I frequently say that I am fickle. I’ve always had an inordinate number of interests and move between them constantly — and perhaps you could call me indecisive, writes Olivia Popp.

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As themes come and go, some short-lived and others with a deep history, they each hold a vibrant and integral place in Stanford’s housing history, frequently living on through institutional knowledge as informal themes.

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This is the seventh piece in the Sundance Film Festival 2021 series by Julie Fukunaga and Olivia Popp. Follow along for coverage of films from Sundance’s reimagined virtual festival.

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This is the sixth piece in the Sundance Film Festival 2021 series by Julie Fukunaga and Olivia Popp. Follow along for coverage of films from Sundance’s reimagined virtual festival.

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This is the fourth piece in the Sundance Film Festival 2021 series by Julie Fukunaga and Olivia Popp. Follow along for coverage of films from Sundance’s reimagined virtual festival.

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This is the third piece in the Sundance Film Festival 2021 series by Julie Fukunaga and Olivia Popp. Follow along for coverage of films from Sundance’s reimagined virtual festival.

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This is the second piece in the Sundance Film Festival 2021 series by Julie Fukunaga and Olivia Popp. Follow along for coverage of films from Sundance’s reimagined virtual festival.

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SF Playhouse makes a triumphant return in its premiere production of the 2020-21 season with Yasmina Reza’s 1998 Tony Award-winning play “Art,” translated by Christopher Hampton (originally in French) and directed by SF Playhouse artistic director Bill English. As a Bay Area theater that often brings new plays by both emerging and established playwrights to…

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The film takes a two-pronged approach by telling the unique and relatively unknown history of the electronic “Keyboard Fantasies” album while also following several of Glenn’s tour performances.

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Chang-rae does, in fact, reach his breaking point in the “Coming Home Again,” and it’s a stunning moment of catharsis for both Chang-rae and the viewer, demonstrating the efficacy of such hard-won moments in Wang’s measured filmmaking style.

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At only 71 minutes, “Forgotten Roads” is quite short and has much more room to play. We never truly see the spaceships, but they’re spoken about everywhere; the allegory doesn’t quite land, but at the same time, it doesn’t detract from the narrative, either.

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In these three LGBTQ films, all of which could be considered coming-of-age films beyond featuring teens or young adults, something is learned and hard, existential truths about the world are taught. This, of course, is often a hallmark of coming-of-age films. But “Alice Júnior,” “No Hard Feelings” and “Cocoon” all take the coming-of-age narrative and run with it in different directions, situated terrifically within their national and cultural contexts.

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Frameline, also known as the San Francisco International LGBTQ+ Film Festival, is one of the largest LGBTQ+ film festivals in the U.S.

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With theaters closed and having discovered a renewed need for film discussion, The Daily is coming to you with some unconventional mid-summer coverage. This also comes as Sundance critic and audience favorites begin to have online releases. Hooray!

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"Shorts-at-home," rebooted! Former A&L Managing Editor Olivia Popp will be going through and handpicking a set of three excellent short films...

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Former A&L Managing Editor Olivia Popp will be going through and handpicking a set of three excellent short films from a selection of current online film festivals, with emphasis on variety — genre, style, language, you name it — and the ability to watch the triptych in under an hour.

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Former A&L Managing Editor Olivia Popp will be going through and handpicking a set of three excellent short films from a selection of current online film festivals, with emphasis on variety — genre, style, language, you name it — and the ability to watch the triptych in under an hour.

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This is the second piece in the Daily’s 2020 Sundance Film Festival series by Arts & Life writers Julie Fukunaga and Olivia Popp.

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“Official Secrets” seems to strip down Gun’s tale almost too much, leaving behind B-plot storylines that could have been so much richer and emotional, like the government’s egregious attempts to deport her Turkish husband in order to slow down Gun.

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Unless something else quickly comes along (“Frozen 2,” I’m waiting!), “Wild Rose” is the heartwarming, emotional and uplifting musical film of the year. There have been films like “Yesterday” and “Blinded by the Light,” but none of them astound like “Wild Rose.”

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This article is the first in a series of three articles on the 27th Filmfest Hamburg, taking place from September 26, 2019, to October 5, 2019. Noah Baumbach’s “Marriage Story” is a simple concept — even the title has a storybook-ish quality — with masterful execution. Nicole met Charlie, and both were swept off their…

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James Gray’s “Ad Astra” puts Brad Pitt in space, with a pleasant and dichotomously different character portrayal than his role in “Once Upon a Time in Hollywood.” It’s perhaps the most satisfying space-themed film I’ve seen in a while, but it’s not without its flaws. Roy McBride (Pitt) is told that his long-lost astronaut father…

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From honest and touching to absurd and comedic, the following films — all German! — tell a variety of standout stories with queer narratives.

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This article is the second in a series of three articles on the 30th Hamburg International Queer Film Festival (Lesbisch Schwule Filmtage Hamburg), taking place from October 15, 2019, to October 20, 2019. The festival is Germany’s oldest and largest queer film festival. Of the numerous works at IQFF, many of the feature films screened…

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