Oscar nominee Feras Fayyad (“Last Men in Aleppo”) delivers an unflinching story of the Syrian war with his powerful new documentary, THE CAVE. For besieged civilians, hope and safety lie underground inside the subterranean hospital known as the Cave, where pediatrician and managing physician Dr. Amani Ballor and her colleagues Samaher and Dr. Alaa have claimed their right to work as equals alongside their male counterparts, doing their jobs in a way that would be unthinkable in the oppressively patriarchal culture that exists above. Following the women as they contend with daily bombardments, chronic supply shortages and the ever-present threat of chemical attacks, THE CAVE paints a stirring portrait of courage, resilience and female solidarity. Director and writer Feras Fayyad stops by to talk about the unbelievable courage of the hospital staff led by Dr. Amani Ballor, and the volunteers as they keep an otherwise harrowing day-to-day nightmare from devolving into soul-destroying chaos.
**WINNER – Audience Award – Toronto International Film Festival 2019
**WINNER – Audience Award – Camden International Film Festival 2019
**SPECIAL JURY MENTION – Camden International Film Festival 2019
“Miraculous. A standout. Feras Fayyad’s powerful portrait audaciously puts women’s imperative contribution to survival front and center.” – Tomris Laffly, Variety
“Look no further than The Cave for a portrait of true heroism. Provides astonishingly immediate and gripping footage of the collective effort to survive. The Cave ranks among the best of films to portray the tragedy of the Civil War in Syria and the resilience of the everyday people who keep the spirit of the nation alive.” – Pat Mullen, POV
“Emotionally Moving. Both intensely real and a carefully wrought work of cinema.” – Caryn James, The Hollywood Reporter
“Gripping. Unprecedented. A real-time thriller. Fayyad excels at finding small moments that take on poetic resonance.” – Eric Kohn, IndieWire
In this brilliant followup to his award-winning documentaries (SENNA, AMY) DIEGO MARADONA captures the athletic brilliance and maddening duality of a soccer player widely considered to be best player in the world from the moment he burst onto the scene in his native Argentina. And yet success proved elusive. He failed at Barcelona. He was considered a problem player, too interested in partying. Meanwhile, having never won a major tournament, the ailing Italian football giant SSC Napoli were perennial underachievers. Their fanatical support was unequalled in both passion and size. But how they ached for success… On 5th July 1984, Diego Maradona arrived in Naples for a world-record fee and for seven years all hell broke loose. The world’s most celebrated football genius and the most passionate but dangerous city in Europe were a perfect match for each other. Diego Maradona was blessed on the field and treated like a God off it; the charismatic Argentine loved a fight against the odds and led Naples to their first-ever League title. It was the stuff of dreams. But there was a price… Diego could do as he pleased while performing miracles on the pitch, but as time passed, darker days closed in. Italy turned on him. The third film from the Academy Award-winning & multi-BAFTA-winning team behind SENNA and AMY (director Asif Kapadia, producer James Gay-Rees, editor Chris King, composer Antonio Pinto), and also Paul Martin, DIEGO MARADONA was constructed from over 500 hours of never-before-seen footage from Maradona’s personal archive.DIEGO MARADONA is crafted in the style of SENNA and AMY. It is the definitive feature documentary on the charismatic enigma that is Maradona. In a city where even the devil would need bodyguards, Diego Maradona became a god. Maradona in Naples is the story of his life, the wild and unforgettable story of an unrivalled talent. He was a rebel, cheat, hero and god. This is a story of glory, despair and betrayal, a tale of corruption and, ultimately, of redemption. Director / Producer Asif Kapadia joins us to talk about the enigma of “Diego” and “Maradona.”
“MESMERIZING… one of the most colorful and fascinating personalities in all of sports, with a life story bordering on the mythic. You may know outlines of the soccer legend’s life, but there’s no way you won’t learn something from DIEGO MARADONA, Asif Kapadia’s absorbing and exhaustive new film.” – Jocelyn Noveck, Associated Press
“a fame-technique movie, measured in crowd roars, off-field revelry, media run-ins, and fan scrums as dizzying accoutrements to success, but also – when Maradona succumbed to scandals surrounding women, an unclaimed son from an affair, cocaine, loyalty, and powerful mob friends – in how those same trappings can suddenly turn vicious, and a hero’s fall can go shockingly unsupported.” – Robert Abele, Los Angeles Times
“[Kapadia] has edited cruddy video footage (some of which appears barely more than camcorder-grade) and photographs into a movie so fluid that it moves like a Hollywood production. He also dispenses with much of the filler common to documentaries… It is exhausting and exhilarating, cheap looking and slick, a documentary for Maradona fans but also for many others besides.” – Ben Kenigsberg, The New York Times
“Asif Kapadia has put together an extraordinarily intimate account of [Diego Maradona’s] rise and fall, enriched by grainy but graphic footage recording every phase of his life.” – Sandra Hall, Sydney Morning Herald
ON THE PRESIDENT’S ORDERStell the searing story of President Rodrigo Duterte’s bloody campaign against drug dealers and addicts in the Philippines, told with unprecedented and intimate access to both sides of the war – the Manila police, and an ordinary family from the slum. Shot in the style of a thriller, this observational film combines the look and feel of a narrative feature film with a real life revelatory journalistic investigation into a campaign of killings. The film uncovers a murky world where crime, drugs and politics meet in a deathly embrace – and reveal that although the police have been publicly ordered to stop extra-judicial killings, the deaths continue. Director / Producer James Jones and Director / Cinematographer Olivier Sarbil join us for a conversation on the challenges of gaining access to the police, the victims of police violence and the draconian drug policy being enforced by a dictatorial, human-rights abusing regime.
Director and Producer – James Jones is an award-winning British director who makes documentary films for international television and theatrical release. His documentaries tackle important issues through powerful personal stories told in a filmic style and narrative. He has made films about police shootings in America, suicide in the military, wars in Ukraine and Gaza, and undercover investigations in Saudi Arabia and North Korea. His background in current affairs investigations means the films still have a hard journalistic edge while using the craft techniques of documentary. His films have won two Emmys, three DuPonts, a Grierson, a Rory Peck, a Frontline Club, a Royal Television Society, a Broadcast Award, two Overseas Press Club of America, two Golden Nymphs, and a Venice TV Award, as well as being nominated five times at the BAFTAs. Recently, he co-directed the Emmy-winning Mosul with Olivier Sarbil.
Cinematographer and Director – Olivier Sarbilis an award-winning French documentary director and Emmy-winning cinematographer based in London. Over the past decade, Olivier has covered conflicts and critical social issues across Asia, the Middle East, Africa, Europe and North America. With strong visual storytelling, Olivier’s films are intimate and human, conveying emotions through beautiful and cinematic imagery. His work has been recognized with awards from a variety of organizations, including, Emmy for Outstanding Cinematography, DuPont, Royal Television Society, One World Media, Overseas Press Club of America, Broadcast Awards, Bayeux-Calvados for war correspondents (twice), Golden Nymph, Rory Peck, Venice TV Award, Frontline Club, Grand Award and Gold Medal at the New York Festivals International TV & Film. His imagery has also garnered a BAFTA Nomination for Best Cinematography.
“A shockingly alarming investigation produced with the sensibilities of a social realist drama, Sarbil and Jones’ nonfiction warning should petrify U.S. viewers immeasurably.” – Carlos Aguilar, Los Angeles Times
“A wholly cinematic, sensory experience, with straight-ahead reportage electrified by glaring streetlights and a panicked urban wall of sound…” Guy Lodge, Variety
“On the President’s Orders is the disturbing observational documentary we’ve needed about the Philippines drug war, made with finesse and astonishing access.” Musanna Ahmed, Film Inquiry
Inspired by Lewis Hyde’s beloved classic The Gift: Creativity and the Artist in the Modern World, GIFTis a richly cinematic film, interweaving character‐driven stories. On North America’s Pacific Northwest Coast, a young Indigenous artist and carver undertakes the elaborate preparations for a potlatch – to make a name for himself by giving everything away. In Rome, Italy, a factory occupied by migrant families is transformed into a living museum, protected by a barricade of art : a model of resistance, and an invaluable gift. In the pirate utopia of Burning Man, a mutant bumblebee art car distributes honey in a post-apocalyptic desert landscape. Meanwhile, in Auckland, New Zealand, artist Lee Mingwei prepares to launch Sonic Blossom – a “transformative gift” of song.GIFT is a tribute to something that can’t be measured or counted, bought or sold. Exploring the parallels between artists’ work and a gift economy, it’s a reflection on the creative process, the reasons we “labour in service of our gifts”, and a celebration of the imagination. Director Robin McKenna joins us to talk about her beautifully meditative film about paying forward human connection and how communities can re-imagine the meaning of wealth and prosperity.
About the filmmaker:Robin McKenna is director, producer and writer of GIFT, a feature-length documentary and crossmedia project inspired by Lewis Hyde’s classic bestseller The Gift. She is currently making Thanadoula, a short animated documentary fairytale about a real-life “death doula”, in co-production with the National Film Board of Canada – and Medicine, a feature-length documentary over a decade in the making, about ayahuasca, medicine and healing, with Dr. Gabor Maté. She directed Genevieve Bujold: ArtVie, a short film tribute to Bujold on 16mm, for the Governor General’s Awards for the Performing Arts in 2018. Robin grew up in Montréal, and began making films with La course destination monde. Her cinematography credits include City of Borders (Berlinale, Hot Docs 2009) and The Take with Naomi Klein and Avi Lewis (AFI Best Documentary 2004).
Black babies don’t come from white people. Except this one just did. That’s what Jen (Sarah Butler) tells her husband Tom (Will McFadden). He says he believes her. But soon, amidst a constant barrage of questions from everyone, Tom’s doubts and worst fears take hold. Both new parents are scared by the thoughts entering their minds, and scared to share them with each other. Baby Liam seems to love their dear friend Ron (Jamie Hector) – but why does that make it harder for Tom? And why do people keep confusing Ron for Liam’s father? Maybe because they’re both black. By the time a twist is revealed that could explain the baby’s appearance, it may be too late. Before Tom and Jen can accept their child, they’ll have to accept themselves… or face living their lives apart. Starring Will McFadden, Sarah Butler, Jamie Hector, Rob Belushi, Zach Cregger, James Morrison, and Melora Walters. Doubting Thomas, winner of Best Screenplay, Best Actor, Audience Award, Best First Feature, will begin its theatrical run in Los Angeles on Friday, October 11th, ahead of its North American VOD / Digital release on October 15th, 2019 through Gravitas Ventures. Will McFadden’s directorial debut, DOUBTING THOMASbrings unconscious racism home in the innocence of a baby. A complex tale that touches on institutionalracism and assumed privilege, the concept for the film was born from the true story of a black man killed in police custody in a racially charged incident. That man’s son, Joseph Campbell, shares story by credit with McFadden. Director / Co-writer / Producer and Lead Actor Will McFadden joins us to talk about his thought provoking drama that raises a multitude of questions about the relevance of family history, trust and race.
In 2015, after Hassan Fazili’s documentary Peace in Afghanistan aired on Afghan national television, the Taliban assassinated the film’s main subject and put a price on Fazili’s head.Fearing for their survival, the Fazili family, Nargis, Zahra, and Fatima fled Kabul for Tajikistan. Yet after 14 months spent submitting asylum applications that were rejected again and again, they were deported back to Afghanistan. It was at this juncture that Fazili picked up his cell phone and hit the record button and with that Midnight Traveler began to take shape. Chronicling every step from inside the action, Fazili, his filmmaker wife, and their young daughters trek across Iran, Turkey, Bulgaria, and Serbia—scurrying through perilous landscapes, huddling in freezing forests, cramming into rattling vehicles. As they endure smugglers, gangs, and refugee camps, the camera witnesses not only the danger and desperation but also the exuberance and tenderness of this irresistible, loving family. For Fazili, framing their story becomes an assertion of control, humanity, and self-expression in a situation where none exists. With its radical subjectivity, visceral footage, and poetic form, Midnight Traveler is a migration story like no other. Producer Su Kim and Producer / writer / editor Emilie Mahdavian join us for a look at at Hassan and his remarkably resilient family as they attempt to overcome institutional and deadly political obstacles in their fight for freedom as seen through the eyes of his children, Zahra and Nargis and wife, Fatima. A fight for freedom that they have to win.
World Cinema Documentary Special Jury Award for No Borders
BERLIN INTERNATIONAL FILM FESTIVAL 2019
Prize of the Ecumenical Jury – Special Mention
100% on Rotten Tomatoes
“Modest but full of urgency, MIDNIGHT TRAVELER uses the power of smart phones to reveal a migrant family’s search for a safe haven. Gretchen Jude’s percussive, electronic score helps hold it all together. [The film] stands as a family’s joint testimony, heartfelt and heartbreaking, particular yet hauntingly representative.” – Caryn James, The Hollywood Reporter
“Has a home-movie quality that’s enormously effective in putting a human face on a global crisis.” – Scott Tobias, Variety
“What makes [the film] so moving, though, is the portrait that Fazili and Hussaini paint of both themselves as full, ungainly people, with flaws and hopes and perfections and their daughters who, in a way, are the stars [of the movie]. A languid, poetic film. [The parents] meditate on family, fear, equality, Islam, and the banality of everyday life. Throughout, though, it is hard not to forget that MIDNIGHT TRAVELER is a film of life or death which the score constantly reminds, and which infuses tensions into the narrative’s nooks and crannies.” – Gary Garrison, The Playlist
“A remarkable achievement…an affecting, essential documentary. The suffering, fear and humiliation that they experience is balanced by moments of warmth and an artist’s magpie eye for unexpected glimpses of beauty…While there have been numerous documentaries which deal with the plight of asylum seekers, there have been few which have shown, with this level of intimacy, the journey of a family from certain danger to an uncertain fate. It’s a film which deserves to be as widely seen as possible.” – Wendy Ide, Screen International
COLLISIONS follows the story of a twelve-year-old girl, Itan (Izabella Alvarez), a straight-A-student in San Francisco, who comes home from school to find their family’s furniture up-ended and no trace of her mother, Yoana (Ana de la Reguera), who was detained by Immigration and Custom Enforcement (ICE). Child Protective Services dumps Itan and her six-year-old brother Neto (Jason Garcia) with their estranged uncle Evencio (Jesse Garcia), a big rig truck driver. Itan can’t stand him. He’s arrogant, unreliable, and possibly a criminal. After a desperate search, Itan locates Yoana in an immigration detention center in Arizona and convinces Evencio to take them there.They are propelled onto the road in Evencio’s truck, through the maddening labyrinth of immigration detention. Itan fights to free her mother before she is deported. But her mother keeps slipping from her grasp, as she is transferred from prison to prison. Their journey takes them through the deserts of the southern border, to sprawling truck stops, border patrol offices and secret immigration prisons. Director / Producer / Writer / Editor Richard Levien joins us for a conversation on the inspiration for COLLISIONS, his desire to humanize the tragic stories behind the headlines and the corrosive impact that cruel, politically motivated policies can have on the lives of hardworking peoples lives.
A stunning sensory experience and cinematic meditation on humanity’s massive reengineering of the planet, ANTHROPOCENE: THE HUMAN EPOCH is a years-in-the-making feature documentary from the award-winning team behind Manufactured Landscapes (2006) and Watermark (2013) and narrated by Alicia Vikander. The film follows the research of an international body of scientists, the Anthropocene Working Group who, after nearly 10 years of research, argue that the Holocene Epoch gave way to the Anthropocene Epoch in the mid-twentieth century as a result of profound and lasting human changes to the Earth. From concrete seawalls in China that now cover 60% of the mainland coast, to the biggest terrestrial machines ever built in Germany, to psychedelic potash mines in Russia’s Ural Mountains, to metal festivals in the closed city of Norilsk, to the devastated Great Barrier Reef in Australia and massive marble quarries in Carrara, the filmmakers have traversed the globe using state of the art camera techniques to document the evidence and experience of human planetary domination. At the intersection of art and science, ANTHROPOCENE: THE HUMAN EPOCH witnesses a critical moment in our geological history. Co-directorsJennifer Baichwal, Nicholas de Pencier and Edward Burtynsky bring a provocative and unforgettable experience of our species’s ever-expanding breadth and devastating impact.
“Astonishment. Pure, lurid, ravishing, genuine astonishment. That is Anthropocene: The Human Epoch.” – Luke Hicks, Nonfics
“The [team’s] latest film is the culmination of a major body of work and it’s as visually stunning and intellectually invigorating as the previous two films are.” – Pat Mullen, POV Magazine
“To say that there are no easy answers to planetary woes is to state the obvious. But the film seeks to reveal rather than lecture, in the hope that our eyes will convince our brains to act before it’s too late.” – Peter Howell, the Toronto Star
“Its cinematography and passion for our planet make a strong case for your attention.” – Nick Allen, RogerEbert.com
“The luminous, terrifying and beautiful documentary “Anthropocene: The Human Epoch” feels like the culmination of the life’s work of its three directors… because it chronicles what could be the end of human life on Earth.” – Sean P. Means, The Movie Cricket
Claudia Lacy wants answers. When her 17-year-old son, Lennon, was found hanging from a swing set in Bladenboro, North Carolina, the authorities quickly ruled his death a suicide. In light of suspicious details surrounding his death, and certain that her son would not take his own life, Claudia is convinced Lennon was lynched. Jacqueline Olive’s unwavering debut film ALWAYS IN SEASON puts Lacy’s pursuit for justice into a wider historical context, inspiring a powerful discussion about lynching across racial lines. Appalling accounts of lynchings carried out at the beginning of the twentieth century provide a necessary historical framework, while an annual lynching reenactment in Monroe, Georgia, offers insight into the enduring legacy of racial violence in America. Olive’s layered exploration follows one African American family’s personal experience with a justice system that has failed so many, while also hinting at the promising first steps of a nation trying to reconcile. Olive’s film honors and acknowledges the injustices that have been inflicted, while emphasizing that only through the uncomfortable conversations and acceptance of our nation’s history will we begin to heal together. Director / Producer Jacquelin Olive joins us for a conversation on the bitter, pernicious and deadly legacy of the Confederacy and the enslavement of human beings in service to big business interests.
About the filmmaker: Director / Producer Jacquelin Olive is an independent filmmaker and immersive media producer with fifteen years of experience in journalism and \film. Her debut feature documentary, Always in Season, premiered in competition at the 2019 Sundance Film Festival and was awarded the Special Jury Prize for Moral Urgency. Jackie also co-directed the award-winning hour-long film, Black to Our Roots, which broadcast on PBS in 2009. Jackie has received artist grants and industry funding from Sundance Institute, Independent Television Service, Ford Foundation, Firelight Media, and more. She was recently awarded the Emerging Filmmakers of Color Award from IDA and the Jonathan Logan Family Foundation.
“‘Always in Season’ makes a powerful case that the history of lynching in the American South is not just history – that murders still haunt the present-day sites where they occurred, and that such killings can and do happen today.” – Ben Kenigsberg, New York Times
“A nuanced, layered reminder of how far we still have to go to correct the injustices of this country’s past and present.” – Brian Tallerico, RogerEbert.com
“Although difficult to watch, the film is invaluable in its exploration of lynching as a form of racial terrorism.” – Andrea Gronvall, Chicago Reader
JIM ALLISON: BREAKTHROUGHis the astounding, true story of one warm- hearted, stubborn man’s visionary quest to find a cure for cancer. The film traces Allison’s remarkable life from his school-boy days in Friday Night Lights, Creationist Texas all the way to Stockholm where, in December of 2018, he accepted the Nobel Prize in Medicine. Director Bill Haney is an award-winning documentarian, serial inventor and entrepreneur, who has founded more than a dozen companies, two of which develop drugs to cure cancer and neurological diseases. Meeting Allison in the labs of MD Anderson, Haney was immediately captivated by Jim’s empathy and pathos as much by his scientific accomplishments. Today, Jim Allison is a name to be reckoned with throughout the scientific world — a 2018 Nobel Prize winner for discovering the immune system’s role in defeating cancer but for decades he waged a lonely struggle against the skepticism of the medical establishment and the resistance of Big Pharma. Using intimate interviews with Allison and a set of scientific leaders, paired with the use of graphics and archival material, JIM ALLISON: BREAKTHROUGHtakes us into the inspiring and dramatic world of cutting-edge medicine, and into the heart of a true American pioneer, in a film that is both emotionally compelling and deeply entertaining. Director Bill Haney (The Price of Sugar, The Last Mountain, A Life Among the Whales) stops by to talk about this highly entertaining, informative story about an innovator, free-thinker, honky-tonk musician and a true iconoclast.
“Breakthrough remains loyal to its academic source material in a way that’s clear enough for any viewer to follow… [and] Haney seems to have made all the right filmmaking choices, from balancing the science and sentimental to picking his subject at the perfect time…” ~ Nathan Mattise, Ars Technica
“In a time when cynicism and skeptics run rampant, Breakthrough looks to offer a moment of comfort and hope via the story of Jim Allison.” ~ Dino-Ray Ramos, Deadline Hollywood
“In a field you’d never think of as having rock stars, Allison is a rock star of immunology. The filmmaker, Bill Haney, is a rock star among documentarians for bringing us this wonderful, hopeful film about a man and a Breakthrough achievement.” ~ Bradley Gibson, Film Threat
“Breakthrough demonstrates that the treatment is not a miracle, but the result of some wild but meticulous thinking by a true medical hero.” ~ Caryn James, The Hollywood Reporter
“Breakthrough is an engaging and entertaining film because Allison is a fascinating subject. He’s blunt and honest and colorful.” ~ Sophie Novack, Texas Observer
The high-energy documentary DON’T BE NICE, chronicles the upstart Bowery Slam Poetry Team, made up of five African-American, Afro-Hispanic and queer poets in their 20s, preparing for the national championships. Coach Lauren Whitehead pushes them past personal boundaries to write from a painfully honest place with the credo “Don’t Be Nice.” She explains that to “be nice” is to stay on the surface of things, is to perpetuate the status quo, and is, for black people, to be what White culture demands. Her team of poets breaks down, breaks through, and ultimately writes their masterpiece—a celebration of black joy. Timely and difficult, their spoken word slays—but will their soul-searching pieces about police violence and the whitewashing of Black culture be able to compete against choreographed crowd-pleasers for the national title? Will opting to make a statement instead of a show spell their defeat?An emotional and inspiring film that gives insightful commentary on race, gender, identity and sexual politics in America today, DON’T BE NICE is both an exciting competition film and a deep dive into the wildly-popular Slam Poetry subculture, that proves once and for all that winning hearts and minds is the ultimate prize. Producer Nikhil Melnechuk joins us to talk about the phenomenally talented group of poets / writers / advocates that make up the Bowery Team and these from the heart, high-wire performances chronicled in this emotionally charged documentary.
In AUGGIE, Felix Greystone (Richard Kind) is forced into early retirement and falls in love with an augmented reality companion, to the detriment of his relationship with his wife and daughter. At his “early retirement” party, Felix Greystone is given a pre-release version of an AUGGIE, a pair of augmented reality smart glasses that project a perfectly human companion onto his world. When Felix’s wife Anne gets a promotion and his daughter Grace gets serious with her boyfriend, Felix suddenly feels very alone. He opens up to his new companion, AUGGIE, and is recognized and appreciated by her. He feels the ache of loneliness dissipate. AUGGIE reawakens a passion in Felix, and to his own surprise, he begins to fall for her. In a world that feels too good to be true, it’s difficult for Felix to recognize his increasing addiction to the technology, losing sight of what truly matters. Director Matt Kane stops by to talk about his fascinating film about relationships, relevance in the lives of others, a near future “reality” and working with an excellent cast of actors.
Director Irene Taylor Brodsky once again turns the camera on her deaf parents and, now, her 11-year-old deaf son Jonas, who has cochlear implants and is discovering a profound world of hearing—and music in this deeply personal story, Moonlight Sonata: Deafness in Three Movements. As Jonas learns the first movement of Beethoven’s iconic sonata on the piano, his grandparents, deaf for nearly 80 years, watch with deepening awe what time and technology have bestowed their grandson. But when Jonas struggles with the sound of his mistakes, Beethoven’s own musical journey comes to life in an animated world of watercolor and haunting soundscapes. As the great composer loses the sense that brought him so much music and fame, Jonas’s grandfather Paul loses his grasp on his mind. Their lives weave a sonata over three centuries, about all we can discover once we push beyond what has been lost. Director Irene Taylor Brodsky joins us to talks about this very personal and deeply affecting tale of three threads that run through her family and the most celebrated deaf musician of all time, Ludwig von Beethoven. Director / Producer / Editor /Cinematographer talks about the personal and professional challenges of focusing on members of her family and how the power of music has resonated brought hope and healing.
DIRECTOR’S STATEMENT:I can hear, but deafness consumes me. I am a daughter of deafness and, now, a mother too. After I discovered my son, Jonas, was going deaf as a toddler, my sound designer told me we could reproduce his gradual disconnect from hearing. As a filmmaker, that enthralled me. As a mother, it frightened me. I’ve been down this road before. My first feature documentary, Hear and Now, about my deaf parents’ problematic journey into the world of sound, showed me how much film can be a catalyst for empathy. So when my son told me he wanted to learn the Moonlight Sonata, composed by Beethoven as he went deaf, I was cautious but resolute, and began filming. Then, my father developed dementia, and soon their three storylines revealed an eerie parallel. Paul’s loss of mind was a clue to what Beethoven might have felt losing something so precious to him. As Jonas learned to play the sonata, I read Beethoven’s letters and listened to his canon over and over again. I felt assured that my son could find his own true expression, shaped by deafness, just like Beethoven did. In Moonlight Sonata: Deafness in Three Movements we portray sound and memory through animation, and we use vast archives of home movies, vérité footage, immersive soundscape and original score to craft a rich mosaic of what it means to find vital expression in the midst of loss.—Director Irene Taylor Brodsky
“A powerful film about parents and children, though told with enough restraint that its more affecting moments might sneak up on you.” – Matt Zoller Seitz, RogerEbert.com
“It is a very moving film by veteran documentarian Irene Taylor Brodsky about deafness, music, raising children and your parents getting old.” – John Anderson, Wall Street Journal
“The film is refreshing in its willingness to countenance multiple viewpoints and look at what’s right for individuals rather than taking sides in one of the more heated debates within the Deaf community.” – Jennie Kermode, Eye for Film
The riveting new documentary HOMEMADE bares witness to the lives of Adam Sorensen and his family as they navigate life after combat. The film project was originally developed from the idea that the Improvised Explosive Device (IED) goes off twice; once in the field, affecting each individual differently depending on a variety of factors including proximity to the blast, physical position and past injuries. There is a second blast that goes off in each family living room as a result of the actual explosion. It’s footprint reaches our closest loved ones, the physicians treating the wounded, and extends into our communities. HOMEMADE is a six-year, cinematic and intimate journey about a marriage, invisible wounds and the effects of Post Traumatic Stress (PTS), Traumatic Brain Injury (TBI) and addiction. It is a story of survival and resilience unveiling the scope of these challenges and begging a broader question about our cultural markers of success. Weaving between the monumental landscapes of Utah, Washington DC landmarks, cinéma vérité scenes and recorded phone calls, Through the experiences of Adam, Victoria, and their families, HOMEMADE examines our cultural markers of success, the culture of treating symptoms instead of cause, and the disconnect between medical care and true wellness. Themes addressed include continuity of care, the epidemic of over-prescription in both military and civilian care, and the stereotypes of injured combat veterans. Co-director / Producer / Editor Danielle Bernstein (Jason Maris) joins us to talk about this heartbreaking film and why Adam and Victoria’s story will close the empathy gap between civilian and military communities, start productive dialogues about the challenge of transition from active duty military to retired, and to provide audiences with an abundance of tools in order to take action.
When he was an infant, Donnie Corker suffered from the “Spider Mites of Jesus,” because his mother couldn’t pronounce spinal meningitis. This caused mental challenges that resulted in his lifelong illiteracy. At 13, he began selling his body on the streets as a drag prostitute. When he was arrested, he took a dump in the back of the police car, leading the cops to give him the moniker: Dirtwoman. Since then he’s run for mayor, gotten kicked out of the inauguration of America’s first black governor (Douglas Wilder), posed for his own pin-up calendar (weighing in at 350 pounds), offered crabs from his crotch for a GWAR video and hosted the annual Hamaganza fundraiser that provided “Hams for the Hamless.” When he died last year at 65, it was on the front page, top-of-the-fold of the Richmond Times-Dispatch and was featured nationally on NPR. Director Jerry Williams talks about living in the same town as Donnie Corker (Dirtwoman) and the lasting impact he had on so many people and different communities within the city of Richmond.
About The Dirtwoman Documentary: While taking a lunch break on a shoot in 1999, Jerryand local videographer Dave Park started discussing Dirtwoman. They partnered with local producer Liz Throckmorton to create a documentary. It was launched with big birthday party for Dirtwoman. Then they got sidetracked for 17 years making a living. In February 2017, Jerry was contacted by Mark Holmberg, a long-time friend who chronicled the exploits of Dirtwoman (in print at the Richmond Times-Dispatch, then as reporter for CBS6). Donnie had been diagnosed with congestive heart failure and Mark aired a story that included Jerry. That sparked his motivation to return to the project. Jerry’s produced hundreds of videos during his career, but never had a passion project. He enlisted colleagues from all aspects of the production biz to help him, most working for free…because they liked the idea. (See “Who Worked on It”) He produced the teaser in May 2017 to promote the project and recruit more interviews. When editing started in March 2018, 70 people had been interviewed (see “Who’s In It”). In addition to the video footage shot in 1999, the doc will feature never seen before video and photos.
MONOS, Alejandro Landes’ awe-inspiring third feature, is a breathtaking survivalist saga set on a remote mountain in Latin America. The film tracks a young group of soldiers and rebels — bearing names like Rambo, Smurf, Bigfoot, Wolf and Boom-Boom — who keep watch over an American hostage, Doctora (Julianne Nicholson). The teenage commandos perform military training exercises by day and indulge in youthful hedonism by night, an unconventional family bound together under a shadowy force known only as The Organization. After an ambush drives the squadron into the jungle, both the mission and the intricate bonds between the group begin to disintegrate. Order descends into chaos and within MONOS the strong begin to prey on the weak in this vivid, cautionary fever- dream. With a rapturous score by Mica Levi (only her third, after UNDER THE SKIN and JACKIE), director Alejandro Landes examines the chaos and absurdity of war from the unique perspective of adolescence, recalling LORD OF THE FLIES and BEAU TRAVAIL in a way that feels wholly original. Landes brings together a diverse young cast of both seasoned professionals (including Hannah Montana’s Moisés Arias) and untrained neophytes and thrusts them into an unforgiving, irrational and often surreal environment where anything can happen — even peace. Director Alejandro Landes talks about the grueling production challenges of shooting in a jungle, working with a young cast and how his collaboration with screenwriter Alexis Dos Santos and composer Mica Levi helped to create an intense, high-wire cinematic journey.
CARTAGENA INTERNATIONAL FILM FESTIVAL – Audience Award BUENOS AIRES FILM FESTIVAL – Best Original Score SLOVAKIA ART FILM FEST – Blue Angel – Best Film NEWPORT BEACH FILM FESTIVAL– Best Director, Best Cinematography, Best Actress
MONTCLAIR FILM FESTIVAL – Best Fiction Feature
TRANSILVANIA INTERNATIONAL FILM FESTIVAL – Transilvania Trophy Best Film ODESA INTERNATIONAL FILM FESTIVAL – Best Director
“There’s a bicep-flexing quality to Landes’s direction, with its bursts of colour and chaos, its conjuration of a surreal experience out of tactile reality. You tumble out of it bruised, bewildered, mesmerised.” – Tim Robey, Daily Telegraph (UK)
Adapted from the acclaimed novel NEITHER WOLF NOR DOG by Kent Nerburn the story follows a white author who gets sucked into the heart of contemporary Native American life in the sparse lands of the Dakota’s by a 95-year old Lakota elder and his side-kick.NEITHER WOLF NOR DOG takes audiences on a deeply moving road trip through contemporary Lakota life. Its humor is wry and pulls no punches, introducing deep characters and poignant vignettes that challenge the viewer to see the world differently.Neither Wolf Nor Dog was audience-financed, shot in 18-days in one of the US’s poorest region with an average crew of 2 and a 95-year-old Lakota Elder, David Bald Eagle, as the star. The Lakota actor, soldier, stuntman and musician, David Bald Eagle was left for dead during D-Day and Christopher Sweeney was awarded the Silver Star from the Gulf War. Yet it was the film’s other star, Yuchi-Muscogee Creek multi-disciplinary visual artist, poet, and actor, Richard Ray Whitman, who was never in the service, who spent the most days under fire during the 71-day occupation of Wounded Knee in 1973. Neither Wolf Nor Dog has become one of the widest released, truly self-distributed movies in years. Simpson flipped the Hollywood model upside-down by launching in small towns and it has the longest theatrical first-run of any movie in at least a decade: 131 weeks so far. Director / Producer / Writer / Editor / Cinematographer Steven Lewis Simpson joins us for a conversation on his determination to pursue own path of independent filmmaking, distribution, marketing and bringing seldom heard stories to a broader audience.
About the filmmaker: At 18 Steven Lewis Simpson was Britain’s youngest fully qualified stockbroker and trader. At 22 he moved to Los Angeles to work for the legendary Roger Corman’s Concorde Pictures. It was there Simpson shot his first feature TIES. He shot his first documentary TIMOR TIMOR in West Timor, Indonesia, produced and co-edited the award-winning surreal fairy tale, FROG which was broadcast on Canal Plus and associate produced the comedy feature, RESURRECTING BILL. His epic feature documentary A THUNDER-BEING NATION about the Oglala Lakota of Pine Ridge Reservation was released in 2016. Made over 13 years it’s the most comprehensive documentary looking at the history and contemporary life of an Indian Reservation. He capped off the trio of Native American projects with a 13 episode US TV show THE HUB about arts, culture and entertainment within Indian Country. Through this work Steven has become a well-known advocate for Native American rights and a respected figure in Indian Country. Simpson’s latest featureis an adaptation of the acclaimed Lakota Country novel NEITHER WOLF NOR DOG is being released in 2019. He is currently in post-production on the feature documentary RETURN TO TIMOR, shot in West Timor, Indonesia. For more about the filmmaker go to: stevenlewissimpson.com
“Drifting tantalisingly like a Native American variation on David Lynch’s The Straight Story, this poignant insight into the legacy of centuries of racist brutality reaches a shattering climax at the site of the 1890 massacre at Wounded Knee…” – David Parkinson, Radio Times
“While this effort from filmmaker Steven Lewis Simpson is somewhat lacking in technical polish, it boasts an undeniable emotional power and authenticity.” – Frank Scheck, Hollywood Reporter
“Drifting tantalisingly like a Native American variation on David Lynch’s The Straight Story, this poignant insight into the legacy of centuries of racist brutality reaches a shattering climax at the site of the 1890 massacre at Wounded Knee…” – David Parkinson, Radio Times
RAISE HELL: THE LIFE & TIMES OF MOLLY IVINS tells the story of media firebrand Molly Ivins, six feet of Texas trouble who took on the Good Old Boy corruption wherever she found it. Her razor sharp wit left both sides of the aisle laughing, and craving ink in her columns. She knew the Bill of Rights was in peril, and said “Polarizing people is a good way to win an election and a good way to wreck a country.” Molly’s words have proved prescient. Now it’s up to us to raise hell! Director Janice Engel (Ted Hawkins Amazing Grace, Jackson Browne: Going Home, Addicted and What We Carry) joins us for a lively conversation on a journalist who did not shy away from confronting and shaming the most powerful institutions, political interests and the people who protected them from her righteous anger and lacerating wit.
About Molly Ivins: Molly Ivins was a nationally-syndicated political columnist and author, who remained cheerful despite the state of politics in this country and her own physical trials. She emphasized the more hilarious aspects of both state and national government, and consequently never had to write fiction. Ivins was from Houston, Texas, graduated from Smith College in 1966, then from Columbia University’s School of Journalism with a Masters in 1967. Ivins won many awards too numerous to list for her writing, courage, and truth telling. Her freelance work appeared in The Nation, The Progressive, Mother Jones, Esquire, Harper’s, Atlantic, and Playboy. She was also known for her essays on National Public Radio as well as media appearances around the world. Ivins wrote seven books, several of which were best-sellers including; BUSHWHACKED: Life in George W. Bush’s America with Lou Dubose in 2003 and WHO LET THE DOGS IN? Incredible Political Animals I Have Known in 2004. Molly was President of the Board of the Texas Democracy Foundation publisher of the venerable Texas Observer, which was her spiritual home and love. She found her voice at the Observer and helped sustain them and lead countless other young writers in seeking out the “good” stories and bring them to the public.
“The best way to get the sons of bitches is to make people laugh at them.” – Molly Ivins
“It’s a rare documentary indeed that so expertly captures the singular essence of its subject, and [Molly] Ivins is restored to vivid and vital life, if not in the flesh than in the mind and spirit.” – Marc Savlov, Austin Chronicle
Building on the promise of his hallucinogenic debut GO DOWN DEATH, filmmaker Aaron Schimberg delivers another brilliantly oddball, acerbically funny foray into gonzo surrealism. In a deft tragicomic performance, Jess Weixler (TEETH) plays Mabel, a movie star “slumming it” in an outré art-horror film being shot in a semi-abandoned hospital. Cast opposite her is Rosenthal (UNDER THE SKIN’ s Adam Pearson), a gentle-natured young man with a severe facial deformity. As their relationship evolves both on and offscreen, Schimberg raises provocative questions about cinematic notions of beauty, representation, and exploitation. Tod Browning crossed with Robert Altman crossed with David Lynch only begins to describe something this startlingly original and deeply felt. Director Aaron Schimberg joins us to talk about his hurly-burly, cosmically clever tale of misdirection, expectations and human connection.
Director’s Statement:As a filmmaker with a facial difference, I have never seen my experience accurately represented on screen. This film – the first, as far as I know, made by and starring disfigured people – is my humble attempt to remedy that. When disfigured characters are seen at all in films (usually played by handsome actors with disfiguring latex), they are trotted out to play monsters or objects of pity, made into vessels for the symbolic expression of cruelty, sin, villainy and other ills. “Bitter defectives,” as a character in my film says. Even when they’re portrayed sympathetically, they function only to impart inspirational lessons to the able-bodied people who encounter them. CHAINED FOR LIFE is my response to the way people with disfigurements have been portrayed in films (for instance, in FREAKS, THE ELEPHANT MAN, WONDER) throughout cinema’s history. It asks whether the sum of these portrayals has adversely affected the way we are regarded in real life. I consider it a comedy, but if you think it’s a tragedy, I wouldn’t argue with you. – Aaron Schimberg
“Critic’s Pick! An inventive hall of mirrors… that keeps finding ways to upend its characters’ — and viewers’ — perspectives. Odd, darkly funny and — when it means to be — a little frightening.” – Ben Kenigsberg, The New York Times
“Extraordinary. A cinematic revolution.” – Richard Brody, The New Yorker
“Humane and transgressive, an American indie of unusually big ideas and aesthetic ambition.” – Nellie Killian, Film Comment
“Bizarre and beautiful. Leaves us on thrillingly shifty ground.” – Keith Uhlich, The Hollywood Reporter
“Mesmerizing. A remarkable mind trip of a movie sure to leave audiences reeling.” – Kate Erbland, Indiewire
“Razor-sharp. Mesmerizingly close to the sensation of a waking dream.” – Calum Marsh, Village Voice
“An intoxicating whirlwind of ideas, spectacularly moving and entertaining. Chained for Life could be a defining film about representation for any group that Hollywood marginalizes.” – Andrew Todd, Birth.Movies.Death
When Dian was 6 years old, she heard a deep rumble and turned to see a tsunami of mud barreling towards her village. She remembers her mother scooping her up to save her from the boiling mud. Her neighbors ran for their lives. Sixteen villages, including Dian’s, were wiped away. A decade later, nearly 60,000 people have been displaced from what was once a thriving industrial and residential area in East Java, located just 20 kilometers from Indonesia’s second largest city. Dozens of factories, schools and mosques are submerged 60 feet under a moonscape of cracked mud. The majority of international scientists believe that Lapindo, a multinational company that was drilling for natural gas in 2006, accidentally struck an underground mud volcano and unleashed a violent flow of hot sludge from the earth’s depths. Ten years later, despite initial assurances to do so, Lapindo has not provided 80% of its promised reparations to the hundreds of victims of who lost everything in the mud explosion. While the survivors live in the shadow of the mudflow and wait for restitution, they live in makeshift rented homes next to levees that hold back the still flowing mud. Dian is determined to rise out of the muddy life. She and her mother, along with many neighbors, fight against the corporate powers accused of one of the largest environmental disasters in recent history. The gripping documentary film GRIT bears witness to Dian’s transformation into a politically active teenager as she questions the role of corporate power and money in the institution of democracy itself.
About the filmmaker(s): Cynthia Wade’s 2008 documentary Freeheld won a 2008 Academy Award for Best Documentary Short Subject, Special Jury Prize at the Sundance Film Festival, and 13 other awards. She was a lead producer on the 2015 fictionalized adaptation of Freeheld, starring Julianne Moore, Ellen Page, Steve Carell and Michael Shannon. Wade’s 2013 HBO documentary Mondays at Racine was nominated for an Academy Award in 2013. She is the director of the documentaries Grist for the Mill (1999, HBO), Shelter Dogs (2004, HBO), Born Sweet (2009), Living the Legacy (2009, Sundance Channel) and Generation Startup (2016, Netflix), and producer of The Gnomist (2015, CNN). She holds a BA from Smith College and an MA in Documentary Film Production from Stanford University. Wade has won more than 45 film awards worldwide.
Co-director Sasha Friedlander directed, produced, shot and edited the feature-documentary Where Heaven Meets Hell. The film, set in East Java, Indonesia, won numerous prizes including Best Feature Documentary Film at the LA Asian Pacific Film Festival, Hawaii International Film Festival and Special Mention for Outstanding Cinematography at the LAAPFF. At the One World International Human Rights Film Festival in Prague, the Václav Havel Jury gave a Special Mention Award to Where Heaven Meets Hell for its “exceptional contribution to the defense of human rights.” The Alliance of Women Film Journalists awarded Sasha an EDA Award for Documentary Artistry in March 2013. This ITVS-funded film aired on PBS in 2013. Sasha’s has lived and worked in Indonesia. She is fluent in Indonesian and worked there as a journalist for several years. Sasha holds a BA from UCLA and an MFA in Social Documentary Film from the School of Visual Arts.
Linda Ronstadt: The Sound of My Voice is a love song to one of the most memorably stunning voices that has ever hit the airwaves, Linda Ronstadt. She burst onto the 1960s folk rock music scene in her early twenties as the lead singer of the Stone Poneys, Ronstadt eventually branched out to begin her decades long career as a solo artist, touring the world selling out stadiums and, at one point, setting the record as the highest paid female artist in rock. Most remarkable to this day is her interest in and willingness to jump into new and challenging styles of music, including opera, jazz, and Mexican folk, excelling fantastically with each. Ronstadt has also been an outspoken political advocate for causes such as same-sex marriage and the inhumane treatment of undocumented immigrants, never shying away from fighting for what she believes both on and off the stage. Oscar-winning directors Rob Epstein and Jeffrey Friedman (The Times of Harvey Milk, The Celluloid Closet, Common Threads: Stories from the Quilt, Howl, Lovelace and End Game) use deep-cut archival footage, and Ronstadt’s own astute recollections, to celebrate an artist whose desire to do justice to the songs that touched her soul made generations of fans fall in love with her – and with the sound of her voice. Co-directors Rob Epstein and Jeffrey Friedman join us to talk about a remarkable singer /artist and an even better person.
“She shows herself to be one of its indispensable interpreters, as a vocalist and also as a thinker – covering a sprawling landscape with elegance, passion and insight.” – A.O. Scott, New York Times
“It captures the life and career of a rock ‘n’ roll star who never looked back, never apologized, never compromised.” – Owen Gleiberman, Variety
“Astutely chronicling an amazing musical career that ended prematurely due to Parkinson’s disease, Linda Ronstadt: The Sound of My Voice will delight the singer’s old fans and likely make her many new ones as well.” – Frank Scheck, Hollywood Reporter
“An excellent retrospective and celebration of Ronstadt’s trailblazing career.” – Sophia Stewart, Nonfics
BECOMING NOBODY represents the core arc of Ram Dass’ teachings and life: whether as Dr. Richard Alpert, the eminent Harvard psychologist, or as Ram Dass who serves as a bridge between Eastern and Western philosophies, he has defined a generation of inner explorers and seekers of truth and wisdom. Through his turns as scion of an eminent Jewish family from Boston, rock-star Harvard psychologist, counter-culture rascally adventurer, Eastern holy man, stroke survivor and compassionate caregiver, Ram Dass has worn many hats on his journey, the narrative of which is revealed in this film. His ability to entertain and his sense of humor are abundantly evident in a conversation that brings us around to address the vast question of ultimate freedom. In BECOMING NOBODY, historic clips balance an engaging conversation with director Jamie Catto. We come to understand how our old roles and disguises become increasingly burdensome. The film captures a loving man full of joy, wit, honesty and wisdom, at ease in conversation while sharing his considerable pains and pleasures. The life experiences that have freed him from the attachments of his ‘somebody-ness’ have transformed him into the radiant soul who now inspires a new generation. Producer Raghu Markus joins us to talk about the life and times of Ram Dass, his transformation from Richard Alpert and what it means to love, serve, remember.
About the Producer – Raghu Markus: Raghu Markus spent two years in India with Maharaj-ji and Ram Dass. He has been involved in music and transformational media since the early 1970s when he was program director of CKGM-FM in Montreal. In 1974 he collaborated with Ram Dass on the box set Love Serve Remember. In 1990, he launched Triloka Records and Karuna Music in Los Angeles, California. Triloka established itself as a critical leader in the development of world music and for 17 years was home to such artists as Krishna Das, Hugh Masekela, Walela, and Jai Uttal. He produced transformational media projects that featured Ram Dass, Deepak Chopra and Les Nubians. He is the executive Director of the Love Serve Remember Foundation. In 2016, he co-founded the Be Here Now Podcast Network and hosts Here & Now with Ram Dass as well as his own Mindrolling podcast.
The riveting new documentary BLINK OF AN EYEchronicles the star-crossed relationship between Michael Waltrip, a perennial underdog, and Dale Earnhardt, the most feared & iconic driver in NASCAR history. On the fateful running of the Daytona 500 at the inception of the 2001 season, Michael Waltrip broke his 462-race losing streak in epic, but heart-breaking fashion, in what is considered the Super Bowl of motorsports. Triumph becomes tragedy, as Michael’s best friend and team owner, Dale Earnhardt, crashes in the final lap – creating a shocking debt that is paid back in spectacular and dramatic fashion on Waltrip’s emotionally- charged return to Daytona, and a race to the finish with Dale’s son, Dale Earnhardt Jr. Director /Producer / Writer Paul Taublieb stops by to talk about a story that runs the gamut of unrivaled success, enduring friendship, frustration, perseverance, exhilarating triumph and unbelievable tragedy.
Filmmaker Statement – Great stories are a gift, and this one has all the elements – the dramatic intersection of triumph, tragedy, the unexpected, and amazing characters. It’s a story that transcends sports, much like Free Solo (2018) or The Endless Summer (1966), bringing a human quality that anyone can relate and be engaged to, whether you are a sports fan or not. My film resonates with themes of perseverance, grit, determination and above all, the redemptive transformation of friendship, even in tragedy. – Director Paul Taublieb
GIVE ME LIBERTY is based on his personal experience as a medical transport driver and an immigrant, director Kirill Mikhanovsky, with writer Alice Austen, create a raw feature film about the comedy andheartbreak of people in the underprivileged communities living in a struggling American city. Medical transport driver Vic (newcomer Chis Galust) is running late, but it’s not his fault. Roads are closed for a protest, and no one else can shuttle his Russian grandfather and his emigre friends to a funeral. The new route uproots his scheduled clients, particularly Tracy (Lauren “Lolo” Spencer in a breakout performance), a vibrant young woman with ALS. As the day goes from hectic to off-the-rails, their collective ride becomes a hilarious, compassionate and intersectional portrait of American dreams and disenchantment. The characters in GIVE ME LIBERTY are drawn from the people of Milwaukee – they’re magnificently diverse and their struggle to survive is desperate, contradictory, funny and moving. Director Kirill Mahanovsky joins us for a spirited conversation on working with a cast of mostly non-professional actors, drawing upon his own work history for the story behind the film and the importance of making Give Me Liberty in his adopted hometown of Milwaukee.
About the filmmaker:Russian-born Kirill Mikhanovsky grew up in Moscow where his early passion for cinema compelled him to skip school and go to the movie theatre across the street from his home where, often as the only person in the house, he watched countless films. After the Soviet Union collapsed, Mikhanovsky immigrated to Milwaukee, where he had a series of odd jobs, including driving medical transport for people with disabilities, and began making films. After graduating from NYU Film School, Mikhanovsky went on to make films in the US, Brazil, Russia, and South America. A Sundance Alum, his first feature SONHOS DE PEIXEwon the Critics Week at the Cannes Film Festival.
“Completely, delightfully unpredictable from scene to scene, ‘Give Me Liberty’ draws you in with its moving performances and blasts of broad comedy.” – Manohla Dargis, THE NEW YORK TIMES
“A wonderfully anarchic dark comedy, which deftly welds its frenetically farcical structure to a humanistic portrait of marginalized communities thrown together.” – David Rooney, THE HOLLYWOOD REPORTER
“Lyrical and touching. It’s a journey worth taking.” – Tim Grierson, SCREEN INTERNATIONAL
“Establishes writer-director Kirill Mikhanovsky as a major talent.” – Eric Kohn, INDIEWIRE
Acclaimed filmmaker and recipient of the MacArthur Program Fellow FellowshipStanley Nelson takes us on a journey through the life of a musical giant in his latest documentary film MILES DAVIS: BIRTH OF THE COOL. Miles Davis was many things including a horn player, bandleader, innovator. He was elegant, intellectual, vain, callous, conflicted, controversial, and mercurial. Miles Davis was also embodiment of cool. The man with a sound so beautiful it could break your heart. The central theme of Miles Davis’s life was his restless determination to break boundaries and live life on his own terms. It made him a star. For the people who loved him most, it also made him incredibly difficult to live with. Again and again, in music and in life, Miles broke with convention—and when he thought his work came to represent a new convention, he changed it again. Miles’s bold disregard for tradition, his clarity of vision, his relentless drive, and constant thirst for new experiences made him an inspiring collaborator to fellow musicians and a cultural icon to generations of listeners. It made him an innovator in music—from bebop to “cool jazz,” modern quintets, orchestral music, jazz fusion, rock ’n’ roll, and even hip-hop. Featuring never-before-seen archival footage, studio outtakes, and rare photos, MILES DAVIS: BIRTH OF THE COOLtells the story of a truly singular talent and unpacks the man behind the horn. Director and producer Stanley Nelson joins us to talk about the life and times of a music genius and the uncompromising life he led.
“You’ll want to listen to Miles’ music after watching the film and, when you do, you might feel it a little deeper.” – Glenn Whipp, Los Angeles Times
“Miles Davis – The Birth of Cool is a must see for anyone, anywhere in any lane of life that has an infinite love of music. Especially jazz. Stanley Nelson’s best work to date pulling back the curtain on an underrated musical Picasso – Miles Davis” – Carla Renata, The Curvy Film Critic
“While previous books and films made Miles Davis look like a magical character, Nelson’s ‘Miles Davis: Birth of the Cool’ depicts the musician as what he was – a man who was driven by his art and chained by the racist society he was born into.” –Jonita Davis, Black Girl Nerds
“If you’re a Miles Davis fanatic from way back and think you already know everything about him, the movie, with its sharply edited interviews and stunning archival reach, fills in nuances of the man that feel fresh and new.“ – Owen Gleiberman, Variety