Citizen Jane: Battle for the City, Director Matt Tyrnauer

 

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Citizen Jane: Battle for the City is a story about our global urban future, in which nearly three-fourths of the world’s population will live in cities by the end of this century. It’s also a story about America’s recent urban past, in which bureaucratic, “top down” approaches to building cities have dramatically clashed with grassroots, “bottom up” approaches. The film brings us back mid-century, on the eve of the battles for the heart and soul of American cities, about to be routed by cataclysmically destructive Urban Renewal and highway projects. The film details the revolutionary thinking of Jane Jacobs, and the origins of her magisterial 1961 treatise The Death and Life of Great American Cities, in which she singlehandedly undercuts her era’s orthodox model of city planning, exemplified by the massive Urban Renewal projects of New York’s “Master Builder,” Robert Moses. Jacobs and Moses figure centrally in our story as archetypes of the “bottom up” and the “top down” vision for cities. They also figure as two larger-than-life personalities: Jacobs—a journalist with provincial origins, no formal training in city planning, and scarce institutional authority—seems at first glance to share little in common with Robert Moses, the upper class, high prince of government and urban theory fully ensconced in New York’s halls of power and privilege. Citizen Jane: Battle for the City gives audiences a front row seat to this battle, and shows how two opposing visions of urban greatness continue to ripple across the world stage. In perilous times for the city and for civil rights, Citizen Jane offers a playbook, courtesy of Jane Jacobs, for organizing communities and speaking the truth to entrenched and seemingly insurmountable powers. Director Matt Tyrnauer joins us to talk about a citizen activist whose vision and principals resonate to this day.

For news and updates go to: Citizen Jane: Battle for the City

Citizen Jane at the Nuart Theatre in Los Angeles starting April 28th

“In a spritely edited feature, Tyrnauer pushes his audience to make the connection between the turbulent growth spurts of the 1950s and 1960s with today’s political aspirations.” – Flias Savada

“Jacobs argued that what looks to officialdom like disorder is actually what makes a crowded human landscape function – it’s just a more complex order. This compelling documentary lets you see the beauty she found in that complexity.” – Bob Mondello, NPR

“It’s a story that needs periodic retelling, and Mr. Tyrnauer has heightened the human drama by focusing on Jacobs, an improbable David to Moses’s Goliath.” – Joe Morgenstern, Wall Street Journal

“A fascinating documentary captures the showdown, half a century ago, between the activist Jane Jacobs and the Trumpian urban planner Robert Moses: a fight for the future of New York.” – Owen Gleiberman, Variety

One Week and 1 Day, Director Asaph Polonsky

 

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In the Jewish religion, a week of sitting Shiva (or mourning the deceased) is called for after a funeral. However, for Eyal and Vicky, a week is hardly enough time to properly mourn the loss of their 25-year-old son Ronnie. A married couple edging into the back half of middle age, the two find themselves reacting to the end of Shiva in markedly different ways.  A return to routine seems to be in order for Vicky, a teacher, as she finds herself back at school trying to abruptly kick out the substitute assigned in her stead. Meanwhile, shopkeeper Eyal opts for a total abdication of routine, as he steals his dead son’s bag of medical marijuana, and proceeds to get high, play ping-pong and judge air guitar routines with his neighbor’s stoner son Zooler. As the world refuses to accommodate Vicky and Eyal’s sensitivities during their time of bereavement — taxi drivers are still difficult, neighbors are still obnoxious, and grave diggers are just as indifferent as anyone else in the service industry — the two grieving parents find themselves acting out in outlandish ways as they attempt to regain a sense of control over their lives. Asaph Polonsky’s debut feature ONE WEEK AND A DAY juxtaposes the grieving process against the immutable fact that, despite the most painful losses imaginable, the world stops for no one’s mourning. With endearing performances from Shai Avivi and Evgenia Dodina as Eyal and Vicky, and Tomer Kapon as Zooler, ONE WEEK AND A DAY provides a nuanced perspective on loss that’s as funny as it is insightful. Director Asaph Polonsky joins us to talk about his thoughtful and nuanced film of loss, grieve and resilience.

For news and updates go to: oneweekandaday.oscilloscope.net

“Tears of laughter and tears of grief are both in abundant supply in Asaph Polonsky’s uproariously funny and heart-wrenchingly moving ONE WEEK AND A DAY.” – Ben Croll, THE WRAP

“A sweet and subdued look at the absurdity of life after death.” – David Ehrlich, INDIEWIRE

“The strength of Asaph Polonskys debut feature is that it’s actually a bittersweet comedy-drama in which the pain is as real as the frequent chuckles.” – Boyd van Hoeij, THE HOLLYWOOD REPORTER 

“Asaph Polonsky’s moving, deceptively simple film ONE WEEK AND A DAY looks at that supremely difficult day after the shiva ends.”Hannah Brown, – THE JERUSALEM POST

“Polonsky resists easy sentimentalisation…the moments of stillness have real potency.”Wendy Ide, SCREEN INTERNATIONAL

Karl Marx City, Co-directors Petra Epperlein and Michael Tucker

 

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In this chilling, intimate and evocative documentary, KARL MARX CITY filmmaker Petra Epperlein returns to the proletarian Oz of her childhood, twenty-five years after the collapse of the German Democratic Republic (GDR), to find the truth about her late father’s suicide and his rumored Stasi past. The Stasi, the GDR’s Ministry for State Security, was the “shield and sword” of a ruling party that was well aware of the illegitimate nature of its power. This was, after all, a country living on one side of a wall erected—officially—not to keep the people in, but to keep the fascists out. Under the guise of combating reactionary forces, the apparatus implemented a policy of total surveillance. Much like her GDR hometown, Karl Marx City, which was redacted from public memory after German reunification, Petra Epperlein’s father erased himself. Right after the new year in 1999, he cleaned his car, burned all of his photographs and letters, and then took his own life near the house where she was raised. Had he been an informant for the secret police? Was her childhood an elaborate fiction? As she looks for answers in the Stasi’s extensive archives, she pulls back the curtain of her own ostalgia and enters the parallel world of the security state, seeing her former life through the lens of the oppressor. KARL MARX CITY Reconstructs everyday GDR life through declassified Stasi surveillance footage, the past plays like dystopian science fiction, providing a chilling backdrop to interrogate the apparatus of control and the meaning of truth in a society where every action and thought was suspect. Co-directors Petra Epperlein and Michael Tucker (Gunner Palace, The Prisoner Or How I Planned to Kill Tony Blair) join us for a conversation on going home, what it means to live in a surveillance state and facing down a complex crosscurrent of family history. 

For news and updates go to: karlmarxcity.com

“… a shrewd personal inquiry into the mass psychology of fear and oppression … a film that ingeniously subverts the weaponry of Cold War-era surveillance, employing the tools of the Stasi’s intelligence-gathering operation toward a far more principled end. Whereas the secret police sought to root out and destroy even the slightest hint of subversive activity among a terrified populace, Epperlein and Tucker sift through these illicit materials — and forge their own fresh images and interviews — with an eye toward illuminating the truth and possibly even vindicating the innocent. … Shot in evocative black and white, Karl Marx City is a sleek, absorbing detective story, a fascinating primer on mass surveillance in the pre-Snowden era, and a roving memoir of East German life.” – Justin Chang, LA Times 

New York Times Critic’s Pick: “… a smart, highly personal addition to the growing syllabus of distressingly relevant cautionary political tales. … The mystery of her (Epperlein’s) father’s life and death provides Karl Marx City with suspense, and with a concrete sense of profound moral and emotional stakes. Repressive regimes excel at creating ambiguity, at making complicity easier than resistance and at blurring the lines between heroes and villains. Ms. Epperlein and Mr. Tucker, shooting in black and white and making judicious use of historical footage, brilliantly evoke a landscape of gray areas. They also uncover glimmers of decency, loyalty and solidarity — the tiny cracks in the totalitarian edifice that foretold its eventual and inevitable collapse.” – A.O.Scott, The New York Times

“[A] must-see… An essayistic, quietly moving look at another lost world… The movie draws you in quickly with its intelligence, its restrained emotions and its jaw-dropping period material, which includes some wildly creepy Stasi surveillance imagery.” – Manohla Dargis, The New York Times

Finding Oscar, Director Ryan Suffern

 

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FINDING OSCAR is the feature-length documentary about the search for justice in the case of the Dos Erres massacre in Guatemala in 1982. That search leads to the trail of two little boys, Oscar and Ramiro, who were abducted during the slaughter and raised by some of the very soldiers who had murdered their families. These boys offer the only living evidence that ties the Guatemalan government to the massacre. FINDING OSCAR follows the men and women who have spent nearly two decades looking for answers—from the human-rights worker who first heard the story to the forensic anthropologists trying to identify victims and contact families. The film profiles the young Guatemalan prosecutor who took on her own government, and the U.S. immigration agents who began rounding up war criminals found living in the States. In a country built on impunity, it will take this dedicated team to find justice more than thirty years later, and uncover a truth more significant than anyone could have imagined. Filmmaker Ryan Suffern is producer and director of FINDING OSCAR, with Frank Marshall as producer and Steven Spielberg as Executive Producer. Director Ryan Suffern joins us to talk about the victims, the families, the impact that these massacres continue to have on the people of Guatemala and the continuing search of justice.

For news and updates go to: filmrise.com/finding-oscar

“A twisty, protracted fight for justice is deftly traced in “Finding Oscar,” an absorbing, if grim, documentary …” – Gary Goldstein, LA Times

“The barbarity described in “Finding Oscar” is stomach-turning, but moments of courage still shine through in this unsettling yet vital documentary.” – Ken Jaworoski, New York Times

“Suffern strikes a respectful, not entirely hopeless tone throughout, allowing those affected by the civil war in general and the Dos Erres massacre in particular to speak at length about their experiences.” – Michael Nordine, Village Voice

“An absorbing documentary about an unlikely survival story.” – Todd McCarthy, Hollywood Reporter

Take My Nose Please…A Joan Kron Film, Director Joan Kron

 

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TAKE MY NOSE PLEASE is a seriously funny and wickedly subversive look at the role comedy has played in exposing the pressures on women to be attractive and society’s desire/shame relationship with plastic surgery. More than 15 million cosmetic procedures were performed in the US in 2014.  And 90% of them on were done on women. Yet, for those who elect to tinker with Mother Nature, especially for high-profile women, plastic surgery is still a very dark secret.  Funny women, though, are the exception.  From Phyllis Diller and Joan Rivers to Roseanne Barr and Kathy Griffin, comedians have been unashamed to talk about their perceived flaws, and the steps taken to remedy them. TAKE MY NOSE PLEASE follows two comedians as they deliberate about going under the knife. Emily Askin, an up-and coming improv performer, has always wanted her nose refined. Jackie Hoffman, a seasoned headliner on Broadway and on TV, considers herself ugly and regrets not having the nose job offered in her teens. And maybe she’d like a face-lift, as well. As we follow their surprisingly emotional stories, we meet other who have taken the leap – or held out. Putting it all in perspective are psychologists, sociologists, the medical community and cultural critics. And for comic relief and the profundity only comedians can supply.  The film includes commentary from Roseanne Barr, Phyllis Diller, the late Joan Rivers,Judy Gold, Julie Halston, Lisa Lampanelli, Giulia Rozzi, Bill Scheft, and Adrianne Tolsch. Director Joan Kroc joins us to talk her engaging. lively, funny and enlightening debut film.

For news and updates go to: takemynoseplease.com

See “Take My Nose Please” next Thursday evening (5:15 PM) at Big Newport Theatre in Fashion Island for the Newport Beach Film Festival

Check out a recent article from the Wall Street Journal on Take My Nose Please

The Green Fog – A San Francisco Fantasia, Composer Jacob Garchik


 

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Jacob Garchik, multi-instrumentalist and composer, was born in San Francisco and lived in New York since 1994. At home in a wide variety of styles and musical roles, he is a vital part of the Downtown and Brooklyn scene, playing trombone with the Lee Konitz Nonet, Ohad Talmor/Steve Swallow Sextet, Mary Halvorson Octet, and the John Hollenbeck Large Ensemble. He has released 4 albums as a leader including “The Heavens: the Atheist Gospel Trombone Album”. He co-leads Brooklyn’s premiere Mexican brass band, Banda de los Muertos. Since 2006 Jacob has contributed dozens of arrangements and transcriptions for Kronos Quartet of music from all over the world. He composed the score for Kronos for the documentary “The Campaign” (2013), and “The Green Fog” (2017) directed by Guy Maddin. He has created arrangements for vocalists Anne Sofie von Otter, Angelique Kidjo, Laurie Anderson, Rhiannon Giddens, kd lang, Natalie Merchant, Tanya Tagaq, and Alim Qasimov. Garchik returns to San Francisco Sunday, April 16 for a live performance during the 60th San Francisco International Film Festival’s closing night screening of The Green Fog – A San Francisco Fantasia. Commissioned by the San Francisco Film Society, that reimagines one of the most iconic San Francisco films of all time, Vertigo, as a visual collage by award-winning filmmaker and cultural iconoclast Guy Maddin. The Green Fog will screen at the historic Castro Theatre on Sunday, April 16 at 7:00 pm, followed by the Closing Night Party at Mezzanine. Jacob Garchik joins us for a conversation on collaborating with director Guy Maddin and his own musical journey.

 For news and updates go to: jacobgarchik.com

For news and updates on the 2017 San Francisco International Film Festival go to: sffilm.org/festival

Chasing Trane: The John Coltrane Documentary, Director John Scheinfeld

 

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CHASING TRANE: THE JOHN COLTRANE DOCUMENTARY is a thought-provoking, uplifting, powerful and passionate film about an outside-the-box thinker whose boundary-shattering music continues to impact and influence people around the world. This rich, textured and compelling portrait of a remarkable artist reveals the critical events, passions, experiences and challenges that shaped the life of John Coltrane and his revolutionary sounds. It is a story of demons and darkness, of persistence and redemption. But, above all else, it is the incredible journey of a spiritual warrior who found himself, found God, and in the process, created an extraordinary body of work that transcends all barriers of race, religion, age and geography. It is a film for anyone who appreciates the power of music to entertain, inspire and transform. The beauty, poignancy, energy, pain, joy and inspiration heard in nearly 50 Coltrane recordings from throughout his career brings alive the artist and the times in which he lived. Even those familiar with his music will be able to hear and appreciate the music of John Coltrane in a new and exciting way. Although Coltrane never participated in any television interviews (and only a handful for radio) during his lifetime, he has an active and vibrant presence in the film through his print interviews. These words — spoken by Academy Award winner Denzel Washington – illuminate what John Coltrane was thinking and feeling at critical moments throughout his life and career. CHASING TRANE: THE JOHN COLTRANE DOCUMENTARY was written and directed by critically-acclaimed documentary filmmaker John Scheinfeld (The U.S. vs. John Lennon and Who Is Harry Nilsson…?). He joins us to talk about his moving, insightful portrait of a music icon whose music and philosophy continues to inspire.

For news and updates go to: coltranefilm.com

For screenings: coltranefilm.com/screenings

“Chasing Trane: The John Coltrane Documentary unfolds the life of the galactic saxophonist whose soulful approach to music incessantly spread light, peace, and love into the world.” – Felipe Freitas, Film Threat

“Scheinfeld’s film does the hardest thing for a bio-doc to do: it gets what’s great about the artist, and moves you in the same ways their art does.” – Jason Bailey, Flavorwire

“Director John Scheinfeld’s doc is a comprehensive, engrossing and, it’s tempting to say, worshipful account of the life of the music titan.” – Todd McCarthy, Hollywood Reporter

Daughters of the Dust, Director Julie Dash

 

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Set in the legendary Sea Islands off the South Carolina/Georgia coast in 1902, Julie Dash’s DAUGHTERS OF THE DUST (1991) follows a Gullah family (descendants of West African slaves) on the eve of its migration to the North. Led by a group of women who carry with them ancient African traditions, the extended family readies itself to leave behind friends, loved ones and their insulated way of life. Can these women hold fast to their sacred religious beliefs and customs, or will their world be swept away in the course of a new century? This richly costumed drama, structured in tableaux to reflect the art and icons of African tradition, testifies movingly to the secret celebrations and packed-away sorrows of African-American women. These vital images were introduced to a new generation on a massive scale earlier this year, when the film was heavily referenced in Beyoncé’s visual album, Lemonade. DAUGHTERS OF THE DUST became the first film by an African-American woman ever to receive widespread theatrical release. Enriched by John Barnes’s eclectic score and Arthur Jafa’s Sundance Film Festival-prize-winning cinematography, listed in the National Film Registry DAUGHTERS OF THE DUST was hailed as one of the most visually and sonically ravishing in American independent cinema. Director Julie Dash joins us for a conversation on her sweeping, absorbing and poetic homage to African culture.

For news and updates go to: daughters-of-the-dust

“Every image, every moment is a full creation. Dash is one of the heroines of the modern cinema.” – Richard Brody, The New Yorker

“A film of spellbinding visual beauty. Julie Dash emerges as a strikingly original filmmaker.” – Stephen Holden, The New York Times

“Daughters of the Dust abounds with stunning motifs and tableaux, the iconography seemingly sourced from dreams as much as from history and folklore.” – Melissa Anderson, Village Voice

“Its examination of a bygone way of life is so patient and evocative, so beholden to its own storytelling conventions and rhythms, that watching it is a bit like submitting to a form of time travel” – Justin Chang, Los Angeles Times

Little Boxes, Director Rob Meyer

 

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It’s the summer before 6th grade, and Clark (Armani Jackson) is the new biracial kid in a very white town. Discovering that to be cool he needs to act ‘more black’, he fumbles to meet expectations. Meanwhile, his urban intellectual parents Mack (Nelsan Ellis) and Gina (Melanie Lynskey) try to adjust to small-town living. Accustomed to life in New York, the tight-knit family is ill-prepared for the drastically different set of obstacles that their new community presents. They soon find themselves struggling to understand themselves and each other in this new context. Based on a true story, LITTLE BOXES is a poignant comedy about understanding identity, featuring a cast that also includes, Oona Laurence, Janeane Garofalo and Christine Taylor. Director Rob Meyer joins us to talk about his funny, insightful and complex film.

“Even as some of the supporting players and subplots veer toward caricature, the family dynamics at the film’s center remain entirely relatable.“ – Geoff Berkshire, Variety

“Writer Annie J. Howell and director Rob Meyer stack up their woes without making them feel contrived, so when the breakdown comes, it’s real, and it’s heartbreaking.” – Jason Bailey, Flavorwire

“Jackson, Lynskey and Ellis all deliver effortless performances that further illuminate an essential narrative.” – Reel Talk Online

“Countless movies have examined what happens when a country mouse goes to the city; this one shows that leaving a gentrified urban oasis for a small-town world can be just as jolting.“ – Neil Genzlinger

Tickling Giants, Subject Bassem Youssef

 

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TICKLING GIANTS is a great story about the power of political satire in the face of oppression. In the midst of the Egyptian Arab Spring, Bassem Youssef makes a decision that’s every mother’s worst nightmare… He leaves his job as a heart surgeon to become a full-time comedian. Dubbed, “The Egyptian Jon Stewart,” Bassem creates the satirical show, Al Bernameg. The weekly program quickly becomes the most viewed television program in the Middle East, with 30 million viewers per episode. The Daily Show with Jon Stewart averaged two million viewers. In a country where free speech is not settled law, Bassem’s show becomes as controversial as it popular. He and his staff must endure physical threats, protests, and legal action, all because of jokes. As Bassem attempts to remain on the air, keep his staff safe, and not get arrested, he continues to let those in power know they’re being held accountable. Despite increasing danger, the team at Al Bernameg employ comedy, not violence, to comment on hypocrisy in media, politics, and religion. Directed by Sara Taksler TICKLING GIANTS follows the team of Al Bernameg as they discover democracy is not easily won. The young women and men working on Bassem’s show are fearless revolutionaries, who just happen to be really, really funny. The subject of Tickling Giants, Bassem Youssef joins us for a conversation on the cost and consequences of speaking out.

For news and updates go to: ticklinggiants.com

“Tickling Giants surprises us on several levels. It reveals Egypt’s familiar Arab Spring experience through a lens, that of satiric comedy, which is very different from the way we usually see it. And it has the personal element of Youssef’s involving story.” – Kenneth Turan, Los Angeles Times

“Mostly, the movie makes you understand how every society – and ours more than ever – needs people like Bassem Youssef to demonstrate that laughter will always be one of the essential ways to keep power in check.” – Owen Gleiberman, Variety

“There’s a lot to laugh at, and to learn from, in “Tickling Giants,” a documentary that starts off by telling the story of one man and ends up speaking volumes about satire, freedom of expression and political pressure.” – Ken Jaworoski, New York Times

“Media are their own giant, they shape beliefs and create community, instill hope and fear. Perhaps it’s a lesson that will be taken seriously by viewers in the US.” – Cynthia Fuchs, PopMatters

Audience Awards Film Festival CEO & Founder Page Williams

 

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Audience Awards is a company started by filmmakers for filmmakers, we have a deep desire to do what we can to introduce you to real opportunity and connection. Submit quality content for our creative and brand contests and grab your chance to win cash, prizes and screenings at some of the most amazing film festivals on the circuit. It’s not the norm to play up a film festival as your first, but Audience Awards isn’t the norm and this isn’t your normal film festival. With an online community of over 150,000 filmmakers and film lovers, AudFest is our filmmaker family reunion! We’ve known many of you for years online and now we get to meet face-to-face. We’ve planned some amazing things for you in preparation.  With a focus on innovation and diversity in short-form filmmaking, this four-day fest hosts panels and workshops with the top tier in this industry on branded content, Super 8 film, festival strategy, social impact of filmmaking and more. A company started by filmmakers for filmmakers, we have a deep desire to do what we can to introduce you to real opportunity and connection. Attendees will have access to representatives from Women In Film, SAG-AFTRA, SAGIndie, Paramount, Filmmakers Alliance and VICE, to name a very few. Audience Awards CEO and Founder Paige Williams stops by for a conversation on the quality and diversity of short films being produced and the support that Audience Awards is providing to that filmmaking community.

For news and updates go to: theaudienceawards.com and theaudienceawards.com/audfest