $718,750 to float to the top of the five-day event,” auction house Heritage Auctions \u003ca href=\"https://www.ha.com/heritage-auctions-press-releases-and-news/treasures-from-planet-hollywood-bring-more-than-15.6-million-in-historic-event-at-heritage-auctions.s?releaseId=4934\">said in a release\u003c/a>.\u003c/p>\n\u003cp>The “\u003ca href=\"https://entertainment.ha.com/itm/movie-tv-memorabilia/props/titanic-tcf-1997-kate-winslet-rose-dewitt-bukater-hero-floating-wood-panel/a/7356-89979.s?ic4=GalleryView-ShortDescription-071515#auction-description\">Hero Floating Wood Panel\u003c/a>” played an \u003ca href=\"https://www.youtube.com/watch?v=KKY6-9cQ5l8\">iconic role\u003c/a> in the 1997 blockbuster. As the Titanic sinks, stranding passengers in the frigid waters of the Atlantic Ocean, Kate Winslet’s character Rose manages to lie afloat on the piece of a door while Leonardo DiCaprio’s Jack clings to the edge, eventually succumbing to hypothermia.\u003c/p>\n\u003cp>“The biggest scene, really, the climactic scene if you will,” \u003ca href=\"https://www.youtube.com/live/mIK6kHWvUUs?si=S25-q0QRjatgbMgZ&t=1230\">the auctioneer said\u003c/a>, introducing the lot item. “There are several big scenes but this is it, this is the goodbye.”\u003c/p>\n\u003cfigure id=\"attachment_13954959\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954959\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-1192757498-69537c1a79908bf9fef43bcfdfac41b57248ecb5-scaled-e1711663749139.jpg\" alt=\"A man with wet hair, submerged from the chest down leans on a piece of wooden detritus that a woman with wet hair is propped up on.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Fans have long debated whether there was room for both Jack (Leonardo DiCaprio) and Rose (Kate Winslet) on the makeshift raft in the 1997 blockbuster ‘Titanic.’ \u003ccite>(CBS Photo Archive/ CBS via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bidding started at $60,000 and finished some five minutes later at $575,000 (the total cost included additional fees). In the video livestream, the crowd can be heard clapping heartily as the auctioneer congratulates the winner, whom he refers to as “Mr. Green.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The five-day “Treasures from Planet Hollywood” auction brought in more than $15.6 million from over 5,500 bidders worldwide across some 1,600 lots, according to Heritage Auctions, which said there were so many bidding wars that “we lost track.”\u003c/p>\n\u003cp>[aside postid='arts_13927540']“There has been a generational shift to where these massive franchises and blockbusters of the 1980s and 1990s — the \u003cem>Home Alone\u003c/em>s, the Indiana Jones films, the \u003cem>Die Hard\u003c/em>s and, of course, \u003cem>Titanic\u003c/em> — are now collectors’ favorites,” Executive Vice President Joe Maddalena said in a statement provided to NPR. “Collectors are finally rewarding these artifacts as what they are: cultural artifacts akin to the fine art of old.”\u003c/p>\n\u003cp>Five of the top lots came from \u003cem>Titanic\u003c/em>, including the ship’s helm wheel ($200,000), Rose’s waterlogged chiffon dress ($118,750) and the ship’s brass engine order telegraph ($81,250) — another sign that the public’s fascination with the century-old shipwreck isn’t going anywhere.\u003c/p>\n\u003ch3>The prop is modeled on a real-life structure\u003c/h3>\n\u003cp>The 8-foot-long, 41-inch-wide floating hunk of wood is made of balsa and intricately carved with rococo motifs like floral accents and scrolling curves, according to the auction house.\u003c/p>\n\u003cp>A plaque on the back of it reads: “Leonardo DiCaprio / Kate Winslet / ‘Titanic’ / Twentieth Century Fox / Paramount Pictures, 1997 / Floating panel that he uses to save her life in the sinking sequence of the film, in their roles as ‘Jack Dawson’ and ‘Rose DeWitt Bukater’. Courtesy of Twentieth Century Fox.”\u003c/p>\n\u003cp>Heritage Auctions says the prop was based on the “most famous complete piece of debris from the 1912 tragedy,” which is believed to be part of the door frame just above the first-class lounge entrance.\u003c/p>\n\u003cp>[aside postid='arts_13924870']Researchers theorize that the panel represents the exact area where the ship split in two and that it rose to the water’s surface as the ship sank. The auction house notes that it closely resembles one particular artifact housed at the Maritime Museum in Halifax, Nova Scotia.\u003c/p>\n\u003cp>Director James Cameron visited the museum during the movie production and consulted with an American expert who had assisted with research there, according to the \u003ca href=\"https://maritimemuseum.novascotia.ca/what-see-do/titanics-halifax-connection/frequently-asked-questions#10\">Maritime Museum\u003c/a>.\u003c/p>\n\u003cp>“Among other things this permitted accurate replicas of the deckchairs to be constructed and most notably, a replica of a large piece of carved oak [paneling] to be built,” it added. “It was used in the climactic death scene in the film where the character Rose clings to floating wreckage.”\u003c/p>\n\u003ch3>The piece of wood is at the heart of an enduring debate\u003c/h3>\n\u003cp>Enraged fans have argued for decades that there was room on the board for both paramours and that Rose could have saved Jack — and their star-crossed love story — by simply scooting over.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13954979\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/52f5lc.jpg\" alt=\"\" width=\"889\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/52f5lc.jpg 889w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/52f5lc-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/52f5lc-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/52f5lc-768x432.jpg 768w\" sizes=\"(max-width: 889px) 100vw, 889px\">\u003c/p>\n\u003cp>Cameron adamantly disagrees, as he’s \u003ca href=\"https://www.vanityfair.com/hollywood/2019/02/james-cameron-titanic-door-debate\">made clear in multiple interviews\u003c/a> over the years.\u003c/p>\n\u003cp>“When Jack puts Rose on the raft, he tries to get on the raft — he’s not an idiot, he doesn’t want to die — and the raft sinks; it kind of flips,” \u003ca href=\"https://www.ign.com/articles/2012/10/09/titanic-was-there-room-for-jack-on-that-raft\">Cameron told IGN\u003c/a> in 2012. “And so it’s clear that there’s really only enough buoyancy available for one person. So he makes the decision to let her be that person.”\u003c/p>\n\u003cp>[aside postid='pop_95762']\u003cem>MythBusters\u003c/em> even teamed up with Cameron\u003ca href=\"https://www.imdb.com/title/tt2443302/\"> in an episode\u003c/a> that same year to tackle the question, which it called “the most requested myth in MythBuster history.”\u003c/p>\n\u003cp>They \u003ca href=\"https://ew.com/article/2012/10/08/mythbusters-titanic-debate-jack-die/\">concluded\u003c/a> that Rose and Jack could have both stayed afloat and avoided hypothermia, but only if they had thought to tie her life jacket underneath it to help with buoyancy. That’s missing the point, Cameron said at the time (he said \u003ca href=\"https://www.thedailybeast.com/james-cameron-on-the-trump-administration-these-people-are-insane\">five years later\u003c/a> that he loved working with the MythBusters, “but they’re full of s***”).\u003c/p>\n\u003cp>“The script says Jack died. He has to die,” he said in the episode. “So maybe we screwed up and the board should have been a little tiny bit smaller, but the dude’s goin’ down.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IPDxtclZzVU\u003c/p>\n\u003cp>In 2022, a full 25 years after the movie’s release, Cameron said he had \u003ca href=\"https://www.npr.org/2022/12/19/1144078509/titanic-movie-door-debate-james-cameron\">commissioned a scientific study\u003c/a> to hopefully close the door on the debate once and for all.\u003c/p>\n\u003cp>[aside postid='pop_111446']The results, which aired in a \u003ca href=\"https://www.youtube.com/watch?v=1jXHFEy-ibc\">National Geographic special\u003c/a> last year, suggested that under some scenarios, \u003ca href=\"https://ew.com/movies/james-cameron-confesses-titanic-door-should-have-been-smaller/\">both Jack and Rose could have survived\u003c/a> on the makeshift raft had they known more about hypothermia and thermodynamics.\u003c/p>\n\u003cp>“In an experiment in a test pool, we can’t possibly simulate the terror, the adrenaline, all the things that worked against them,” Cameron said. “He couldn’t have anticipated what we know today about hypothermia. He didn’t get to run a bunch of different experiments to see what worked the best.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>At the end of the day, Cameron maintained Jack’s death was necessary both as a plot device and character choice. But said he would have done it differently based on what he knows now: “I would have made the raft smaller, so there’s no doubt.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+piece+of+wood+that+saved+%28only%29+Rose+in+%27Titanic%27+was+auctioned+off+for+%24718k&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"The debris that sparked a quarter-century of debate was sold in an auction of iconic Hollywood movie props last week.","status":"publish","parent":0,"modified":1711666132,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":28,"wordCount":1200},"headData":{"title":"‘Titanic’ Door (Big Enough for Two) Auctioned Off for $718k | KQED","description":"The debris that sparked a quarter-century of debate was sold in an auction of iconic Hollywood movie props last week.","ogTitle":"The ‘Door’ That Saved (Only) Rose in ‘Titanic’ Just Sold for $718k","ogDescription":"","ogImgId":"","twTitle":"The ‘Door’ That Saved (Only) Rose in ‘Titanic’ Just Sold for $718k","twDescription":"","twImgId":"","socialTitle":"‘Titanic’ Door (Big Enough for Two) Auctioned Off for $718k %%page%% %%sep%% KQED"},"sticky":false,"nprByline":"Rachel Treisman","nprImageAgency":"Heritage Auctions","nprStoryId":"1241378280","nprApiLink":"http://api.npr.org/query?id=1241378280&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2024/03/28/1241378280/titanic-door-panel-auction-planet-hollywood-props?ft=nprml&f=1241378280","nprRetrievedStory":"1","nprPubDate":"Thu, 28 Mar 2024 13:15:00 -0400","nprStoryDate":"Thu, 28 Mar 2024 10:12:01 -0400","nprLastModifiedDate":"Thu, 28 Mar 2024 13:15:40 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13954957/titanic-auction-rose-jack-room-on-the-door-mythbusters","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some of the most iconic props in Hollywood history hit the auction block last week, from Indiana Jones’ trusty whip to Forrest Gump’s assorted chocolates to the infamous axe from \u003cem>The Shining\u003c/em>.\u003c/p>\n\u003cp>But the top-selling item was a piece of debris, albeit one that’s stirred imagination and debate for over a quarter century.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13935076","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“The wood panel from \u003cem>Titanic \u003c/em>that saved Rose — but, controversially, not Jack — was the king of the auction, realizing $718,750 to float to the top of the five-day event,” auction house Heritage Auctions \u003ca href=\"https://www.ha.com/heritage-auctions-press-releases-and-news/treasures-from-planet-hollywood-bring-more-than-15.6-million-in-historic-event-at-heritage-auctions.s?releaseId=4934\">said in a release\u003c/a>.\u003c/p>\n\u003cp>The “\u003ca href=\"https://entertainment.ha.com/itm/movie-tv-memorabilia/props/titanic-tcf-1997-kate-winslet-rose-dewitt-bukater-hero-floating-wood-panel/a/7356-89979.s?ic4=GalleryView-ShortDescription-071515#auction-description\">Hero Floating Wood Panel\u003c/a>” played an \u003ca href=\"https://www.youtube.com/watch?v=KKY6-9cQ5l8\">iconic role\u003c/a> in the 1997 blockbuster. As the Titanic sinks, stranding passengers in the frigid waters of the Atlantic Ocean, Kate Winslet’s character Rose manages to lie afloat on the piece of a door while Leonardo DiCaprio’s Jack clings to the edge, eventually succumbing to hypothermia.\u003c/p>\n\u003cp>“The biggest scene, really, the climactic scene if you will,” \u003ca href=\"https://www.youtube.com/live/mIK6kHWvUUs?si=S25-q0QRjatgbMgZ&t=1230\">the auctioneer said\u003c/a>, introducing the lot item. “There are several big scenes but this is it, this is the goodbye.”\u003c/p>\n\u003cfigure id=\"attachment_13954959\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954959\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-1192757498-69537c1a79908bf9fef43bcfdfac41b57248ecb5-scaled-e1711663749139.jpg\" alt=\"A man with wet hair, submerged from the chest down leans on a piece of wooden detritus that a woman with wet hair is propped up on.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Fans have long debated whether there was room for both Jack (Leonardo DiCaprio) and Rose (Kate Winslet) on the makeshift raft in the 1997 blockbuster ‘Titanic.’ \u003ccite>(CBS Photo Archive/ CBS via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bidding started at $60,000 and finished some five minutes later at $575,000 (the total cost included additional fees). In the video livestream, the crowd can be heard clapping heartily as the auctioneer congratulates the winner, whom he refers to as “Mr. Green.”\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 five-day “Treasures from Planet Hollywood” auction brought in more than $15.6 million from over 5,500 bidders worldwide across some 1,600 lots, according to Heritage Auctions, which said there were so many bidding wars that “we lost track.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13927540","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“There has been a generational shift to where these massive franchises and blockbusters of the 1980s and 1990s — the \u003cem>Home Alone\u003c/em>s, the Indiana Jones films, the \u003cem>Die Hard\u003c/em>s and, of course, \u003cem>Titanic\u003c/em> — are now collectors’ favorites,” Executive Vice President Joe Maddalena said in a statement provided to NPR. “Collectors are finally rewarding these artifacts as what they are: cultural artifacts akin to the fine art of old.”\u003c/p>\n\u003cp>Five of the top lots came from \u003cem>Titanic\u003c/em>, including the ship’s helm wheel ($200,000), Rose’s waterlogged chiffon dress ($118,750) and the ship’s brass engine order telegraph ($81,250) — another sign that the public’s fascination with the century-old shipwreck isn’t going anywhere.\u003c/p>\n\u003ch3>The prop is modeled on a real-life structure\u003c/h3>\n\u003cp>The 8-foot-long, 41-inch-wide floating hunk of wood is made of balsa and intricately carved with rococo motifs like floral accents and scrolling curves, according to the auction house.\u003c/p>\n\u003cp>A plaque on the back of it reads: “Leonardo DiCaprio / Kate Winslet / ‘Titanic’ / Twentieth Century Fox / Paramount Pictures, 1997 / Floating panel that he uses to save her life in the sinking sequence of the film, in their roles as ‘Jack Dawson’ and ‘Rose DeWitt Bukater’. Courtesy of Twentieth Century Fox.”\u003c/p>\n\u003cp>Heritage Auctions says the prop was based on the “most famous complete piece of debris from the 1912 tragedy,” which is believed to be part of the door frame just above the first-class lounge entrance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13924870","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Researchers theorize that the panel represents the exact area where the ship split in two and that it rose to the water’s surface as the ship sank. The auction house notes that it closely resembles one particular artifact housed at the Maritime Museum in Halifax, Nova Scotia.\u003c/p>\n\u003cp>Director James Cameron visited the museum during the movie production and consulted with an American expert who had assisted with research there, according to the \u003ca href=\"https://maritimemuseum.novascotia.ca/what-see-do/titanics-halifax-connection/frequently-asked-questions#10\">Maritime Museum\u003c/a>.\u003c/p>\n\u003cp>“Among other things this permitted accurate replicas of the deckchairs to be constructed and most notably, a replica of a large piece of carved oak [paneling] to be built,” it added. “It was used in the climactic death scene in the film where the character Rose clings to floating wreckage.”\u003c/p>\n\u003ch3>The piece of wood is at the heart of an enduring debate\u003c/h3>\n\u003cp>Enraged fans have argued for decades that there was room on the board for both paramours and that Rose could have saved Jack — and their star-crossed love story — by simply scooting over.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13954979\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/52f5lc.jpg\" alt=\"\" width=\"889\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/52f5lc.jpg 889w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/52f5lc-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/52f5lc-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/52f5lc-768x432.jpg 768w\" sizes=\"(max-width: 889px) 100vw, 889px\">\u003c/p>\n\u003cp>Cameron adamantly disagrees, as he’s \u003ca href=\"https://www.vanityfair.com/hollywood/2019/02/james-cameron-titanic-door-debate\">made clear in multiple interviews\u003c/a> over the years.\u003c/p>\n\u003cp>“When Jack puts Rose on the raft, he tries to get on the raft — he’s not an idiot, he doesn’t want to die — and the raft sinks; it kind of flips,” \u003ca href=\"https://www.ign.com/articles/2012/10/09/titanic-was-there-room-for-jack-on-that-raft\">Cameron told IGN\u003c/a> in 2012. “And so it’s clear that there’s really only enough buoyancy available for one person. So he makes the decision to let her be that person.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_95762","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cem>MythBusters\u003c/em> even teamed up with Cameron\u003ca href=\"https://www.imdb.com/title/tt2443302/\"> in an episode\u003c/a> that same year to tackle the question, which it called “the most requested myth in MythBuster history.”\u003c/p>\n\u003cp>They \u003ca href=\"https://ew.com/article/2012/10/08/mythbusters-titanic-debate-jack-die/\">concluded\u003c/a> that Rose and Jack could have both stayed afloat and avoided hypothermia, but only if they had thought to tie her life jacket underneath it to help with buoyancy. That’s missing the point, Cameron said at the time (he said \u003ca href=\"https://www.thedailybeast.com/james-cameron-on-the-trump-administration-these-people-are-insane\">five years later\u003c/a> that he loved working with the MythBusters, “but they’re full of s***”).\u003c/p>\n\u003cp>“The script says Jack died. He has to die,” he said in the episode. “So maybe we screwed up and the board should have been a little tiny bit smaller, but the dude’s goin’ down.”\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/IPDxtclZzVU'\n title='//www.youtube.com/embed/IPDxtclZzVU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 2022, a full 25 years after the movie’s release, Cameron said he had \u003ca href=\"https://www.npr.org/2022/12/19/1144078509/titanic-movie-door-debate-james-cameron\">commissioned a scientific study\u003c/a> to hopefully close the door on the debate once and for all.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_111446","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The results, which aired in a \u003ca href=\"https://www.youtube.com/watch?v=1jXHFEy-ibc\">National Geographic special\u003c/a> last year, suggested that under some scenarios, \u003ca href=\"https://ew.com/movies/james-cameron-confesses-titanic-door-should-have-been-smaller/\">both Jack and Rose could have survived\u003c/a> on the makeshift raft had they known more about hypothermia and thermodynamics.\u003c/p>\n\u003cp>“In an experiment in a test pool, we can’t possibly simulate the terror, the adrenaline, all the things that worked against them,” Cameron said. “He couldn’t have anticipated what we know today about hypothermia. He didn’t get to run a bunch of different experiments to see what worked the best.”\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>At the end of the day, Cameron maintained Jack’s death was necessary both as a plot device and character choice. But said he would have done it differently based on what he knows now: “I would have made the raft smaller, so there’s no doubt.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+piece+of+wood+that+saved+%28only%29+Rose+in+%27Titanic%27+was+auctioned+off+for+%24718k&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954957/titanic-auction-rose-jack-room-on-the-door-mythbusters","authors":["byline_arts_13954957"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_10744"],"affiliates":["arts_137"],"featImg":"arts_13954958","label":"arts_137"},"arts_13954702":{"type":"posts","id":"arts_13954702","meta":{"index":"posts_1591205157","site":"arts","id":"13954702","score":null,"sort":[1711663471000]},"guestAuthors":[],"slug":"beyond-aggressives-25-years-later-streaming-review-kisha-chin-trevon-octavio-gender","title":"‘25 Years Later’ Revisits the ‘Trancestors’ of 2005’s ‘The Aggressives’ Documentary","publishDate":1711663471,"format":"standard","headTitle":"‘25 Years Later’ Revisits the ‘Trancestors’ of 2005’s ‘The Aggressives’ Documentary | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>“I’m comfortable being a woman who likes women. I live my life as a man, yes, but the reality does not change. You’re born a woman and that’s how you’re going to die.”\u003c/p>\n\u003cp>So said \u003ca href=\"https://nmaahc.si.edu/lgbtq/marquise-vilson\">Marquise Vilsón\u003c/a>, one of the subjects of 2005 documentary \u003cem>The Aggressives.\u003c/em> The film captured the lives of a group of genderqueer people of color living in New York City between 1997 and 2003. A quarter century on, Vilson’s starkly resigned statement feels lightyears away from where he is today — a successful actor, mentor and activist who is, unquestionably, a man.\u003c/p>\n\u003cp>Given the strides forward that Vilsón has publicly made over the years, it’s no wonder \u003cem>Aggressives\u003c/em> director Daniel Peddle felt the need to check in with some of the other subjects of the film. In 2018, he reconnected with four of the original cast: Octavio Sanders, Trevon Haynes, Kisha Batista and Chin Tsui. He spent the next five years documenting their continuing evolutions, as well as capturing Gen Z perspectives on how these “trancestors” have positively impacted the lives of queer youth now. The result is Paramount+ and Showtime documentary, \u003cem>Beyond the Aggressives: 25 Years Later\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FI2zkgQ79n4\u003c/p>\n\u003cp>In many ways, reconnecting with these subjects as older, more established adults is a relief, and issues of crime, racism and poverty are not as present here as they were in \u003cem>The Aggressives\u003c/em>. Kisha in particular appears to be living her best life: one full of love, joy, art and motorcycles. She is the philosophical heart of the movie and lights up the screen every time she’s on it — a quality that’s allowed her to snag roles on TV shows like \u003cem>Orange is the New Black\u003c/em>, \u003cem>Law & Order\u003c/em> and \u003cem>Manifest.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s not to say our protagonists are not still experiencing hardship as a direct result of their gender identities. At the outset of the film, because of a series of calamitous events, Chin is detained by ICE. Worse, agents put him in long-term solitary confinement because he’s transgender. His struggle for freedom and independence is at the center of his story arc.\u003c/p>\n\u003cp>[aside postid='arts_13952433']When we see Trevon, he’s getting ready to start a family with his girlfriend Jade. As the couple works together to overcome medical issues, it’s clear that doctors’ misunderstandings of gender-nonconforming people only exacerbate their fertility struggles. Trevon is frustrated but determined. One gets the sense that, together, he and Jade could conquer pretty much anything.\u003c/p>\n\u003cp>Octavio gives us a powerful reflection on how growing up around prejudice continues to impact his self-image. Looking back on the first movie, he says he didn’t come out as trans because he was still living with family then and didn’t want to lose his home. Later, we see that fear of familial rejection has lingered.\u003c/p>\n\u003cp>At one point, Octavio notes: “If I had a choice to change my gender, I would. The reason why I don’t is because I have a son … I don’t want society judging him because of who his parent is.”\u003c/p>\n\u003cp>His son’s support later in the film provides the movie with some of its most touching moments.\u003c/p>\n\u003cp>Despite social progress in the years between \u003cem>The Aggressives\u003c/em> and \u003cem>25 Years Later\u003c/em>, self-identification continues to be a point of contention. In the original film, everyone identified as “femme aggressive” at some point, but mostly found themselves outgrowing the term. In the new documentary, Trevon uses male pronouns, but swings between referring to himself as trans, nonbinary and no label at all. It goes to show that language around gender needs to be ever-evolving.\u003c/p>\n\u003cp>[aside postid='arts_13954796']Kisha is still eschewing labels too, but does so with a refreshing sense of joy. “I define myself,” she says, “and I choose to be free.”\u003c/p>\n\u003cp>In the end, that’s what\u003cem> Beyond The Aggressives: 25 Years Later\u003c/em> is really about: growth, evolution, self-expression and the bravery inherent in pushing back against limitations. Its theme of self-realization is a universal one, but it is Kisha who most beautifully sums up the still-developing stories of our four old friends on screen.\u003c/p>\n\u003cp>“Identity is something that you create yourself — something like art. It’s a process. It’s always changing,” she says. “It’s an alignment of self and soul.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Beyond The Aggressives: 25 Years Later’ premieres on Showtime on March 30, 2024. The movie will also be available to stream via Paramount+ for subscribers with a Showtime add-on.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The new Showtime/Paramount+ film shows how far transgender visibility and culture has progressed this century.","status":"publish","parent":0,"modified":1711663471,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":813},"headData":{"title":"How to Stream 'The Aggressives: 25 Years Later’ Documentary | KQED","description":"The new Showtime/Paramount+ film shows how far transgender visibility and culture has progressed this century.","ogTitle":"‘25 Years Later’ Revisits the ‘Trancestors’ of 2005’s ‘The Aggressives’ Documentary","ogDescription":"","ogImgId":"","twTitle":"‘25 Years Later’ Revisits the ‘Trancestors’ of 2005’s ‘The Aggressives’ Documentary","twDescription":"","twImgId":"","socialTitle":"How to Stream 'The Aggressives: 25 Years Later’ Documentary %%page%% %%sep%% KQED"},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13954702/beyond-aggressives-25-years-later-streaming-review-kisha-chin-trevon-octavio-gender","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I’m comfortable being a woman who likes women. I live my life as a man, yes, but the reality does not change. You’re born a woman and that’s how you’re going to die.”\u003c/p>\n\u003cp>So said \u003ca href=\"https://nmaahc.si.edu/lgbtq/marquise-vilson\">Marquise Vilsón\u003c/a>, one of the subjects of 2005 documentary \u003cem>The Aggressives.\u003c/em> The film captured the lives of a group of genderqueer people of color living in New York City between 1997 and 2003. A quarter century on, Vilson’s starkly resigned statement feels lightyears away from where he is today — a successful actor, mentor and activist who is, unquestionably, a man.\u003c/p>\n\u003cp>Given the strides forward that Vilsón has publicly made over the years, it’s no wonder \u003cem>Aggressives\u003c/em> director Daniel Peddle felt the need to check in with some of the other subjects of the film. In 2018, he reconnected with four of the original cast: Octavio Sanders, Trevon Haynes, Kisha Batista and Chin Tsui. He spent the next five years documenting their continuing evolutions, as well as capturing Gen Z perspectives on how these “trancestors” have positively impacted the lives of queer youth now. The result is Paramount+ and Showtime documentary, \u003cem>Beyond the Aggressives: 25 Years Later\u003c/em>.\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/FI2zkgQ79n4'\n title='//www.youtube.com/embed/FI2zkgQ79n4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In many ways, reconnecting with these subjects as older, more established adults is a relief, and issues of crime, racism and poverty are not as present here as they were in \u003cem>The Aggressives\u003c/em>. Kisha in particular appears to be living her best life: one full of love, joy, art and motorcycles. She is the philosophical heart of the movie and lights up the screen every time she’s on it — a quality that’s allowed her to snag roles on TV shows like \u003cem>Orange is the New Black\u003c/em>, \u003cem>Law & Order\u003c/em> and \u003cem>Manifest.\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>That’s not to say our protagonists are not still experiencing hardship as a direct result of their gender identities. At the outset of the film, because of a series of calamitous events, Chin is detained by ICE. Worse, agents put him in long-term solitary confinement because he’s transgender. His struggle for freedom and independence is at the center of his story arc.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13952433","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>When we see Trevon, he’s getting ready to start a family with his girlfriend Jade. As the couple works together to overcome medical issues, it’s clear that doctors’ misunderstandings of gender-nonconforming people only exacerbate their fertility struggles. Trevon is frustrated but determined. One gets the sense that, together, he and Jade could conquer pretty much anything.\u003c/p>\n\u003cp>Octavio gives us a powerful reflection on how growing up around prejudice continues to impact his self-image. Looking back on the first movie, he says he didn’t come out as trans because he was still living with family then and didn’t want to lose his home. Later, we see that fear of familial rejection has lingered.\u003c/p>\n\u003cp>At one point, Octavio notes: “If I had a choice to change my gender, I would. The reason why I don’t is because I have a son … I don’t want society judging him because of who his parent is.”\u003c/p>\n\u003cp>His son’s support later in the film provides the movie with some of its most touching moments.\u003c/p>\n\u003cp>Despite social progress in the years between \u003cem>The Aggressives\u003c/em> and \u003cem>25 Years Later\u003c/em>, self-identification continues to be a point of contention. In the original film, everyone identified as “femme aggressive” at some point, but mostly found themselves outgrowing the term. In the new documentary, Trevon uses male pronouns, but swings between referring to himself as trans, nonbinary and no label at all. It goes to show that language around gender needs to be ever-evolving.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954796","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Kisha is still eschewing labels too, but does so with a refreshing sense of joy. “I define myself,” she says, “and I choose to be free.”\u003c/p>\n\u003cp>In the end, that’s what\u003cem> Beyond The Aggressives: 25 Years Later\u003c/em> is really about: growth, evolution, self-expression and the bravery inherent in pushing back against limitations. Its theme of self-realization is a universal one, but it is Kisha who most beautifully sums up the still-developing stories of our four old friends on screen.\u003c/p>\n\u003cp>“Identity is something that you create yourself — something like art. It’s a process. It’s always changing,” she says. “It’s an alignment of self and soul.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Beyond The Aggressives: 25 Years Later’ premieres on Showtime on March 30, 2024. The movie will also be available to stream via Paramount+ for subscribers with a Showtime add-on.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954702/beyond-aggressives-25-years-later-streaming-review-kisha-chin-trevon-octavio-gender","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_74"],"tags":["arts_13672","arts_3226","arts_21825","arts_769","arts_8404","arts_585","arts_702"],"featImg":"arts_13954925","label":"arts_140"},"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":""},"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_13954870":{"type":"posts","id":"arts_13954870","meta":{"index":"posts_1591205157","site":"arts","id":"13954870","score":null,"sort":[1711575270000]},"guestAuthors":[],"slug":"la-chimera-review-alice-rohrwacher-tombaroli-tale","title":"Alice Rohrwacher’s Tombaroli Tale ‘La Chimera’ Is Pure Magic","publishDate":1711575270,"format":"standard","headTitle":"Alice Rohrwacher’s Tombaroli Tale ‘La Chimera’ Is Pure Magic | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>When we talk about “movie magic,” the first thing that comes to mind is often something like the bikes achieving liftoff in \u003cem>E.T.\u003c/em> But it applies no less to Alice Rohrwacher’s wondrous \u003cem>La Chimera\u003c/em>, a grubbily transcendent folk tale of a film that finds its enchantment buried in the ground.\u003c/p>\n\u003cp>“Were you dreaming?” a train conductor asks the sleeping Arthur (Josh O’Connor), a distant, temperamental Brit in Italy with little more to his name than the rumpled cream-colored linen suit he wears. The answer is yes. Radiant memories of Arthur’s dead lover, Benjamina, haunt his dreams and propel him on a strange quest into the underground tombs of Tuscany.\u003c/p>\n\u003cp>[aside postid='arts_13954587']A melancholy spell seems to hang over Arthur, who has a mystical gift for finding ancient relics. It’s the early 1980s. Arthur is returning home from a stint in jail for grave robbing. His homecoming is received like a hero’s return by the scruffy, carnivalesque band of tombaroli — tomb raiders who plunder Etruscan artifacts — who look on Arthur more like a prince than a destitute thief. They call him “maestro.”\u003c/p>\n\u003cp>With remarkable precision, Arthur is able to point to where to dig. In one scene, he takes a small, bended branch as an instrument for his dowsing. \u003cem>La Chimera\u003c/em>, itself, seems to emerge almost the same way — an earthy, spellbinding buried treasure with a sublime drawing power.\u003c/p>\n\u003cp>The precise moment I fell totally in love with \u003cem>La Chimera\u003c/em> — and this is very much a movie to love — is an early montage in which Arthur and his fellow scavengers scamper across the countryside, hiding in fields from bumbling police, while a folk song about the tombarolo Englishman is sung. \u003cem>La Chimera\u003c/em>, the third in a loose trilogy for Rohrwacher following \u003cem>The Wonders\u003c/em> and \u003cem>Happy as Lazzaro\u003c/em>, is the fullest realization yet of her cinema of “magical neo-realism.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Rohrwacher’s great fascination is with the past. The hold it can have on the present. The vast yet minuscule distance between long-ago and today. \u003cem>Happy as Lazzaro\u003c/em> charmingly walked a 19th century peasant into present day.\u003c/p>\n\u003cp>\u003cem>La Chimera\u003c/em> is even more beguiling and mournful. The tombaroli make a merry band, but Arthur’s plight is shadowed by death. “He was looking for a passage to the afterlife,” one of his companions says in the film, one of a handful of direct addresses. (Rohrwacher, a devotee of Italian folk tales, spins her films like a playful narrator in an old fairy tale. She’s among the most thrillingly original filmmakers working today.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iv5JQpxKle0\u003c/p>\n\u003cp>Arthur and company make cash by selling their unearthed Etruscan wares. But he’s driven less by money than a compulsion to reach the dead, to reach Benjamina. How deep will he dig? Will the darkness of the underworld envelop him?\u003c/p>\n\u003cp>Arthur also makes occasional visits to the mother of Benjamina, Flora (a typically magnificent Isabella Rossellini ), who, like him, has not yet accepted the death of her daughter. She receives him courteously and deferentially, with an old-world manner. Flora’s other daughters snicker that she only lets men smoke in the house.\u003c/p>\n\u003cp>[aside postid='arts_13954491']At her crumbling villa, Arthur meets Italia (Carol Duarte, fabulous), a singing student who, Flora says, is tone deaf. But she might be the sharpest observer in the film. Italia, alone, is horrified by the plundering of the graves. In other ways, she’s the embodiment of the time the tombs recall. It’s noted that the Etruscans elevated women in society — one of, though not the only, relic of the past that \u003cem>La Chimera\u003c/em> brings forward to today.\u003c/p>\n\u003cp>Past and present mingle in mysterious ways in \u003cem>La Chimera\u003c/em>. The greatest Etruscan discovery — a glorious subterranean chamber — is made on a beach with a factory just down the shoreline. But the even more remarkable excavation of the film is of Arthur’s grieving soul. O’Connor is exquisite in a role that requires the deftest balance of tangible reality and otherworldly fable.\u003c/p>\n\u003cp>Like so many things in \u003cem>La Chimera\u003c/em>, O’Connor’s performance is entrancing and confounding. How can a movie be so nimbly poised between past and present, you can’t help but wonder. The stuff of fairy tales — of a kind of storytelling magic — is what Rohrwacher, herself, wants to unearth. “Were you dreaming?” Good question.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘La Chimera’ is released in select theaters nationwide on March 29 and opens at San Francisco’s Roxie Theater on April 12, 2024. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A temperamental Brit lands in Italy in this mournful but beguiling experiment in neo-realism.","status":"publish","parent":0,"modified":1711575270,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":799},"headData":{"title":"Review: ‘La Chimera’ is Mournful But Beguiling Magic | KQED","description":"A temperamental Brit lands in Italy in this mournful but beguiling experiment in neo-realism.","ogTitle":"Alice Rohrwacher’s Tombaroli Tale ‘La Chimera’ Is Pure Magic","ogDescription":"","ogImgId":"","twTitle":"Alice Rohrwacher’s Tombaroli Tale ‘La Chimera’ Is Pure Magic","twDescription":"","twImgId":"","socialTitle":"Review: ‘La Chimera’ is Mournful But Beguiling Magic %%page%% %%sep%% KQED"},"sticky":false,"nprByline":"Jake Coyle, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13954870/la-chimera-review-alice-rohrwacher-tombaroli-tale","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When we talk about “movie magic,” the first thing that comes to mind is often something like the bikes achieving liftoff in \u003cem>E.T.\u003c/em> But it applies no less to Alice Rohrwacher’s wondrous \u003cem>La Chimera\u003c/em>, a grubbily transcendent folk tale of a film that finds its enchantment buried in the ground.\u003c/p>\n\u003cp>“Were you dreaming?” a train conductor asks the sleeping Arthur (Josh O’Connor), a distant, temperamental Brit in Italy with little more to his name than the rumpled cream-colored linen suit he wears. The answer is yes. Radiant memories of Arthur’s dead lover, Benjamina, haunt his dreams and propel him on a strange quest into the underground tombs of Tuscany.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954587","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>A melancholy spell seems to hang over Arthur, who has a mystical gift for finding ancient relics. It’s the early 1980s. Arthur is returning home from a stint in jail for grave robbing. His homecoming is received like a hero’s return by the scruffy, carnivalesque band of tombaroli — tomb raiders who plunder Etruscan artifacts — who look on Arthur more like a prince than a destitute thief. They call him “maestro.”\u003c/p>\n\u003cp>With remarkable precision, Arthur is able to point to where to dig. In one scene, he takes a small, bended branch as an instrument for his dowsing. \u003cem>La Chimera\u003c/em>, itself, seems to emerge almost the same way — an earthy, spellbinding buried treasure with a sublime drawing power.\u003c/p>\n\u003cp>The precise moment I fell totally in love with \u003cem>La Chimera\u003c/em> — and this is very much a movie to love — is an early montage in which Arthur and his fellow scavengers scamper across the countryside, hiding in fields from bumbling police, while a folk song about the tombarolo Englishman is sung. \u003cem>La Chimera\u003c/em>, the third in a loose trilogy for Rohrwacher following \u003cem>The Wonders\u003c/em> and \u003cem>Happy as Lazzaro\u003c/em>, is the fullest realization yet of her cinema of “magical neo-realism.”\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>Rohrwacher’s great fascination is with the past. The hold it can have on the present. The vast yet minuscule distance between long-ago and today. \u003cem>Happy as Lazzaro\u003c/em> charmingly walked a 19th century peasant into present day.\u003c/p>\n\u003cp>\u003cem>La Chimera\u003c/em> is even more beguiling and mournful. The tombaroli make a merry band, but Arthur’s plight is shadowed by death. “He was looking for a passage to the afterlife,” one of his companions says in the film, one of a handful of direct addresses. (Rohrwacher, a devotee of Italian folk tales, spins her films like a playful narrator in an old fairy tale. She’s among the most thrillingly original filmmakers working today.)\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/iv5JQpxKle0'\n title='//www.youtube.com/embed/iv5JQpxKle0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Arthur and company make cash by selling their unearthed Etruscan wares. But he’s driven less by money than a compulsion to reach the dead, to reach Benjamina. How deep will he dig? Will the darkness of the underworld envelop him?\u003c/p>\n\u003cp>Arthur also makes occasional visits to the mother of Benjamina, Flora (a typically magnificent Isabella Rossellini ), who, like him, has not yet accepted the death of her daughter. She receives him courteously and deferentially, with an old-world manner. Flora’s other daughters snicker that she only lets men smoke in the house.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954491","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>At her crumbling villa, Arthur meets Italia (Carol Duarte, fabulous), a singing student who, Flora says, is tone deaf. But she might be the sharpest observer in the film. Italia, alone, is horrified by the plundering of the graves. In other ways, she’s the embodiment of the time the tombs recall. It’s noted that the Etruscans elevated women in society — one of, though not the only, relic of the past that \u003cem>La Chimera\u003c/em> brings forward to today.\u003c/p>\n\u003cp>Past and present mingle in mysterious ways in \u003cem>La Chimera\u003c/em>. The greatest Etruscan discovery — a glorious subterranean chamber — is made on a beach with a factory just down the shoreline. But the even more remarkable excavation of the film is of Arthur’s grieving soul. O’Connor is exquisite in a role that requires the deftest balance of tangible reality and otherworldly fable.\u003c/p>\n\u003cp>Like so many things in \u003cem>La Chimera\u003c/em>, O’Connor’s performance is entrancing and confounding. How can a movie be so nimbly poised between past and present, you can’t help but wonder. The stuff of fairy tales — of a kind of storytelling magic — is what Rohrwacher, herself, wants to unearth. “Were you dreaming?” Good question.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘La Chimera’ is released in select theaters nationwide on March 29 and opens at San Francisco’s Roxie Theater on April 12, 2024. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954870/la-chimera-review-alice-rohrwacher-tombaroli-tale","authors":["byline_arts_13954870"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_21926","arts_769","arts_585"],"featImg":"arts_13954879","label":"arts_140"},"arts_13954637":{"type":"posts","id":"arts_13954637","meta":{"index":"posts_1591205157","site":"arts","id":"13954637","score":null,"sort":[1711141939000]},"guestAuthors":[],"slug":"tennessee-becomes-the-first-state-to-protect-musicians-and-other-artists-against-ai","title":"Tennessee Becomes the First State to Protect Musicians and Other Artists Against AI","publishDate":1711141939,"format":"standard","headTitle":"Tennessee Becomes the First State to Protect Musicians and Other Artists Against AI | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Tennessee made history on Thursday, becoming the first U.S. state to sign off on legislation to protect musicians from unauthorized artificial intelligence impersonation.\u003c/p>\n\u003cp>“Tennessee is the music capital of the world, & we’re leading the nation with historic protections for Tennessee artists & songwriters against emerging AI technology,” Gov. Bill Lee \u003ca href=\"https://www.facebook.com/GovBillLee/posts/pfbid028sw61e5jvPuXr92Gm8khqz325gmrUQxYk8Kkdp5pJMjYuaSW6CvEQZVXwkcmL65zl\">announced on social media\u003c/a>.\u003c/p>\n\u003cp>The Ensuring Likeness Voice and Image Security Act, or ELVIS Act, is an updated version of the state’s old right of publicity law. While the old law protected an artist’s name, photograph or likeness, the new legislation includes AI-specific protections. \u003c/p>\n\u003cp>[aside postID='arts_13928457']Once the law takes effect on July 1, people will be prohibited from using AI to mimic an artist’s voice without permission.\u003c/p>\n\u003cp>Lee signed the bill inside Robert’s Western World, the famed Nashville honky tonk, where he was gathered with country music superstars Chris Janson and Luke Bryan.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“What an amazing precedent for Tennessee to get in front of this,” Bryan told the crowd. \u003c/p>\n\u003cp>“To know that our state protects us and what we’re about and what we worked so hard for is just a testament to how great this state is.”\u003c/p>\n\u003cp>Tennessee has long been known as a musical powerhouse state, from country to blues music. The state has been a launching pad for the careers of some of the country’s biggest superstars, including Elvis Presley, Dolly Parton, BB King, and Taylor Swift. \u003c/p>\n\u003cp>[aside postID='arts_13952796']The state’s music industry supports more than 61,000 jobs and hosts more than 4,500 music venues, according to the governor’s office. \u003c/p>\n\u003cp>“From Beale Street to Broadway, to Bristol and beyond, Tennessee is known for our rich artistic heritage that tells the story of our great state,” said Lee in a press release \u003ca href=\"https://www.tn.gov/governor/news/2024/1/10/tennessee-first-in-the-nation-to-address-ai-impact-on-music-industry.html\">about\u003c/a> the bill when it was introduced in January. \u003c/p>\n\u003cp>“As the technology landscape evolves with artificial intelligence, I thank the General Assembly for its partnership in creating legal protection for our best-in-class artists and songwriters.” \u003c/p>\n\u003cp>Lawmakers have been struggling to keep up with the rapid acceleration of AI technology, as it continues to impact multiple industries. In the music industry, songwriters, singers, and producers have expressed concerns about the current lack of protections over things like copyrights and intellectual property.\u003c/p>\n\u003cp>[aside postID='mindshift_63390']Last year, music fans responded with \u003ca href=\"https://www.npr.org/2023/04/21/1171032649/ai-music-heart-on-my-sleeve-drake-the-weeknd\">disbelief\u003c/a> after an anonymous TikTok user used AI to simulate the voices of artists Drake and The Weeknd to create the viral song “Heart on My Sleeve.” The artists’ label owner Universal Music Group invoked copyright violation to get the song removed from platforms including TikTok, Spotify and YouTube. \u003c/p>\n\u003cp>While largely viewed as a threat, producers have also been using the technology to make some impressive breakthroughs. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It was AI tools that made it possible for The Beatles to release what they’ve referred to as their \u003ca href=\"https://www.npr.org/2023/11/07/1197955845/all-songs-considered-draft-11-07-2023\">final\u003c/a> song, “Now and Then,” which was published in November 2023. The artist Grimes has also \u003ca href=\"https://www.npr.org/2023/04/24/1171738670/grimes-ai-songs-voice\">encouraged\u003c/a> the use of AI in song making, going as far to encourage creators to use AI-generated versions of her voice to make new music, offering to split 50% royalties on any successful hits. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2024 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tennessee+becomes+the+first+state+to+protect+musicians+and+other+artists+against+AI&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"The ELVIS Acts prohibits the use of AI to mimic an artist's voice without permission.","status":"publish","parent":0,"modified":1711141939,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":564},"headData":{"title":"Tennessee Becomes the First State to Protect Musicians and Other Artists Against AI | KQED","description":"The ELVIS Acts prohibits the use of AI to mimic an artist's voice without permission.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprImageCredit":"Mark Humphrey","nprByline":"Rebecca Rosman","nprImageAgency":"AP","nprStoryId":"1240114159","nprApiLink":"http://api.npr.org/query?id=1240114159&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2024/03/22/1240114159/tennessee-protect-musicians-artists-ai?ft=nprml&f=1240114159","nprRetrievedStory":"1","nprPubDate":"Fri, 22 Mar 2024 05:50:00 -0400","nprStoryDate":"Fri, 22 Mar 2024 05:50:17 -0400","nprLastModifiedDate":"Fri, 22 Mar 2024 05:50:17 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13954637/tennessee-becomes-the-first-state-to-protect-musicians-and-other-artists-against-ai","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tennessee made history on Thursday, becoming the first U.S. state to sign off on legislation to protect musicians from unauthorized artificial intelligence impersonation.\u003c/p>\n\u003cp>“Tennessee is the music capital of the world, & we’re leading the nation with historic protections for Tennessee artists & songwriters against emerging AI technology,” Gov. Bill Lee \u003ca href=\"https://www.facebook.com/GovBillLee/posts/pfbid028sw61e5jvPuXr92Gm8khqz325gmrUQxYk8Kkdp5pJMjYuaSW6CvEQZVXwkcmL65zl\">announced on social media\u003c/a>.\u003c/p>\n\u003cp>The Ensuring Likeness Voice and Image Security Act, or ELVIS Act, is an updated version of the state’s old right of publicity law. While the old law protected an artist’s name, photograph or likeness, the new legislation includes AI-specific protections. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13928457","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Once the law takes effect on July 1, people will be prohibited from using AI to mimic an artist’s voice without permission.\u003c/p>\n\u003cp>Lee signed the bill inside Robert’s Western World, the famed Nashville honky tonk, where he was gathered with country music superstars Chris Janson and Luke Bryan.\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>“What an amazing precedent for Tennessee to get in front of this,” Bryan told the crowd. \u003c/p>\n\u003cp>“To know that our state protects us and what we’re about and what we worked so hard for is just a testament to how great this state is.”\u003c/p>\n\u003cp>Tennessee has long been known as a musical powerhouse state, from country to blues music. The state has been a launching pad for the careers of some of the country’s biggest superstars, including Elvis Presley, Dolly Parton, BB King, and Taylor Swift. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13952796","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The state’s music industry supports more than 61,000 jobs and hosts more than 4,500 music venues, according to the governor’s office. \u003c/p>\n\u003cp>“From Beale Street to Broadway, to Bristol and beyond, Tennessee is known for our rich artistic heritage that tells the story of our great state,” said Lee in a press release \u003ca href=\"https://www.tn.gov/governor/news/2024/1/10/tennessee-first-in-the-nation-to-address-ai-impact-on-music-industry.html\">about\u003c/a> the bill when it was introduced in January. \u003c/p>\n\u003cp>“As the technology landscape evolves with artificial intelligence, I thank the General Assembly for its partnership in creating legal protection for our best-in-class artists and songwriters.” \u003c/p>\n\u003cp>Lawmakers have been struggling to keep up with the rapid acceleration of AI technology, as it continues to impact multiple industries. In the music industry, songwriters, singers, and producers have expressed concerns about the current lack of protections over things like copyrights and intellectual property.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"mindshift_63390","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Last year, music fans responded with \u003ca href=\"https://www.npr.org/2023/04/21/1171032649/ai-music-heart-on-my-sleeve-drake-the-weeknd\">disbelief\u003c/a> after an anonymous TikTok user used AI to simulate the voices of artists Drake and The Weeknd to create the viral song “Heart on My Sleeve.” The artists’ label owner Universal Music Group invoked copyright violation to get the song removed from platforms including TikTok, Spotify and YouTube. \u003c/p>\n\u003cp>While largely viewed as a threat, producers have also been using the technology to make some impressive breakthroughs. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It was AI tools that made it possible for The Beatles to release what they’ve referred to as their \u003ca href=\"https://www.npr.org/2023/11/07/1197955845/all-songs-considered-draft-11-07-2023\">final\u003c/a> song, “Now and Then,” which was published in November 2023. The artist Grimes has also \u003ca href=\"https://www.npr.org/2023/04/24/1171738670/grimes-ai-songs-voice\">encouraged\u003c/a> the use of AI in song making, going as far to encourage creators to use AI-generated versions of her voice to make new music, offering to split 50% royalties on any successful hits. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2024 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tennessee+becomes+the+first+state+to+protect+musicians+and+other+artists+against+AI&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954637/tennessee-becomes-the-first-state-to-protect-musicians-and-other-artists-against-ai","authors":["byline_arts_13954637"],"categories":["arts_1","arts_74","arts_69","arts_70"],"tags":["arts_21891","arts_22039","arts_7534"],"featImg":"arts_13954638","label":"arts"},"arts_13954571":{"type":"posts","id":"arts_13954571","meta":{"index":"posts_1591205157","site":"arts","id":"13954571","score":null,"sort":[1711125063000]},"guestAuthors":[],"slug":"a-new-shirley-chisholm-biopic-undersells-its-impressive-subject","title":"A New Shirley Chisholm Biopic Undersells Its Impressive Subject","publishDate":1711125063,"format":"standard","headTitle":"A New Shirley Chisholm Biopic Undersells Its Impressive Subject | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>In 1969, Shirley Chisholm became the first Black U.S. congresswoman at 44 years old. The Brooklyn representative’s objection to her assignment on the agriculture committee reads today as a justified act of indignance: She was there to get things done for her constituents, seniority be damned.\u003c/p>\n\u003cp>A version of this incident appears near the beginning of \u003cem>Shirley\u003c/em> (premiering Friday, March 22 on Netflix after a one-week theatrical run) to alert us that Chisholm was unwaveringly results-oriented despite obstacles like protocol, process and tradition. And just as importantly, the scene suggests that her voice was not respected.\u003c/p>\n\u003cp>The obviousness with which the prolific writer, producer and director John Ridley conveys these two points sets the tone for the rest of this watchable but predictable historical drama. The problem is that \u003cem>Shirley\u003c/em> consists of a parade of dialogue scenes that, contrary to principles of visual storytelling, show us nothing and tell us everything. The missed opportunity is that we are continually presented with what Chisholm (played by Regina King) represents, rather than taken, shaken and inspired by who she was.\u003c/p>\n\u003cfigure id=\"attachment_13954603\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954603\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-1920x1279.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Regina King as Shirley Chisholm and Terrence Howard as Arthur Hardwick Jr. in ‘Shirley.’ \u003ccite>(Glen Wilson/Netflix © 2023)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Shirley\u003c/em> pinpoints Chisholm’s arrival on the national scene by condensing the universe of 1960s political, racial and social upheaval into a simplistic collage. Chisholm isn’t a radical, though, but an experienced educator and state legislator who believes in change from within the system. Perhaps frustrated with the pace of progress in Congress, she decides at the beginning of 1972 to run for president. [aside postid='arts_13952570']\u003c/p>\n\u003cp>Like George C. Wolfe’s superior film \u003cem>Rustin\u003c/em> (also on Netflix), which blends its subject’s personal life with the planning and execution of a specific project (the 1963 March on Washington for Jobs and Freedom), \u003cem>Shirley\u003c/em> takes us behind the scenes while building toward a finish line. Chisholm’s Jamaican-born husband Conrad (Michael Cherrie), a private investigator who becomes her security, supplies a low-temperature domestic melodrama. Her disapproving sister Muriel (Reina King) shows up now and again to reprimand Shirley for a swelled head (she’s not special, no matter what their father told her growing up).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On the longshot, underfunded campaign front, Black Congressmen Walter Fauntroy (André Holland) of Washington, D.C. and Ron Dellums (Dorian Crossmond Missick) of Oakland say all the right things to Shirley. But—spoiler alert!—politicians don’t always keep their promises. At least Chisholm’s seasoned political advisors, Wesley “Mac” Holder (Lance Reddick) and Arthur Hardwick Jr. (Terrence Howard), are trustworthy, as is Conrad even if his opinion doesn’t carry the same weight.\u003c/p>\n\u003cp>If you appreciate Dellums’ appearance in \u003cem>Shirley\u003c/em>, you’ll chuckle in recognition at a young Black student named Barbara Lee (Christina Jackson), whom Chisholm enlists in the campaign and entrusts with increasing responsibility. Lee has less screen time than national student coordinator Robert Gottlieb (Lucas Hedges), but her character resonates louder. [aside postid='arts_13950520']\u003c/p>\n\u003cp>While \u003cem>Rustin\u003c/em> offered the pleasures of Colman Domingo’s flamboyant performance, \u003cem>Shirley\u003c/em> largely deprives Regina King of flashy moments. She has a wonderful scene with actress and singer Diahann Carroll (Amirah Vann) and Huey P. Newton (Brad James) next to Carroll’s Hollywood pool, but \u003cem>Shirley\u003c/em> doesn’t give her a galvanizing speech until Chisholm takes the mic late in the film at a luncheon of Black delegates at the Democratic National Convention.\u003c/p>\n\u003cfigure id=\"attachment_13954602\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954602\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Brad James as Huey Newton in ‘Shirley.’ \u003ccite>(Glen Wilson/Netflix © 2023)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Only then does Chisholm’s polite dignity give way to something approaching righteous fury — Chisholm’s defining characteristic and the beating heart of Shola Lynch’s galvanizing 2004 documentary \u003cem>Chisholm ’72: Unbought and Unbossed\u003c/em> (streaming on Kanopy and Amazon Prime).\u003c/p>\n\u003cp>Admittedly, there is a sequence in \u003cem>Shirley\u003c/em> where the congresswoman’s measured demeanor and old-school values combine to deliver a punch. Against her advisors’ counsel, Chisholm visits avowed racist and fellow Democratic presidential candidate George Wallace in the hospital after he’s paralyzed by an assassin’s bullets. She speaks to him as a Christian, and her compassion and belief in second chances contrast sharply with recent statements of some supposedly religious politicians. [aside postid='arts_13926548']\u003c/p>\n\u003cp>Curiously, this was one of the few times in \u003cem>Shirley\u003c/em> where I felt its relevance to the current moment. Though it’s standard procedure for biopics and historical dramas to draw connections to the present, \u003cem>Shirley\u003c/em> fumbles this basic assignment. At the end of the film and before the credits, Ridley awkwardly inserts Congresswoman Barbara Lee to deliver a few words about Chisholm’s contributions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Was Shirley Chisholm’s presidential campaign a transformative event or a political footnote? John Ridley would say the former, but his film doesn’t make a convincing case.\u003c/p>\n\n","blocks":[],"excerpt":"Regina King stars as the Brooklyn congresswoman who made a historic run for president in 1972. ","status":"publish","parent":0,"modified":1711125525,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":831},"headData":{"title":"A New Shirley Chisholm Biopic Undersells Its Impressive Subject | KQED","description":"Regina King stars as the Brooklyn congresswoman who made a historic run for president in 1972. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13954571/a-new-shirley-chisholm-biopic-undersells-its-impressive-subject","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1969, Shirley Chisholm became the first Black U.S. congresswoman at 44 years old. The Brooklyn representative’s objection to her assignment on the agriculture committee reads today as a justified act of indignance: She was there to get things done for her constituents, seniority be damned.\u003c/p>\n\u003cp>A version of this incident appears near the beginning of \u003cem>Shirley\u003c/em> (premiering Friday, March 22 on Netflix after a one-week theatrical run) to alert us that Chisholm was unwaveringly results-oriented despite obstacles like protocol, process and tradition. And just as importantly, the scene suggests that her voice was not respected.\u003c/p>\n\u003cp>The obviousness with which the prolific writer, producer and director John Ridley conveys these two points sets the tone for the rest of this watchable but predictable historical drama. The problem is that \u003cem>Shirley\u003c/em> consists of a parade of dialogue scenes that, contrary to principles of visual storytelling, show us nothing and tell us everything. The missed opportunity is that we are continually presented with what Chisholm (played by Regina King) represents, rather than taken, shaken and inspired by who she was.\u003c/p>\n\u003cfigure id=\"attachment_13954603\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954603\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_04384r-1920x1279.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Regina King as Shirley Chisholm and Terrence Howard as Arthur Hardwick Jr. in ‘Shirley.’ \u003ccite>(Glen Wilson/Netflix © 2023)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Shirley\u003c/em> pinpoints Chisholm’s arrival on the national scene by condensing the universe of 1960s political, racial and social upheaval into a simplistic collage. Chisholm isn’t a radical, though, but an experienced educator and state legislator who believes in change from within the system. Perhaps frustrated with the pace of progress in Congress, she decides at the beginning of 1972 to run for president. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13952570","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like George C. Wolfe’s superior film \u003cem>Rustin\u003c/em> (also on Netflix), which blends its subject’s personal life with the planning and execution of a specific project (the 1963 March on Washington for Jobs and Freedom), \u003cem>Shirley\u003c/em> takes us behind the scenes while building toward a finish line. Chisholm’s Jamaican-born husband Conrad (Michael Cherrie), a private investigator who becomes her security, supplies a low-temperature domestic melodrama. Her disapproving sister Muriel (Reina King) shows up now and again to reprimand Shirley for a swelled head (she’s not special, no matter what their father told her growing up).\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>On the longshot, underfunded campaign front, Black Congressmen Walter Fauntroy (André Holland) of Washington, D.C. and Ron Dellums (Dorian Crossmond Missick) of Oakland say all the right things to Shirley. But—spoiler alert!—politicians don’t always keep their promises. At least Chisholm’s seasoned political advisors, Wesley “Mac” Holder (Lance Reddick) and Arthur Hardwick Jr. (Terrence Howard), are trustworthy, as is Conrad even if his opinion doesn’t carry the same weight.\u003c/p>\n\u003cp>If you appreciate Dellums’ appearance in \u003cem>Shirley\u003c/em>, you’ll chuckle in recognition at a young Black student named Barbara Lee (Christina Jackson), whom Chisholm enlists in the campaign and entrusts with increasing responsibility. Lee has less screen time than national student coordinator Robert Gottlieb (Lucas Hedges), but her character resonates louder. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13950520","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While \u003cem>Rustin\u003c/em> offered the pleasures of Colman Domingo’s flamboyant performance, \u003cem>Shirley\u003c/em> largely deprives Regina King of flashy moments. She has a wonderful scene with actress and singer Diahann Carroll (Amirah Vann) and Huey P. Newton (Brad James) next to Carroll’s Hollywood pool, but \u003cem>Shirley\u003c/em> doesn’t give her a galvanizing speech until Chisholm takes the mic late in the film at a luncheon of Black delegates at the Democratic National Convention.\u003c/p>\n\u003cfigure id=\"attachment_13954602\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954602\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SHIRLEY_Unit_07571r-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Brad James as Huey Newton in ‘Shirley.’ \u003ccite>(Glen Wilson/Netflix © 2023)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Only then does Chisholm’s polite dignity give way to something approaching righteous fury — Chisholm’s defining characteristic and the beating heart of Shola Lynch’s galvanizing 2004 documentary \u003cem>Chisholm ’72: Unbought and Unbossed\u003c/em> (streaming on Kanopy and Amazon Prime).\u003c/p>\n\u003cp>Admittedly, there is a sequence in \u003cem>Shirley\u003c/em> where the congresswoman’s measured demeanor and old-school values combine to deliver a punch. Against her advisors’ counsel, Chisholm visits avowed racist and fellow Democratic presidential candidate George Wallace in the hospital after he’s paralyzed by an assassin’s bullets. She speaks to him as a Christian, and her compassion and belief in second chances contrast sharply with recent statements of some supposedly religious politicians. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13926548","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Curiously, this was one of the few times in \u003cem>Shirley\u003c/em> where I felt its relevance to the current moment. Though it’s standard procedure for biopics and historical dramas to draw connections to the present, \u003cem>Shirley\u003c/em> fumbles this basic assignment. At the end of the film and before the credits, Ridley awkwardly inserts Congresswoman Barbara Lee to deliver a few words about Chisholm’s contributions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Was Shirley Chisholm’s presidential campaign a transformative event or a political footnote? John Ridley would say the former, but his film doesn’t make a convincing case.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954571/a-new-shirley-chisholm-biopic-undersells-its-impressive-subject","authors":["22"],"categories":["arts_1","arts_74"],"tags":["arts_4097","arts_10278","arts_977","arts_769"],"featImg":"arts_13954604","label":"arts"},"arts_13954587":{"type":"posts","id":"arts_13954587","meta":{"index":"posts_1591205157","site":"arts","id":"13954587","score":null,"sort":[1711062586000]},"guestAuthors":[],"slug":"edward-yang-taiwanese-films-yi-yi-a-brighter-summer-day-bampfa","title":"Filmmaker Edward Yang’s Taipei Stories Shimmer at BAMPFA","publishDate":1711062586,"format":"standard","headTitle":"Filmmaker Edward Yang’s Taipei Stories Shimmer at BAMPFA | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>When I first started watching \u003ci>A Brighter Summer Day\u003c/i>, the \u003ca href=\"https://www.kqed.org/arts/tag/taiwanese\">Taiwanese\u003c/a> filmmaker Edward Yang’s bittersweet chronicle of teenage street gangs in 1960 Taipei, I was more than a little dubious. The film has a four-hour (!) runtime, after all, and my past experiences with Taiwan New Wave cinema — with its long, languid takes and relative lack of dialogue — had been middling at best.\u003c/p>\n\u003cp>I needn’t have worried. From its opening moments, the film transfixed me with its slow-simmering portrayal of rebellious, misunderstood and (sometimes) delinquent youths who roam the streets of Taipei during a particularly uneasy time in Taiwan’s history. Occasionally, the kids are brawling with concrete bricks and baseball bats. In other scenes, though, they’re eating shaved ice on a hot summer day. Crooning American rock ‘n’ roll ballads with the voice of an angel. Falling in love for the first time.\u003c/p>\n\u003cp>The film is screening on March 23 at \u003ca href=\"https://bampfa.org/\">Berkeley Art Museum and Pacific Film Archive\u003c/a>, which is a few weeks into a months-long series, \u003ca href=\"https://bampfa.org/program/edward-yangs-taipei-stories\">Edward Yang’s Taipei Stories\u003c/a>, during which they’ll show all seven films that the legendary director made before he died in 2007. Taken together, the series makes a compelling case for what many film buffs, including BAMPFA Associate Film Curator Kate MacKay, have concluded: that Yang was “one of the all-time greats of cinema.”\u003c/p>\n\u003cfigure id=\"attachment_13954594\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954594\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005.jpg\" alt=\"Teenage boys in matching khaki green school uniforms stand in a row, looking off to the side with serious expressions.\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Another still from ‘A Brighter Summer Day.’\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postID='arts_13951535,arts_11023362,arts_13954039']MacKay says she first fell in love with Yang’s films when she was working as a projectionist for a retrospective of his work at Toronto’s Cinematheque Ontario in 2008. Over the course of her time at BAMPFA, the theater has screened a handful of Yang’s films as one-offs or as part of a broader series. But the wheels were set in motion for a full retrospective a couple of years ago, when the Taiwan Film and Audiovisual Institute announced that it was digitally restoring several of his features, including some that had never seen a proper U.S. release.\u003c/p>\n\u003cp>It’s true that Yang’s shots are long and immaculately composed, and that his characters are often filmed at an artful distance. MacKay describes his cinematic universe as “so beautiful and smart and poignant,” from a visual standpoint. At the same time, MacKay says, Yang’s work is emotionally astute and has a wonderful narrative complexity. “He’s a humanist filmmaker.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The films are also hard to pigeonhole. On top of everything else, \u003ci>A Brighter Summer Day\u003c/i> (which BAMPFA will screen on \u003ca href=\"https://secure.bampfa.org/22861/22866\">March 23\u003c/a> and \u003ca href=\"https://secure.bampfa.org/22861/23595\">May 11\u003c/a>) is a crime epic, at its heart, with a violent climax inspired by a real-life murder case that happened when Yang was growing up in Taiwan. Released in 1991, the film has an “elegiac quality” that MacKay especially admires.\u003c/p>\n\u003cp>On the other hand, \u003ci>A Confucian Confusion \u003c/i>(1994) and \u003ci>Mahjong \u003c/i>(1996) — screening on \u003ca href=\"https://secure.bampfa.org/22861/22867\">March 27\u003c/a> and \u003ca href=\"https://secure.bampfa.org/22861/22868\">April 6\u003c/a>, respectively — are biting, satirical comedies that poke fun at the materialism of the post-economic-boom Taiwan of the 1990s.\u003c/p>\n\u003cp>Unlike previous generations of Taiwanese filmmakers, Yang was best known for his interest in the concerns and interior lives of everyday middle-class people. For example, \u003ci>That Day, on the Beach \u003c/i>(screening \u003ca href=\"https://secure.bampfa.org/22861/23593\">May 3\u003c/a>), Yang’s 1983 debut feature, tells the story of a chance meeting between two successful career women who reflect back on decisions they made, or didn’t make, that might have taken their lives down a different path.\u003c/p>\n\u003cfigure id=\"attachment_13954592\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954592\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004.jpg\" alt=\"A boy in a yellow T-shirt holds a camera to his face.\" width=\"2000\" height=\"1303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004-1020x665.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004-768x500.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004-1536x1001.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004-1920x1251.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Yi Yi,’ Yang’s most famous feature.\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, there’s \u003ci>Yi Yi\u003c/i> (screening April 20 and \u003ca href=\"https://secure.bampfa.org/22861/23594\">May 5\u003c/a>), Yang’s 2000 masterpiece, which is easily the filmmaker’s most famous and most widely acclaimed work — a movie that starts with a wedding and ends with a wake, and is framed around conversations that members of a multigenerational family have with the grandmother, who has fallen into a coma. It’s the film that prompted the \u003ci>New York Times \u003c/i>to call Yang “\u003ca href=\"https://www.nytimes.com/2000/10/01/arts/film-a-poet-of-middleclass-life-played-out-in-taiwan.html\">a poet of middle-class life\u003c/a>.”\u003c/p>\n\u003cp>There’s a dedicated audience in the Bay Area for what MacKay describes as “Asian auteur cinema,” and so it has been no surprise that the three movies that have screened so far — including Yang’s 1985 classic, \u003ci>Taipei Story\u003c/i>, for which the retrospective is named — all sold out. Several of the screenings also feature introductions by UC Berkeley professors.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>BAMPFA’s Edward Yang series ends on May 11. Tickets should be \u003c/i>\u003ca href=\"https://bampfa.org/program/edward-yangs-taipei-stories\">\u003ci>purchased in advance\u003c/i>\u003c/a>\u003ci>, as each screening is likely to sell out. The theater is located at 2155 Center St. in Berkeley.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Now screening in Berkeley: newly restored versions of the Taiwanese director’s full filmography.","status":"publish","parent":0,"modified":1711063491,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":815},"headData":{"title":"Taiwanese Filmmaker Edward Yang’s Movies Shimmer at BAMPFA in Berkeley | KQED","description":"Now screening in Berkeley: newly restored versions of the Taiwanese director’s full filmography.","ogTitle":"Filmmaker Edward Yang’s Taipei Stories Shimmer at BAMPFA","ogDescription":"","ogImgId":"","twTitle":"Filmmaker Edward Yang’s Taipei Stories Shimmer at BAMPFA","twDescription":"","twImgId":"","socialTitle":"Taiwanese Filmmaker Edward Yang’s Movies Shimmer at BAMPFA in Berkeley %%page%% %%sep%% KQED"},"sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13954587/edward-yang-taiwanese-films-yi-yi-a-brighter-summer-day-bampfa","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I first started watching \u003ci>A Brighter Summer Day\u003c/i>, the \u003ca href=\"https://www.kqed.org/arts/tag/taiwanese\">Taiwanese\u003c/a> filmmaker Edward Yang’s bittersweet chronicle of teenage street gangs in 1960 Taipei, I was more than a little dubious. The film has a four-hour (!) runtime, after all, and my past experiences with Taiwan New Wave cinema — with its long, languid takes and relative lack of dialogue — had been middling at best.\u003c/p>\n\u003cp>I needn’t have worried. From its opening moments, the film transfixed me with its slow-simmering portrayal of rebellious, misunderstood and (sometimes) delinquent youths who roam the streets of Taipei during a particularly uneasy time in Taiwan’s history. Occasionally, the kids are brawling with concrete bricks and baseball bats. In other scenes, though, they’re eating shaved ice on a hot summer day. Crooning American rock ‘n’ roll ballads with the voice of an angel. Falling in love for the first time.\u003c/p>\n\u003cp>The film is screening on March 23 at \u003ca href=\"https://bampfa.org/\">Berkeley Art Museum and Pacific Film Archive\u003c/a>, which is a few weeks into a months-long series, \u003ca href=\"https://bampfa.org/program/edward-yangs-taipei-stories\">Edward Yang’s Taipei Stories\u003c/a>, during which they’ll show all seven films that the legendary director made before he died in 2007. Taken together, the series makes a compelling case for what many film buffs, including BAMPFA Associate Film Curator Kate MacKay, have concluded: that Yang was “one of the all-time greats of cinema.”\u003c/p>\n\u003cfigure id=\"attachment_13954594\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954594\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005.jpg\" alt=\"Teenage boys in matching khaki green school uniforms stand in a row, looking off to the side with serious expressions.\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_A-Brighter-Summer-Day_005-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Another still from ‘A Brighter Summer Day.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13951535,arts_11023362,arts_13954039","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>MacKay says she first fell in love with Yang’s films when she was working as a projectionist for a retrospective of his work at Toronto’s Cinematheque Ontario in 2008. Over the course of her time at BAMPFA, the theater has screened a handful of Yang’s films as one-offs or as part of a broader series. But the wheels were set in motion for a full retrospective a couple of years ago, when the Taiwan Film and Audiovisual Institute announced that it was digitally restoring several of his features, including some that had never seen a proper U.S. release.\u003c/p>\n\u003cp>It’s true that Yang’s shots are long and immaculately composed, and that his characters are often filmed at an artful distance. MacKay describes his cinematic universe as “so beautiful and smart and poignant,” from a visual standpoint. At the same time, MacKay says, Yang’s work is emotionally astute and has a wonderful narrative complexity. “He’s a humanist filmmaker.”\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 films are also hard to pigeonhole. On top of everything else, \u003ci>A Brighter Summer Day\u003c/i> (which BAMPFA will screen on \u003ca href=\"https://secure.bampfa.org/22861/22866\">March 23\u003c/a> and \u003ca href=\"https://secure.bampfa.org/22861/23595\">May 11\u003c/a>) is a crime epic, at its heart, with a violent climax inspired by a real-life murder case that happened when Yang was growing up in Taiwan. Released in 1991, the film has an “elegiac quality” that MacKay especially admires.\u003c/p>\n\u003cp>On the other hand, \u003ci>A Confucian Confusion \u003c/i>(1994) and \u003ci>Mahjong \u003c/i>(1996) — screening on \u003ca href=\"https://secure.bampfa.org/22861/22867\">March 27\u003c/a> and \u003ca href=\"https://secure.bampfa.org/22861/22868\">April 6\u003c/a>, respectively — are biting, satirical comedies that poke fun at the materialism of the post-economic-boom Taiwan of the 1990s.\u003c/p>\n\u003cp>Unlike previous generations of Taiwanese filmmakers, Yang was best known for his interest in the concerns and interior lives of everyday middle-class people. For example, \u003ci>That Day, on the Beach \u003c/i>(screening \u003ca href=\"https://secure.bampfa.org/22861/23593\">May 3\u003c/a>), Yang’s 1983 debut feature, tells the story of a chance meeting between two successful career women who reflect back on decisions they made, or didn’t make, that might have taken their lives down a different path.\u003c/p>\n\u003cfigure id=\"attachment_13954592\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954592\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004.jpg\" alt=\"A boy in a yellow T-shirt holds a camera to his face.\" width=\"2000\" height=\"1303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004-1020x665.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004-768x500.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004-1536x1001.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Yang_Yi-Yi_004-1920x1251.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Yi Yi,’ Yang’s most famous feature.\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, there’s \u003ci>Yi Yi\u003c/i> (screening April 20 and \u003ca href=\"https://secure.bampfa.org/22861/23594\">May 5\u003c/a>), Yang’s 2000 masterpiece, which is easily the filmmaker’s most famous and most widely acclaimed work — a movie that starts with a wedding and ends with a wake, and is framed around conversations that members of a multigenerational family have with the grandmother, who has fallen into a coma. It’s the film that prompted the \u003ci>New York Times \u003c/i>to call Yang “\u003ca href=\"https://www.nytimes.com/2000/10/01/arts/film-a-poet-of-middleclass-life-played-out-in-taiwan.html\">a poet of middle-class life\u003c/a>.”\u003c/p>\n\u003cp>There’s a dedicated audience in the Bay Area for what MacKay describes as “Asian auteur cinema,” and so it has been no surprise that the three movies that have screened so far — including Yang’s 1985 classic, \u003ci>Taipei Story\u003c/i>, for which the retrospective is named — all sold out. Several of the screenings also feature introductions by UC Berkeley professors.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>BAMPFA’s Edward Yang series ends on May 11. Tickets should be \u003c/i>\u003ca href=\"https://bampfa.org/program/edward-yangs-taipei-stories\">\u003ci>purchased in advance\u003c/i>\u003c/a>\u003ci>, as each screening is likely to sell out. The theater is located at 2155 Center St. in Berkeley.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954587/edward-yang-taiwanese-films-yi-yi-a-brighter-summer-day-bampfa","authors":["11743"],"programs":["arts_140"],"categories":["arts_1","arts_74"],"tags":["arts_2227","arts_1270","arts_10278","arts_977","arts_14396","arts_585"],"featImg":"arts_13954590","label":"arts_140"},"arts_13954375":{"type":"posts","id":"arts_13954375","meta":{"index":"posts_1591205157","site":"arts","id":"13954375","score":null,"sort":[1710980211000]},"guestAuthors":[],"slug":"experimental-animation-shapeshifters-cinema-ybca","title":"Experimental Animations Relocate from YBCA to Shapeshifters Cinema","publishDate":1710980211,"format":"standard","headTitle":"Experimental Animations Relocate from YBCA to Shapeshifters Cinema | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Since October 2023, there’s been more activity than usual in Yerba Buena Center for the Arts’ screening room, where independent programmer Gina Basso (\u003ca href=\"https://www.kqed.org/arts/13900656/sfmoma-cuts-bay-area-alternative-film\">formerly of SFMOMA\u003c/a>) has organized a rotating film series to accompany the museum’s regional survey \u003ci>Bay Area Now 9\u003c/i>. Partnerships with \u003ca href=\"https://www.sfcinematheque.org/\">SF Cinematheque\u003c/a>, \u003ca href=\"https://canyoncinema.com/\">Canyon Cinema\u003c/a>, \u003ca href=\"https://www.kearnystreet.org/\">Kearny Street Workshop\u003c/a> and \u003ca href=\"https://newsreel.org/\">California Newsreel\u003c/a> have brought an exciting array of locally made, experimental, contemporary and historical films to a space that’s been underutilized since the \u003ca href=\"https://www.kqed.org/arts/13841205/curatorial-crisis-bay-area-art-institutions\">sudden dismissal of YBCA’s entire film staff\u003c/a> in 2018.\u003c/p>\n\u003cp>Local film buffs had hoped this revival could become permanent, dreaming of regular film programming at YBCA even after the run of \u003ci>BAN 9\u003c/i>. \u003c/p>\n\u003cp>[aside postID='arts_13954119']But now the screening room sits quiet once again, with Leah Rosenberg’s newly commissioned work, \u003ci>\u003ca href=\"https://ybca.org/event/color-in-twelve-parts/\">Color in Twelve Parts\u003c/a>\u003c/i>, cut short in the middle of a live performance on Feb. 15, the museum’s response to \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">eight \u003ci>BAN 9\u003c/i> artists altering their work\u003c/a> in a pro-Palestinian protest action. YBCA kept its doors shut for a solid month.\u003c/p>\n\u003cfigure id=\"attachment_13954389\" class=\"wp-caption aligncenter\" style=\"max-width: 859px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Abedifard_Gharbzadegi_still.jpg\" alt=\"Purple and pink wavy lines behind a cartoonish person with hand over face\" width=\"859\" height=\"657\" class=\"size-full wp-image-13954389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Abedifard_Gharbzadegi_still.jpg 859w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Abedifard_Gharbzadegi_still-800x612.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Abedifard_Gharbzadegi_still-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Abedifard_Gharbzadegi_still-768x587.jpg 768w\" sizes=\"(max-width: 859px) 100vw, 859px\">\u003cfigcaption class=\"wp-caption-text\">Yasmeen Abedifard, still from ‘Gharbzadegi,’ 2019. \u003ccite>(Courtesy of the artist and Shapeshifters Cinema)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artists from Basso’s March program — a slate of experimental and expanded animation works — now have no interest in showing at a reopened YBCA. Instead, \u003ci>\u003ca href=\"https://shop.shapeshifterscinema.com/product/this-room-is-nothing-without-you-experimental-and-expanded-animation/360\">This Room is Nothing Without You\u003c/a>\u003c/i>, featuring work by \u003ca href=\"https://meghanabisineer.com/\">Meghana Bisineer\u003c/a>, \u003ca href=\"https://www.lydiagreer.com/\">Lydia Greer\u003c/a>, \u003ca href=\"https://www.kathleenquillian.com/\">Kathleen Quillian\u003c/a> and \u003ca href=\"https://www.jeremyrourke.com/\">Jeremy Rourke\u003c/a>, will take place at Oakland’s \u003ca href=\"https://www.shapeshifterscinema.com/\">Shapeshifters Cinema\u003c/a> on Saturday, March 23, along with short animations by Iranian American artist \u003ca href=\"https://www.yasmeenabedifard.net/\">Yasmeen Abedifard\u003c/a> and Palestinian artist \u003ca href=\"https://www.instagram.com/olabarakat00/?hl=en\">Ola Abdel Latif Barakat\u003c/a>.\u003c/p>\n\u003cp>“It became, how could we take this program that we worked hard on and we designed — how could we do something as a response not only to what YBCA did,” Basso says, “but how could we raise money and give it to Gaza?” (Proceeds from the night’s ticket sales will go towards humanitarian aid in Gaza.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Basso took a collaborative approach to much of the film programming for \u003ci>BAN 9\u003c/i>, but in this instance, the artists have created something else altogether. “They’ve really got this energy and excitement of working together,” Basso says. “In this iteration I’ve been very on the outer rings of this endeavor.” She and Kathleen Maguire, the former director of public and educational programs at YBCA, will be present on Saturday for a post-screening talk with the artists.\u003c/p>\n\u003cfigure id=\"attachment_13954390\" 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/Greer-Robber-Bridegroom_still_2000.jpg\" alt=\"Projected images of clocktower on scrim with person looking down on overhead projector behind\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13954390\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lydia Greer, from a live performance of ‘Robber Bridegroom.’ \u003ccite>(Courtesy of the artist and Shapeshifters Cinema)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The relocation to Shapeshifters is one way unsurprising (Quillian is the programming director for the microcinema), but Basso would love for this trend to continue. She hopes to find the other programs — including Rosenberg’s half-seen commission — new homes as well. The film series was originally scheduled to run for the length of \u003ci>BAN 9\u003c/i>, through May 5.\u003c/p>\n\u003cp>How YBCA might now fill that screening room is an open question. The artists and filmmakers Basso was working with on future programming also no longer want to show at YBCA. “There’s trepidation for sure,” she says. “They wanted to stand in solidarity with the [\u003ci>BAN 9\u003c/i>] artists.” For Basso, working for YBCA on a hyper-local level, collaborating with Bay Area artists, distributors, programmers and archives, is just no longer possible. \u003c/p>\n\u003cp>“To lose the opportunity of that space and that place for film, \u003ci>again\u003c/i>,” she sighs, referencing the 2018 “haitus” of YBCA’s in-house program. “It was getting there and people were like, ‘Yay, it’s back!’”\u003c/p>\n\u003cp>But when our large local arts institutions flounder, it’s the artist-run spaces like Shapeshifters that match their mission statements with actions — and can provide space for the conversations that moments like these require.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘This Room is Nothing Without You’ screens at Shapeshifters Cinema (567 5th St., Oakland) on Saturday, March 23, 6–9 p.m. \u003ca href=\"https://shop.shapeshifterscinema.com/product/this-room-is-nothing-without-you-experimental-and-expanded-animation/360\">Click here for tickets and more information\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The artists of ‘This Room is Nothing Without You’ will put on their own screening March 23 as a benefit.","status":"publish","parent":0,"modified":1710980211,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":697},"headData":{"title":"Experimental Animations Relocate to Shapeshifters from YBCA | KQED","description":"The artists of ‘This Room is Nothing Without You’ will put on their own screening March 23 as a benefit.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"Experimental Animations Relocate to Shapeshifters from YBCA %%page%% %%sep%% KQED"},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13954375/experimental-animation-shapeshifters-cinema-ybca","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since October 2023, there’s been more activity than usual in Yerba Buena Center for the Arts’ screening room, where independent programmer Gina Basso (\u003ca href=\"https://www.kqed.org/arts/13900656/sfmoma-cuts-bay-area-alternative-film\">formerly of SFMOMA\u003c/a>) has organized a rotating film series to accompany the museum’s regional survey \u003ci>Bay Area Now 9\u003c/i>. Partnerships with \u003ca href=\"https://www.sfcinematheque.org/\">SF Cinematheque\u003c/a>, \u003ca href=\"https://canyoncinema.com/\">Canyon Cinema\u003c/a>, \u003ca href=\"https://www.kearnystreet.org/\">Kearny Street Workshop\u003c/a> and \u003ca href=\"https://newsreel.org/\">California Newsreel\u003c/a> have brought an exciting array of locally made, experimental, contemporary and historical films to a space that’s been underutilized since the \u003ca href=\"https://www.kqed.org/arts/13841205/curatorial-crisis-bay-area-art-institutions\">sudden dismissal of YBCA’s entire film staff\u003c/a> in 2018.\u003c/p>\n\u003cp>Local film buffs had hoped this revival could become permanent, dreaming of regular film programming at YBCA even after the run of \u003ci>BAN 9\u003c/i>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954119","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But now the screening room sits quiet once again, with Leah Rosenberg’s newly commissioned work, \u003ci>\u003ca href=\"https://ybca.org/event/color-in-twelve-parts/\">Color in Twelve Parts\u003c/a>\u003c/i>, cut short in the middle of a live performance on Feb. 15, the museum’s response to \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">eight \u003ci>BAN 9\u003c/i> artists altering their work\u003c/a> in a pro-Palestinian protest action. YBCA kept its doors shut for a solid month.\u003c/p>\n\u003cfigure id=\"attachment_13954389\" class=\"wp-caption aligncenter\" style=\"max-width: 859px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Abedifard_Gharbzadegi_still.jpg\" alt=\"Purple and pink wavy lines behind a cartoonish person with hand over face\" width=\"859\" height=\"657\" class=\"size-full wp-image-13954389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Abedifard_Gharbzadegi_still.jpg 859w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Abedifard_Gharbzadegi_still-800x612.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Abedifard_Gharbzadegi_still-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Abedifard_Gharbzadegi_still-768x587.jpg 768w\" sizes=\"(max-width: 859px) 100vw, 859px\">\u003cfigcaption class=\"wp-caption-text\">Yasmeen Abedifard, still from ‘Gharbzadegi,’ 2019. \u003ccite>(Courtesy of the artist and Shapeshifters Cinema)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artists from Basso’s March program — a slate of experimental and expanded animation works — now have no interest in showing at a reopened YBCA. Instead, \u003ci>\u003ca href=\"https://shop.shapeshifterscinema.com/product/this-room-is-nothing-without-you-experimental-and-expanded-animation/360\">This Room is Nothing Without You\u003c/a>\u003c/i>, featuring work by \u003ca href=\"https://meghanabisineer.com/\">Meghana Bisineer\u003c/a>, \u003ca href=\"https://www.lydiagreer.com/\">Lydia Greer\u003c/a>, \u003ca href=\"https://www.kathleenquillian.com/\">Kathleen Quillian\u003c/a> and \u003ca href=\"https://www.jeremyrourke.com/\">Jeremy Rourke\u003c/a>, will take place at Oakland’s \u003ca href=\"https://www.shapeshifterscinema.com/\">Shapeshifters Cinema\u003c/a> on Saturday, March 23, along with short animations by Iranian American artist \u003ca href=\"https://www.yasmeenabedifard.net/\">Yasmeen Abedifard\u003c/a> and Palestinian artist \u003ca href=\"https://www.instagram.com/olabarakat00/?hl=en\">Ola Abdel Latif Barakat\u003c/a>.\u003c/p>\n\u003cp>“It became, how could we take this program that we worked hard on and we designed — how could we do something as a response not only to what YBCA did,” Basso says, “but how could we raise money and give it to Gaza?” (Proceeds from the night’s ticket sales will go towards humanitarian aid in Gaza.)\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>Basso took a collaborative approach to much of the film programming for \u003ci>BAN 9\u003c/i>, but in this instance, the artists have created something else altogether. “They’ve really got this energy and excitement of working together,” Basso says. “In this iteration I’ve been very on the outer rings of this endeavor.” She and Kathleen Maguire, the former director of public and educational programs at YBCA, will be present on Saturday for a post-screening talk with the artists.\u003c/p>\n\u003cfigure id=\"attachment_13954390\" 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/Greer-Robber-Bridegroom_still_2000.jpg\" alt=\"Projected images of clocktower on scrim with person looking down on overhead projector behind\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13954390\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lydia Greer, from a live performance of ‘Robber Bridegroom.’ \u003ccite>(Courtesy of the artist and Shapeshifters Cinema)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The relocation to Shapeshifters is one way unsurprising (Quillian is the programming director for the microcinema), but Basso would love for this trend to continue. She hopes to find the other programs — including Rosenberg’s half-seen commission — new homes as well. The film series was originally scheduled to run for the length of \u003ci>BAN 9\u003c/i>, through May 5.\u003c/p>\n\u003cp>How YBCA might now fill that screening room is an open question. The artists and filmmakers Basso was working with on future programming also no longer want to show at YBCA. “There’s trepidation for sure,” she says. “They wanted to stand in solidarity with the [\u003ci>BAN 9\u003c/i>] artists.” For Basso, working for YBCA on a hyper-local level, collaborating with Bay Area artists, distributors, programmers and archives, is just no longer possible. \u003c/p>\n\u003cp>“To lose the opportunity of that space and that place for film, \u003ci>again\u003c/i>,” she sighs, referencing the 2018 “haitus” of YBCA’s in-house program. “It was getting there and people were like, ‘Yay, it’s back!’”\u003c/p>\n\u003cp>But when our large local arts institutions flounder, it’s the artist-run spaces like Shapeshifters that match their mission statements with actions — and can provide space for the conversations that moments like these require.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘This Room is Nothing Without You’ screens at Shapeshifters Cinema (567 5th St., Oakland) on Saturday, March 23, 6–9 p.m. \u003ca href=\"https://shop.shapeshifterscinema.com/product/this-room-is-nothing-without-you-experimental-and-expanded-animation/360\">Click here for tickets and more information\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954375/experimental-animation-shapeshifters-cinema-ybca","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_74"],"tags":["arts_4262","arts_10278","arts_22030","arts_585","arts_1040"],"featImg":"arts_13954391","label":"arts_140"},"arts_13954491":{"type":"posts","id":"arts_13954491","meta":{"index":"posts_1591205157","site":"arts","id":"13954491","score":null,"sort":[1710975158000]},"guestAuthors":[],"slug":"sydney-sweeney-horror-movie-immaculate-review","title":"Things Get Scary for Sydney Sweeney in a Creepy Italian Convent in ‘Immaculate’","publishDate":1710975158,"format":"standard","headTitle":"Things Get Scary for Sydney Sweeney in a Creepy Italian Convent in ‘Immaculate’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>It’s not your imagination: Sydney Sweeney is everywhere. In the past four months, she’s been in a romantic comedy that turned into a sleeper hit, a superhero movie that didn’t and, as of this weekend, a bloody horror. Results have varied, quality-wise, but for someone the culture seems to want to (unfairly) pigeonhole as a specific type, she is really blowing through movie genres in record time.\u003c/p>\n\u003cp>[aside postid='arts_13954333']She also happened to produce the horror, \u003cem>Immaculate\u003c/em>, in which she plays a young American nun, Cecilia, who’s decided to join an Italian convent. Her character found God after a near-death experience at a young age and, after her parish closes, she gets a lifeline to go abroad and help tend to older, dying nuns. The prettiness of the new surroundings is just a front, of course, and she starts to discover some sinister happenings within the ancient walls.\u003c/p>\n\u003cp>\u003cem>Immaculate\u003c/em> is a project that Sweeney originally auditioned for a decade ago, when she was 16. If anything, it is a great showcase for Sweeney’s range (she gets to go from somewhat meek to primal scream) and is full of interesting visuals, beautiful costumes and accomplished makeup work showing all manner of bloody, mangled faces and limbs. But it’s also a movie that does not seem as sure of itself or the point it’s trying to make.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sDhsfV7r_1w\u003c/p>\n\u003cp>It’s not hard to make a remote Italian convent creepy, or say something provocative and interesting about organized religion — quite a few horrors have succeeded here in the past. But \u003cem>Immaculate\u003c/em> is not even confident enough to let us experience this place exclusively through Cecilia. No, it opens with a nightmarish prologue to give us a tease of what’s in store for our innocent heroine, like it’s a straight-to-streaming film that doesn’t want you to click onto something else. Being a theatrical release, however, you have to imagine that ticket buyers are going to give the movie the benefit of the doubt and not flee 15 minutes into an 89-minute run.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Or perhaps horror audiences want as much carnage and jump scares as possible — if that is the case, this should be satisfying enough. There are plenty of comically squeaky doors and close-ups of a terrified face wandering around corners in the dark by only candlelight. And the finale is fiery and violent and gruesome as well, with a very silly and perhaps unearned explanation of everything that’s been happening. At least it’s wrapped up, I guess?\u003c/p>\n\u003cp>[aside postid='arts_13953248']But it also doesn’t stand up to much interrogation. Take, for example, its use of subtitles. Cecilia doesn’t yet understand Italian so is beholden to bilingual nuns to translate — which they don’t do entirely accurately or faithfully. Later, when she’s being interrogated by the cardinal (Giorgio Colangeli), we the audience are not privy to any subtitles and have to rely on Father Sal (Álvaro Morte) to translate. Are we to take him at his word when everyone else has proven to be unreliable? Again, why not just trust us to be in Cecilia’s shoes throughout?\u003c/p>\n\u003cp>This script, written by Andrew Lobel and directed by Michael Mohan, does not seem to really care much about Cecelia and what makes her tick beyond that one story from her childhood. The main nuance she gets is through Sweeney’s performance, which shows us that she does have a spark and the personality to rebel. There were some lofty ideas behind \u003cem>Immaculate\u003c/em> that seem underserved (about bodily autonomy and such) and she gets several memorable movie star moments, but I want more for Sweeney than whatever this adds up to. She has the chops (a reminder to watch Tina Satter’s great film \u003cem>Reality\u003c/em>), she just needs the material.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Immaculate’ is released nationwide on March 22, 2024.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The horror film doesn’t stand up to much interrogation, but it has plenty of jump scares for horror fans.","status":"publish","parent":0,"modified":1710981144,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":688},"headData":{"title":"‘Immaculate’ Review: Sydney Sweeney’s Range Is on Full Display | KQED","description":"The horror film doesn’t stand up to much interrogation, but it has plenty of jump scares for horror fans.","ogTitle":"Things Get Scary for Sydney Sweeney in a Creepy Italian Convent in ‘Immaculate’","ogDescription":"","ogImgId":"","twTitle":"Things Get Scary for Sydney Sweeney in a Creepy Italian Convent in ‘Immaculate’","twDescription":"","twImgId":"","socialTitle":"‘Immaculate’ Review: Sydney Sweeney’s Range Is on Full Display %%page%% %%sep%% KQED"},"sticky":false,"nprByline":"Lindsey Bahr, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13954491/sydney-sweeney-horror-movie-immaculate-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s not your imagination: Sydney Sweeney is everywhere. In the past four months, she’s been in a romantic comedy that turned into a sleeper hit, a superhero movie that didn’t and, as of this weekend, a bloody horror. Results have varied, quality-wise, but for someone the culture seems to want to (unfairly) pigeonhole as a specific type, she is really blowing through movie genres in record time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954333","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>She also happened to produce the horror, \u003cem>Immaculate\u003c/em>, in which she plays a young American nun, Cecilia, who’s decided to join an Italian convent. Her character found God after a near-death experience at a young age and, after her parish closes, she gets a lifeline to go abroad and help tend to older, dying nuns. The prettiness of the new surroundings is just a front, of course, and she starts to discover some sinister happenings within the ancient walls.\u003c/p>\n\u003cp>\u003cem>Immaculate\u003c/em> is a project that Sweeney originally auditioned for a decade ago, when she was 16. If anything, it is a great showcase for Sweeney’s range (she gets to go from somewhat meek to primal scream) and is full of interesting visuals, beautiful costumes and accomplished makeup work showing all manner of bloody, mangled faces and limbs. But it’s also a movie that does not seem as sure of itself or the point it’s trying to make.\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/sDhsfV7r_1w'\n title='//www.youtube.com/embed/sDhsfV7r_1w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s not hard to make a remote Italian convent creepy, or say something provocative and interesting about organized religion — quite a few horrors have succeeded here in the past. But \u003cem>Immaculate\u003c/em> is not even confident enough to let us experience this place exclusively through Cecilia. No, it opens with a nightmarish prologue to give us a tease of what’s in store for our innocent heroine, like it’s a straight-to-streaming film that doesn’t want you to click onto something else. Being a theatrical release, however, you have to imagine that ticket buyers are going to give the movie the benefit of the doubt and not flee 15 minutes into an 89-minute run.\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>Or perhaps horror audiences want as much carnage and jump scares as possible — if that is the case, this should be satisfying enough. There are plenty of comically squeaky doors and close-ups of a terrified face wandering around corners in the dark by only candlelight. And the finale is fiery and violent and gruesome as well, with a very silly and perhaps unearned explanation of everything that’s been happening. At least it’s wrapped up, I guess?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13953248","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But it also doesn’t stand up to much interrogation. Take, for example, its use of subtitles. Cecilia doesn’t yet understand Italian so is beholden to bilingual nuns to translate — which they don’t do entirely accurately or faithfully. Later, when she’s being interrogated by the cardinal (Giorgio Colangeli), we the audience are not privy to any subtitles and have to rely on Father Sal (Álvaro Morte) to translate. Are we to take him at his word when everyone else has proven to be unreliable? Again, why not just trust us to be in Cecilia’s shoes throughout?\u003c/p>\n\u003cp>This script, written by Andrew Lobel and directed by Michael Mohan, does not seem to really care much about Cecelia and what makes her tick beyond that one story from her childhood. The main nuance she gets is through Sweeney’s performance, which shows us that she does have a spark and the personality to rebel. There were some lofty ideas behind \u003cem>Immaculate\u003c/em> that seem underserved (about bodily autonomy and such) and she gets several memorable movie star moments, but I want more for Sweeney than whatever this adds up to. She has the chops (a reminder to watch Tina Satter’s great film \u003cem>Reality\u003c/em>), she just needs the material.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Immaculate’ is released nationwide on March 22, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954491/sydney-sweeney-horror-movie-immaculate-review","authors":["byline_arts_13954491"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_5087","arts_769","arts_585"],"featImg":"arts_13954492","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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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/2021/12/CodeSwitchLifeKit_StationGraphics_300x300EmailGraphic.png","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. 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We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. 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