The Rescue List – Co-directors Alyssa Fedele and Zachary Fink

THE RESCUE LIST focuses on a hidden safe-house in the Ghanaian forest, where social workers help two children recover from a childhood enslaved to fishermen on Lake Volta – the largest man-made lake on Earth. But their story takes an unexpected turn when their rescuer embarks on another rescue mission and asks the children for help. THE RESCUE LIST charts the unfolding drama of these rescue operations alongside a stirring portrait of the boys’ recoveries as they prepare to return to their families. The film depicts a moving story of friendship and courage that transcends the trope of victimhood, exploring what it means to love and to survive. Co-directors Alyssa Fedele and Zachary Fink join us for an in-depth conversation on the ground truth about human trafficking in sub-Sahara Africa, gaining the access and the trust of all the people in the film and their own reflections on how witnessing these people’s stories has impacted them.

To watch The Rescue List on PBS POV go to: therescuelist.com

About the filmmakers:

ALYSSA FEDELE – PRODUCER  //  DIRECTOR  //  EDITOR – Alyssa Fedele is a documentary filmmaker and anthropologist based in San Francisco.  In 2016, She produced and edited The Ride of Their Lives, directed by Steve James, about youth rodeo bull riding. It premiered at Sundance and is distributed by Amazon Studios in the series The New Yorker Presents. Her work has appeared on National Geographic Channel, Amazon Studios, and PBS, and screened at IDFA, SFFILM, and Big Sky Film Festival. Alyssa directed, produced, and edited The Rescue List, which screened at Full Frame and DOC NYC and won awards at BendFilm and Heartland International Film Festival.Alyssa is a former resident at SFFILM’s FilmHouse and she is a recipient of the SFFILM Documentary Film Fund. She has a master’s degree in visual anthropology from the University of Manchester.

ZACHARY FINK – PRODUCER // DIRECTOR // CINEMATOGRAPHER – Zachary Fink is a documentary filmmaker and cinematographer. His immersive observational approach to storytelling is deeply influenced by his academic roots in cultural anthropology and visual ethnography. He recently lensed Rob Epstein and Jeffrey Friedman’s SXSW opening night premiere, State Of Pride, which takes an unflinching look at the diverse expression of Pride 50 years after Stonewall. Last year he spent a month at McMurdo Station in Antarctica where he field directed and shot a forthcoming PBS NOVA series about how science is conducted on the harshest continent. In 2016, Zachary produced  and filmed The Ride Of Their Lives, a short directed by Steve James about youth rodeo bull riding. It premiered at Sundance as part of the Amazon Studios series, The New Yorker Presents. His work has appeared on PBS, HBO, National Geographic Channel, and Discovery Channel, and he has produced and directed projects for Facebook, Apple, Google, and for the Harvard Film Study Center. Zachary has a master’s degree in cultural anthropology and an MFA in film production from California Institute of the Arts. Together with Alyssa Fedele, he runs the production company Collective Hunch.

 

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“The Rescue List isn’t an exposé on the subject in the strictest terms, but by sticking close to those who’ve lived through such nightmares, Fedele and Fink tell the viewer all they need to know about the dangers involved.” – Andrew Parker, The Gate

“Stirring tale of children rescued from modern-day slavery.” – Stephen Farber, Hollywood Reporter

“Saving defenseless kids from the cruelty of Lake Volta must be some of the most challenging work imaginable, but The Rescue List ultimately resonates because of how little it can take to show them their own strength.” – David Ehrlich, indieWire

“Focusing on a rescue-and-rehabilitation organization and several youths it plucks from servitude, this is an involving indictment with enough individual human-interest elements to avoid being too much of a grim screed.” – Dennis Harvey, Variety

March 13 – Viral: Antisemitism in Four Mutations, Director Andrew Goldberg

By virtually every yardstick, antisemitism in the US and Europe is rising and worsening in ways not seen since the 1930s. It comes in the forms of vandalism, social media abuse, assault and murder. Like a virus, it mutates and evolves across cultures, borders and ideologies, making it all but impossible to stop. Filmmaker Andrew Goldberg explores its infectious behavior in his film VIRAL: ANTISEMITISM IN FOUR MUTATIONS as he travels through four countries to speak firsthand with victims, witnesses, antisemites, and interviewees including Bill Clinton, Tony Blair, Fareed Zakaria, George Will and Deborah Lipstadt. VIRAL: ANTISEMITISM IN FOUR MUTATIONS examines how some on the American far right have incited such acts as the mass shooting at the Tree of Life Synagogue in Pittsburgh, PA. In Hungary, we see how the Prime Minister has launched a massive campaign against Jewish Holocaust survivor and billionaire George Soros that’s reminiscent of Nazi propaganda. Moving to the far left in England, we see members of the traditionally anti-racist Labour party conflating Israel and Jews, causing tremendous pain for the Jewish community. And in France, the film illuminates the seemingly endless wave of violence against Jews by Islamists and radicals. The increasing bigotry, and at times violence, within each of these four countries paints a terrifying portrait of how global hatred disseminates and harms. As activist Maajid Nawaz says in the film, “If we don’t draw a red line in the sand when it comes to antisemitism, Muslims will be next, gays will be next and everyone else who is deemed a minority will be next.” Director Andrew Goldberg joins us to talk about this particularly virulent strain of racism going back hundreds of years, continues to threaten the lives of Jews in Europe and the United States.

 

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For news, screenings and updates go to: viralthefilm.com

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“As a topic of tremendous ongoing importance with roots that desperately need exploration, anti-Semitism deserves, and needs, a look into its global impact and perpetuation that makes a deeper dive than this documentary provides.” – Todd Gilchrist, TheWrap

“A terrifying, and sadly necessary, warning.” – Frank Scheck, Hollywood Reporter

“Brutal, yet vital, the movie is must-see viewing in our current age of rising global hatred against not only Jews, but ethnic minorities everywhere.” – Christopher Llewellyn Reed, Hammer to Nail

“Viral: Antisemitism in Four Mutation is timely and it is vital, and it is a documentary that not only a community needs, but all of us do.” – Stephanie Archer, Film Inquiry

Extra Ordinary, Co-directors Mike Ahern and Enda Loughman

Rose, a sweet, lonely driving instructor in rural Ireland, is gifted with supernatural abilities. Rose has a love/hate relationship with her ‘talents’ & tries to ignore the constant spirit related requests from locals – to exorcise possessed rubbish bins or haunted gravel. But! Christian Winter, a washed up, one-hit-wonder rock star, has made a pact with the devil for a return to greatness! He puts a spell on a local teenager- making her levitate. Her terrified father, Martin Martin, asks Rose to help save his daughter. Rose has to overcome the fear of her supernatural gift & work with Martin to save the girl, get the guy and be home in time for a light snack…maybe a yogurt or something… Co-directors Mike Ahern and Enda Loughman join us for a conversation on the making of their oddly endearing, winning comedy about everyday apparitions, Rose, Martin Martin and Christian and reconnecting with their Talents. 

 

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For news, screenings and updates go to: crankedupfilms.com/extraordinary

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“A near-perfect balance of outrageousness and subtlety. It’s a special film with a large imagination.” – Brian Orndorf, Blu-ray.com

“A fun, heart-warming and genuinely funny film, prepare for belly laughs and warm fuzzy feelings. Buoyed by great comedic, chameleon-like performances, and a rich fictional world, Extra Ordinary is extraordinarily charming.” – Kat Hughes, THN

“Extra Ordinary, writing-directing duo Mike Ahern and Enda Loughman’s feature film debut, is a remarkable achievement – a wholly unique cinematic experience that is grounded with a lot of heart.” – Sarah McIntyre, RTÉ (Ireland)

“A cracking debut feature from Irish writer-directors Mike Ahern and Enda Loughman.” – Peter Bradshaw, Guardian

Sorry We Missed You, Director Ken Loach

Ken Loach, the two-time Palme d’Or-winning, 83-year-old director trains his incisive lens on the human cost of our shopping habits and changing workforce. After losing their home in a financial crisis, Ricky and Abby trade the car she uses as a visiting nurse for a van, so Ricky can work as a delivery driver. The advantages of being self-employed come with the constant pressure of meeting impossible deadlines with no margin for error, sickness, or family emergency. Loach’s compassionate, hard-hitting drama will make you rethink your expectations the next time you enjoy the convenience of overnight delivery. Director Ken Loach (KES, THE WIND THAT SHAKES THE BARLEY, I, DANIEL BLAKE) joins us for a conversation on the explosion of the “gig-economy” and the insidious impact its having on work schedules, worker safety, worker health and on the emotional toll it’s taking on raising a family.

 

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For news, screenings and updates go to: zeitgeistfilms.com/film/sorrywemissedyou

 

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“FIVE STARS! Ken Loach raises his game yet further with this gut-wrenching tale of a delivery worker driven to the brink… It’s fierce, open and angry, unironised and unadorned..This brilliant film will focus minds. ” – Peter Bradshaw, THE GUARDIAN

“Ken Loach has done it again. His new film is another intimate and powerful drama about what’s going on in people’s everyday lives—not just in England, but all over the world.”  – Owen Gleiberman, VARIETY

“At age 82, [Ken Loach is] doing some of his strongest work in Sorry We Missed You, a drama of such searing human empathy and quotidian heartbreak that its powerful climactic scenes actually impede your breathing… This is an expertly judged and profoundly humane movie…. You’d have to be made of stone not to be moved to your core by it.” – David Rooney, THE HOLLYWOOD REPORTER

The Woman Who Loves Giraffes, Director Alison Reid

In 1956, four years before Jane Goodall ventured into the world of chimpanzees and seven years before Dian Fossey left to work with mountain gorillas, 23-year-old biologist Anne Innis Dagg made an unprecedented solo journey to South Africa to study giraffes in the wild.  In THE WOMAN WHO LOVES GIRAFFES Anne (now 86) retraces her steps, and with letters and stunning, original 16mm film footage offers an intimate window into her life as a young woman, juxtaposed with a first hand look at the devastating reality that giraffes are facing today. Both the world’s first ‘giraffologist’, whose research findings ultimately became the foundation for many scientists following in her footsteps, and the species she loves have each experienced triumphs as well as setbacks. In THE WOMAN WHO LOVES GIRAFFES Anne takes us on her first expedition back to Africa to retrace where her trail-blazing journey began more than half a century ago. By retracing her original steps, and with letters and stunning, original 16mm film footage, Anne offers an intimate window into her life as a young woman, juxtaposed with a first hand look at the devastating reality that giraffes are facing today. Both the world’s first ‘giraffologist’, whose research findings ultimately became the foundation for many scientists following in her footsteps, and the species she loves have each experienced triumphs as well as nasty battle scars. THE WOMAN WHO LOVES GIRAFFES gives us a moving perspective on both. Director Alison Reid joins us for a conversation on meeting Anne Innis Dagg and learning how this gentle soul is more than a pioneer in understanding these magnificent creatures, but just as importantly an advocate for women and science.

About the filmmaker: Alison Reid (Director, Writer, Producer) is an award-winning director who began her career as a stunt coordinator and second unit director. After accumulating 300 credits, she formed Free Spirit Films to produce projects diverse in genre but similar in their exploration of the human spirit. Reid received the 2007 Crystal Award for Emerging Director from DGC/WIFT. Her independent feature, The Baby Formula (2009), sold internationally, won the Audience Award at the Inside Out LGBT Film Festival, ‘Best LGBT Film’ at Nashville Film Festival and was nominated for the Golden Zenith at the Montreal World Film Festival. Her television directing credits include Saving HopeHeartland and Murdoch Mysteries.

 

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For news and updates go to: zeitgeistfilms.com/film/thewomanwholovesgiraffes

To see The Woman Who Loves Giraffes in Los Angeles go to: Laemmle.com

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100% on Rotten Tomatoes

“This warm documentary uses one woman’s singular passion to fuel a tale of zoological discovery, blatant sexism and environmental alarm.” – Jeannette Catsoulis, THE NEW YORK TIMES

“INSPIRING… A bright spot in the middle of this dark month, Alison Reid’s unabashedly sincere documentary offers gentle comfort even when it brushes up against tough subjects.” – Elizabeth Weitzman, THE WRAP

“Her research was groundbreaking, and the 16 millimeter color footage she shot at the time, amply displayed in the documentary, is breathtaking.” – Peter Rainer, THE CHRISTIAN SCIENCE MONITOR

“Alison Reid’s loving documentary affectionately celebrates little-known giraffologist Dr. Anne Innis Dagg’s groundbreaking scientific work and generous contributions to women’s equality.” – Tomris Laffly, VARIETY

“An inspiring documentary that should be at the top of everyone’s list of must-see films.” – , THE ALLIANCE OF WOMEN FILM JOURNALISTS

You Go To My Head, Director Dimitri de Clercq

In a desolate stretch of the Sahara, a mysterious car accident leaves a young woman (Delfine Bafort) lost and alone. Jake, (Svetozar Cvetkovic) a reclusive architect, finds her unconscious. He drives her to the nearest doctor, to discover that she’s suffering from post-traumatic amnesia. Intoxicated by the woman’s beauty, Jake claims to be her husband. He names her Kitty and takes her to his remote desert home to recuperate. As Kitty struggles to come to grips with who she is, Jake invents an elaborate life they can share – the life he has always yearned for. Little by little, Kitty begins to fall in love with him. But when shreds of her past begin to surface, Jake increasingly fears losing the love of his life. Director Dimitri de Clercq joins us to talk about the twisted story of love, perception, illusion and identity that is You Go To My Head.

About the filmmaker: Dimitri de Clercq, (Director, Producer, Screenwriter) Producer turned filmmaker, Dimitri de Clercq began his producing career working with directors Mathieu Kassovitz (Café au Lait), Alain Robbe-Grillet (The Blue Villa) and Raúl Ruiz (The Golden Boat, Time Regained and Savage Souls). In 1993, he won an International Emmy Award for producing Ray Müller’s controversial documentary The Wonderful, Horrible Life of Leni Riefenstahl. A native Belgian, de Clercq grew up in the Middle East before majoring in film direction and production at New York University’s Tisch School of the Arts. In 2002, he started his own production company, CRM-114, named in homage to maverick filmmaker Stanley Kubrick. De Clercq’s fascination with the desert led him to produce several award-winning films set in desolate environments, including Afghan writer-director Atiq Rahimi’s Earth and Ashes (2005) and Iraqi director Mohamed Al-Daradji’s Son of Babylon (2009). The sepia-hued, parched wilderness of the desert was also a key inspiration for You Go To My Head, de Clercq’s feature film directorial debut.

 

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For news and updates go to: You Go To My Head.com

For the best in independent feature films go to: firstrunfeatures.com

See You Go to My Head at the Laemmle Glendale starting Friday, February 21

 

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“A stylishly suspenseful drama gains emotional resonance from impressive lead performances by Delfine Bafort and Svetozar Cvetkovic.” – Joe Leydon, Variety

“The movie is clamoring to erupt into melodrama, but de Clercq, content to wallow in teasingly luscious and enigmatically staged images, happily isn’t listening.” – Jeannette Catsoulis, New York Times

“A new, involving twist on the old theme of amnesia.” – Harvey S. Karten, Shockya.com

“You Go to My Head is a warped and lush tale of obsession, deception, and romance that’ll certainly go to your head. It’ll just take some time.” – Andrew Stover, Film Threat

Ordinary Love, Co-directors Lisa Barros D’sa and Glenn Leyburn

Joan and Tom (Academy Award® nominee Lesley Manville and Liam Neeson) have been married for many years. An everyday couple with a remarkable love, there is an ease to their relationship which only comes from spending a lifetime together. When Joan is unexpectedly diagnosed with breast cancer, the course of her treatment shines a light on their relationship as they are faced with the challenges that lie ahead and the prospect of what might happen if something were to happen to her. Co-directors Lisa Barros D’sa (Good Vibration) and Glenn Leyburn (Cherrybomb) join us to talk about their collaboration with two top tier actors, striking a balance in the tone and look for their extraordinarily empathetic look at two people who truly care about each other.

 

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For news and updates go to: bleeckerstreetmedia.com/ordinary-love-film

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95% on Rotten Tomatoes

“A beautifully understated look at intimacy and devotion in the face of potentially devastating loss; stars Leslie Manville and Liam Neeson tap effortlessly into the relatable routines, rhythms and nuances of a lived-in, long term relationship.” – Todd Gilchrist, TheWrap

“Armed with an incandescent screenplay and unforgettable performances, Ordinary Love is affecting in its own quiet way, as it showcases a deeply moving portrait of a marriage tested under strain after a cancer diagnosis.” – Laura Delaney, RTÉ (Ireland)

“An achingly intimate portrait of a marriage weathering a storm, the third feature from directing team Lisa Barros D’Sa and Glenn Leyburn (Good Vibrations) is anything but ordinary.” – Wendy Ide, Screen International

“Everything is completely believable, the relationship and the home clearly lived in, and it’s this that gives Ordinary Love its quiet, but sometimes overwhelming, power.” – Jack Blackwell, One Room With A View

And Then We Danced, Levan Akin

AND THEN WE DANCED is a passionate tale of love and liberation set amidst the ultraconservative confines of modern Georgian society, AND THEN WE DANCED follows Merab, a devoted dancer who has been training for years with his partner Mary for a spot in the National Georgian Ensemble. The arrival of another male dancer, Irakli—gifted with perfect form and equipped with a rebellious streak—throws Merab off balance, sparking both an intense rivalry and romantic desire that may cause him to risk his future in dance as well as his relationships with Mary and his family. Director, writer and editor Levan Akin joins us to talk about is sensitive and moving account of finding love, no matter the cost and the way his film has opened a hopeful dialog in his beloved Georgia.

Director’s Statement: In Georgia there are three things that are upheld as the paragon of Georgian Tradition and National Identity: the Church, the traditional polyphonic singing, and the traditional national dance. The lead person I follow in the film actually shares the same name as me, his name is Levan and he is a dancer, I too used to dance when I was younger and I imagined being him in an alternate reality. I interviewed a lot of dancers and they all told me stories of how gender conservative and strict the Georgian Dance scene was. So I decided to set the story in this setting. The Georgian Dance would represent the “old” and the burgeoning love between two of the dancers would represent the new. With this film I find myself really going back to my roots as a filmmaker, working in an organic way, where the real lives of the people in the film and what’s going on in Georgia now affects the story. It is ever evolving. Telling the story of young LGBT+ people and their struggles on a smaller scale but also showing the history and situation of Georgia today on a larger scale. This film will not only be a very interesting look into a part of the world not so many people are familiar with but also a heartfelt movie about the importance of being free. – Levan Akin

 

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For news and updates go to: musicboxfilms.com/film/and-then-we-danced

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January 24 – Island of the Hungry Ghosts, Director Gabrielle Brady

ISLAND OF THE HUNGRY GHOSTS takes place off the coast of Indonesia, in the Australian territory of Christmas Island, inhabited by migratory crabs traveling in their millions from the jungle towards the ocean, in a movement that has been provoked by the full moon for hundreds of thousands of years. Poh Lin Lee is a “trauma therapist” who lives with her family in this seemingly idyllic paradise. Every day, she talks with the asylum seekers held indefinitely in a high-security detention centre hidden in the island’s core, attempting to support them in a situation that is as unbearable as its outcome is uncertain. As Poh Lin and her family explore the island’s beautiful yet threatening landscape, the local islanders carry out their “hungry ghost” rituals for the spirits of those who died on the island without a burial. They make offerings to appease the lost souls who are said to be wandering the jungles at night looking for home. ISLAND OF THE HUNGRY GHOSTS is a hybrid documentary that moves between the natural migration and the chaotic and tragic migration of the humans, which is in constant metamorphoses by the unseen decision-making structures. Director Gabrielle Brady joins us to talk about her beautiful and quietly powerful tale of desperate people trapped in a place of pervasive uncertainty and a woman trying to help them cope.

 

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For news, screenings and updates go to: christmasislandfilm.com

** 2020 Spirit Award nominee for Best Documentary **

Tribeca Film FestivalAward for best documentary film

Mumbai International Film Festival Grand Jury Prize for best film

IDFAHuman rights award

Adelaide international Film Festival Winner best documentary film

 

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“ Island of the Hungry Ghosts is one of the year’s most impressively made documentaries, a film that’s as occasionally surreal as it is persistently moving. Island of the Hungry Ghosts is a true discovery.” – JOSHUA BRUNSTING, CRITERION CAST

“A documentary overflowing with empathy, poetry, and elemental power.”  – HUBERT VIGILLA, FLIXIST

“Hauntingly beautiful Island of the Hungry Ghosts combines multiple narratives…into one glorious whole… A mesmerizing work of visual wonder, the breathtaking images forming an evocative setting for a vital discussion of human rights… A stunning, visceral first feature, announcing the director as a major talent to watch”  – CHRISTOPHER LLEWELLYN REED, FILM FESTIVAL TODAY

“The best documentary award goes to a film that demonstrates extraordinary mastery of the full symphonic range of cinematic tools: cinematography, editing, score, sound design and, perhaps greatest of all, an exquisite use of metaphor. To a film that moved us deeply, impressed us immensely and made us feel we were witnessing nothing less than the emergence, fully formed, of a major new cinematic talent” – TRIBECA JURY

January 17 – Slamdance Film Festival, Co-founder and President Peter Baxter

It all began when a group of cheerful, subversive filmmakers weren’t accepted into the Sundance Film Festival. Unwilling to take “no” for an answer, they instead started their own event – Slamdance: Anarchy in Utah. 26 years later, Slamdance has become a year-round organization fostering the development of unique and innovative filmmakers. The organization now consists of the Film Festival, Screenplay Competition and Slamdance Studios. It has also created Slamdance On The Road, a traveling theatrical showcase that brings popular Slamdance films to audiences that otherwise would not have the opportunity to see them. Dan Mirvish, Jon Fitzgerald, Shane Kuhn and Peter Baxter are the founding forefathers who, along with co-conspirator Paul Rachman, fought for truly independent filmmakers by giving them a voice in 1995 at the very first Slamdance Film Festival. Since then, the festival takes place every January in the breathtakingly stunning, snow-capped mountains of Park City, Utah at the exact same time as the Sundance Film Festival, to provide a more authentic representation of independent filmmaking. Up-and-coming writers, directors and producers, alongside seasoned veterans and film lovers, converge for the weeklong celebration of independent cinema, realizing that Slamdance is a great place to find those next, great, visionary films. Slamdance lives and bleeds by its mantra By Filmmakers For Filmmakers. No other film festival in the world is entirely run and organized by the creative force that can only be found in filmmakers. Slamdance adamantly supports self-governance amongst independents, and exists to deliver what filmmakers go to festivals for – a chance to show their work and a platform to launch their careers. The festival has earned a solid reputation for premiering films by first-time writers and directors working within the creative confines of limited budgets. Co-founder and President Peter Baxter joins us to talk about this year’s Slamdance, the groundbreaking films and the innovative new distribution and digital initiatives being launched by Slamdance.

 

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For news and updates go to: slamdance.com
Check out the film schedule at slamdance 2020 schedule

 

Slamdance Film Festival – January 24-30 at the Treasure Mountain Hotel in Park City, Utah

 

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January 10 – Two films by Director Rosine Mfetgo Mbakam

Chez Jolie Coiffure

In Rosine Mbakam’s loving and intimate documentary we get to know shop owner, businesswoman Sabine. Recruited by a Lebanese maid agency, Sabine leaves Cameroon and embarks for Lebanon. After many years of servitude, she escapes to Belgium, but her arrival there is complicated by the fact that she enters illegally, by way of Greece and Syria. She settles in Matonge, the African quarter, where she becomes the manager of the beauty salon Chez Jolie Coiffure. Sabine attaches a hair weave and gets to work. Her hands move quickly and precisely, as she tightly braids the hair in front of the sign in her salon promising African, European, and American-style coiffure. Sabine is a larger than-life personality crammed into a tiny, glassed-in shop in the largely immigrant Brussels district of Matonge. Here, she and her employees fit extensions and glue on lashes while watching soaps, dishing romantic advice, sharing rumors about government programs to legalize migrants, and talking about people back home in West Africa. Patrons, many of them undocumented immigrants, are not only be made to feel beautiful but can also escape the daily difficulties and harsh realities of their lives.

For news, screenings and updates go to: icarusfilms.com/if-chez

“Critic’s Pick! Rosine Mbakam makes a remarkable debut; demonstrates a mastery of perspective, a rare ability to include the camera in community.” —The New York Times

“Intense vulnerability makes the film emotionally gripping; the contrast between a public storefront and intimate confessions makes it engrossing… Unequivocally extracts a powerful sense of empathy—and urgency.” —Vox Magazine

“Immersive, provacative; a warm, appealing portrait. Mbakam’s portrait is knit as tightly as the braids Sabine weaves.” —Film International

“A must-see! Highly revealing, an atypical and timely portrait of the intersection between the immigrant experience and female identity.” —IndieWire

“An original filmmaker of exquisite sensibility; one of the foremost filmmakers of creative nonfiction working right now.” —The New Yorker

Chez Jolie Coiffure and The Two Faces of a Bamileke Woman are also available at ovid.tv

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The Two Faces of a Bamileke Woman

Filmmaker Rosine Mbakam left Cameroon at 27 to live in Belgium. Seven years later—having studied film and married a European—she returns to make what she calls a journey into darkness—to the village of her birth, and later to the capital city of Yaoundé, where her mother now lives most of the year. In the village of Tonga, her mother, Mâ Brêh, shares memories of the horrors of the war against French colonizers, and of daily life for a Cameroonian woman in an arranged marriage—a fate Rosine herself barely escaped, leaving the family of an angry ex-fiance behind. As she spends more time with her mother and the women around her, Rosine reveals the strength of their solidarity and their ability to face adversity.

 

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For news, screenings and updates go to: icarusfilms.com/if-bamil

“Critic’s Pick! Mbakam demonstrates a mastery of perspective, a rare ability to include the camera in community.” —Teo Bugbee, The New York Times

“Wrought with bliss and wonder; an exciting contribution to the canon of contemporary African cinema.” —Alexandra M. Thomas, Yale University, in the journal H-Black Europe

“An honest, captivating documentary essay.” —Jagoda Murczyńska, AfryKamera

“Touching; Mbakam is a cinematic artist… Reveals much about gender and family relations in postcolonial Africa.” —Carmela Garritano, Texas A&M University, in the journal African Studies Review

“Extraordinary in substance and style. An original filmmaker of exquisite sensibility; one of the foremost filmmakers of creative nonfiction working right now.” —Richard Brody, The New Yorker

December 20 – The Invisible Life of Euridice Gusmao, Director Karim Aïnouz

Set in a brilliantly recreated 1950s Rio de Janeiro, The Invisible Life of Euridice Gusmao revolves around two inseparable sisters, 18 and 20 years old, living restricted lives with their conservative parents. However, each nourishes a passionate dream: Eurídice of becoming a renowned pianist; Guida of finding true love. In a shocking turn of events, they are separated and forced to live apart. Karim Aïnouz’s first film, MADAME SATÃ, a Jean Genet-inspired story of 1930’s Rio’s drag demi-monde, premiered at Film Forum in 2003. INVISIBLE LIFE shares with it this director’s commitment to immersing himself in the emotional lives of his characters, visualized through rich, inventive, and lush imagery. Based on Martha Batalha’s popular novel The Invisible Life of Eurídice Gusmão, the film won the Un Certain Regard prize at the 2019 Cannes Film Festival. INVISIBLE LIFE is nominated for Best International Film at the 2020 Film Independent Spirit Awards and is Brazil’s official submission to the 2020 Academy Awards® for Best International Film. Director and co-screenwriter joins us to talk about his razor-sharp, wrenching story of patriarchy, fierce determination and love in a time and place where gender mattered more than family.

 

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About the filmmaker: Karim Aïnouz was born in Fortaleza, Brazil in 1966. He studied architecture in Brasilia and film at New York University. He was assistant director to Todd Haynes, worked on over 20 films as an editor and has been directing his own films since 1992. In 2014 his film Praia do Futuro screened in the Berlinale Competition, and he was one of the directors of Cathedrals of Culture (also 2014). Selected filmography: Madame Satã (2002), Love for Sale (2006), The Silver Cliff (2011), Futuro Beach (2014), Central Airport THF (2017), The Invisible Life of Eurídice Gusmão (2019).

Social Media
twitter.com/hashtag/karimainouz
#Oscars2020
#Academy
#AVidaInvisel
#KarimAinouz

 

**OFFICIAL BRAZILIAN OSCAR® ENTRY FOR BEST INTERNATIONAL FEATURE**
**WINNER – UN CERTAIN REGARD – CANNES FILM FESTIVAL 2019**

“RAVISHING. A waking dream, saturated in sound, music and color to match its depth of feeling. Aïnouz has made both a testament to the resilience of women in a society stacked against them…as well as a stirring celebration of the families we create when the ones we’re born into fall away.” – Guy Lodge, Variety

“GORGEOUS. A haunting drama that quietly celebrates the resilience of women… by turns seductive and sorrowful, tender and raw.” – David Rooney, The Hollywood Reporter

“This is an absolutely gorgeous film that starts off as a sort of Rio fairytale and then turns into something a little more realistic with its feet on the ground.” – Amy Nicholson, FilmWeek

“It’s a drama of resilient women, thoughtless men and crushingly unrealized dreams, told with supple grace, deep feeling and an empathy that extends in every direction.” – Justin Chang, Los Angeles Times

December 27 – Dawson City: Frozen Time, Director Bill Morrison

A hallucinatory cinematic fever dream, Dawson City: Frozen Time tells the bizarre true story of some 533 silent film reels, dating from the 1910s and 20s, that accumulated at the end of a film distribution line in northwestern Canada and which were miraculously discovered some 50 years later, in 1978, buried in a sub-arctic swimming pool, deep in the Yukon permafrost. Filmmaker Bill Morrison (Decasia, The Miners’ Hymns, The Great Flood) deftly combines excerpts from this remarkable collection with historical footage, photographs, and original interviews, to explore the complicated history of Dawson City, a Canadian Gold Rush town founded across the river from a First Nation hunting camp, and then traces how the development of that town both reflected and influenced the evolution of modern Cinema. Combined with a powerful, evocative score by Alex Somers ( Captain Fantastic; Hale County This Morning, This Evening; Honey Boy), orchestrated and arranged by Ricardo Romaneiro, Dawson City: Frozen Time is a triumphant work of art that spins the life cycle of a singular film collection into a breath-taking history of the 20th century. Director, writer and editor Bill Morrison joins us to talk about his amazing re-creation of a time and place that existed in the parallel universes of a nascent film industry and crushing avarice of a gold rush that still resonates today.

About the filmmaker: Bill Morrison has premiered films at the New York, Rotterdam, Sundance, and Venice film festivals, and multi-media work at major performance venues around the globe such as BAM, the Barbican, Carnegie, and Walt Disney Concert Hall. Morrison’s films typically source rare archival footage in which long-forgotten, and sometimes deteriorated, imagery is reframed as part of a collective mythology. His work has been recognized with the Alpert Award, Creative Capital, the Foundation for Contemporary Art, a Guggenheim fellowship, and a mid-career retrospective at MoMA. His found footage opus Decasia (2002) was the first film of the 21st century to be selected to the Library of Congress’ National Film Registry. The Great Flood (2013) was awarded the Smithsonian Ingenuity Award of 2014 for historical scholarship. Dawson City: Frozen Time (2016) won a Critics’ Choice Award for the most innovative documentary of the year, and was named the best documentary of 2017 by the Boston Society of Film Critics.

 

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billmorrisonfilm.com/dawson-city-frozen-time

Social Media
facebook.com/BillMorrisonFilm
twitter.com/decasia

“an instantaneously recognizable masterpiece” – Glenn Kenny, New York Times

“Bill Morrison, whose extraordinary documentary Decasia turned decomposing film stock into the stuff of avante-garde reverie, returns with another staggering journey into the past.” – J. R. Jones, Chicago Reader

“The thrilling documentary “Dawson City: Frozen Time” is indescribable not because it’s ambiguous (it’s totally straightforward) but because it does so many things so beautifully it is hard to know where to begin.” – Kenneth Turan, Los Angeles Times

“The rise and fall of Dawson City, intimately tied to the vagaries of climate and man’s greed, is heartbreakingly rendered.” – Peter Rainer, Christian Science Monitor

December 13 – The Disappearance of My Mother, Director Beniamino Barrese

The Disappearance of My Mother chronicles Benedetta Barzini desire to leave this world behind. An iconic fashion model in the 1960s, she became a muse to Warhol, Dali, Penn and Avedon. As a radical feminist in the 1970s, she fought for the rights and emancipation of women. But at the age of 75, she is fed up with all the roles that life has imposed upon her and decides to leave everything and everybody behind, to disappear to a place as far as possible from the world she knows. Hiding behind the camera, her son Beniamino witnesses her journey. Having filmed her since he was a child in spite of all her resistance, he now wants to make a film about her, to keep her close for as long as possible – or, at least, as long as his camera keeps running. The making of the film turns into a battle between mother son, a stubborn fight to capture the ultimate image of Benedetta – the image of her liberation. Director Beniamino Barrese joins us to talk about this remarkably intimate, raw film and his complex relationship with his muse and mother who reluctantly helping him with his “project” as she prepares for her final exit.

 

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For news and updates go to: kinolorber.com/film/the-disappearance-of-my-mother

More about the film go to: thedisappearanceofmymother.com

Opening in Los Angeles on December 13 at Laemmle Monica Film Center

Social Media
facebook.com/thedisappearanceofmymother
instagram.com/thedisappearanceofmymother

 

“One of the most moving and complex films at Sundance. I’ll add to my list of heroines Benedetta Barzini, an Italian 1960s supermodel who became a leftist feminist and mother.” – Amy Taubin, Film Comment

“A film that both beguiles and unsettles as it salutes a remarkable woman… who has spent a lifetime challenging the influence of the fashion industry and staring down the unflinching gaze of the camera.” – Allan Hunter, Screen International

“One solitary word cannot fully encapsulate how utterly personal the documentary comes across. Barrese guides the audience through his mother’s mindscape, and as a thoughtful, remarkably insightful woman, the documentary reflects this sentiment through its visual language and fluid editing… ‘The Disappearance of My Mother’ is a noble effort, and as the subject of the film, Barzini herself is an intriguing personality; her perspective on the world is genuinely moving to hear at times, and her insights often work their way into your mind, inspiring you to openly consider your own life. Similarly, Barrese’s talents as a filmmaker cannot be disregarded.” – THE PLAYLIST, Jonathan Christian

“Deeply personal and shot through with fascinating contradictions, ‘The Disappearance of My Mother’ is a portrait of a woman in rebellion… Barzini is a severe, unsparing critic of the commodification and exploitation of the female body by men, which greatly complicates her son’s insistent, at times intrusive gaze. It also deepens the movie, making the personal ferociously political.” – NEW YORK TIMES, Manohla Dargis

** Midnight Family, Director Luke Lorentzen

** Update – MIDNIGHT FAMILY is a shortlisted nominee for the 2020 ACADEMY AWARD FOR BEST DOCUMENTARY

MIDNIGHT FAMILY has won more than 25 national and international awards, played in 135 film festivals around the world. MIDNIGHT FAMILY is set in Mexico City, where the government operates fewer than 45 emergency ambulances for a population of 9 million. This has spawned an underground industry of for-profit ambulances often run by people with little or no training or certification. An exception in this ethically fraught, cutthroat industry, the Ochoa family struggles to keep their financial needs from jeopardizing the people in their care. When a crackdown by corrupt police pushes the family into greater hardship, they face increasing moral dilemmas even as they continue providing essential emergency medical services. MIDNIGHT FAMILY is an enthralling. harrowing, and intimate look at a family business of dedicated professionals who often fo more than simple transport the helping the people who end up in their ambulance. Director, Producer, Cinematographer, Editor Luke Lorentzen joins us to talk about his mesmerizing film and the challenges of capturing all the different facets of the Ochoa family.

About the filmmaker: Director, Producer, Cinematographer, Editor Luke Lorentzen is a graduate of Stanford University’s department of Art and Art History. His first film, Santa Cruz del Islote (2014) – a short documentary about a small and densely populated fishing community in Colombia – won awards at over ten international film festivals including the San Francisco International, Full Frame Documentary, Camden International, and Chicago International. Midnight Family (2019) – Luke’s first feature documentary out of school – tells the story of a family-run ambulance business in Mexico City. Midnight Family has played at over 130 film festivals around the world and has won over 25 awards including a Special Jury Award for Cinematography at the Sundance Film Festival and the Grand Jury Award at Sheffield Doc/Fest. Midnight Family will be released theatrically around the world in December of 2019. Luke is also a director and producer on the Netflix documentary series, Last Chance U. His work explores elements of everyday life, often through rigorous formal means, questioning and experimenting with the ways in which non-fiction stories are told. Originally from Connecticut, Luke currently lives in San Francisco.

 

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For news, screenings and updates go to: midnightfamilyfilm.com

Midnight Family opening at the Laemmle Royal in Los Angeles on Friday Decemebr 13 with a Q&A with director Luke Lorentzen at the 7:50 PM screening on Friday night

Social Media
facebook.com/MidnightFamilyFilm
twitter.com/MidnightFamFilm
instagram.com/midnightfamilyfilm
#midnightfamilyfilm

 

AWARDS:
Special Jury Award for Cinematography, U.S. Documentary, Sundance Film Festival
IDA Documentary Awards, Winner, Best Editing
IDA Documentary Awards, Nominee, Best Feature
IDA Documentary Awards, Nominee, Best Cinematography
Cinema Eye Honors, Best Film Nominee
Cinema Eye Honors, Best Cinematography Nominee
Cinema Eye Honors, Best Production Nominee
Cinema Eye Honors, Unforgettables Award, Juan Ochoa, Nominee
Golden Frog for Best Documentary, EnergaCAMERIMAGE
Best Documentary, Films from the South, Oslo
Maysles Brothers Award, Special Jury Mention, Denver Film Festival
Best Film, WatchDocs IFF, Warsaw
FIPRESCI Rellumes Award for Best Director, Gijón Film Festival

 

100% on Rotten Tomatoes

“10 Best Movies of Sundance 2019″

“Fantastically shot by the director Luke Lorentzen, the documentary develops an urgency that suits the life-or-death stakes onscreen. By turns terrifying and exhilarating, “Midnight Family” unfolds with such velocity that it may take a while for your ethical doubts to catch up to what’s happening. When they do, they leave you gasping.” – Manohla Dargis, New York Times

“Arguably the most exhilarating documentary to come out of Sundance this year, Midnight Family follows the Ochoa family—the gruff but compassionate Fer and his two underage sons, Juan and Josué—at intensely close range on these Sisyphean missions of mercy.” – Museum of Modern Art and Film Society of Lincoln Center

“A deft mix of big-picture doc-making and intimate moments… not to mention a wild — and remarkably eye-opening — ride.” – David Fear, Rolling Stone

“An intimate verite documentary… the Ochoas emerge as fascinating embodiments of a country working overtime to correct its shortcomings and keep the lights on. This bracing U.S. competition documentary is poised to provide a personal window into the fast-paced mayhem of Mexico after dark.” – Eric Kohn, Indiewire

Coastal Road Killer, Co-director Yotam Guendelman and Ari Pines

In October of 1974 the body of Rachel Heller, a female IDF solider, is found in the sand dunes of Caesarea. She’s completely naked, except for a single sandal and a bra strap tied tightly around her neck. The investigation leads nowhere, until a young man by the name of Amos Baranes storms into a local police station, claiming he knew the victim and wants to help find the person responsible. He’s arrested and after 3 days of interrogations, he confesses to the murder. Coastal Road Killer is a riveting multi-part series examines whether a serial killer, who was never brought to justice, was behind a string of murders that occurred in Israel between the late 70s and early 80s and whether they might still be on the loose. Coastal Road Killer was created by Yotam Guendelman, Mika Timor and Ari Pines, the team behind   Shadow of Truth, the story of the 2006 murder of Tair Rada, a 13-year old Israeli girl, which became one of Netflix’s most-watched true crime docs. Coastal Road Killer explores the connection between storytelling and truth. Very much like Shadow of Truth, the filmmaking is aimed at showing us how easily we can be manipulated into believing a certain narrative, only to have it completely deconstructed in the next few frames.  Co-directors Yotam Guendelman and Ari Pines stop by to talk about their riveting multi-part series investigative expose that through diligent research and forensic experts uncover new, credible evidence that raises a possible serial killer who has, so far, avoided responsibility for their crimes.

 

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November 22 – When Lambs Become Lions, Director Jon Kasbe

In this extraordinary documentary, WHEN LAMBS BECOME LIONS we are immersed in the Kenyan bush, as a small-time ivory dealer fights to stay on top while forces mobilize to destroy his trade. When he propositions his younger cousin, a conflicted wildlife ranger who hasn’t been paid in months, they both see a possible lifeline. The plummeting elephant population in Africa has captured the attention of the world, and as the government cracks down, both poachers and rangers face their own existential crises— what is the value of elephant life relative to human life? And can we understand these hunters who will risk death, arrest, and the moral outrage of the world to provide for their families? The photography in this film is so stunning that many people forget they’re watching a documentary, and it’s probably why WHEN LAMBS BECOME LIONS was just nominated for two 2019 IDA Documentary Awards (Best Cinematography and Best Editing). WHEN LAMBS BECOME LIONS is told in the style of “embedded” filmmaking with an intimate and strikingly honest look at elephant poaching in Kenya, told from both perspectives — the poachers and the rangers who pursue them. At its core, WHEN LAMBS BECOME LIONS is the human side of why people do what they do given their circumstances. An angle not many people think about when they hear “elephant poaching”. WHEN LAMBS BECOME LIONS is executive produced by Academy Award-nominated filmmaker Matthew Heineman (Cartel Land) and directed by Emmy Award-winning filmmaker and Doc NYC 40 Under 40 honoree, Jon Kasbe. Kasbe followed his subjects over a three-year period, gaining an extraordinary level of access and trust on both sides of the ideological and ethical spectrum. The result is a rare and visually arresting look at the perspectives and motives of the people at the epicenter of this conservation crisis. Director Jon Kasbe joins us to talk about the making of his riveting film, gaining the confidence of the film’s subjects and navigating the many ethical questions he confronted during the making of When Lambs Become Lions.

 

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For news, screenings and updates go to: whenlambs.oscilloscope.net

For more on Director Jon Kasbe go to: jonkasbe.com

WHEN LAMBS BECOME LIONS filmmaker Jon Kasbe will participate in Q&A’s following the 7:30 pm show on Friday, 11/22 and Saturday, 11/23 and following the 1:00 pm show on Sunday, 11/24 at the Monica Film Center.

Social Media
facebook.com/whenlambs
twitter.com/whenlambs
instagram.com/whenlambs
twitter.com/jonkasbe

 

“A probing view of how a failed African state allows poaching to continue, no matter the lofty speeches of its new president. When people are desperate, they turn to crime–including poaching.” – Louis Proyect, Counterpunch.org

“…supple, complex, and darkly gorgeous” – Chris Barsanti, The Playlist

“Documents how this daily struggle binds together the inhabitants of Northern Kenya, both man and beast, and explores how questions of morality and mortality become increasingly complicated in such a savage landscape.” – Nikki Baughan, Screen International

“Kasbe nudges us to remember the importance of food on the table – for all Kenyatta’s show of might, wouldn’t a better situation be kindled by simply paying people what they’re owed?” – Amber Wilkinson, Eye for Film

The Body Remembers When the World Broke Open, Co-directors Elle ­Máijá Tailfeathers and Kathleen Hepburn and Actor Violet Nelson

THE BODY REMEMBERS WHEN THE WORLD BROKE OPEN reveals a beautifully intimate, real-time portrait that follows two Indigenous women from vastly different backgrounds whose worlds collide when one of them is fleeing a violent domestic attack.  A love poem to women, THE BODY REMEMBERS WHEN THE WORLD BROKE OPEN weaves a compellingly simple story around the complex themes of racialized female bodies, a country’s failure to support its most vulnerable youth, and the continuing effects of colonial violence.  THE BODY REMEMBERS WHEN THE WORLD BROKE OPEN is the newest acquisition from Ava DuVernay’s ARRAY Releasing. Founded in 2010 by Ava DuVernay, ARRAY is a film collective dedicated to the amplification of images by people of color and women directors. Now in its ninth year, ARRAY Releasing focuses on grassroots distribution of feature narrative and documentary work by varied voices. Co-directors / co-writers Elle ­Máijá Tailfeathers and Kathleen Hepburn, as well as lead actor Violet Nelson joins us to talk about the different creative elements that went into the making of this heart-bending film on violence against women, class, privilege and the limitations of compassion.

 

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For news and updates go to: arraynow.com/ The Body Remembers When the World Broke Open

For more on the work of Kathleen Hepburn go to: experimentalforest.ca/thebodyremembers

About the filmmakers

Elle­ Máijá Tailfeathers, Co­-Writer / Co­-Director, is a filmmaker, writer, and actor based in Vancouver, British Columbia. She is Blackfoot from the Kainai First Nation (Blood Reserve) as well as Sámi from northern Norway. She holds a Bachelor’s Degree from the University of British Columbia in Indigenous Studies with a Minor in Women’s and Gender Studies. THE BODY REMEMBERS WHEN THE WORLD BROKE OPEN is her debut narrative feature. Tailfeathers was the 2018 Sundance Institute Merata Mita Film Fellow and is an alumni of the Berlinale Talent Lab, the Hot Docs Accelerator Lab, the CFC/NFB/Ford Foundation Open Immersion Virtual Reality Lab, the Whistler Film Festival Aboriginal Film Fellowship, and the International Sámi Film Institute Indigenous Film Fellowship. Her short documentary, Bihttoš, was included in the TIFF Top Ten Canadian Shorts and was also nominated for a Canadian Screen Award and a Leo Award for Best Short Documentary.

elle-maija-tailfeathers.com

Kathleen Hepburn, Co­-Writer / Co­-Director, is a Vancouver born writer and director whose debut feature, NEVER STEADY, NEVER STILL, which Variety Magazine calls a “stoically broken hearted debut,” premiered at the Toronto International Film Festival in 2017 and was awarded Best Canadian Film and Best Director by the Vancouver Film Critics Circle, as well as Special Jury Prize at the Dublin International Film Festival. It went on to be nominated for eight Canadian Screen Academy Awards including Best Picture. She holds an MFA in Creative Writing, and a BFA in Film Production from the Universities of Guelph and Simon Fraser respectively. THE BODY REMEMBERS WHEN THE WORLD BROKE OPEN is her sophomore feature, co­-written and co­-directed by Elle­-Máijá Tailfeathers.

Social Media:
facebook.com/thebodyremembersfilm
twitter.com/bodyremembers
twitter.com/ava
twitter.com/experiforest
instagram.com/experimentalforest

 

100% on Rotten Tomatoes

“Intricate and impactful… a world-affirming work.” Sarah-Tai Black, Globe and Mail

“What Tailfeathers and Hepburn have shared… is a practice of filmmaking that grapples with these exact intricacies of embodiment and acknowledges them as wholly inextricable from Indigenous presents and futures.” – Sarah-Tai Black, Globe and Mail

“As poetic as its title, The Body Remembers When the World Broke Open cannot be understated for its power and must not be erased from the conversation.” – Aaron Berry, Film Inquiry

“Stands alongside many recent social realism dramas by the likes of Andrea Arnold and Lynne Ramsay … these performances will hit you like a punch to the gut.” Shelagh Rowan-Legg, Screen Anarchy

Mr. Toilet: The World’s #2 Man, Director Lily Zepeda

In the entertaining and informative documentary we meet Jack Sim, MR. TOILET: The World’s #2 Man. To strangers, Jack Sim might come across as an eccentric entrepreneur who is obsessed with toilets, but to those who know him he’s “Mr. Toilet,” a crusader for global sanitation. Born in the Singapore slums, Sim knows first-hand the agonies of not having a proper loo. Sim’s is dedicating his life to a crisis no one dares talk about. Not having a place “to go” isn’t just an inconvenience, it’s a problem that impacts 2.4 billion people worldwide. In India alone, 200,000 children die each year from lack of safe sanitation, while women are regularly raped because they have to defecate in public spaces. He founded the World Toilet Organization and spent the last 13 years lobbying 193 countries to raise awareness for proper sanitation. He even successfully lobbied the United Nations to create World Toilet Day (November 19) – the first International day of celebration for the toilet. Now he is plunged into his biggest challenge yet when asked to secure 6 million toilets for the “Clean India” initiative. But with few resources and no help from the government, his epic project and reputation are in jeopardy. Jack’s once supportive staff begins to doubt him; and when his family bonds start to fray over his obsessive dedication, Mr. Toilet realizes there is a price to pay for being the world’s #2 man. But as a “su-poo-hero”, he can’t quit. Director, producer and writer Lily Zepeda joins us to talk about a man possessed with bringing sanitation to a world that may not be ready to embrace it and how his mission has impacted the people closest to him.

 

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For news, screenings and updates go to: mrtoiletfilm.com

Toilet Facts:
Almost 40% of the world’s population does not have access to safe sanitation
Almost 1 million children die every year from diarrhea due to a lack of sanitation
Over the past 200 years, toilets have added 20 years to the lifespan of humans
i in 5 girls in India drop out of school when they start having periods due to the lack of private toilets
Jack Sim was named one of the heroes of the environment for 2008 by TIME magazine

 

Social Media:
facebook.com/worldsnumber2man
instagram.com/mrtoiletfilm
instagram.com/lilyzepeda

 

100% on RottenTomatoes

“For me, the issue of clean sanitation and access to it is absolutely something I took for granted. Mr. Toilet showed me how foolish that idea was.” – Bobby LePire, Film Threat

“Enhanced by playful animations, this nicely composed documentary serves as an engagingly honest profile of a driven man and his prodigious movement.” – Michael Rechtshaffen, Los Angeles Times

“An intelligently crafted and balanced documentary that effectively captures her subject’s rambunctious personality, the sanitary issues he wants to bring to a wider audience, and even some light criticism.” – Andrew Parker, The Gate

“Bathroom humour is rarely so effective.” – Pat Mullen, POV Magazine

DOC/NYC spotlight: Mai Khoi and the Dissidents, Director Joe Piscatella

After the patriotic themes of her first hit song launch her to stardom in Vietnam, Mai Khoi’s personal and artistic growth places her and those around her in jeopardy. A shift from pop star to activist sees Khoi run for office, advocate for women’s rights and sit down with President Barack Obama. Her aspirations to release an album with her new band, The Dissidents, are challenged by looming retaliation by the authoritarian Vietnamese regime, leading the young activist to take drastic measures. Director Joe Piscatella stops by to talk about the journey of Vietnam’s most popular leading pop star from celebrated to hunted for speaking out against an oppressive regime hell-bent to silence her.

About the filmmaker: Joe Piscatella’s second feature documentary, Joshua: Teenager vs. Superpower won the Audience Award at the 2017 Sundance Film Festival and was acquired as a Netflix Original. His first feature documentary, #ChicagoGirl, has been seen in more than 60 countries. He was also an executive producer on the documentary Finders Keepers, which premiered at Sundance in 2015. In 2019 he was nominated for an Emmy for his directorial work on Food Interrupted. His latest documentary, Mai Khoi & the Dissidents premiered at the 2019 DOC/NYC film festival.

 

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Social Media:
twitter.com/jpiscatella
twitter.com/MaiKhoiOi

 

Atlantics, Director Mati Diop

Winner of the Grand Prix at the 2019 Cannes Film Festival, ATLANTICS marks the feature narrative debut of director Mati Diop. Along the Atlantic coast of Africa, a soon-to-be-inaugurated futuristic tower looms over a suburb of Dakar. Ada, 17, is in love with Souleimane, a young construction worker. But she has been promised to another man. One night, Souleimane and his co-workers disappear at sea. Soon after, they come back to haunt their old neighbourhood by taking possession of the girlfriends they left behind. Some of the workers have come claiming revenge and threaten to burn the tower down if the developer does not pay their wages. But Souleiman has come back for Ada, so they can be together one last time. Director and writer Mati Diop joins us for a conversation on her compelling new film, finding love, and the mythology of a ghost story.

About the filmmaker: Trained in Le Fresnoy (National Studio of Contemporary Arts – a leading and very selective French artistic institution), Mati Diop directed four shorts and a medium-length film which received the “Martin E. Segal – Emerging Artist Award” of the Lincoln Center (USA) in 2016. A THOUSAND SUNS (2013), BIG IN VIETNAM (2011), SNOW CANON (2010) and ATLANTIQUES (2009) were selected and awarded in a wide number of international festivals such as the Venice International Film Festival, the Toronto International Film Festival, the Rotterdam International Film Festival, the Viennale, The Indie Lisboa International Film Festival, and the FID Marseille. They were also programmed in the MoMA and in the Moving Image Museum (USA). As an actress, Mati Diop played in HERMIA Y HELENA by director Matias Piñeiro (2015), FORT BUCHANAN by Benjamin Crotty (2014), SIMON KILLER by Antonio Campos (2012) and 35 SHOTS OF RHUM by Claire Denis (2008).

 

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For news, screenings and updates go to: mk2films.com/en/film/atlantics

Social Media:
facebook.com/mk2films/photos/atlantics-by-mati-diop
twitter.com/hashtag/atlantics
twitter.com/#MatiDiop

 

Grand Prix Winner, Cannes Film Festival 2019
Official Selection, Toronto International Film Festival 2019
Official Selection, New York Film Festival 2019
Mati Diop, Mary Pickford Award Winner, Toronto International Film Festival 2019

 

“This shape-shifting Senegalese drama is pure cinematic poetry. Slipping in and out of modes with a magician’s confidence, Atlantics is mysterious and mythic, with a wizardly use of sound and some unforgettable images.” ★★★★★ The Telegraph – Tim Robey

“A striking work, with a lyrical, richly evocative ghost story. Exquisitely shot by Claire Mathon and lushly scored by Fatima Al Qadiri, the film pulls together some exceedingly strong components.”The Hollywood Reporter – Leslie Felperin

“Constantly intriguing, Atlantics is an intense romance notable for the craft of the filmmaking and Diop’s original approach to complex issues of love, loss and the forces for change that can rise from the ashes of tragedy.”Screen International – Allan Hunter

“A gorgeous, mesmerizing feature directorial debut. Atlantics is an absorbing, otherworldly vision of an alienated seaside life in Dakar.”IndieWire – Eric Kohn

“A romantic and melancholy film, part social commentary, part ghost tale, that works best in its evocation of loss and female solidarity.”Variety – Jay Weissberg

The Kingmaker, Director Lauren Greenfield

Centered on the indomitable character of former first-lady Imelda Marcos, THE KINGMAKER examines, with intimate access, the Marcos family’s improbable return to power in the Philippines. THE KINGMAKER explores the disturbing legacy of the Marcos regime and chronicles Imelda’s present-day push to help her son, Bongbong, win the vice presidency. To this end, Imelda confidently rewrites her family’s history of corruption, replacing it with a narrative of a matriarch’s extravagant love for her country. In an age when fake news manipulates elections, Imelda’s comeback story serves as a dark fairy tale. Director Lauren Greenfield (Generation Wealth, The Queen of Versailles, Thin) joins us to talk about a powerful political family, led by a single-minded matriarch, determined to return to re-capture the corrupted glory of  her family’s discredited regime.

 

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About the filmmaker, Lauren Greenfield Named by the New York Times as “America’s foremost visual chronicler of the plutocracy,” Emmy Award–winning filmmaker/photographer Lauren Greenfield has produced groundbreaking work on consumerism, youth culture and gender for the last 25 years. Her films Generation Wealth, The Queen of Versailles and Thin and photography books Generation Wealth, Fast Forward and Girl Culture have provoked international dialogue about some of the most important issues of our time. The Queen of Versailles was the opening night film of the 2012 Sundance Film Festival, where it won the Best Documentary Director Award and was named by Vogue as  one  of  the  top  documentaries  of  all time. Her record-breaking Super Bowl ad #LikeAGirl (250+ million views) earned her 14 Cannes Lions and the Most Awarded Director by Ad Age, making her the first woman to top this list. Generation Wealth (Amazon Studios) opened the 2018 Sundance Film Festival, screened at Berlinale and received a Writers Guild nomination. The companion exhibition received The Paris Photography prize, has traveled around the world and opens at the Louisiana Museum of Modern Art (Copenhagen) in Fall 2019. In 2019, Greenfield launched Girl Culture Films to address the lack of diversity of directors in the advertising industry.

For news, theatre screening and updates go to: thekingmakerfilm.com

Social Media:
facebook.com/laurengreenfield
twitter.com/lgreen66
instagram.com/greenfield_lauren

 

OFFICIAL SELECTION – Venice International Film Festival
OFFICIAL SELECTION – Telluride Film Festival
OFFICIAL SELECTION – Toronto International Film Festival

 

“Jaw dropping. Lauren Greenfield proves the perfect person to infiltrate Imelda Marcos’ psyche.”- Peter Debruge, Variety

 “An enraging portrait of entitlement, opulence and corruption. Greenfield shows a knack for illuminating the oddly hypnotic allure of obscene, tacky wealth.” – Tim Grierson, Screen International

 “Eye opening. Lauren Greenfield transforms an absorbing look at the life and legacy of Imelda Marcos into a fascinating documentary about the Marcos family’s troubled history – and the disturbing ways that it’s making a comeback today.” – Eric Kohn, IndieWire

:Marcos innately understands the importance of image, but she seems to have underestimated her inquisitor, who uses well-chosen historic footage and powerfully-edited interviews with other Filipinos to gradually expand the canvas.” – Elizabeth Weitzman, TheWrap

Queen of Hearts, Director May el-Toukhy

QUEEN OF HEARTS tells the story of Anne, a brilliant and dedicated lawyer specializing in children and young adults, living what appears to be the picture perfect life with her doctor-husband, Peter, and their twin daughters. When her estranged teenage stepson, Gustav, moves in with them, Anne’s escalating desire leads her down a dangerous rabbit hole which, once exposed, unleashes a sequence of events that threatens to destroy her world. Denmark’s official entry for the 2019 Academy Award for Best Foreign Film, QUEEN OF HEARTS explores the making of a tragic family secret step by step, as the consequences of hubris, lust and lies conspire to create an unimaginable dilemma. With bold and astonishing vision, co-writer/director May el-Toukhy masterfully builds Anne’s world, seducing the viewer into complicity before maneuvering her protagonist onto an unsettling and shocking path. Trine Dyrholm, one of Denmark’s finest dramatic actresses, skillfully inhabits the complicated Anne. In a finely calibrated performance, Dyrholm humanizes Anne’s contradictions and unpredictable behavior, creating an even more disconcerting character. A riveting and provocative film, QUEEN OF HEARTS is a portrait of a woman who manages to lose everything and nothing at the same time. Director and co-screenwriter May el-Toukhy joins us for a lively conversation on her shattering tale of power, family and self-preservation.

 

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For news, screenings and updates go to: bgpics.com/movies/queen-of-hearts

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“Shot in icy blues and whites and among the hard edges of a modernist home, there’s nothing very comfortable about this environment; el-Toukhy doesn’t want us to get cosy.” – Alex Heeney, Seventh Row

“Queen of Hearts is certainly not a comfortable watch, let alone a pleasant one. But it is a fearless, important film whose impact explodes primarily out of the core collaboration between its masterful director and her main actor.” – Alexandra Heller-Nicholas, AWFJ Women on Film

“A challenging sit, especially when Anne’s actions shift from ethically bankrupt to outright despicable, making her one of the most complicated female villains of recent memory.” – Tomris Laffly, RogerEbert.com

“Dyrholm, who remains one of Denmark’s most accomplished contemporary performers, adds another signature performance to her filmography as Anne, a good person who, like everyone, has the capability of doing terrible things.” – Nicholas Bell, IONCINEMA.com

Independent Lens, Executive Producer Lois Vossen

The acclaimed PBS documentary series Independent Lens, recently honored with two Peabody Awards, a Primetime Emmy nomination and 12 News & Documentary Emmy nominations, returns for a new season on Monday, October 28.This year’s premiere is Made in Boise, an engrossing look at the complex and controversial world of gestational surrogacy told through the stories of four women carrying babies for gay men and infertile couples in the conservative heartland of Idaho — the unofficial “surrogacy capital” of the United States. Also on the fall schedule is Decade of Fire, which travels back to the 1970s when the South Bronx was burning, to showcase the dedicated citizens who outlasted the flames and saved their community; The Interpreters, a moving look at the Afghan and Iraqi interpreters who risked their lives aiding American troops and who now struggle to find safety and security for themselves and their families; Conscience Point, which unearths the deep clash of values between the Native American Shinnecock of Long Island and their affluent Hamptons neighbors; and Attla, the rousing story of Alaska Native George Attla, who with one good leg and a determined mindset went on to become a champion dogsled racer. Other highlights of the Winter/Spring 2020 slate include Always in Season, a harrowing look at the history of lynching and the 2014 case of Lennon Lacy, a North Carolina teen who died under unexplained circumstances; Bedlam, a psychiatrist’s chronicle of what mental illness means in the U.S. today, interwoven with the story of how the system tragically failed his own sister; and Rewind, a devastating, autobiographical documentary about the far-reaching consequences of multigenerational child sexual abuse. Independent Lens Executive Producer Lois Vossen joins us to talk about the fundamental principles to support filmmakers telling stories about their communities and commitment to showcase thought-provoking documentaries about the issues that divide us and the ideals and beliefs that bind us together.

 

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For news, updates and screenings go to: pbs.org/independentlens

Social Media:
facebook.com/independentlens
twitter.com/independentlens
instagram.com/independentlens

 

Independent Lens upcoming schedule:

Made in Boise by Beth Aala (Monday, October 28) Go inside the lives of four surrogates and the intended parents whose children they carry. As the number of surrogate births surge across the country, a surprising epicenter of the movement is Boise, Idaho, where hundreds of women are choosing to be surrogates. For gay couples, single men, and those who struggle with infertility, this booming industry is often the last resort to biological parenthood. The film follows the four women as they navigate the rigors of pregnancy and the mixed feelings of their own families, who struggle to understand their choice to risk the physical and emotional complications of carrying babies for someone else.

Decade of Fire by Vivian Vázquez Irizarry, Gretchen Hildebran and Julia Steele Allen (Monday, November 4) In the 1970s, the Bronx was on fire and close to a quarter-million people were displaced when their close-knit, multiethnic neighborhood burned. While the abandonment of landlords and dwindling support from government officials led to the devastation, Black and Puerto Rican residents were blamed. Now, Bronx-born Vivian Vázquez Irizarry explores the truth about the borough’s untold history and reveals how her community chose to resist, remain and rebuild.

The Interpreters by Andrés Caballero and Sofian Khan (Monday, November 11) More than 50,000 local interpreters helped protect U.S. troops on the ground in Iraq and Afghanistan, enabling soldiers to communicate with the local population. But those who took the job were often considered traitors. In the aftermath of war, some have been able to leave their home countries and reach safety, while others still languish in hiding and fear for their lives.

Conscience Point by Treva Wurmfeld (Monday, November 18) In Long Island’s Hamptons, one of the wealthiest areas in the nation and an epicenter of the luxury property boom, a clash of values is taking place. The original inhabitants of the beautiful peninsula — the Shinnecock Indian Nation — find themselves squeezed onto a tiny, impoverished reservation. Over hundreds of years they have seen their ancient burial grounds plowed up for the widening of roads, mega-mansions, and ultra-exclusive golf courses like the Shinnecock Hills Golf Club. Now Shinnecock activists and long-standing residents, including farmers and fishing communities, are taking a stand against a never-ending tide of wealthy transplants, overdevelopment, pollution, congested highways and skyrocketing property taxes.

Attla by Catharine Axley (Monday, December 16) The inspiring but little-known story of legendary Alaska Native dogsled champion George Attla, who — with one good leg and fierce determination — rose to international fame. In the final chapter of his life, Attla emerges from retirement to mentor his 20-year-old grandnephew. With their sights set on reviving proud cultural traditions, the pair embark on a journey to compete in the world’s largest dogsled sprint race, one that has seen a steep decline in Native competitors.