Quercki + movie   19

In 'Sorry To Bother You,' an Alternate-Universe Oakland Rings True | KQED Arts
If you feel your cheeks burning with familiarity as you watch Boots Riley’s directorial debut Sorry To Bother You, you're not alone—especially if you're from Oakland. Whether it's the film's reference to The Rusty Skupper, where Oakland party promoter Geoffrey Pete once threw parties, or the iconic Cathedral Building at Telegraph and Broadway, or downtown dive bar The Layover, I caught about 20 hot flashes as a veritable déjà-vu checklist unfolded on the screen. Telemarketing job with ex-punk middle management? Check. Boyfriend that lived in a garage? Check. Paying for gas for your not-even-close-to-legal rustbucket car with pocket change? You know it.
Sorry_to_Bother_You  Boots_Riley  movie  Oakland 
july 2018 by Quercki
In “Blindspotting,” Two Artists Go Home to Examine the True Costs of Gentrification – Mother Jones
Layered with gripping monologues and meditations on police brutality, the film confronts race relations in a gentrifying city where police brutality has remained a front-and-center issue for almost a decade. Blindspotting serves as the latest silver screen homage to Oakland, premiering just weeks after Sorry to Bother You, the highly-acclaimed satire by filmmaker Boots Riley, and five years after Ryan Coogler’s Fruitvale Station, which documented the story of Oscar Grant, who was shot and killed by a white BART police officer. The Fruitvale station shooting was an inflection point for rising tensions between the police and communities of color in Oakland, and the duo says it heavily influenced the film.
Oakland  movie  police  violence 
july 2018 by Quercki
How Boots Riley Infiltrated Hollywood - The New York Times - Sorry to Bother You
he honed a spiel consisting of “various levels.” Level 1 was 23 words long, and on a recent afternoon, in a coffee shop in Riley’s hometown, Oakland, Calif., he recited it to me more or less exactly as he recited it over the years to potential actors, producers, investors and advice-givers:

“It’s an absurdist dark comedy with magical realism and science fiction, inspired by the world of telemarketing. It’s called ‘Sorry to Bother You.’ ”

Riley interrupted himself: “So it’s all those things, then — telemarketing. People usually laugh right there. ‘O.K., tell me more. ...’ ”

At which point he would take them to Level 2:

“Cassius Green is a black telemarketer with self-esteem issues and existential angst who discovers a magical way to make his voice sound like it’s overdubbed by a white actor.”
Riley let that premise sink in, then moved to Level 3:

“This catapults him up the ladder of telemarketing success, to the upper echelon of telemarketers, who sell weapons of mass destruction and slave labor via cold calling. In order to do this, he has to betray his friends who are organizing a telemarketers’ union.”
Boots_Riley  movie 
may 2018 by Quercki
Healthy Masculinity & Toxic Masculinity In Wakanda: An Intersectional Afrofuturist Perspective. | Geeks
Out of all the discussions, there is one that is probably the most controversial and often discussed, perhaps besides how kick-ass women are in the film. Namely, the themes of black liberation that are raised by N’Jadaka aka Erik Killmonger, and T’Challa, the King Of Wakanda, aka Black Panther. 

Firstly, I have to say, Killmonger is possibly one of the most nuanced and complex anti-heroes we have had on the big screen in a long time. He drops some of the most potent quotes in the film, around issues of colonialism and cultural theft; black liberation as a diasporic event; and deep words that honor ancestral wisdom. Serious gems. He is quite the charismatic anti-hero.

Here’s the thing though. Killmonger is also the poster child for how toxic masculinity shows up in our liberation movements, and given a pass because he’s “down for the cause.” No matter how many black women they have abused in the name of “black liberation.” Him being charismatic and easy on the eyes also works in the favor of the seductiveness of this archetype.
Black_Panther  movie  toxic  masculinity  intersectionality 
april 2018 by Quercki
Why museum professionals need to talk about Black Panther – The Hopkins Exhibitionist
Clearly, this is referencing the British Museum, but uses the facade of the High Museum of Art in Atlanta for the exterior. A flustered white, female curator runs up to talk to him about the collection, describing the items in a patient and patronizing tone. They move through a few artifacts, him asking questions and her spouting off answers about their “discovery.” When she comes to one item, an axe, Killmonger corrects her assessment of where it is from and states that the item is Wakandan. He then tells her he is going to take it with him. She becomes flustered and tells him that the items are not for sale. Killmonger then becomes visibly angry with the curator, asking her if she thinks her ancestors bought them fairly. He then goes on to say that the guards had been watching him closely since he walked in, more concerned about his black body in the space of the museum than she was about the coffee in her hand that he had poisoned. The scene ends with the museum staff dead, and Killmonger leaving the scene with the vibramium weapon and a mask he dons in later scenes.

The scene takes no more than five minutes of the movie, and the tension between colonial history and race only escalates from that point on. However, we as museum professionals need to talk about the inclusion of this scene, especially regarding its function in a film that was cut from nearly four hours long in its first iteration to a solid two, a film that so many young people will see and one that is poised to become a cultural touchstone.
Black_Panther  movie  museum  colonialism  racism 
march 2018 by Quercki
17 Reasons We Still Want To Live In The Movie "Practical Magic"
Let’s be honest, ’90s witches gifted us with an aesthetic we’re still trying to achieve today.

Warner Bros.

Warner Bros.

Columbia Pictures
 
It is the true landscape of our souls.
And Practical Magic is PEAK casual ’90s witch aesthetic. It presented a world we’re still eager to lose ourselves in.

Warner Bros.
1. This movie was, after all, the site of the blessed union between ’90s goddesses Sandra Bullock and Nicole Kidman.

Warner Bros.
Pretty much everyone wanted to be them in the ’90s.
2. Nicole’s Gillian Owens embodied everything brassy and unapologetic…

nikimears.tumblr.com
And it was somehow inspirational even when she was making terrible decisions.
3. While Sandra’s Sally Owens embodied looking fly in maxi skirts and gazing windswept and soulful into the horizon.

She also taught us how to embrace your ~inner power~ and say yes to love.
4. They were raised by the best matriarchs of all time – Stockard Channing and Dianne Wiest. They look like they stepped out of an Edwardian dramedy in which they were husband-stealing widows.

5. Let’s face it: These kids were sad because of that whole orphan thing, but their lives were GOALS.
witch  movie  magic 
august 2016 by Quercki
Validation - YouTube
Compliments change lives
cute  movie 
march 2016 by Quercki
Angela Lansbury’s School of Feminist Witchcraft | Gender Focus
Witches were my Feminism 101— they revealed to me the power and intent of cultures to demonize, ostracize and destroy every manifestation of disobedience in women. The reason for my fascination with witches was because they were something I had not yet encountered in real life: they were independent women refusing to conform to social normativity. Witches were cultural warriors, both a product of cultural fears about women’s empowerment and rebels for their own cause, working within the system to rise up against it.

The first actor that I saw breach the subject of feminism in a meaningful way to me was Dame Angela Lansbury. She was my first feminist role model. She was my childhood world, too, and it all began when she taught me what it looked like for a woman to live according to her own will, and not according to society’s, or a man’s, patriarchal will for her.

It was specifically her role as the clumsy, bookish, spinstery witch Eglantine Price in the 1971 Disney film Bedknobs and Broomsticks that knocked some sense into me.

It was in 1989, when I was five years old, that I saw Ms. Price on the screen for the first time, and it was a life changing and mind-altering experience. It was love at first sight: I was in love with feminism.

My deep love for the character of Ms. Price and what she represented was a reflection of my inner desire to understand myself and to free my own intellect of society’s narrow concept of “womanhood.” She was the first witch I had ever seen who, in being perfectly human and with obvious feminist sensibilities, claimed her power and used it to transform society.
witch  feminism  movie 
march 2016 by Quercki
Vanguard of the Revolution – A Good Film, But Not Good Enough
Nelson chose to omit the last four years of the BPP history from 1974 to 1978 that would have shown what the BPP did best: rebound and recover from loss and defeat. Had Stanley taken the effort and time, audiences would have seen the Party led by Elaine Brown, the first and only woman to ever lead a revolutionary organization.

Under Elaine’s leadership, the Party reinvented itself again. We moved forward in creating a world-class private alternative school, The Oakland Community School. The school received national acclaim and was visited by stars, luminaries, and dignitaries from around the world. The Party under Elaine’s leadership helped to elect the first black mayor, Lionel Wilson, in the City of Oakland. Lionel Wilson’s election led to the BPP having a major influence in the practices and policies of the City of Oakland. The Party also secured two seats for Panther sisters on the port of Oakland. And although the Party no longer had the national presence that it once did, Elaine became one of the most powerful figures in the State of California.

Also, Nelson failed to give a complete representation of Huey.
Black_Panthers  BPP  black  history  movie 
february 2016 by Quercki
A Film That's as Close to a Superhero Origin Story, Set i | Shadow and Act
The film is as close to a superhero origin story, set in an African country, as there currently is in the marketplace. In it, a disillusioned Johannesburg hustler on the run rescues an orphaned child with uncontrollable supernatural powers. He attempts to help the boy master his gift before a superstitious family member, who believes the boy is more of a curse, hunts them down.

I saw it at the New York African Film Festival in 2011, along with the other short films from the Africa First program released that year, and I dug it for the most part. As I recall, it was thrilling to watch it in a theatrical setting, and see the potential for a really exciting feature-length film, with a black African child protagonist depicted in a manner we rarely, if ever, get to see on the big screen. It's well acted and photographed; and the final scene in which the boy is forced to demonstrate his "super" abilities, is awesome!

Without further ado, watch "Umkhungo" (which translates as "The Gift") below:
Heroes  South_Africa  movie  video 
september 2015 by Quercki
Prosecutors rest their case in Colorado theater shooting - Las Vegas Sun News
CENTENNIAL, Colo. — Prosecutors in the Colorado theater shooting trial rested Friday, concluding their argument that James Holmes methodically planned and executed the 2012 massacre in a case that relied heavily — over defense objections — on victims' recollections of the carnage he inflicted inside the darkened cinema.


Over the past eight weeks, prosecutors weaved the testimony of experts and psychiatrists with the personal stories of survivors to try to convince jurors that Holmes was sane when he opened fire on a midnight showing of the Batman film "The Dark Knight Rises." The former neuroscience student killed 12 people and wounded 70.

The prosecution called as their last witness Ashley Moser, who was paralyzed and suffered a miscarriage in the attack. Her 6-year-old daughter, Veronica, was killed.

Moser came to the witness stand in a motorized wheelchair. She described hearing what she thought were kids setting off fireworks in the theater, and wanting to leave. She reached for her daughter's hand, but it slipped away.

Moser then recalled standing up and getting hit in the chest. "I remember falling and landing on her," she said.

Holmes' lawyers will now begin calling their own psychiatrists and presenting other evidence to argue Holmes was in the grips of a psychotic episode at the time of the shootings and should be found not guilty by reason of insanity. They plan to begin their case Thursday.

The defense says Holmes' mental illness distorted his sense of right and wrong, a key factor the jury must consider in determining if he was sane. Holmes' attorneys say he should be committed to the state mental hospital.

Prosecutors are seeking the death penalty.

Holmes abandoned a prestigious graduate program at the University of Colorado-Denver before he opened fire at the suburban Denver movie theater where more than 400 people were watching the midnight premier.

Prosecutors showed jurors nearly 21 hours of Holmes' videotaped interviews with a state-appointed psychiatrist who concluded Holmes was seriously mentally ill but legally sane at the time of the shooting.

On the video, Holmes said he felt nothing as he took aim at fleeing moviegoers. Halting and awkward, he blurted out that he feared being stopped from committing what he acknowledged was a crime.
massacre  Colorado  movie  shooting 
june 2015 by Quercki
CineSource Magazine: Dyke Central Takes On the World
IT WAS AN UNUSUALLY WARM MARCH
afternoon when I sat down at Berkeley’s Local 123 cafe to catch up with my friend and fellow filmmaker Florencia Manóvil, notably about the long-awaited release of “Dyke Central,” her web series, which will come out on VOD on April 10th, 2015 (see the first episodes or the site).

An Oakland resident and 34, Florencia was born and raised in Buenos Aires but moved to the US when she was 18 to pursue film studies at Emerson College in Boston. After the release of her feature debut "Fiona's Script" (2008), which was shot in Oakland, Florencia began writing a second feature, "Star-Crossed".

When a friend donated $5,000 towards her next project, she decided to put it towards shooting a web series pilot she was also writing. “Dyke Central” is a 10-episode, 22-min. dramedy web-series based in Oakland, centering around the lives of Alex and Gin, 30-something butch roommates.

The series is unlike most other LGBT projects in that almost all of the characters are people of color and the lead roles are masculine-of-center identified.
Oakland  lesbian  movie 
march 2015 by Quercki
Review of the movie Agora
Let’s back up and fill in some missing historical context. The storming and destruction of the Serapeum of Alexandria was not a one-off event, but happened in a wider context of state-supported temple destruction around the Roman empire that had already been going on for six decades. A long string of imperial laws had attacked Pagan temples and worshippers throughout the 4th century. The years 354-58 have been described as a time of “religious fury.” [Chuvin, 39] Emperor Constantius ordered the temples closed and their treasures confiscated. He outlawed public sacrifice; whoever made offerings to the old gods, “let him be stricken by the avenging sword.” Diviners were to be burned and, soon, those who consulted them as well. By 371, emperor Valens extended the persecution to philosophers, astrologers, sophists, and “magicians,” and executed multitudes.

The edicts of emperor Theodosius I ranted “against the madness of Jewish impiety or the error and insanity of foolish Paganism.” In 388 this emperor ordered the destruction of temples in Syria, Asia Minor and Egypt. He also prohibited temple services and prayers, and in 391 decreed that “no one is to go to the sanctuaries, walk through the temples.” The emptied temples became sitting targets for fanatical monks emboldened by these imperial decrees against non-Christians. In some places bishops were destroying synagogues as well as temples. In Alexandria, before the attack on the Serapeum, they demolished another pagan temple and desecrated its statues. 

Bishop Theophilus of Alexandria led the charge to destroy the Serapeum in 391—the same year that the emperor extinguished the Vestal fire in Rome and abolished its college of priestesses. The bishop obtained an imperial order to demolish the massive temple, “the most magnificent building in the whole world” (the Artemision of Ephesus being already in ruins) with backup from the regional governor and military commander. In other words, it was Roman soldiers who felled it, not just the local parabalanoi thugs. While some temples were left standing and turned into stables and latrines, or supplanted by churches, the Serapeum was razed. Apparently the director was reluctant to destroy the lavish set, opting for the stables instead.
Hypatia  movie  review 
december 2014 by Quercki
Fruitvale Station & Oscar Grant: Why Our Anger Is Necessary
“Anger”— The very thing that many see as destructive is actually a tool that can be equipped to unite people. As Ms. Lorde said, “Anger is a grief distortion between peers and its object is change.” There are many nicer ways to build movements. You can invite people over for tea and crumpets, give a nice slide show presentation on the history of urban poverty, and even get elite college students to teach in black and brown communities for 3 minutes at a time. The “object” of these various notions can be made into a litany of things that “make a difference” but don’t bring substantive and progressive change. They can also be seen as a means to make the privileged feel better about inequalities that lead to their success, they can be a means of appeasing guilt, they can even be a means of bringing multiple groups into the same space, but these are not a means to change.

Ultimately, the honesty and bluntness of anger provides an opportunity to confront the aspects of our history and of ourselves that make us most uncomfortable and most susceptible to change. It is this anger I hope to harness and use towards a creating and joining a movement of young people that will no longer be silent. Young people that are tired of hearing narratives that ignore history and structural barriers. Young people that can no longer be complacent as poor people continue to be misused, silenced, and murdered. I believe there is a movement being built, and I believe it will be youth led, through analysis and activism. Black Youth Project 100 is ready, and coming.
Oscar_Grant  movie  racism  solutions 
july 2013 by Quercki
Oakland Film Office :: Filmed In Oakland
movies and commercials filmed in Oakland
Oakland  film  movie  images 
march 2011 by Quercki
Labyrinth As Feminist Myth — Hoyden About Town
Labyrinth, in 1986.

Jennifer Connelly is an absolute joy as teenage protagonist Sarah Williams, discovering her power – not just the power to solve the labyrinth of the title, but the power to resist the coercion of David Bowie’s illusionist Goblin King, Jareth. Sarah solves puzzles, makes friends, and navigates her way through a series of illusions and temptations, culminating in her rejection of the King’s power in a maze of Escher staircases.

Do other fantasy geeks of a certain age & background here remember holding your breath endlessly for that exquisite moment where Sarah remembers her line, “You have no power over me“?
movie  labyrinth  feminism 
july 2009 by Quercki
Bitch Flicks: Documentary: When Abortion Was Illegal
In this 1992 documentary directed by Dorothy Fadiman, women (and men) tell their stories about illegal abortions, reminding us of the necessity of safe and legal access for women.

The film was nominated for an Academy Award for Best Documentary Short in 1993, and is the first in a three-part series about abortion in America.
abortion  video  movie 
june 2009 by Quercki
Marx in Drag: Twilight: A Movie Review
A bargain that adolescent straight boys never have to negotiate, for the erotic is there for them on every billboard, in every advertisement, on every porn site, on every corner, and in every movie. The erotic world is there for straight boys’ taking.

For girls it is different. There is no pleasurable, fun, feel-like-a-(wo)man privilege in the erotic. There is only danger. Pregnancy, loss of reputation, sexually transmitted diseases, sexual assault, loss of their future. In a world of male privilege, these are real, but not inevitable dangers.

To reconcile themselves with these real dangers, adolescent girls are ingenious in how they negotiate sexuality. They strike a bargain.

The bargain is between a society that renders them the sexual objects of boys’ and men’s desire on the one hand and their own body-knowledge on the other. A steady boyfriend is one way to avoid stigma, STD’s, sexual assault, and pregnancy…if the girl chooses her boyfriend carefully.
privilege  sexism  adolescents  girls  movie 
december 2008 by Quercki

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