From acclaimed filmmaker David Sutherland, Marcos Doesn’t Live Here Anymoreexamines the US immigration system through the eyes of two unforgettable protagonists whose lives reveal the human cost of deportation. Elizabeth Perez, a decorated US Marine veteran living in Cleveland, fights to reunite her family after her undocumented husband, Marcos, is deported. Meanwhile, Marcos is alone in Mexico, working as a soccer referee, struggling with depression and fighting the urge to cross the border illegally to see his family. With his signature raw, unfiltered intimacy, Sutherland weaves a parallel love story that takes us into a world often lived in the shadows. When Elizabeth’s efforts hit a legal brick wall, she must plan for the unthinkable alternative: leaving the US with her children to live in exile in Mexico. “He is missing their entire life,” Elizabeth says. Marcos Doesn’t Live Here Anymore follows Elizabeth on her mission to bring back Marcos, which she pursues with the take-no-prisoners attitude of a Marine squad leader. Marcos Doesn’t Live Here Anymoretells a profoundly human story of complicated, imperfect people doing their best to cope with what life has dealt them. Director David Sutherland (Kind Hearted Woman, Country Boys, The Farmer’s Wife, Out of Sight) joins us to talk about the multi-faceted issues surrounding immigration, family separation, lost time, and the omnipresent fear of the unknown.
TRE MAISON DASAN is told directly through the eyes of the children themselves, Tre Maison Dasan is a moving portrait of three unforgettable young boys struggling to grow up with a parent in prison. They face the pressure of growing up in a society that often demonizes their parents, provides little support for their families, and assumes “the apple doesn’t fall far from the tree.” Society writes them off as criminals, but in their hearts their children still see them as mom and dad. Tre is a charismatic but troubled 13-year-old who hides his emotions behind a mask of tough talk and hard edges. Maison is a funny, charming, hyper-articulate 11-year-old whose Autism Spectrum Disorder presents itself through his ever-active mind and deep love for those around him. Dasan, the youngest of the boys, is a shy and sensitive six-year-old full of curiosity and empathy. Although their parents are incarcerated for serious crimes, the strong and caring relationships they maintain with their kids shatter stereotypes about those behind bars and remind us of the plight of the over 1.7 million American children growing up with an incarcerated parent.Denali Tiller is an artist and filmmaker. Following her work directing and producing TRE MAISON DASAN, Tiller is working on a large-scale, multi-sectoral impact campaign for the film, engaging communities affected by incarceration across the US and in Europe. In 2015, Denali was named one of 10 “Filmmakers to Watch” by Variety. As a director, Tiller is passionate about exploring new perspectives on systemic issues, empowering youth and women, and how we raise boys in America. Director Denali Tiller joins us for an engaging conversation on the implications of incarceration that go far beyond a prisoners time behind bars and into the deeper impacts it has on their family, community and civil society.
Joseph Pulitzer’s New York newspaper, The World, would transform American media and make him wealthy, admired and feared. Throughout his four decades as a reporter and publisher, he created a powerful artistic vehicle that spoke to an unprecedented number of readers. Towards the end of his life, both sickly and blind, Pulitzer’s commitment to fearless reporting would tested by the most powerful person in American life. Pulitzer is an American icon who spoke of “fake news” over one hundred years ago. He fought the dangers that the suppression of news had for a democracy long before our present threats to press freedom. While he is remembered for the prizes that bear his name, his own heroic battles in the face of grave illness and Presidential ire have been forgotten as has the artistry and game changing originality he brought to newspapers. How did Joseph Pulitzer, once a penniless young Jewish immigrant from Hungary, come to challenge a popular president and fight for freedom of the press as essential to our democracy? Adam Driver narrates the film. Liev Schreiber is the voice of Pulitzer. Tim Blake Nelson is the voice of Teddy Roosevelt and Rachel Brosnahan is the voice of Nelly Bly.Joseph Pulitzer: Voice of the People Director and Producer Oren Rudavsky is the recipient of a Guggenheim Fellowship, and several National Endowment for the Humanities and National Endowment for the Arts grants. Rudavsky produced Witness Theater a film chronicling a Self help organized workshop between holocaust survivors and high-school students which will premiere in 2019. His previous films Colliding Dreams co-directed with Joseph Dorman, and The Ruins of Liftaco-directed with Menachem Daum, were released theatrically in 2016. Colliding Dreamswas broadcast on PBS in May 2018.Director Oren Rudavsky joins us for a conversation on the indispensable role Joseph Pulitzer played in the development of America’s crown jewel, freedom of the press.
“Summarizing the great strides he made for journalism without ignoring his colorful flaws, Oren Rudavsky’s Joseph Pulitzer: Voice of the People is an excellent primer, not just on the man but on the birth of the modern newspaper.” – John DeFore, Hollywood Reporter
“Joseph Pulitzer: Voice of the People serves as a profile of the publishing giant and an important lesson on freedom of the press.” – Danielle Solzman, Solzy at the Movies
“Newspapers have been going downhill ever since the days of “yellow journalism” but this film about one of its masters demonstrates that documentaries are better than ever.” – Louis Proyect, Counterpunch.org
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.
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.
“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
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.Since1967,FrederickWisemanhasdirected42documentaries — dramatic, narrative films that seek to portray ordinary humanexperience in a widevarietyofcontemporary socialinstitutions. His films include TITICUT FOLLIES, HIGHSCHOOL, WELFARE, JUVENILE COURT, BOXING GYM, LADANSE,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.
“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
“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
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
DARK MONEY, a political thriller, examines one of the greatest present threats to American democracy: the influence of untraceable corporate money on our elections and elected officials. The film takes viewers to Montana—a frontline in the fight to preserve fair elections nationwide—to follow an intrepid local journalist working to expose the real-life impacts of the US Supreme Court’s Citizens United decision. For decades, Montana had arguably the cleanest campaign laws in the U.S., precisely in reaction to a long history of political corruption. Its small population and rich natural resources like copper, had made it particularly vulnerable to private-industry bribery and extortion. Through this gripping story, DARK MONEY uncovers the shocking and vital truth of how American elections are bought and sold. This Sundance award-winning documentary is directed/produced by Kimberly Reed (PRODIGAL SONS) and produced by Katy Chevigny (E-TEAM).Kimberly joins us for a conversation on where our increasingly fragile democracy is and the very troubling place where it may be headed if dramatic measures are not taken to stop the shadowy corporate money from overwhelming our electoral process.
“Damning, clear-eyed, and as gripping as any John Grisham thriller.” – Leah Greenblatt, Entertainment Weekly
“There’s not a dull or dry moment in Reed’s briskly paced film about the secret assault on the American electoral and judicial process by corporations whose agenda is nothing less than the dismantling of government itself.” – Ella Taylor
“A densely packed documentary that earnestly and obsessively addresses campaign finance reform, its history and vital importance.” – Todd McCarthy, Hollywood Reporter
“An air-raid siren of a documentary about the pernicious influence of corporate cash in American politics.” – Chris Barsanti, Film Journal International
Will (Ben Foster) and his teenage daughter, Tom (Thomasin Harcourt McKenzie), have lived off the grid for years in the forests of Portland, Oregon. When their idyllic life is shattered, both are put into social services. After clashing with their new surroundings, Will and Tom set off on a harrowing journey back to their wild homeland. The film is directed by Debra Granik (Winter’s Bone) from a script adapted by Granik and Anne Rosellini and based on the novel My Abandonment by Peter Rock. Director Debra Granik joins us to talk about her modern day tale of two people grappling with a sense of place, loyalty, love, and deep wounds.
“When civilization feels threatened, starting over in the woods seems not only appealing, but maybe even necessary. Especially when seen though Granik’s discerning eye. How lucky we are to have her work.” – Katie Walsh, Tribune News Service
“A profound story about love, family, loyalty, understanding, and compassion.” – Tiffany Tchobanian, Film Threat
“Minimalistic, deliberate and largely silent, “Leave No Trace” clings to each word like an endangered species. It demands patience from the audience, but that patience is richly rewarded.” – J.R. Kinnard, Seattle Times
“The heart of Leave No Trace is the rapport between the father and daughter, and McKenzie and Foster are keyed to each other’s movements, perhaps even each other’s thoughts.”- David Edelstein, New York Magazine
“To A More Perfect Union: U.S. V. Windsor” shares a rich tapestry of love, marriage, and a fight for equality. The film chronicles unlikely heroes — octogenarian Edie Windsor and her attorney, Roberta Kaplan, on their quest for justice. Upon the death of her spouse Thea Spyer, Windsor was forced to pay a huge estate tax bill because the government denied federal benefits to same-sex couples. Windsor became a renowned LGBTQ civil rights advocate when she chose to sue the United States government to recognize her more than 40 year union– andwon Windsor and Kaplan’slegal and personal journeys go beyond the story of this pivotal case in the marriage equality movement as Zaccaro tells the story of our journey as a culture, and as a country that promises its citizens equal rights for all. The film features interviews with notable voices in this civil rights battle, including: Roberta Kaplan (Windsor Attorney), Pam Karlan (Windsor Legal Team & Co-Director, Stanford Supreme Court Litigation Clinic), Rosie O’Donnell (Comedian, Actor & Activist), Frank Rich (Writer-At-Large, NY Magazine), Hilary Rosen (Communications Advisor & LGBT Activist), Richard Socarides (White House Special Assistant & Advisor to President Clinton), Matt Staver (Founder & Chairman of Liberty Counsel), Jeff Toobin (CNN Legal Analyst & New Yorker Staff Writer), Nina Totenberg (Legal Affairs Correspondent for National Public Radio), Tony West (Former Associate U.S. Attorney General), Edie Windsor (Plaintiff), Evan Wolfson (Founder & President of Freedom to Marry), among others.Donna Zaccaro (“Geraldine Ferraro: Paving the Way”) joins us to talk about her intimate tale of the struggle for universal equal rights and the on-going attempts to undermine them. Director Donna Zaccaro talks about the heroic struggle by Edie Windsor and the scarring legal battles that it took to achieve this historic victory for human rights.
We aren’t dying the way we used to. We have ventilators, dialysis machines, ICUs—technologies that can “fix” us and keep our bodies alive—which have radically changed how we make medical decisions. Defining Hopetakes on the topic of dying in our death-denying culture, no matter how sick we get, there is always “hope.” The will to live is a powerful force, and eventually we will all have to make individual decisions when faced with very complex choices. Filmmaker Carolyn Jonesspent four years interviewing and photographing nurses for the groundbreaking American Nurse book and film, and another year of research and interviews focused on what Dying in America looks like, all of which has led her to making this new film, the culmination of a journey, calledDefining Hope. Defining Hope is a story about people weighing what matters most at the most fragile junctures in life, and the nurses who guide them. It’s a documentary that follows patients with life-threatening illness as they make choices about how they want to live, how much medical technology they can accept, what they hope for and how that hope evolves when life is threatened. It is optimistic and reminds us that we have choices in how we die. Defining Hopeis critical and relevant right now, with our rapidly aging population and incalculable challenges in healthcare and end-of-life care. Director Carolyn Jones(American Nurse) joins us for a conversation on her empathetic, clear-eyed look at death and living.
WINNER – Best Premiere for Documentary Feature 2017 Heartland Film Festival
DEFINING HOPE DEBUTS ON PBS/PUBLIC TELEVISION STATIONS NATIONWIDE ON APRIL 1, 2018 VIA AMERICAN PUBLIC TELEVISION
“Shining a light on hospice and palliative care, approaches that are still considered alternative, Defining Hope builds a persuasive case for the ways they empower patients and their loved ones.” – Sheri Linden, Hollywood Reporter