Hafsah Abbasi

Perhaps the most striking performance of the night was the band’s rendition of “Pink Rabbits,” an elegy to the wistfulness and disquieting melancholy that can endure (for Berninger, at least) even within long-term relationships.

Nearly coinciding with the glitzy and illustrious New York Film Festival, MVFF is like its equally cool younger sister. She deserves attention, too!

Of his latest ventures, though, it is “Killers of the Flower Moon” that best captures the interstices between silence and splendor, complicity and culpability. It’s as much a grand meditative set piece on the terrors of the American settler project as it is a self-reflexive castigation of one’s own filmography, of the inadequacy and immateriality of narratives themselves.

At Portola’s Pier stage, Sawayama embraced the most extravagant of her discography: “Comme Des Garçons (Like The Boys),” “STFU!” and “Dynasty” were key tracks on her rotation.

Chris Lake and Armand Van Helden stuck to their guns. The duo, Portola’s special guests, spent an hour and a half trading tracks on the Warehouse stage without giving up on the hallmarks of their music. 

Portola, which ran Sept. 30 and Oct. 1 at San Francisco’s Pier 80, gives special attention to acts that can’t be enjoyed at home.

The film sutures four nights of Talking Heads performances at Hollywood’s Pantages Theatre to construct a single show — and thereby a single narrative.

Charming the stage at UC Berkeley’s Greek Theatre, Fleet Foxes set their own standard with the earnest serenity of their opener “Sun Giant.”

“Just the phrase ‘pink bikini’ makes me laugh. It’s ludicrous,” Potter said. “I really did see a pink bikini in this shop window and I thought, ‘if I get that bikini, my life would be different. I’ll be attractive.'"

As in life, “Barry” sees that those who inch closer to acceptance earlier bear a few of the lived-in fruits of redemption.