March 22 – Dragged Across Concrete, Director S. Craig Zahler

DRAGGED ACROSS CONCRETE tells the tale of two policemen, one an old-timer, Ridgemen, (Mel Gibson), the other his volatile younger partner, Anthony, (Vince Vaughn), who find themselves suspended when a video of their strong-arm tactics become the media’s cause du jour. Low on cash and with no other options, these two embittered soldiers descend into the criminal underworld to gain their just due, but instead find far more than they wanted awaiting them in the shadows. What bad things will good men do for their families? In the hardboiled world of DRAGGED ACROSS CONCRETE, who lives, who dies, and who gets rich is a fate written in bullets. Director S. Craig Zahler stops to talk about his stylishly brutal, modern day film noir and his determination to tell this story on his own terms.

 

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For news and updates go to: Lionsgate.com / Dragged Across Concrete

Social Media:

facebook.com/LionsgatePremiere

twitter.com/lgpremiere

instagram.com/lionsgatepremiere

“S. Craig Zahler’s latest film is a true master stroke in filmmaking. It is elegantly slow, contained, precise and notably beautifully framed throughout.” – Ben Ralph, Discussing Film

“Anchored by three brilliant central performances, Dragged Across Concrete is an interesting, unpredictable movie that presents two plots that feel like we’ve seen them before and then zigs when we expect it to zag.” – Sean Fallon, Film Inquiry

“S. Craig Zahler is a singular voice in cinema, one who is willing to take pulp concepts and craft them into unflinchingly violent features.” – Niall Browne, Movies in Focus

“Few filmmakers come to mind who could orchestrate these slow-burning set pieces with such precision; it’s like watching a chess game in which everyone thinks they’re a king but most of them are pawns” – Michael Nordine, IndieWire

2019 Oscar Nominated Short Films, with ShortsTV Chief Executive, Carter Pilcher

For over a decade, ShortsTV has proudly brought the Oscar© Nominated Short Films to audiences across the globe. This exclusive release features the year’s most spectacular short films and for a limited time is available to watch on the big screen. Each nominee is released in one of three distinct feature-length compilations according to their category of nomination: Live Action, Animation or Documentary. The films go into theaters around the world shortly after nominations are announced and are not released anywhere else until a few days before the Oscars©, when they are also made available via on demand platforms, including iTunes, Amazon Instant Video, Google Play and Vimeo on Demand. The release ensures the greatest number of viewers can see all the nominees before the ceremony, while providing short filmmakers with an unprecedented opportunity to commercialize their movies. Carter Pilcher founded Shorts International in 2000. Coming from a background in both investment banking and law, Carter has made Shorts International the world’s leading short movie Entertainment Company, functioning as distributor, broadcaster and producer. Carter has extensive experience in short movie production and short movie entertainment. He is a voting member of the British Academy of Film and Television Arts and a member of the Short Film and Feature Animation Branch of The US Academy of Motion Pictures, Arts and Sciences (AMPAS) – the guys who pick the Oscars. For the last five years Carter Pilcher has been the highlight of Oscar season here on Film School. His insight, commitment and love of the short film format and the dedicated people who create them insures a lively and informative conversation on some of the best films you will see all year.

 

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For news and updates on the Oscar Shorts go to: shortstv – theoscarshorts

For screening information go to: theoscarshorts/theatrical release

Live Action (Short)    

Detainment 

Madre

Fauve    

Skin    

Marguerite 

 

Documentary (Short)

Black Sheep

Night at the Garden

End Game

Period. End of Sentence

Lifeboat

Animation (Short)

Animal Behavior

One Small Step

Bao

Weekends

Late Afternoon

 

Lois Vossen, Independent Lens Executive Producer

Lois Vossen is the Executive Producer of Independent Lens and has been with the show since its inception as a primetime series on PBS. Lois is responsible for commissioning new films, programming the series and working with filmmakers on editorial and broadcast issues. Independent Lens films have received 17 Emmy Awards, 16 George Foster Peabody Awards, five Alfred I. DuPont-Columbia Journalism Awards and eight Academy Award nominations. The series was honored in 2013, 2014, 2015  and 2017 with the International Documentary Association (IDA) Award for Best Series. Before joining ITVS, Lois was the Associate Managing Director of Sundance Film Festival and Sundance Labs. Lois is a member of the Television Academy Board of Governors, representing the documentary branch. She has served on the jury at  Shanghai Festival, Toronto International Film Festival, SXSW, DOC New Zealand and Palm Springs International Film Festival, among others. Under her leadership, films funded or co-produced by Independent Lens include I Am Not Your Negro, Always in Season, Bedlam, One Child Nation, Black Memorabilia, The King, People’s Republic of Desire, Won’t You Be My Neighbor, TOWER, Newtown, Best of Enemies, The Black Panthers: Vanguard of the Revolution, (T)ERROR, The House I Live In, The Invisible War, and The Trials of Muhammad Ali, among many others. Widely regarded as one of the most influential supporters of independent and documentary filmmaking, Lois Vossen joins us for a conversation on the role that Independent Lens /POV and Public Broadcasting has had in maintaining the highest standards for innovative storytelling in non-fiction cinema.

 

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

Social Media:

facebook.com/independentlens

twitter.com/independentlens

instagram.com/independentlens

** 2019 Academy Award nominated ** Hale County, This Morning, This Evening, Director RaMell Ross

Acclaimed photographer RaMell Ross, 2019 Academy Award nominee for Best Documentary, has made his directorial debut with one of the most critically-acclaimed films of the year — Hale County This Morning, This Evening. An inspired and intimate portrait of a place and its people, the film looks at the lives of two young African American men from rural Alabama over the course of five years. Daniel Collins attends college in search of opportunity while Quincy Bryant becomes a father to an energetic son in this open-ended, poetic film without a traditional narrative. Distilling life to its essence, the film invites the audience to experience the mundane and the monumental, birth and death, the quotidian and the sublime. These moments combine to communicate the region’s deep culture and provide glimpses of the complex ways the African American community’s collective image is integrated into America’s visual imagination.. RaMell Ross met Quincy when he was teaching in a GED program in Greensboro, Alabama, and met Daniel when he was coaching basketball at a local high school. He shot over 1300 hours of footage over five years, which was then edited down into the final film. Director RaMell Ross stops by to talk about his meticulously assembled, ethereal ode to Black lives in Hale County, Alabama.

 

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*** 2019 Academy Award nomination for Best Documentary ***

For news and updates go to: halecountyfilm.com

Social Media

facebook.com/halecountydoc

twitter.com/HaleCountyDoc

The film premieres on Independent Lens Monday, February 11, 2019, 10:00-11:30 PM ET (check local listings) on PBS

94% on Rotten Tomatoes

“At every juncture, Ross elects for ambiguity and poses a question to the viewer to answer how black bodies are viewed, encouraging the audience to perform the labour of challenging their expectations.” – Melissa Vincent, Globe and Mail

“You could call it a transcendental scrapbook, because it wipes away the muck of subjectivity that guides most movies. It turns the audience into direct receptors of experience.” – Owen Gleiberman, Variety

“…the cinematic equivalent of a memory quilt, woven together with a deep love of community, comprised of intimate though disparate moments from others’ lives, and poetically comforting despite its historically weighty components.” – Jordan M. Smith, Film School Rejects

“Hale County is the type of film designed to violate common rules of cinema. Story gives way to lyricism; there’s little dialogue, minimal plot, minutes upon minutes of pastoral imagery…Ross’s lens captures a reality that’s rarely seen by the human eye.” – Natalia Winkelman, The Daily Beast

“It’s not every day that you witness a new cinematic language being born, but watching RaMell Ross’s evocatively titled documentary Hale County, This Morning, This Evening qualifies.” – Bilge Ebiri, Village Voice

Capernaum, Director Nadine Labaki

Winner of the Grand Jury Prize at the 2018 Cannes Film Festival, Nadine Labaki’s CAPERNAUM (“Chaos”) tells the story of Zain (Zain al Rafeea), a Lebanese boy who sues his parents for the “crime” of giving him life. CAPERNAUM follows Zain, a gutsy streetwise child as he flees his negligent parents, survives through his wits on the streets, takes care of Ethiopian refugee Rahil (Yordanos Shiferaw) and her baby son, Yonas (Boluwatife Treasure Bankole), being jailed for a crime, and finally, seeks justice in a courtroom. CAPERNAUM was made with a cast of non-professionals playing characters whose lives closely parallel their own. Following her script, Labaki placed her performers in scenes and asked them to react spontaneously with their own words and gestures. When the non-actors’s instincts diverged from the written script, Labaki adapted the screenplay to follow them. While steeped in the quiet routines of ordinary people, CAPERNAUM is a film with an expansive palette: without warning it can ignite with emotional intensity, surprise with unexpected tenderness, and inspire with flashes of poetic imagery. Although it is set in the depths of a society’s systematic inhumanity, CAPERNAUM is ultimately a hopeful film that stirs the heart as deeply as it cries out for action. Director and writer Nadine Labaki joins us for a conversation on her impassioned new film and how CAPERNAUM changed her and many of the cast and crew from this multi-award winning film.

 

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For news and updates go to: sonyclassics.com/capernaum

2018 Cannes Film Festival

Winner, Grand Jury Prize

Winner, Prix de la citoyenneté

Winner, Prize of the Ecumenical Jury

Nominated, Palme d’Or

Social Media for Capernaum

facebook.com/capernaummovie

twitter.com/SonyClassics

Instagram.com/SonyClassics

“It’s a scathing commentary on the effects of poverty, the failure to properly respond to refugee crises, and simple human decency populated by those struggling just as much as the next yet have also crossed a line they cannot return from.” – Jared Mobarak, Film Stage

“It’s a deeply assured piece of direction, and though it only plays a few emotional notes, they are ones that won’t soon leave your memory. Prepare to be blown-away.” – Emily Yoshida, New York Magazine / Vulture

“A social-realist blockbuster – fired by furious compassion and teeming with sorrow, yet strewn with diamond-shards of beauty, wit and hope.” – Robbie Collins, Daily Telegraph

“Can favorably be compared to everyone from De Sica to Truffaut to ‘Slumdog Millionaire.’ A stunning piece of cinema.” – Pete Hammond, Deadline

’63 Boycott, Director Gordon Quinn

’63 Boycott is the award-winning film directed by Gordon Quinn, the co-founder of Kartemquin Films, and produced by Rachel Dickson and Tracye A. Matthews. ’63 Boycott revisits October 22, 1963, when more than 250,000 students boycotted the Chicago Public Schools to protest racial segregation. Many marched through the city calling for the resignation of School Superintendent Benjamin Willis, who placed trailers, dubbed ‘Willis Wagons,’ on playgrounds and parking lots of overcrowded black schools rather than let them enroll in nearby white schools. Blending unseen 16mm footage of the march shot by Gordon Quinn when he was just 21 years old with the participants’ reflections today, 63 Boycott connects the forgotten story of one of the largest northern civil rights demonstrations to contemporary issues around race, education, school closings, and youth activism. Director Gordon Quinn joins us for a conversation on his lacerating look at the historic non-violent campaign to win access to educational parity and basic human rights.  ’63 Boycott is an overview of how much Chicago has changed and how much remains the same.

For news and updates go to: kartemquin.com/films/63-boycott

For more about ’63 Boycott and the catalog Kartemquin films

‘63 Boycott

Winner – Best Short Documentary Award at the 2018 Nashville Film Festival

Winner – Audience Award at the 2018 Pan African African Film Festival.

Winner – Best Short Documentary at the Berlin Black International Cinema Exhibition

Winner – Best Short Documentary Roxbury International Film Festival

Winner – Best Short Documentary Adrian International Film Festival

Winner – Best Short Documentary Montreal International Black Film Festival

Winner – Jury Citation Award at the Black Maria Film Festival.

 ** ‘63 Boycott is one of 10 short documentaries to advance as a contender for Best Documentary Short at the 2019 Academy Awards.

The Distant Barking of Dogs, Director Simon Lereng Wilmont and Producer Monica Hellström

THE DISTANT BARKING OF DOGS is set in Eastern Ukraine on the frontline of the war. The film follows the life of 10-year-old Ukrainian boy Oleg throughout a year, witnessing the gradual erosion of his innocence beneath the pressures of war.  Oleg lives with his beloved grandmother, Alexandra, in the small village of Hnutove. Having no other place to go, Oleg and Alexandra stay and watch as others leave the village. Life becomes increasingly difficult with each passing day, and the war offers no end in sight. In this now half-deserted village where Oleg and Alexandra are the only true constants in each other’s lives, the film shows just how fragile, but crucial, close relationships are for survival.  Through Oleg’s perspective, the film examines what it means to grow up in a warzone. It portrays how a child’s universal struggle to discover what the world is about grows interlaced with all the dangers and challenges the war presents. THE DISTANT BARKING OF DOGS unveils the consequences of war bearing down on the children in Eastern Ukraine, and by natural extension, the scars and self- taught life lessons this generation will carry with them into the future. Director Simon Lereng Wilmont and Producer Monica Hellström stop by to talk about this harrowing, intimate and loving look at Oleg and Alexandra’s claustrophobic life on the frontlines of an undeclared war.

 

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For news and updates go to: Distant Barking of Dogs

**Spotlight Award Nominee – Cinema Eye Honors 2019

**Honorable Mention – Pare Lorentz Award – 2018 IDA Awards

**Winner – First Appearance Award – IDFA 2017

**Winner – Best Nordic Documentary – Göteborg Film Festival 2018

**Winner – Golden Gate Award – SFFILM 2018

**Winner – Fipresci Award – Thessaloniki Documentary Film Festival 2018

**Winner – Best International Film – DocAviv Film Festival 2018

**Nominee – Best European Documentary – European Film Awards 2018

“Finds beauty and horror on the bleeding edge of war” – The Hollywood Reporter

“Moving and effective” – Screen Daily

“Resembles classic Terence Malick” – Point of View Magazine

“A beautiful, poetic observational documentary” – Cineuropa

“An intimate, stirring portrayal of life during wartime” – Film Pulse

Springsteen on Broadway, Director Tommy Zimny

SPRINGSTEEN ON BROADWAY is a solo acoustic performance written and performed by Tony Award, Academy Award, and 20-time Grammy Award winner Bruce Springsteen. Based on his worldwide best-selling autobiography Born to Run and nothing short of the theater event of the year, SPRINGSTEEN ON BROADWAY is a unique evening with Bruce, his guitar, a piano, and own stories—including a special appearance by Patti Scialfa. The intimate performance features personal anecdotes and songs including “Born to Run,” “Thunder Road” and “Brilliant Disguise.” SPRINGSTEEN ON BROADWAY was filmed live for Netflix at Jujamcyn’s Walter Kerr Theatre and directed and produced by Emmy Award-winner Thom Zimny (“Bruce Springsteen and the E Street Band: Live in New York City (2001)”). In addition to Zimny, the Netflix original special is produced by the same team that produced “Springsteen On Broadway,” including Springsteen manager Jon Landau, Springsteen tour director George Travis, and Landau Management partner Barbara Carr. Director Thom Zimny joins us for a conversation on his working relationship with one of the singular musical artist in recording history and the challenge of capturing the intimacy of a live, Broadway experience.

 

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Springsteen on Broadway on netflix.com

Social Media

Twitter/springsteen

Instagram/springsteen

Facebook/brucespringsteen

“Springsteen has mastered the dynamics needed to keep a mostly talking, partly singing show riveting for a running time that’s epic by monologists’ standards, if not his own.” – Chris Willman, Variety

“For nearly three hours, Springsteen jokes, rails, wails, and yes, plays his heart out, providing an achingly raw, often disarmingly honest breakdown of his life.” – Chris Evangelista, Slashfilm

“Not only does “Springsteen on Broadway” work on its own as a Netflix special, it gives you all the same feels seeing the show live at the Walter Kerr Theater brought out.” – Joey Madison, AwarsCircuit.com

Tyrel, Director Sebastian Silva

In Director Sebastián Silva latest film. Tyrel, Tyler (Jason Mitchell) and his friend John (Christopher Abbott), two young restaurateurs from New York City, push a car along a back road high on a cold, snowy day in the Catskills Mountains. Tyler and John are on their way to a weekend getaway to celebrate the birthday of Pete (Michael Cera), one of John’s old friends, at a cabin in the woods. Tyler needs the excursion, even though he will be among mostly strangers, because the home he shares with his Puerto Rican girlfriend is packed with her visiting family – and the ailing, elderly mother to whom she is devoted. What could be better than a jocular, beer-soaked weekend in the country with a bunch of his buddy’s friends? Well, nothing … except that an empty gas tank is only the first in a series of discomforting moments Tyler encounters and engenders over the next 48 hours. Writer/director Sebastián Silva’s deploys his signature handheld style probing subtext and body language, TYREL conjures an undeniable underlying tension and it marks his most radical character exploration yet—a timely, provocative, and brilliant observation of the idea of otherness in today’s American climate. Director Sebastián Silva (The Maid, Nasty Baby, Crystal Fairy) joins is for a lively conversation on male bonding, tribalism, race, working with this outstanding cast of actors and undermining expectations.

 

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For news and updates go to: tyrelmovie.com

Social Media

facebook.com/tyrelmovie

twitter.com/MagnoliaPics

“CRITIC’S PICK. UNNERVINGLY SHARP, AGONIZINGLY DEAD-ON.  The stranger “Tyrel” gets, the more accurate it feels.”  – Bilge Ebiri, The New York Times

“Silva’s most political work yet–though it is sly and subtle, the intention is palpable, the emotions elicited all too real, and ultimately, “Tyrel” proves to be a fascinating entry in his body of work.” – Katie Walsh, Tribune News Service

“This is a fast and lean film, an absolute workout for its outstanding cast and a devilish roller coaster ride for audiences.” – Jordan Hoffman, Vanity Fair

“Every time this fly-in-the-buttermilk scenario leans toward satire, it reminds you that you’re really watching a horror movie.” – David Fear, Rolling Stone Magazine

Monrovia, Indiana – Director Frederick Wiseman

Located in mid-America, MONROVIA, INDIANA, (population 1,063) founded in 1834, is primarily a farming community. MONROVIA, INDIANA is about the day-to-day experiences living and working in Monrovia, with emphasis on community organizations and institutions, religion and daily life in this farming community. These towns were once the backbone of American life. While their number and populations have shrunk, the importance of rural America as a formative center of American politics and values was demonstrated in the 2016 presidential election. The film explores the conflicting stereotypes and illustrates how values like community service, duty, spiritual life, generosity and authenticity are formed, experienced and lived. MONROVIA, INDIANA gives a complex and nuanced view of daily life in Monrovia and provides some understanding of a rural, mid-American way of life that has always been important in America but whose influence and force have not always been recognized or understood in the big cities on the east and west coasts of America and in other countries. Since  1967,  Frederick  Wiseman  has  directed  42 documentaries — dramatic, narrative films that seek to portray ordinary human  experience in a wide  variety  of  contemporary social  institutions. His films include TITICUT FOLLIES, HIGH  SCHOOL, WELFARE, JUVENILE COURT, BOXING GYM, LA  DANSE,  BALLET, CENTRAL PARK, BALLET, LA COMEDIE FRANCAISE, BELFAST, MAINE, and EX LIBRIS – The New York Public Library. At the 2016 Academy Awards ceremony Frederick Wiseman received an Honorary Award (Governors Awards) for a lifetime of brilliant filmmaking. He joins us to talk about his latest cinematic treasure, Monrovia Indiana.

 

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For news and updates on all of Frederick Wiseman’s work go to: zipporah.com

“He’s arguably the most brilliant, brave and innovative person working in his field.” – Terry Atkinson, Los Angeles Times

“Rigorously shot, impeccably edited and at times startling in their beauty, these films usher us into often otherwise anonymous spaces and lives, and help make the invisible visible.” – Manohla Dargis, The New York Times

Social Media: facebook.com/pages/Zipporah Films

90% on Rotten Tomatoes

“The result is surprisingly companionable and enjoyable, an unhurried look at a location that is in no kind of rush, a place that is concerned most of all with preserving the way it’s always been.” – Kenneth Turan, Los Angeles Times

“Legendary documentarian Frederick Wiseman turns his camera on a pro-gun, pro-God Midwestern town and gives us a landmark view of what it looks like to live in Trump’s America.” – Peter Travers, Rolling Stone

“A calmly analytical film in which-as ever in Wiseman’s work-extended discussions and public debates are developed with an absorbing dramatic power.” – Richard Brody, New Yorker

“The unavoidable political implications of “Monrovia, Indiana” give its observations an undeniable urgency.” – A.O. Scott, New York Times

They’ll Love Me When I’m Dead, Director Morgan Neville

Oscar-winning director Morgan Neville (20 Feet from Stardom) tells the provocative story of legendary director Orson Welles during the final 15 years of his life. No longer the “wonder boy” of Citizen Kane, Welles in 1970 was an artist in exile looking for his Hollywood comeback with a project called The Other Side of the Wind. For years, Welles worked on his project about an aging film director trying to finish his last great movie. Welles shot the picture guerrilla-style in chaotic circumstances with a devoted crew of young dreamers, all the while struggling with financiers and fate. In 1985, Welles died, leaving as his final testament the most famous unfinished film in movie history. The negative stayed in a vault for decades until now. With revelatory new insights from Welles collaborators including Peter Bogdanovich, Frank Marshall, Oja Kodar and daughter Beatrice Welles, They’ll Love Me When I’m Dead is the untold final chapter of one of the greatest careers in film history: brilliant, innovative, defiant and unbowed. Director Morgan Neville (20 Feet From Stardom, Won’t You Me My Neighbor, Cool School) joins us for a conversation about his hurly-burly look at the making of a ragged masterpiece by cinema’s greatest auteur.

 

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For news and updates go to: netflix.com

90% on Rotten Tomatoes

“The impeccably assembled production employs Neville’s virtuoso touch to provocative effect.” – Michael Rechtshaffen, Los Angeles Times

“For cinephiles, it’s a high-calorie, clip-and-interview-laden feast of biography, insight, and gossip.” – Robert Abele, The Wrap

“Neville’s film may reveal little that hardcore Wellesians don’t already know. But it offers a lively evocation of the great man’s brilliance, waywardness and pained relationship to Hollywood history.” – Jonathan Romney, Screen International

“A fascinating account of an agonizing creative process.” – Todd McCarthy, Hollywood Reporter

“A cinephiles’ delight.” – Kimberly Myers, The Playlist

Colette, Director Wash Westmoreland

After marrying a successful Parisian writer known commonly as “Willy” (Dominic West), Sidonie-Gabrielle Colette (Keira Knightley) is transplanted from her childhood home in rural France to the intellectual and artistic splendor of Paris. Soon after, Willy convinces Colette to ghostwrite for him. She pens a semi-autobiographical novel about a witty and brazen country girl named Claudine, sparking a bestseller and a cultural sensation. After its success, Colette and Willy become the talk of Paris and their adventures inspire additional Claudine novels. Colette’s fight over creative ownership and gender roles drives her to overcome societal constraints, revolutionizing literature, fashion and sexual expression. Director and screenwriter Wash Westmoreland stops by to talk about the story behind a remarkable trailblazing feminist, writer, performer and cultural icon whose influence has inspired artists for the last 100 years.

 

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For news and updates go to: bleeckerstreetmedia.com/colette

“Knightley is exceedingly well-equipped to carry this magnificent film on her own — an Oscar-nominated performance for sure.” – Jeanne Kaplan, Kaplan vs. Kaplan

“A witty, spirited portrait of the great French writer and libertine during the early Belle Époque years of her career.” – Justin Chang, Los Angeles Times

“This timely and gorgeously shot account of a beloved French writer foregrounds Colette’s remarkable freedom from conventional norms as she finds her artistic voice.” – Erica Abeel, Film Journal International

“At first presenting itself as a tightly corseted Big Eyes set during the Belle Époque, Colette erupts into a fun, frothy, and unmistakably feminist biopic.” – David Ehrlich, IndieWire

“The film has a towering performance from Keira Knightley, who plays Colette with such warmth and fiery feminism, that it would be hard not to make woman’s past run parallel with today’s world.” – Jordan Ruimy, The Playlist

Carrie Lozano, Director IDA Enterprise Documentary Fund

The International Documentary Association (IDA) is dedicated to building and serving the needs of a thriving documentary culture. Through its programs, the IDA provides resources, creates community, and defends rights and freedoms for documentary artists, activists, and journalists. IDA is the only group advocating specifically for the documentary filmmaking community. In many ways, this makes IDA’s advocacy work the most important and relevant work we do. Documentary storytelling expands our understanding of shared human experience, fostering an informed, compassionate, and connected world. The Enterprise Documentary Fund is one of the many logistical and financial programs offered by IDA.

About the Enterprise Documentary Fund: 

In the face of an all-out assault on the press, IDA is committed to standing behind the independent storytellers and watchdogs that make up our community—in large part, through the newly created Enterprise Documentary Fund. Made possible by a generous grant from the John D. and Catherine T. MacArthur Foundation, the fund will disburse $1 million per year for the next four years, in the form of production grants up to $100,000 and development grants up to $15,000. The fund is intended to support primarily mid-career filmmakers producing feature-length, in-depth explorations of original, contemporary stories with a journalistic foundation or that incorporate journalistic practice into the filmmaking process. The mission of the Enterprise Documentary Fund is admittedly ambitious: It seeks to provide valuable resources and support systems (not unlike those in newsrooms) for filmmakers taking on the critical stories of our time. Originally sparked by the findings in “Dangerous Documentaries,” the fund is a response to pleas from filmmakers themselves. In interviews recently conducted by Toni Bell, IDA’s Filmmaker Services Manager, filmmakers reiterated the major findings in “Dangerous Docs”: They want access to information about digital and physical security, research databases, legal and other experts, public relations strategists and mentors. Exercising our rights to free speech and freedom of the press are critical for a healthy democracy. As I write this, these rights are clearly under assault, and we owe it to ourselves and to the public to staunchly call ourselves journalists and artists—they are not mutually exclusive.”Carrie Lozano, Director of the Enterprise Documentary Fund

 

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For news and updates go to: documentary.org

For updates on funding resources go to: documentary.org/funding

Bleeding Edge, Director Kirby Dick and Producer Amy Ziering

America has the most technologically advanced health care system in the world, yet preventable medical harm has become one of the leading causes of death, and the overwhelming majority of high-risk implanted devices never require a single clinical trial. In THE BLEEDING EDGE, Academy Award nominated filmmakers Kirby Dick and Amy Ziering (THE INVISIBLE WAR, THE HUNTING GROUND) turn their sights on the $400 billion medical device industry, examining lax regulations, corporate cover-ups, and profit driven incentives that put patients at risk daily.  Weaving emotionally powerful stories of people whose lives have been irrevocably harmed, the film asks: what life-saving technologies may actually be killing us? Director Kirby Dick and Producer Amy Ziering join us for a conversation on the lack of integrity in the medical device industry, lax regulatory oversight by the Federal Food and Drug Administration and the potentially deadly combination that it can become.  

For news and updates go to: bleedingedgedoc.com/

See Bleeding Edge in a theatre

Get involved at: bleedingedgedoc.com/act

Find out more at: bleedingedgedoc.com/resources

Also available at: netflix.com/thebleedingedge

Social Media

twitter.com/bleedingedgedoc

facebook.com/bleedingedgedoc

instagram.com/BleedingEdgeDoc

100% on Rotten Tomatoes

“A terrifying eye-opener… Exposes the massive health problems caused by the $400 billion medical device industry. – The Hollywood Reporter

“You’ll wish [these interviews] were heard by every government official.” – The New York Times

“Enlightening… A shocking expose of the medical device industry… [with] unnerving immediacy.” – Indiewire

“Equally infuriating and enlightening… I yelled, ‘Oh, my God!’ multiple times while watching.” – Village Voice

Reversing Roe, Co-directors Ricki Stern and Annie Sundberg

Forty-five years after it revolutionized abortion law in America, the landmark 1973 US Supreme Court case Roe v. Wade is once again at a crossroads. In their timely new documentary REVERSING ROE, filmmakers Ricki Stern and Annie Sundberg (THE DEVIL CAME ON HORSEBACK, MARATHON: THE PATRIOT’S DAY BOMBING) present a deeply illuminating look of the state of abortion and women’s rights in America. The film offers candid and riveting interviews with key figures from both sides of the divide, among them doctors Colleen McNicholas and Curtis Boyd; feminist icon Gloria Steinem; Operation Rescue president Troy Newman; and National Right to Life president Carol Tobias. Intense and unflinching in its commitment to telling the whole story, REVERSING ROE provides a gripping look at what’s happening on the ground in 2018. Drawing from a wealth of historical footage, it charts the period leading up to the Roe decision-and documents the opposition that has followed ever since. Regardless of where you stand on the issue of abortion, REVERSING ROE is essential viewing to understand how the country got here-and where it may be going. Co-directors Ricki Stern and Annie Sundberg join us for an informed conversation on the long history and politics swirling around one of the country’s most divisive issues.

 

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Netflix

Laemmle Music Hall Theater

9036 Wilshire Blvd, Beverly Hills

Times:12:00, 2:30, 5:00, 7:30, 10:00pm

80% on Rotten Tomatoes

“As contentiousness turned into real-world consequences, “Reversing Roe” reminds us that the more women get involved regarding their rights, the more likely we’re to see a fair, principled fight.” – Robert Abele, Los Times

“Nothing new here but a good primer for those who never thought that politics has anything to do with their lives.” – Harvey S. Karten, Big Apple Reviews

“Solid and valuable but familiar.” – Caryn James, Hollywood Reporter

“Provides a clear and accessible overview of more than 50 years of the social and legal history of the issue in the United States.” – Ben Kenigsberg, New York Times

HAL, Director Amy Scott

Although Hal Ashby directed a remarkable string of acclaimed, widely admired classics throughout the 1970s—HAROLD AND MAUDE, THE LAST DETAIL, SHAMPOO, COMING HOME, BEING THERE—he is often overlooked amid the crowd of luminaries from his generation. Amy Scott’s HAL is an exuberant portrait that explores that curious oversight, using rare archival materials, interviews, personal letters, and audio recordings to reveal a passionate, obsessive artist. Ashby was a Hollywood director who constantly clashed with Hollywood, but also a unique soul with an unprecedented insight into the human condition and an unmatched capacity for good. His films were an elusive blend of honesty, irreverence, humor, and humanity. Through the heartrending and inspiring HAL, you feel buoyed by Ashby’s love of people and of cinema, a little like walking on water. On camera interviews his many collaborators, including Oscar®-winning actors Lee Grant, Jane Fonda, Jon Voight, Louis Gossett Jr, Jeff Bridges and more recall how they were empowered by Ashby and granted them artistic freedom. Contemporary directors include Alexander Payne, Judd Apatow, Lisa Cholodenko, and David O. Russell attest to the quiet but powerful influence Ashby has had on their own filmmaking. Behind the camera colleagues Norman Jewison, Robert Towne, Haskell Wexler, and Pablo Ferro stand witness to Ashby’s brilliance as a filmmaker and the forces that led to his undoing.  Director Amy Scott joins us to talk about her artistic connection to Hal Ashby, as editor and director, and her desire to correct many of the lingering misperceptions of Ashby through her riveting and loving film about a true maverick.

 

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

“If there’s still the sense that Ashby isn’t as sanctified as American New Wave stalwarts Coppola or Scorsese, Amy Scott’s breezy tribute of a documentary is out to correct that oversight.” – Robert Abele, TheWrap

“A vivid portrait of artistic integrity and complete commitment to the art of filmmaking.” – J.R. Kinnard

“Hal is a loving tribute to a filmmaker who rarely gets the attention he deserves.” – Brian Thompson, Film Threat

“Just before the documentary slips into hero worship, Amy Scott pries beneath the calm surface of her bearded and bespectacled subject to reveal the silent rage that fueled his work.” – A.J. Serrano, Slant Magazine

Actor Piper Laurie (Snapshots)

In her latest project,SNAPSHOTS, legendary actor Piper Laurie plays family matriarch Rose.. The story will resonate with every person who has lived through the complexity of family relationships, It reminds us that if we are loved no secret is too difficult to hear and accept. Or is it? Rose (Gran) is the matriarch. She has lived in this house for over fifty years. She and her deceased husband Joe raised their daughter Patty in this home. Patty, now a widow in her early 50’s, lives in St. Louis. Each year Patty and her newly married daughter Allison spend a laughter filled girl’s weekend with Gran. This year will be different. Piper Laurie joins us for a conversation on the making of her latest project (Snapshots) in a legendary film career that includes three Academy Award nominated performances (The Hustler, Carrie, Children of a Lesser God) and an Emmy nomination for David Lynch’s groundbreaking television serial (Twin Peaks).

 

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For news and updates go to: snapshotsthefilm.com

Social Media:

Facebook:facebook.com/threewomeninabox

Twitter:@SNAPSHOTSmovie

Instagram: @Snapshotsthefilm

“Performances all around are strong, with Piper Laurie’s Rose taking the lead and directing us through the story’s narrative. We are invited to soak in the retro atmosphere as the story unfolds at a leisurely pace.” – Paul Parcellin, Film Threat

Generation Wealth, Director Lauren Greenfield

For the past 25 years acclaimed photographer and filmmaker Lauren Greenfield has travelled the world, documenting with ethnographic precision and an artist’s sensitivity a vast range of cultural movements and moments. Yet, after so much seeking and searching, she realized that much of her work pointed at one uniting phenomenon: wealth culture. With her new film, Generation Wealth, she puts the pieces of her life’s work together for in an incendiary investigation into the pathologies that have created the richest society the world has ever seen. Spanning consumerism, beauty, gender, body commodification, aging and more, Greenfield has created a comprehensive cautionary tale about a culture heading straight for the cliff’s edge. Generation Wealth, simultaneously a deeply personal journey, rigorous historical essay, and raucously entertaining expose, bears witness to the global boom-bust economy, the corrupted American Dream and the human costs of capitalism, narcissism and greed. Emmy-award-winning photographer / filmmaker, Lauren Greenfield’s expansive artistry includes her monographs (Girl Culture, Fast Forward, THIN, Generation Wealth), and documentaries (THIN, kids+money, The Queen of Versailles). The Queen of Versailles won her the 2012 Best Documentary Director Award at Sundance Film Festival. Director Lauren Greenfield joins us to talk about her sweeping film and the damning indictment of a profligate world of depraved indifference, hell-bent on stockpiling pointless possessions.

 

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For news and updates go to: generation-wealth.com

“[An] alarming film…” – Anthony Lane, New Yorker

“Through her dedication to other people’s lives, and with such open-book storytelling of her own, Greenfield is able to make a stunningly deeply resonant documentary about notions as seemingly obvious as the value of love over wealth itself.” – Nick Allen, RogerEbert.com

“Greenfield makes a compelling argument for a society on the brink of precipitous decline, choosing to interpret the runaway vanity and rampant materialism observed in her own work as harbingers of our imminent destruction.” – Peter DeBruge, Variety

“This personal approach gives the film a sharp intimacy, and from here Greenfield pulls out to reveal how similar patterns are reshaping lives and families the world over.” – Nikki Baughan, Screen International

Half the Picture, Director Amy Adrion

HALF THE PICTURE celebrates the groundbreaking work of female film directors and investigates the systemic discrimination that has, for decades, denied opportunities to far too many talented women in Hollywood. The film consists of interviews with high profile women directors including Ava DuVernay, Jill Soloway, Lena Dunham, Catherine Hardwicke and Miranda July, among many others, who discuss their early careers, how they transitioned to studio films or television, how they balance having a demanding directing career with family, as well as challenges and joys along the way. HALF THE PICTURE also includes interviews with experts about gender inequality in Hollywood including the ACLU’s Melissa Goodman, Sundance Institute’s Caroline Libresco, Vanity Fair’s Rebecca Keegan, USC’s Dr. Stacy Smith and San Diego State University’s Dr. Martha Lauzen, who establish the magnitude of this employment discrimination issue as women are shut out, across the board, of an industry that systemically denies their expression and point of view. HALF THE PICTURE Director / Producer Amy Adrion joins us to talk about a unique time in the film industry where systemic change seems possible and whether, unlike previous efforts to address gender inequality in Hollywood, will this time be different?

 

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For news and updates go to: halfthepicture.com

Social Media:

facebook.com/halfthepicture

instagram.com/halfthepicture

twitter.com/amyadrion

100% on Rotten Tomatoes

“Half the Picture is a vital, comprehensive documentary on a subject that’s so fundamental to the industry it’s about, you have to wonder why dozens of movies on this scale or bigger haven’t already been made.” – Leslie Felperin

“Half The Picture is an inspiring, important documentary that should be seen by as many people as possible, particularly those who aren’t aware of the problems women face in Hollywood.” – Manon de Reeper, Film Inquiry

“Half the Picture, Amy Adrion’s no-frills documentary, offers a diligent, straightforward overview of the innumerable obstacles facing today’s female directors, both aspiring and accomplished.” – Natalia Winkelman, Film Threat

“A platform for those who want to hear about the reality of being a woman in Hollywood from dozens of women who have lived it, it’s an invaluable resource.” – Rebecca Pahle, Film Journal International

“It’s experiential revelation as advocacy filmmaking, an incisive and inviting example of the personal as political.” – Serena Donadoni, Village Voice

Where is Kyra, Director Andrew Dosunmu

Presenting Michelle Pfeiffer in one of the most acclaimed performances of her storied career, Andrew Dosunmu’s WHERE IS KYRA?  tells the story of Kyra Johnson,  a middle-aged divorcee who moves into her elderly mother’s Brooklyn apartment while she looks for work and tries to get back on her feet.  When her mother suddenly dies, Kyra is left without any support, both emotional and financial, and finds herself with very few options–none of them good.  Despite a blossoming affair with a sympathetic neighbor (Kiefer Sutherland) with struggles of his own, Kyra can’t accept that her once-tidy life has fallen apart, and she resorts to increasingly desperate measures to hold onto what little she has left. Another unique and evocative portrait of life in contemporary New York City, WHERE IS KYRA? is Dosunmu’s follow-up to his award-winning feature, Mother of George,  widely considered one of the best independent films of recent years. Re-teaming with writer Darci Picoult, cinematographer Bradford Young (Academy Award-nominated for Arrival, Selma), and composer Philip Young, Dosunmu brilliantly conveys the plight of a strong-willed, capable woman who nonetheless finds herself slipping through society’s cracks, and toppling from a stable, secure life to the very edge of ruin. Director Andrew Dosunmu joins us to talk about take on the “invisible” people living at the margins of our major urban centers, a collective loss of empathy, and the impact his photo-journalism work had on the making of this starkly beautiful film.

 

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The little minx artist collective

Andrew Dosunmu homepage

Andrew Dosunmu photo collection

80% on Rotten Tomatoes!

“This woman may be lost to the world, but in Dosunmu’s quietly shattering vision, she is also unexpectedly, triumphantly found.” – Justin Chang, Los Angeles Times

“It’s a performance of such nuance and vulnerability, so quietly catastrophic in communicating this woman’s accumulation of loss.” – David Fear, Rolling Stone

“Where Is Kyra? finally allows [Pfeiffer] to explore the darker, unvarnished side of her talent and gives her the opportunity to do perhaps the best work of her lengthy, eclectic career.” – Christy Lemire, RogerEbert.com

“A shattering portrait of a luckless woman unable to pull out of the tailspin that is her life, “Where Is Kyra?” is a powerfully moody character study anchored by a remarkable performance from Michelle Pfeiffer.” – Tim Grierson, Screen International

“Rarely on film has the sheer debilitating exhaustion of poverty been so clearly conveyed.” – Bilge Ebiri, Village Voice

The Young Karl Marx, Director Raoul Peck

At the age of 26, Karl Marx (August Diehl; INGLOURIOUS BASTERDS, THE COUNTERFEITERS) embarks with his wife Jenny (Vicky Krieps; PHANTOM THREAD) on the road to exile. In 1844 Paris they meet young Friedrich Engels (Stefan Konarske), son of a factory owner and an astute student of the English proletariat class. Engels brings Marx the missing piece to the puzzle that composes his new vision of the world. Together, between censorship and police raids, riots and political upheavals, they will preside over the birth of the labor movement, which until then had been mostly makeshift and unorganized. This will grow into the most complete theoretical and political transformation of the world since the Renaissance – driven, against all expectations, by two brilliant, insolent and sharp-witted young men. In his first film since the Oscar®-nominated documentary I AM NOT YOUR NEGRO, celebrated Haitian filmmaker Raoul Peck (LUMUMBA) paints a vivid portrait of another of history’s most influential thinkers with THE YOUNG KARL MARX. A fervently intelligent chronicling of the blood, sweat and debate that went into the creation of a manifesto and a movement, the film premiered at the 2017 Berlin International Film Festival. Director Raoul Peck joins us for a lively conversation on capturing the essence of a young Marx and Engels relationship, the relevance of Marxism today and the critical reaction to his film.

 

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For news and updates go to: theorchard.tv/the-young-karl-marx

More on Raoul Peck and his films go to: velvet-film.com

“Against all expectations, “Young Karl Marx” makes this kind of brainy content bracing and dramatic.” – Kenneth Turan, Los Angeles Times

“Both intellectually serious and engagingly free-spirited.” – A.O. Scott, New York Times

“A spry romp through the seven years leading up to the drafting of the Communist Manifesto… Peck’s lively, twinkly drama is at heart a bromance.” – Lee Marshall, Screen International

 “[A] sinewy and intensely focused, uncompromisingly cerebral period drama… It gives you a sense of what radical politics was about: talk.” – Peter Bradshaw, The Guardian

Michael Rabehl – 2018 Cinequest Film & VR Festival, Director of Programming

Cinequest has led the world in its showcase and implementation of the innovations that have revolutionized film making, exhibition and distribution. Over 100,000 attend CQFF, yet the three-block proximity of its state-of-the-art venues along with Cinequest’s renowned hospitality, makes the festival experience as warm and personal as it is electrifying. Cinequest presents over 90 World and U.S. premieres with groundbreaking innovations by 700+ participating filmmakers from over 50 countries each year. Set in the home of the world’s most influential media technology companies (Apple, Cisco, Facebook, Twitter, Netflix, LinkedIn etc.) CQFF showcases premier films, renowned and emerging artists, and breakthrough technology—empowering global connectivity between creators, innovators and audiences. Michael Rabehl has been a member of the Cinequest team since 1994. As the Director of Programming he manages the film selection process for the festival and supervises the programming teams to create a world class line up of films and guests every year. In his role as the Associate Director he is directly involved with the strategic planning of the festival. Michael joins us to talk about the 2018 Conquest film and virtual reality line-up.

 

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For news and updates go to: cinequest.org

Cinequest Film and Virtual Reality Film Festival February 27 – March 11, 2018

“Move over Cannes! Of the more than 4,000 film festivals around the globe, more than half take place on U.S. soil, and many rank among the best of the best. Our panel of film experts, movie buffs and festival gurus were tasked with narrowing down the field to the best 20 film festivals in the nation before we turned it over to USA TODAY and 10Best readers to choose their favorites. After four weeks of voting, we have a winner. Cinequest Voted Best Film Festival!” — USA Today

“Technology always drives the film business. In Cinequest, we have a good window on the future. I think they’re leading the world in this regard.” — Peter Belsito, Executive Vice President, Film Finders

“This festival is one that sets the trends and is actually ahead of the trends. Other festivals are copying Cinequest; I see it all the time.” — Chris Gore, Ultimate Film Festival Survival Guide and Film Threat

“At Cinequest you often haven’t heard of the film before you go see it, but the audiences come anyway. That’s a testament to the festival — that audiences are willing to take that leap of faith.” — Kenneth Turan, Los Angeles Times

Carter Pilcher, Chief Executive of Shorts International

Carter Pilcher founded Shorts International in 2000. Coming from a background in both investment banking and law, Carter has made Shorts International the world’s leading short movie Entertainment Company, functioning as distributor, broadcaster and producer. Carter has extensive experience in short movie production and short movie entertainment. He is a voting member of the British Academy of Film and Television Arts and a member of the Short Film and Feature Animation Branch of The US Academy of Motion Pictures, Arts and Sciences (AMPAS) – the guys who pick the Oscars. Carter, originally from Terre Haute, Indiana, received a B.S. from the U.S. Air Force Academy, a J.D. from Georgetown University, is a member of the New York Bar and attended the London Business School Corporate Finance Evening Program. Carter Pilcher has been and continues to be the highlight of Oscar season here on Film School. His insight, commitment and love of films and filmmaking always makes for a lively and informative conversation on some of the best films you will see all year.

 

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shorts.tv/theoscarshorts/

shorts.tv/theoscarshorts/theatrical-release

SHORT FILM (ANIMATED) NOMINEES

DEAR BASKETBALL

Glen Keane and Kobe Bryant

http://believeentertainmentgroup.com/portfolio-item/dear-basketball/

https://www.facebook.com/DearBasketballFilm/

GARDEN PARTY

Victor Caire and Gabriel Grapperon

https://www.facebook.com/gardenpartymovie/

https://www.gardenparty-movie.com/

LOU

Dave Mullins and Dana Murray

https://www.pixar.com/short-films/#short-films-launch

https://en.wikipedia.org/wiki/Lou_(2017_film)

NEGATIVE SPACE

Max Porter and Ru Kuwahata

http://ikkifilms.com/archives/portfolio/negative-space

https://vimeo.com/user72791802

http://www.thisiscolossal.com/2018/01/negative-space-short-film/

REVOLTING RHYMES

Jakob Schuh and Jan Lachauer

http://www.bbc.co.uk/programmes/b0876ds6

https://en.wikipedia.org/wiki/Revolting_Rhymes_(film)

SHORT FILM (LIVE ACTION) NOMINEES

DEKALB ELEMENTARY

Reed Van Dyk

https://www.dekalbelementaryfilm.com/

https://www.facebook.com/dekalbelementary/

THE ELEVEN O’CLOCK

Derin Seale and Josh Lawson

http://oscar.go.com/nominees/short-film-live-action/the-eleven-o-clock

https://en.wikipedia.org/wiki/The_Eleven_O%27Clock

MY NEPHEW EMMETT

Kevin Wilson, Jr.

https://www.facebook.com/mynephewemmett/

https://www.mynephewemmett.com/

THE SILENT CHILD

Chris Overton and Rachel Shenton

https://www.facebook.com/TheSilentChildFilm/

https://www.thesilentchildmovie.com/

WATU WOTE/ALL OF US

Katja Benrath and Tobias Rosen

https://www.facebook.com/WatuWote.AllOfUs/

http://oscar.go.com/nominees/short-film-live-action/watu-wote-all-of-us

DOCUMENTARY (SHORT SUBJECT) NOMINEES

EDITH+EDDIE

Laura Checkoway and Thomas Lee Wright

https://www.facebook.com/EdithEddieFilm/

https://www.kartemquin.com/films/editheddie

HEAVEN IS A TRAFFIC JAM ON THE 405

Frank Stiefel

http://heavenisatrafficjamonthe405.com/

https://www.facebook.com/heavenisatrafficjamonthe405/

HEROIN(E)

Elaine McMillion Sheldon and Kerrin Sheldon

http://heroinethefilm.com/

https://www.netflix.com/title/80192445

KNIFE SKILLS

Thomas Lennon

https://www.facebook.com/KnifeSkillsDoc/

http://knifeskillsthemovie.com/

TRAFFIC STOP

Kate Davis and David Heilbroner

https://www.hbo.com/documentaries/traffic-stop

http://oscar.go.com/nominees/documentary-short/traffic-stop

Heroin(e), Director Elaine McMillion Sheldon

Heroin(e) focuses on the once a bustling industrial town, Huntington, West Virginia. Huntington has become the epicenter of America’s modern opioid epidemic, with an overdose rate 10 times the national average. This flood of heroin now threatens this Appalachian city with a cycle of generational addiction, lawlessness, and poverty. But within this distressed landscape, Peabody Award-winning filmmaker Elaine McMillion Sheldon (Hollow) shows a different side of the fight against drugs — one of hope. Sheldon highlights three women working to change the town’s narrative and break the devastating cycle of drug abuse one person at a time. Fire Chief Jan Rader spends the majority of her days reviving those who have overdosed; Judge Patricia Keller presides over drug court, handing down empathy along with orders; and Necia Freeman of Brown Bag Ministry feeds meals to the women selling their bodies for drugs. As America’s opioid crisis threatens to tear communities apart, the Netflix original short documentary HEROIN(E) shows how the chain of compassion holds one town together. Director Elaine McMillion Sheldon is a Peabody Award winning, Emmy nominated filmmaker and now Oscar nominated from West Virginia. HEROIN(E) was produced in association with the Berkeley-based Center for Investigative Reporting (CIR), as part of a new initiative to support women filmmakers. In 2016, Chicken & Egg Pictures awarded her with the inaugural “Breakthrough Filmmaker” award. Sheldon was a 2013 Future of Storytelling Fellow, and named one of the “25 New Faces of Independent Film” in 2013 by Filmmaker Magazine and one of “50 People Changing The South” in 2015 by Southern Living Magazine. She has also contributed several shorts to The New York Times Op-Docs. She joins us to talk about her clear-eyed, bracing film that shines a bright and intimate light on an epidemic that is destroying large swaths of American society.

 

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For news and updates go to: heroinethefilm.com

* 2018 Oscar nominated Documentary Short Program

“Putting human faces on the crisis”New York Times

“Finds the humanity numbers too easily ignore”The Film Stage

“The one to beat at the Oscars..a knockout short”Bohemian.com

“Three women prove that dedication plus empathy works”Reeling Reviews

“Unflinching portrayal.”Moveable Fest

“Alternating between stark realism and a sense of the surreal”NEW REPUBLIC

10 Most Powerful Docs of 2017NATION SWELL

“A window into the front lines of the opioid crisis”Bill Moyers

“Hauntingly powerful film on the opioid crisis”Mother Jones

God Knows Where I Am, Co-director Jedd and Todd Wider

 http://www.kuci.org/podcastfiles/683/FS-3-31-17-Wider-God%20Knows.mp3

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God Knows Where I Am is the story of Linda Bishop, a well-educated New Hampshire mother who suffered from severe bipolar disorder with psychosis, who was intermittently incarcerated and homeless, inevitably being committed for three years to a state psychiatric facility. Successfully fighting her sister’s protective attempts to be named her legal guardian, Linda was able to refuse treatment and medication, and eventually procured an early, unconditional release, despite the lack of post release planning. Upon her release, she wandered ten miles down the road from the hospital, broke into an abandoned farmhouse and lived off of rainwater and apples picked from a nearby orchard for the next four months, through one of the coldest winters on record. For nearly four months, Linda Bishop, a prisoner of her own mind, survived on apples and rain water, waiting for God to save her, during one of the coldest winters on record. Unable to leave the house, she became its prisoner, and remained there, a prisoner of her own mind, eventually starving to death. Her body was discovered several months later and with it a diary that Linda kept documenting her journey. The diary, given voice by actress Lori Singer, is poignant, beautiful, funny, spiritual, and deeply disturbing. As her story unfolds from different perspectives, including her own, we learn about our systemic failure to protect those who cannot protect themselves. Over the last 16 years co-directors Jedd and Todd Wider have produced many of the most critically and commercially successful feature documentary films including, King’s Point (2012) nominated for an Academy Award for Best Documentary Short, the multiple Primetime Emmy and Peabody Award winning Mea Maxima Culpa: Silence in the House of God (2012) directed by Alex Gibney, the Emmy Award nominated Semper Fi: Always Faithful (2011) directed by Rachel Libert and Tony Hardmon, the multiple Emmy Award nominated Client 9: The Rise and Fall of Eliot Spitzer (2010) directed by Alex Gibney Peabody Award and 2008 Academy Award Winner for Best Documentary and 2009 Emmy Award Winner for Best Documentary, Taxi to the Dark Side (2007) also directed by Alex Gibney, and many more. In 2011, Todd Wider and Jedd Wider were each nominated by the Producers Guild of America for Outstanding Producer of Documentary Theatrical Motion Pictures. Co-director Jedd and Todd Wider join us to talk about their haunting new documentary.

For news and updates go to: godknowswhereiam.com

facebook.com/godknowswhereiamfilm

twitter.com/god_knows_where

“A film of great beauty and tenderness that gradually reveals a confounding mental illness, this film is a human story at its heart. Ultimately, it illuminates a hidden problem of vast proportion with an epic yet intimate cinematic vision.” – Jury, Hot Docs

“MUST SEE AT HOT DOCS: God Knows Where I Am will break your heart but also empower you to question, be helpful and provide encouragement to the vulnerable in our lives. God Knows Where I Am is wonderfully shot and captures the isolation, desperation and human condition at its essence.” – Thirty-Four Flavours

“Throughout the beautiful, evocative, and ultimately heartbreaking tale of Linda Bishop, the Widers use a variety of cameras and film formats to grant the movie an almost dreamlike feel, and they’re aided immeasurably by Bishop’s meticulous daily journal, which is read with tenderness and humanity by Lori Singer, bringing Bishop elegantly to life as the chronicler of her own story.” – Christopher Orr, The Atlantic

“I’ve seen God Know Where I Am three times. It’s not only rich and layered enough to hold up on every viewing, but on an emotional level, I wept profusely – again and again and yet again. This is great cinema and certainly a contender for one of the best documentaries of the new millennium. It captures profound poetic truths about homelessness, mental illness and loneliness which are rendered with such artistry and sensitivity that this is a film for the ages. 5 out of 5 stars.” – The Film Corner