Jagged – Director Alison Klayman

In her enthralling new documentary film, JAGGED, Director Alison Klayman, takes viewers back to 1995, when a 21-year-old Alanis Morissette burst onto the music scene with the first single off her ground-breaking album, “Jagged Little Pill.” With a rawness and emotional honesty that resonated with millions, and despite a commercial landscape that preferred its rock stars to be male, she took radio and MTV by storm and the album went on to sell 33 million copies. Featuring an in-depth interview with Alanis, as well as never-before-seen archival material, JAGGED explores her beginings as a young Canadian pop star, the rocky path she faced navigating the male- dominated music industry, and the glass ceiling she shattered on her journey to becoming the international icon and empowered artist she is today. Director Alison Klayman joins us for a conversation on the seismic impact that “Jagged Little Pill” had on becoming an international icon, the perceptions around women in music, the music industry, radio, her early career in the “business” and her continuing determination to stay true to herself.

Watch Season One of Music Box at hbo.com/music-box

For news and updates go to: alisonklayman.com

JAGGED debuts THURSDAY, NOVEMBER 18 at 8:00 p.m. ET/PT on HBO and will be available to stream on HBO Max. It continues the MUSIC BOX documentary series created by Bill Simmons, which launched in July with “Woodstock 99: Peace, Love, and Rage.” The weekly series will air on subsequent Thursdays at the same time and will be available to stream on HBO Max.

About the filmmaker – Alison Klayman was the youngest director named by the New York Times chief film critics A.O. Scott and Manohla Dargis on their international list of 20 Directors to Watch. Her debut feature AI WEIWEI: NEVER SORRY, about the Chinese artist and activist Ai Weiwei, premiered at the 2012 Sundance Film Festival where it was awarded a US Documentary Special Jury Prize for Spirit of Defiance. It had its international premiere at Berlinale and went on to be shortlisted for an Academy Award, nominated for two Emmys, and earn Alison a DGA Award nomination. In the THE BRINK she takes on former White House chief strategist Steve Bannon, following him for over a year as he tries to promote his brand of extreme nationalism and unite the far-right anti-immigrant parties of Europe. Alison’s other films include FLOWER PUNK about the visionary Japanese botanical artist Azuma Makoto, released in 2020 by The New Yorker; the Emmy and BAFTA-nominated Netflix Original feature documentary TAKE YOUR PILLS about the role of prescription stimulants in a hyper-competitive, overly medicated America (SXSW 2018); THE 100 YEARS SHOW about 103-year-old Cuban-American painter Carmen Herrera, who worked in obscurity for decades until finally receiving recognition late in life. She has also served as an executive producer on several award-winning films, including the Oscar-shortlisted documentaries HOOLIGAN SPARROW and ON HER SHOULDERS.Alison got her start in radio journalism and has contributed radio commentaries for NPR’s “All Things Considered.” Her short form work includes directing for an episodic docuseries EP’ed by Alex Gibney for ESPN, FRONTLINE PBS and multiple installments of the New York Times’ Emmy-winning Op-Doc Video Series. Alison graduated from Brown University in 2006 with an honors B.A. in History, and speaks Mandarin Chinese and Hebrew. Her mother Anna and father Barry are very proud. She is a member of the DGA and AMPAS, and currently based in Brooklyn.

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The Art of Making It – Director Kelcey Edwards

Against the backdrop of a culture in crisis, THE ART OF MAKING IT follows a diverse cast of young artists at defining moments in their careers to explore whether the art world ecosystem meant to nurture them is actually failing them. Are we at risk of losing the creative voices of a new generation as universities, galleries, and museums are facing cataclysmic changes? Or are we on the verge of rewriting history, expanding access, and making art more accessible for all as outdated models are being rethought? Embracing the conundrum of how artists must be in the market, but not of it, THE ART OF MAKING IT is both a cautionary tale about what America stands to lose if we don’t rethink how we value artists, and a love letter to those who persevere in their artistic practice in spite of the extraordinary odds against ever achieving a sustainable career. Director Kelcey Edwards (Ghost in the Material, Wonder Women! The Untold Story of American Superheroines) stops by to talk about the reasons why artists of all stripes from all corners of the world are driven to swim upstream in the most precarious and treacherous shark infest waters to bring their vision to all who are willing to engage.

 

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For news and updates go to: theartofmakingitfilm.com

Virtually screening at: docnyc.net/film/the-art-of-making-it

About the filmmaker – Kelcey Edwards – Director is an award-winning filmmaker, author and curator, Kelcey received an MFA in Documentary Film from Stanford University. As a director, her short documentaries have screened at SXSW (Letter), Silverdocs AFI/Discovery Channel Film Festival (Gentle Creatures), and True/False (Ghost in the Material). In 2012, she produced Wonder Women! The Untold Story of American Superheroines (SXSW premiere, Independent Lens broadcast). Kelcey’s fiction writing has appeared in storySouth and Border Crossing; her art writing has been published by Hamptons Art Hub, Portray Magazine and Salomon Contemporary, and her nonfiction has been published in New Voices from Stanford (Stanford University Press) and Persistence of Vision (Austin Film Society). Kelcey has served as a lecturer and panelist at several colleges and universities, including Pratt, Barnard, The New School and NYU Tisch. She also runs Iron Gate East, an exhibition series based in the Hamptons, inspired by her pioneering gallery, Iron Gate Studios, which she co-founded in Austin in 2003. 

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“Every creative industry should get a survey of its shortcomings as engaging and comprehensive as Kelcey Edwards’ coast-to-coast travelogue of major galleries and the fine artists who struggle to break into them.” – The Movable Feast

“The Art of Making It soars when it concentrates, as it often does, on the concepts and the process of making boundary-breaking art.” – The Independent

KURT VONNEGUT: UNSTUCK IN TIME – Director Robert Weide

2021 DOCNYC  – WORLD PREMIERE

KURT VONNEGUT: UNSTUCK IN TIME is a dazzling, worthy tribute to Kurt Vonnegut and the first of its kind on Vonnegut – is a deep, immersive dive into the author’s upbringing and his creative output. It spans his childhood in Indianapolis, his experience as a Prisoner of War in World War II, his marriage, family, and divorce, his early careers as a publicist for General Electric and a car salesman, and his long years as a struggling writer, leading to eventual superstardom in 1969 following the publication of his lightning-bolt anti-war novel Slaughterhouse-Five. KURT VONNEGUT: UNSTUCK IN TIME began 39 years ago when young, struggling filmmaker Robert Weide (Curb Your Enthusiasm, Lenny Bruce: Swear to Tell the Truth) wrote a letter to his literary idol proposing a documentary on Vonnegut’s life and work. Shooting began in 1988 and the resulting film reflects the friendship and bond Weide and Vonnegut formed over the decades. KURT VONNEGUT: UNSTUCK IN TIME is first and foremost a biography of a beloved American author. But it also documents a filmmaker’s odyssey as he examines the impact of a writer’s legacy on his own life, extending far beyond the printed page. Director Robert Weide joins us for a conversation on Vonnegut’s literary legacy, his family’s fascinating history and the mutual respect and kindness of friendship.

 

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For news and updates go to: ifcfilms.com/films/kurt-vonnegut

Available through 11/19 at: docnyc.net/film/kurt-vonnegut

About the filmmaker – At the age of 22, Director, producer and writer Robert Weide produced The Marx Brothers in a Nutshell, a documentary tribute to his first love(s) which became one of the highest-rated programs in PBS history. Two years later, he produced and directed The Great Standups: Sixty Years of Laughter for HBO. In 1986 he received the national prime-time Emmy Award for W. C. Fields Straight Up, honored as the year’s Outstanding Informational Special. In 1989, Weide produced, wrote and directed Mort Sahl: The Loyal Opposition, which aired on PBS’ ”American Masters” series. From 1990-’94 he served as Vice President of Development for Rollins & Joffe Productions (producers of Woody Allen’s films) where he executive-produced Larry Gelbart’s critically acclaimed political  satire, Mastergate  for the Showtime Network and Rick Reynolds’ one-man confessional,  Only The Truth Is Funny. He has also produced the HBO specials But Seriously, Folks and The Lost Minutes of Billy Crystal. 1996 saw the release of Weide’s first feature film as writer producer,  Mother Night, based on the novel by Kurt Vonnegut. The film starred Nick Nolte, John Goodman, Alan Arkin, Sheryl Lee, and Kirsten Dunst. In 1998, Weide completed a twelve year labor-of-love, his acclaimed documentary Lenny Bruce: Swear to Tell the Truth. His efforts were rewarded with an Academy Award nomination for Best Feature Documentary, followed in ’99 with an Emmy award for the film’s editing and an Emmy nomination for Outstanding Non-Fiction Special. In 1999, HBO premiered Weide’s comedy special, Larry David: Curb Your Enthusiasm, a partly real, partly embellished ”mock-umentary” chronicling the return to stand-up by Larry David, co-creator of Seinfeld. For five seasons, Weide served as the Principal Director and Executive Producer of the series based on this special, directing more than half the episodes. The series, Curb Your Enthusiasm, premiered on HBO in the Fall of 2000 to rave reviews and has so far had nine seasons on the cable network. It’s currently enjoying syndication and DVD sales all over the world. Weide won the Emmy Award for Comedy Direction for his Curb episode ”Krazee-Eyez Killa.” The show itself and Weide’s direction would be Emmy nominated for four years running. After a two year hiatus from the series, Weide returned to direct Season Eight’s ultimate “water cooler” episode, “Palestinian Chicken” which brought him the prestigious DGA Award  (Directors Guild of America) for Comedy Direction, and another Emmy Award nomination for the same. To-date, Weide has directed 28 episodes of the series.

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“A deftly told, multi-layered documentary that uses a unique perspective to capture the magic of Kurt Vonnegut.” – Evan Dossey, Midwest Film Journal

River’s End – Director Jacob Morrison

RIVER’S END: RIVER’S END: CALIFORNIA’S LATEST WATER WAR explores the global water crisis, using California as a microcosm. It reveals how water politics that led to the draining of the Owens Valley by Los Angeles, made famous by the film CHINATOWN, continue to this day in ongoing efforts to take ever more water from Northern California’s San Francisco Bay estuary. Except this time, the water grab is at the hands of  industrial agriculture and its powerful corporate investors. RIVER’S END inspires viewers to learn where their water comes from so that we can save our rivers and the ecosystems and communities that depend upon them. Director Jacob Morrison joins us for a informative conversation on the byzantine, arcane and extremely powerful system of public and private water interests with a history of land grabs and violent intimidation.

 

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For news and updates go to: riversendfilm.com

Director’s Statement – In RIVER’S END, we pull back the curtain on California’s complex water system, where moneyed interests are gaming the system. Constant battling over a limited water supply heralds an impending crisis—not just in California, but around the world. A quarter of humanity now faces a looming water crisis. If we can understand California’s challenges, I believe we will better understand those now facing China and Tibet, India and Pakistan, Chile, South Africa, and elsewhere.  Five years ago, I found a sunken boat along Pier 42 in San Francisco. A local explained that the boat’s owner was a lifelong salmon fisherman. The decimation of the local salmon population due to water diversions had destroyed his business. Facing the loss of his livelihood and mounting debt, he became drunk and allowed himself to sink to the bottom of the Bay. Also tragic was the reason for the water diversions that destroyed his life: agriculture in the Central Valley needed more water to grow crops that are largely shipped overseas. Because of this, six fish are nearing extinction in the California Bay Delta, including species of salmon. But once I began investigating, I learned that not only is water being diverted from dwindling ecosystems for the benefit of farms, but that many of those farms are massive corporate entities looking to take even more water. A proposed multi-billion dollar tunnel system, if operated at the behest of these business interests, could forever destroy California’s native salmon and other species. And as I looked into California’s history, I found that the Golden State has yet to properly operate a large water-infrastructure project. The tunnels fit within a long history of diverting water from the natural environment, turning once lush areas to dust, while sending that water to dry lands for profit. All of this has been happening in California since before LA tapped the Owens Valley, the story that inspired the film CHINATOWN. What started with idle curiosity about a sunken boat in the Bay has led to a sprawling and hopefully nuanced tale of water wars and the environment, the culmination of countless hours of research and interviews across the state of California. I am grateful to my amazing team: producers Kurt and Sam, cinematographer Ben, composer Jonny, sound designer Jan, animator Sherif, and narrator, DeLanna. We hope that River’s End convinces you of the precarious balance of the environment at the mercy of predominantly agricultural water usage. It is only this knowledge and understanding that will allow us to change and adapt, and prevent the destruction of California’s ecosystems, as well as ecosystems throughout the world. If we can solve California’s water problems, we can solve the world’s. Learn where your water comes from—it’s a public resource and it belongs to you. – Jacob Morrison

About the filmmaker – Jacob Morrison – Writer / Director /Producer is a filmmaker releasing his feature directorial debut, River’s End. Morrison has produced series for VICELAND and Fullscreen, wrote and starred in a multi-episode explainer series for Vice, and directed a half-hour television pilot. He is a graduate of USC’s School of Cinematic Arts and a native of Southern California. 

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“This complex overview may bring in a lot of new-ish factors, like climate change and species extinctions… but some things remain the same, notably corrupt relationships between California politicians and industry lobbies.” – Dennis Harvey, 48 Hills

“Jacob Morrison’s documentary is his feature film debut and it is one that demonstrates his passion for the subject and thoroughness as a documentary filmmaker.” – Carey-Ann Pawsey, Orca Sound

Speer Goes to Hollywood – Director Vanessa Lapa

Albert Speer is an enigma. The highest-ranking Nazi in Nuremberg to be spared the death sentence, Speer was one of Hitler’s closest confidants and his chief architect, tasked with rebuilding Berlin as the capital of a global empire. As Reichsminister of Munitions, Speer was responsible for 12 million slave laborers. And yet, even now, he has the reputation of being “the good Nazi” – a myth he carefully constructed himself. SPEER GOES TO HOLLYWOOD meets its protagonist in 1971, while Speer was working on a screenplay for Paramount Pictures, based on his bestselling wartime memoir “Inside the Third Reich”. Based on months of audio cassettes, recorded by screenwriter Andrew Birkin, it features Speer’s callous attempt to whitewash his past in a feature film. The audio narrative is supplemented by rare archival footage, taken before and during World War II and later, during Speer’s retirement as a semi-reclusive country gentleman. Director Vanessa Lapa’s SPEER GOES TO HOLLYWOOD is a fitting follow up to her award-winning documentary on the life of the leader of the detested SS titled THE DECENT ONE (2014). Her latest film is a cautionary tale about Albert Speer’s 1971 attempt to whitewash his past with a Hollywood adaptation of his bestselling wartime memoir, “Inside the Third Reich”. Director Vanessa Lapa joins us for a conversation on the concerted attempt to rehabilitate the reputation and re-write the culpability of a trusted and faithful confidante of Adolf Hitler.

 

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

The film will open at the Film Forum in New York on October 29, and at Laemmle Royal and Laemmle Town Center in Los Angeles on November 5th. Other cities will follow.

WINNER – Best Documentary – 2021 Ophir Award (“Israeli Oscar”)

About the filmmaker – Although she was born and raised in Belgium, Vanessa Lapa has been living and working in Israel since 1995. A talented polyglot and accomplished journalist, she produced and directed over one hundred news reports and documentaries for Israeli television. She was deeply involved on the Israeli side of content and production for New York Times columnist Thomas Friedman’s riveting 52-minute documentary Straddling the Fence (USA, 2003), which was aired worldwide. In 2006, Vanessa founded Realworks, Ltd., an independent production house, based in Tel Aviv, which specializes in documentary film. Olmert: Concealed Documentary (Israel, 2009), one of the company’s earliest projects, was hailed as a uniquely insightful achievement in cinéma verité. The film featured behind-the-scenes revelations about the private and public life of Israeli Prime Minister Ehud Olmert. At the time, Vanessa was already hard at work on The Decent One, an intimate look at SS Reichsführer Heinrich Himmler, the most powerful person in the Third Reich after Adolf Hitler. Having discovered that Himmler assiduously kept a diary throughout most of his life, Vanessa’s film offered an unprecedented and often surprising glimpse into the mind of this nefarious butcher. Vanessa researched, wrote, directed, and produced this remarkable document about this infamous but little-known man. Eight years in the making, The Decent One had its world premiere at the Berlin Film Festival in 2014. It was an official selection for Panorama, which features the festival’s edgiest, most daring work. The Decent One went on to win the Best Documentary Feature award at the Jerusalem Film Festival. All in all, it was an official selection in over 100 film festivals worldwide. It had a theatrical release in 50 countries and was broadcast in 60. Vanessa followed this film with Speer Goes to Hollywood, a feature documentary about another Nazi official, Reichsminister for Armaments Albert Speer, told in his own words. The film has been officially selected for the Berlinale Special, and will have its world premiere at the Berlin Film Festival in February 2020.

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“Speer’s spurious position no longer goes unchallenged, nor does his wartime command over 12 million slave laborers go unacknowledged, and Lapa’s documentary lays bare the falsities in his preferred narrative in a dense, sober and compelling fashion” – Sarah Ward, Screen International

“A horrifying yet bleakly fascinating picture of a man doing something that remains thoroughly relevant today: spinning fake news.” – Screen Daily

“Speer Goes to Hollywood smashes the version of reality Speer was trying to peddle to the World” – Haaretz

Love It Was Not – Director Maya Sarfaty

Love, It Was Not is a tragic love story between a prisoner and a Nazi. Beautiful and full of life, Helena Citron, is taken to Auschwitz as a young woman, and soon finds unlikely solace under the protection of Franz Wunsch, a high-ranking SS officer who falls in love with her and her magnetic singing voice. Risking execution if caught, they went on with their forbidden relationship until the war ended and the camp was liberated. Thirty years later, a letter arrives from Wunsch’s wife asking Helena to “return the favor”– testify on Wunsch’s behalf. Faced with an impossible decision, Helena must choose. Will she help the man who brutalized so many lives, but saved hers? Director Maya Sarfaty joins us for a conversation on one woman’s unbelievably conflicted dilemma happening in the most reviled place on earth during a monstrously evil war to exterminate her family and her people.

 

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For news go to: greenwichentertainment.com/film/love-it-was-not

IN THEATERS STARTING FRIDAY, NOVEMBER 5
AT 
QUAD CINEMA IN NEW YORK CITY; AT LAEMMLE ROYAL (LOS ANGELES) & LAEMMLE TOWN CENTER 5 (ENCINO

SUBJECTS 

HELENA CITRON (ZIPORA TAHORI) – Helena was among the first 1000 women transported to Auschwitz. For two and a half years she had a romantic relationship with SS officer Franz Wunsch.

ROZA CITRON (SHOSHANNA ORENSTEIN)  – Helena’s older sister. She was saved by Helena’s admirer, SS officer Franz Wunsch, but both of her children were murdered.

FRANZ WUNSCH An SS officer in Auschwitz. He was known to be brutal, but towards Helena and those close to her he showed mercy. Ultimately, he saved Rosa from the gas chambers.

Director’s statement – As a child, my first theatre teacher was Helena Citron’s niece. She entrusted me with the story of the two sisters with the understanding that one day, I would become a voice and share these events. Throughout my years as an artist I have strived to tell this story. By trying to write it as prose, I was embarrassed looking down at my words, feeling they had failed to reflect those epic events as real-life experiences. Five years ago, when we first got in touch with the Nazi’s daughter, I was struck with the understanding that the exact medium for this story should be a documentary. I realized that my job was to provide a stage on which this story’s real heroes would share their memories, using their own words and describing the events that shaped their lives. The ambivalence between good and evil is what drove me at first. Franz was both a sadistic monster, and a gentleman capable of love and compassion. Helena was also not your ideal image of an innocent victim: a strong woman with unbelievable survival skills, who managed to love a cruel SS officer and even forgive him for his inconceivable actions, in light of him helping her and her sister. As I see it, appealing the dichotomous perception of good versus evil is the cornerstone for this film’s relevance to our current lives. That is what makes it an important story that had to be told. Love, It Was Not inevitably raises ethical questions concerning the protagonists of the past. It strives to avoid judgment, yet it offers a direct human take of their lives during the terrible period in the deathcamp, and the efforts they needed afterwards to come back into the living. “ – Maya Sarfaty 

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“A heartbreaking and dangerous love story during the Holocaust. A masterpiece; amazing. Absorbing and affecting.” – The Times of Israel

“A superbly documented tale about a taboo romance between a Jewish prisoner and her SS captor.” – Variety

“A major triumph.” – POV Magazine

Civil War – Director Rachel Boynton

Urgent and nuanced, Civil War (or, Who Do We Think We Are) travels across the United States, exploring how Americans tell the story of their Civil War. Filmed from the last year of Obama’s presidency through the present, it interweaves insightful scenes and touching interviews filmed North and South, painting a uniquely crafted, multi-faceted portrait of the American psyche and the deep roots of its turbulent times. With subtlety and determination, Civil War portrays a nation in denial, haunted by an embittered past and the stories it refuses to tell. Director Rachel Boynton (Our Brand is Crisis, Big Men) joins us for a conversation on the winding journey she began in the hopes of understanding the long-held and deeply rooted “stories” we tell ourselves about the war that nearly destroyed any semblance of a United States and how we might be able to break through the mythology to reach a point where a more perfect union is possible.

 

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Beginning October 24 Civil War will be streaming at Peacocktv.com

About the filmmaker – Rachel Boynton produced and directed the feature-length documentary Our Brand Is Crisis, filming for three years on two continents. Winner of the International Documentary Association’s Best Feature Documentary Award and nominated for an Independent Spirit Award, it was named the #3 movie of 2006 by New York Magazine, and appeared on several other “Best of 2006” lists, including those of the New York Times and the LA Weekly. The film aired internationally on the BBC, HBO Latin America, ARTE, VPRO, and the CBC among others and was televised in the United States on The Sundance Channel. Our Brand Is Crisis also screened at multiple festivals worldwide including SXSW, the 34th New Directors/ New Film Series presented by New York’s Museum of Modern Art and the Film Society of Lincoln Center, and the Full Frame Documentary Film Festival, where Rachel was the winner of the Charles E. Guggenheim Emerging Artist Award. Currently George Clooney’s company, Smokehouse, plans to remake Our Brand Is Crisis as a fiction feature. Rachel’s other credits include associate producer for the feature documentary Well-Founded Fear, producer/ director/ cinematographer for Pageant Perfect, and associate producer of People Like Us: Social Class in America. She has managed shoots across America, worked on films in Cuba and France, and directed casting for reality-based commercials.

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100% on Rotten Tomatoes

“The film takes familiar topics and looks at them in a whole new way. It is interesting to see how different parts of the country look at the Civil War.” – Nathaniel Muir, AIPT

“Its thesis that the North won the Civil War and the South won the Reconstruction … will be revelatory to young students, and anyone whose past schooling glossed over or distorted the deeper meaning of those events.” – Matt Zoller Seitz, RogerEbert.com

“An alarming and vital stepping stone toward truth and, above all, democracy. The more we face the harsh truths about history or the present without any sugar coating, the closer we’ll be to democracy.” – Avi Offer, NYC Movie Guru

“Interviewing teachers, students, Confederate buffs and state politicians, Boynton delves into the abyss dividing Americans in terms of what we know about our own history and how what we know differs by region, self-selection and heritage.” – Ann Hornaday, Washington Post

“No, there’s not a happy ending to “Civil War.” But there’s also no shortage of provocative inquiry, or empathy, or understanding.” – John Anderson, Wall Street Journal

Finding Kendrick Johnson – Director Jason Pollock

FINDING KENDRICK JOHNSON is the feature documentary product of a 4-year undercover investigation into the facts of this case. From the creator of ‘Stranger Fruit’, this new documentary hopes to shed light on one of the most important American stories of our time. Told through the eyes of KJ’s family and close friends, On January 11th, 2013, Kendrick Johnson was found dead in his high school gymnasium rolled up in a gym mat. The state of Georgia ruled his death as an accident, having died from positional asphyxia. When the family hired their own Forensic Pathologist, not only did he find KJ’s organs missing from his body during the autopsy, he determined the cause of death to be from non-accidental blunt force trauma. To this day, no one knows where KJ’s organs have gone.. So what really happened to KJ? Narrated by Hollywood legend, Jenifer Lewis. Directed by ‘Stranger Fruit’ creator, Jason Pollock, with an amazing team of producers including Actor Hill Harper, and Space Jam 2 director Malcolm D. Lee, FINDING KENDRICK JOHNSON shares this truly historic, heartbreaking, and unbelievable story with the world for the first time.

 

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Foe news, updates and screenings go to: findingkendrickjohnson.com

To watch go to: amazon.com/Finding-Kendrick-Johnson

FINDING KENDRICK JOHNSON is now available on digital and video on demand and will be heading to theaters nationwide this October.

Director’s statement – The case of Kendrick Johnson is one the most important cases in U.S. history, KJ deserves justice, and hopefully our film will help his family get one step closer to that outcome.  Actor, activist and film narrator Jenifer Lewis said “This is the most important film I’ve ever worked on”. What this family has gone through is unspeakable but we must speak it so the public knows the truth. Jason has done a brilliant job on this vital story of injustice. – Jason Pollock

About the filmmaker – Jason Pollock is a filmmaker, writer and Founder of Boom Content. Boom Content is Pollock’s creative agency, which operates in NYC, LA, DC, and STL. Pollock has been a featured speaker at many high schools, universities, and major events including the ‘Aspen Ideas Festival’, Inc. Magazine’s ‘Inc. 500 Conference’, the ‘Life Is Beautiful Festival’, and Martha Stewart’s ‘Made In America’ event. His innovative work has been featured in the New York Times, Variety, Hollywood Reporter, Mashable, more. Pollock was ranked in a report in the New York Times as one of the ‘top 140 most influential people on Twitter’, listed by PC Magazine as one of the ‘Top 100 People to Follow’, and listed on Levo League’s ‘100 Transforming Millenials’ of 2015. Jason has also been a featured writer and contributor to the Huffington Post since 2006. Pollock and his agency, Boom Content, has worked as producer for a number of major celebrities and brands including Ashton Kutcher, Michael Moore, Oprah Winfrey’s Harpo Productions, David Letterman’s Worldwide Pants, Rock The Vote and the Global Citizen Festival in Central Park. As a filmmaker, Pollock’s first feature documentary film, ‘The Youngest Candidate,’ follows four teens running for public office in America. The film was co-produced by Oscar winner Lawrence Bender and David Letterman’s Worldwide Pants. ‘The Youngest Candidate’ had its world premiere in 2009 at the Los Angeles Film Festival, and its national television premiere on the Documentary Channel in 2010. In 2008 and 2012, Pollock also launched multi-city speaking tours around America’s schools to get out the youth vote. Prior to making his own films, Pollock worked with director and producer to Michael Moore from 2003 – 2006.Throughout this time Pollock aided Moore with several high profile films such as: ‘Dude Where’s My Country’, ‘Fahrenheit 9/11’ and ‘Slacker Uprising’. Pollock coordinated a 60 cities in 30 day tour for Moore on his Slacker Uprising Tour in 2004. In 2005 Pollock became of one of the 5 original founders of Michael Moore’s Traverse City Film Festival.

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100% on Rotten Tomatoes

“A hard but necessary watch for anyone who’s hoping to learn more about the United States’ history of racist violence.” – Monique Jones, Common Sense Media

“There are two fascinating stories going on. The death of Kendrick Johnson is filled with the expected twists. The documentary also looks at the country’s racial division.” – Nathaniel Muir, AIPT

Finding Kendrick Johnson might not have the answers to his death, but it seems like the documentary has the noble intention to help the Johnson family find some measure of peace in their ongoing nightmare with the legal system.” – Carla Hay,, Culture Mix

“Documentaries serve many purposes…inform, educate, entertain…and, in the case of Finding Kendrick Johnson, tell a story that could easily disappear by apathy and force action, outrage, and support as our voice is necessary to keep justice alive.” – Alan Ng, Film Threat

Becoming Cousteau – Director Liz Garbus

Adventurer, filmmaker, inventor, author, unlikely celebrity and conservationist: For over four decades, Jacques-Yves Cousteau and his explorations under the ocean became synonymous with a love of science and the natural world. As he learned to protect the  environment, he brought the whole world with him, sounding alarms more than 50 years ago about the warming seas and our planet’s vulnerability. In BECOMING COUSTEAU, from National Geographic Documentary Films, two-time Academy Award®-nominated filmmaker LIZ GARBUS takes an inside look at Cousteau and  his life, his iconic films and inventions, and the experiences that made him the 20th century’s most unique and renowned environmental voice — and the man who inspired generations to protect the Earth. Director Liz Garbus (What Happened, Miss Simone?, All In: The Fight for Democracy, The Farm: Angola, USA) joins us for a look back at one of the 20th centuries most influential and consequential figures and one of the early advocates for preserving and protecting mother ocean.

 

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For news go to: nationalgeographic.com/becoming-cousteau

In Theaters October 22, 2021

For more go to: storysyndicate.com

About the filmmaker – Liz Garbus is a two-time Academy Award® nominee (“The Farm: Angola, USA,” “What Happened, Miss Simone?”), two-time Emmy® winner (Directing, Drama Series, and Directing, Nonfiction Programming), Peabody winner (“A Dangerous Son”), GRAMMY® nominee (“What Happened, Miss Simone?”), DGA nominee (“What Happened, Miss Simone?”) and BAFTA-nominated (“Reporting Trump’s First Year: The Fourth Estate”), Garbus is one of America’s most celebrated filmmakers, renowned for her documentary work and also for her breakthrough scripted debut. Her work has been featured in film festivals from Sundance to Telluride to Toronto to the New York Film festival and has appeared in theaters and across streaming platforms, as well as premium cable television. Other credits include “The Innocence Files” (Netflix, 2020), “Who Killed Garrett Phillips?” (HBO, 2019), “There’s Something Wrong with Aunt Diane” (HBO, 2011), “The Farm: Angola, USA” (Academy Award nominee, 1998) and many others. Her narrative feature debut, “Lost Girls,” premiered at Sundance Film Festival in 2020 and was released on Netflix and in theaters in March 2020. Her series “I’ll Be Gone in the Dark” premiered on HBO in June 2020. Garbus’ recent film “All In: The Fight for Democracy” premiered at the New York Film Festival, Telluride Film Festival, drive-in screenings, theaters and digitally on Amazon Prime Video in September 2020. For more go to storysyndicate.com

About the filmmaker – Dan Cogan is one of the most prominent non-fiction producers working today. Both an Academy Award® and Emmy Award® winner, Dan founded Story Syndicate with Liz Garbus in 2019. Previously, Dan was the founding Executive Director of Impact Partners. He has produced more than 100 films and series, including ICARUS, which won the 2018 Academy Award for Best Documentary Feature, WON’T YOU BE MY NEIGHBOR?, which won the 2019 Independent Spirit Award for Best Documentary, THE COVE, which won the 2010 Academy Award for Best Documentary Feature and THE APOLLO, which won the 2020 Emmy for Outstanding Documentary. For more go to: storysyndicate.com/team

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100% on Rotten Tomatoes

“Absorbing, compelling and often surprising… This is a tale free of talking heads and commentators looking back at events they only half-remember and [director Liz] Garbus’ portrait is all the more effective and impactful as a result of that.” – James Croot, Stuff.co.nz

“Liz Garbus’s focused, comprehensive documentary pays tribute to Cousteau’s legacy as an explorer, inventor and filmmaker, but also charts his evolution into a passionate advocate for the environment.” – Allan Hunter, Screen International

“Becoming Cousteau succeeds beautifully in its goal of reminding viewers of Jacques Cousteau’s important legacy of underwater exploration and environmental activism.” – Frank Scheck,

“Breezy, simply presented, and plenty illuminating, Becoming Cousteau shirks the typical talking heads doc format in favour of shrewdly selected archive materials accompanied by compelling voiceover testimony.” – Shaun Munro, Flickering Myth

“A film that serves both as a tribute to an icon and a powerful warning on the devastation of our planet.” – Ricardo Gallegos, But Why Tho? A Geek Community

Found – Director Amanda Lipitz

FOUND is a feature documentary that follows the story of three American teenage girls—each adopted from China—who discover they are blood-related cousins on 23andMe. Their online meeting inspires the young women to confrot the burning questions they have about their lost history. When they meet for the first time, they embark on a once in a lifetime journey to China in search of answers. Director Amanda Lipitz (Step) joins us to talk about the logistical, physical and emotional gauntlet that these young women signed up for in order to answer, or attempt to answer deeply personal questions about each of their lives as well as the support and love they show for one another.

 

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To watch go to: netflix.com/FOUND

For more go to: amandalipitzproductions.com/documentary

In addition to the October 20th launch on Netflix, the film arrives ahead of November – National Adoption Month with November 9th being National Adoption Day.

About the filmmaker – Amanda Lipitz’s second documentary, FOUND, which she directed and produced with Impact Partners and Kindred Spirit Productions, is set to be released on Netflix in October 2021. Her first feature-length documentary, STEP, premiered in competition at the 2017 Sundance Film Festival and won the Special Jury Award for Inspirational Filmmaking. Additionally, STEP was awarded the NAACP Image Award for Best Documentary, the African American Critics Choice Award for Best Documentary, the Lena Sharpe Award for Persistence of Vision at the Seattle International Film Festival and the Audience Award at the AFI Docs Festival. Amanda co-created and directed Motherhacker, a scripted podcast with Gimlet Media and Spotify starring Carrie Coon, and is currently developing a television adaptation. Known nationally for her films highlighting philanthropic organizations and their impact, Lipitz has made more than 30 shorts for organizations such as the Young Women’s Leadership Network, Citymeals on Wheels, College Bound Initiative, The Tory Burch Foundation, Barnard College, Turnaround for Children, The Gateway School and many more. Broadway producing credits include Dirty Rotten Scoundrels, Legally Blonde the Musical, The Performers, A View From the Bridge (Tony Award, Best Revival) and The Humans (Tony Award, Best Play). Off Broadway, Amanda developed and produced Brooklynite at The Vineyard Theatre. On television, Amanda served as executive producer and creator of MTV’s groundbreaking series “Legally Blonde the Musical: The Search for Elle Woods.” Lipitz graduated with a BFA in theater from New York University’s Tisch School of the Arts. Amanda lives in New York City with her husband, two daughters, and son. For more go to: amandalipitzproductions.com/documentary

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100% on Rotten Tomatoes

“What Ms. Lipitz does render quite believable is the level of relief, love, joy and even guilt involved in the girls’ coming to terms with their people, and themselves. And how it all might well resolve in tears.” – John Anderson, Wall Street Journal

“It’s stunning to hear that each nanny remembers the girls so clearly. Are these true memories or wishful thinking? Maybe it doesn’t matter.” – Nina Metz,

“Wonderfully emotional and would be a good companion piece with [the documentary] One Child Nation.” – Claudia Puig, FilmWeek (KPCC – NPR Los Angeles)

“Its comfort with ambivalence and ambiguity proves a strength, allowing the girls and their loved ones the space to work through confusing or contradictory emotions without trying to tie them up in neat little conclusions.” – Angie Han,

“Rife with poignant moments…” – Lisa Kennedy, New York Times

FOUR HOURS AT THE CAPITOL – Director Jamie Roberts

FOUR HOURS AT THE CAPITOL explores the historic events of January 6, 2021, focuses on the facts of the day itself and the impact on those who were there and illuminates salient questions about the stark political divide in the United States, the culpability of those involved and the fragility of an electoral process that is fundamental to a functioning democracy. FOUR HOURS AT THE CAPITOL meticulously details how the violence quickly escalated, leaving Capitol security forces outnumbered and overwhelmed, and highlights the high-stakes standoff between police and rioters. Tightly focused and comprehensive, the documentary features never-before-seen footage and vivid first-hand accounts from lawmakers, staffers, police officers, protesters, and rioters who stormed the Capitol building where the electoral votes were being counted. FOUR HOURS AT THE CAPITOL unfolds with urgent precision and presents an unfiltered look at the insurrection, standing both as an intimate recollection as well as a stark reminder of the wider ramifications of the events of that unprecedented day, which ended with the deaths of five people and more than 140 police officers injured. FOUR HOURS AT THE CAPITOL features the personal experiences of those on the ground, building out the events of the day with exclusive interviews and footage from multiple sources, including phone videos and surveillance and body camera footage. Interviewees include Rep. Jim McGovern, Rep. Eric Swalwell, Rep. Ruben Gallego, Rep. Buddy Carter and Rep. Rosa DeLauro; senators Chuck Schumer and Dick Durbin; D.C. Metropolitan police officers Mike Fanone, Jimmy Albright and Daniel Hodges; Commanders Ramey Kyle and Robert Glover; and Capitol police officers Winston Pingeon, Byron Evans and Keith Robishaw; protestors/rioters including Couy Griffin, Dominic Box, Nick Alvear, Eddie Block and Bobbie Pickles; journalists / videographers and Capitol staffers. Director Jamie Roberts joins us to talk about his access to many of the key players inside and outside the maelstrom that threatened to violently thwart the transition of the legitimately elected president at the direction of the defeated president.

 

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For news and updates go to: hbo.com/four-hours-at-the-capitol

HBO’s FOUR HOURS AT THE CAPITOL was executive produced by Dan Reed (HBO’s “Leaving Neverland”, “3 Days of Terror: the Charlie Hebdo Attacks,” “Terror At The Mall”) and directed by Jamie Roberts. For HBO: executive producers, Nancy Abraham and Lisa Heller; coordinating producer, Anna Klein. FOUR HOURS AT THE CAPITOL will debut on HBO October 20 and be available to stream on HBO Max.

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100% on Rotten Tomatoes

“Perhaps what comes through most vividly, beyond the sheer chaos that day, is the simmering anger that many legislators and others still feel, as well as their lingering shock that such a lapse could have taken place. – Brian Lowry, CNN.com

“The filmmakers will be criticized by some for giving oxygen to such views but the film’s point is clear — the strange calm of the advocates for violence is presented alongside footage of the barbaric fighting, as a subversion of their serenity.” – John Doyle, Globe and Mail

“Four Hours At The Capitol puts us inside the twisted minds of the insurrectionists who attacked the seat of government, but at no point are viewers compelled to sympathize with them.” – Stephen Robinson, AV Club

“[a] terrifying, suspenseful account.” – FINANCIAL TIMES

“A blood-chilling view of today’s political realities and one not to be missed.” – WALL STREET JOURNAL

“Meticulous.” – THE GUARDIAN

LUZZU – Director Alex Camilleri, Actor Jesmark Scicluna

In this beautifully rendered tale, LUZZU, follows a hardworking Maltese fisherman, Jesmark (Jesmark Scicluna) facing an agonizing choice. He can repair his leaky luzzu – a traditional, multicolored wooden fishing boat – in the hopes of eking out a meager living at sea for his wife and newborn son, just as his father and grandfather did before him. Or he can decommission it in exchange for an EU payout and cast his lot with a sinister black-market operation that is decimating the Mediterranean fish population and the livelihoods of the local families who depend on it. LUZZU won a Sundance Jury Prize for its nonprofessional lead actor Jesmark Scicluna, a real-life Maltese fisherman, and heralds the arrival of writer-director-editor Alex Camilleri. His gripping film operates in the neorealist tradition of Luchino Visconti, Roberto Rosselini, and the Dardenne brothers and calls to mind the work of his mentor Ramin Bahrani (Man Push Cart, The White Tiger), also a producer of the film. Director Alex Camilleri and actor Jesmark Scicluna join us for a conversation on the challenges of working with a largely non-professional cast, including Jesmark’s brother and staying true to the story of a traditional culture under pressure from global economic forces to change its ways.

 

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

For news, updates and screenings go to: kinolorber.com/film/luzzu

Award: Winner: Special Jury Prize for Acting (Jesmark Scicluna) – Sundance Film Festival

Luzzu will release theatrically in New York (Oct. 15) and in Los Angeles (Oct. 22) from Kino Lorber, followed by a national rollout. 

About the filmmaker – Alex Camilleri is a Maltese-American filmmaker based in New York City. He studied English literature and documentary filmmaking at Vassar College, where he gained recognition for his thesis project, STILL HERE (2010), which won Best Student Documentary at the Emerging Filmmaker Showcase at Cannes. His work has screened at Venice, Telluride, TIFF, and New Directors/New Films, and in 2016 he was selected for the Sundance Institute’s Editing Intensive. There, he workshopped KEEP THE CHANGE, which went on to win Best Feature & Best New Director at the 2017 Tribeca Film Festival, as well as the FIPRESCI prize at Karlovy Vary. He worked closely with acclaimed filmmaker Ramin Bahrani on the production of his two recent feature films, including the Golden Globe–nominated 99 HOMES. Bahrani served as the executive producer of PRICKLY PEAR, Camilleri’s first narrative short film, which premiered at TIFF Kids in 2017. He is preparing to direct his feature film debut from an original script.As an editor of industrials, his clients include: Vogue, adidas, Levi’s, Intel, John Varvatos, Chobani, and more.

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100% on Rotten Tomatoes

“A ravishing portrait of tradition in transition, Luzzu brings Malta to the forefront.” – Carlos Aguilar, RogerEbert.com

“A neorealist telling in the tradition of the Dardenne brothers…Luzzu is beautifully shot..a true discovery in the casting of Jesmark Scicluna, a real fisherman who plays a version of himself…” – Ryan Lattanzio, Indiewire

“An honest, affecting slab of working-class portraiture, altogether bracingwith its thorny labor politics and salty sea air.”- Guy Lodge, Variety

“The kind of film Roberto Rossellini would have made if he were still alive today.” – Jordan Ruimy, World of Reel

A Cop Movie – Director Alonso Ruizpalacios

In A COP MOVIE director Alonso Ruizpalacios takes us deep into the Mexican police force with the story of Teresa and Montoya, together known as “the love patrol.” In this thoroughly original and unpredictable documentary, Ruizpalacios thoroughly blurs with the boundaries of nonfiction and immerses the audience into the human experience of police work within a dysfunctional system. What does it take to be a cop in Mexico City? Two professional actors undergo an immersive process of “training” tobecome police officer, playing the role of Teresa and Montoya, in order to explore this question, while gaining a visceral understanding of an officers responses as they guide us on their journey from the ‘inside’. Director Alonso Ruizpalacios (MUSEO, GUEROS) joins us for a conversation on his mind-bending approach to policing in a city and country where the struggle for police officers is a never-ending question of ethics versus economics, law enforcement versus corruption.

 

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In Select Theaters October 20

To watch beginning November 5 go to: netflix.com/A Cop Movie

Director’s Statement – One of the most compelling things I have discovered in filmmaking is the fact that film always deals with the present. Unlike novels, we cannot narrate in the past tense. The medium is tied to the present. What an obvious thing to say! Yet I believe every filmmaker needs to discover this for himself in order to truly understand how to use real- ity to enrich fiction — to offer new avenues of understanding — and vice versa. Like Walter Murch pointed out, the photographic nature of film condemns it, for better or worse, to be a register of the present moment. In both my filmmaking and stage work, I have sought different ways to test the limits of fiction. Whether it is by mixing actors with non-actors, by combining real events with completely made-up ones and making them undistinguishable, or by breaking the “fourth wall,” my acting background has led me naturally down this path. When this film started to take shape, it soon presented us with the challenge of how to show things that are almost impossible to document about such an impenetrable group as the Mexico City police force. How do we document the endless chain of extortions and all the nuanced behaviors surrounding it that our wonderfully generous characters, Teresa and Montoya, so openly shared with us in the interviews? It soon became apparent that fiction was going to be our aid. The opportunity to use my background in fiction, in order to delve into the world of nonfiction, turned this into a real passion project for me. In the two years that we spent doing the research, interviewing experts on public security as well as chiefs of police, I came to the realization that the notion of representation is an essential part of the police officer’s everyday life. I want to contribute to change our relationship with the police and break the prejudices that remain deeply rooted in citizens’ perception of the police. The immersive process that the actors follow is a way of making the film process itself a demonstration of what police officers go through every day. I hope that this film becomes a catalyst for generating a larger conversation around our relationship with the police and how we can work together to lower the levels of impunity.  – Alonso Ruizpalacios

About the filmmaker – Director Alonso Ruizpalacios is a Mexican film director and screenwriter. He studied at the Royal Academy of Dramatic Arts (RADA) in London. His first feature, Güeros, won over 40 prizes in festivals around the world, including Best First Feature at the Berlinale 2014 as well as awards at San Sebastian, AFI, Tribeca, Havana, among many others. It won five Mexican Academy Ariel Awards, including Best Picture. Museo, his second feature, starring Gael García Bernal, won the Silver Bear for Best Screenplay at the Berlinale 2018, as well as Best Director in Athens and Morelia, and was the first major release in a foreign language from YouTube Originals. It was nominated for 12 Ariel Awards in 2019. His short films Café Paraíso, The Cú Bird’s Last Song and Verde have been Official Selection at TIFF, Clermont-Ferrand, Cannes Critics Week, London Film Fest, Tribeca, and have won over 30 prizes around the world. He is represented by WME.

Coming to NETFLIX November 5

93% on Rotten Tomatoes

“Narrative gamesmanship merges with investigative journalism in this remarkable docu-fiction hybrid, directed by Alonso Ruizpalacios.” – Richard Brody, New Yorker

“A formalistically clever and visually dazzling mash-up of interview material and reenactment footage” – Stephen Garrett, Book & Film Globe

“Suffice to say, Ruizpalacios is swiftly emerging as one of the most exciting new voices in Mexican cinema.” – Peter Debruge, Variety

“Like a cop movie written by Jacques Derrida, directed with nods to Wes Anderson and Jean-Luc Godard and then remixed by Abbas Kiarostami in its efforts to tear down the fourth wall.” – Jordan Mintzer,

“Alonso Ruizpalacios voices a profound sense of powerlessness on the part of the police without sentimentalizing the abuses and biases of the profession.” – Chuck Bowen, Slant Magazine

Mothers of the Revolution – Director Briar March

On September 5th, 1981 a group of women came together to change the world. These women marched from Wales to Berkshire to protest over nuclear weapons being kept at RAF Greenham Common. The Greenham Common Women’s Peace Camp that followed, challenged world leaders, altering the course of history and went on to inspire millions as the world’s first and biggest female-only demonstration, preceded only by the suffragettesMOTHERS OF THE REVOLUTION, a feature-length documentary that tells the story of the extraordinary women behind the Greenham Common Peace Camp, heads to the USA this Fall. Narrated by Glenda Jackson and featuring interviews with key participants including Julie Christie and Rebecca Johnson, alongside archive footage from the Greenham Common Women’s Peace Camp, Mothers of the Revolution takes you through one of the longest protests in history, when between 1981 and 2000, thousands of women from around the world came together at Greenham Common to take a committed stand against nuclear proliferation.  Forty years ago, these everyday human beings began with that first step on their march to Greenham Common and became the heroes of a movement that changed the world. Director Briar March (Coffin Club, There Once Was An Island) joins us for a conversation on just how groundbreaking and historically under-appreciated this protest movement is, the varied lives of the working class women who came together for this cause and the lessons that every one of us can and should take away from their remarkable story.

 

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For news screenings go to: mothersoftherevolution-movie.com

Background – The Greenham Common Women’s Peace Camp was a series of protest camps established to protest against nuclear weapons being placed at RAF Greenham Common in BerkshireEngland. The camp began in September 1981 after aWelsh group, Women for Life on Earth, arrived at Greenham to protest against the decision of the British government to allow cruise missiles to be stored there. After realizing that the march alone was not going to get them the attention that they needed to have the missiles removed, women began to stay at Greenham to continue their protest. The first blockade of the base occurred in March 1982 with 250 women protesting, during which 34 arrests and one death occurred. The camp was active for 19 years and disbanded in 2000.

About the filmmaker – Her filmography comprises three feature length documentaries, Home (2014), There Once was an Island: Te Henua e Nnoho (2010), and Allie Eagle and Me (2004), as well as four documentary shorts: Smoke Songs (2012), Michael & His Dragon (2010), Sick Wid It (2010), and Promenade (2011). Her wide interest in multi-media has lead her to work as a television editor, production manager, and cinematographer on both fiction and documentary projects, and she is highly involved in the New Zealand Film and Television community. In 2011-2012 she was a fulltime Instructor in Documentary Film Production at Florida Atlantic University. Briar has since moved to New Zealand and in 2013 worked for Attitude Pictures making television documentaries about people living with disabilities.  Since leaving Attitude she has been completing a feature documentary for Maori Television and Pacific Islanders in Communications.  Briar received an M.F.A in Documentary Film and Video Production at Stanford University, and a B.F.A at Auckland University’s Elam School of Fine Arts. She shares the production company On the Level Productions, with Lyn Collie. In all of her work Briar hopes to challenge and inspire audiences, with a view that cinema is both a tool for social change and an important form of art-making. For more go to: xyz.thereoncewasanisland.com

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100% on Rotten Tomatoes

“A celebration as much as it is a reflection on the history of the Greenham Common peace camp. Informative, but the fact there is enough material here for a couple of films is a mixed blessing.” – Sam Inglis, HeyUGuys

“[An] earnest, unabashedly emotional chronicle, which throws a long-overdue spotlight on a chapter in the history of civil disobedience.” – Leslie Felperin, Guardian

“Mothers of the Revolution will appeal to any maternal or paternal instinct to protect Mother Earth for future generations.” – Wendy Shreve, Featuring Film

“Mothers of the Revolution reminds us to value all those whose dedication and courage is too seldom recognized.” – Nell Minow, RogerEbert.com

La Casa de Mama Icha – Director Oscar Molina

At ninety-three, Mama Icha feels that the end of her life is near. Despite protestations from her family, she spends her days focusing on just one thing: returning to her native village of Mompox in northern Colombia. Mama Icha dreams of passing her final years taking comfort in the landscapes of her youth, walking along the Magdalena River at dusk, surrounded by her relatives and neighbors in the courtyard of the house that she painstakingly had built during her years of absence, with the money she sent from abroad. Thirty years prior, Mama Icha had emigrated to the United States to help her daughter with the care of her children and has remained ever since. Now, against the best wishes of her family in America, Mama Icha boards a plane and flies back to Colombia where she meets her sons, Gustavo and Alberto, who have been in charge of her house while she’s been gone. But upon returning, the idyllic world of her memories is confronted by the harsh reality of deteriorating family relationships and broken expectations. The confrontation is disappointing and forces Mama Icha to consider exactly how much she’s willing to sacrifice for the notion of home that she’s longed for so long. Director Oscar Molina stops by to talk about agism, poverty, family strife and the understandable desire to re-connect with our past.

For news and updates go to: amdoc.org/watch/casademamaicha

For more go to: micasamyhomefilm.weebly.com

POV is pleased to announce the national broadcast premiere of La Casa de Mama Icha, the debut feature documentary from Colombian director and cinematographer Óscar Molina. Debuting as part of POV’s 34th season, the documentary will premiere Monday, October 18, 2021 on PBS at 10 p.m. ET (check local listings) and at pov.org. It will also be available to stream for free at pov.org through December 17, 2021. La Casa de Mama Icha is a co-presentation of POV and Latino Public Broadcasting.

About the filmmaker – Director Óscar Molina is a Colombian filmmaker with a background in journalism and visual arts. He completed his MFA in Film and Media Arts at Temple University. His film work has been broadcast on national television and exhibited in film festivals in Havana, Cuba (1996 and 2000); Rosario, Argentina (2000); FIPATEL, Biarritz, Francia (2000); Bogota, Colombia (2003); Mexican Human Rights Film Festival (2003); Nextframe, US (2009); in dance film festivals in the US and Spain (2010 a 2013), and Cartagena (2020). In 2004 he received the Simon Bolivar National Journalist Prize for his documentary The Enchanted Kingdom. His documentary Ciudad a tres bandas is part of the Colombian Documentary Showcase (La Maleta). He served in several positions developing audiences for film in his country such as the programming director for the art cinema house Colombo Americano (2004-2006), and as a founder and director of Sin Fronteras Film Festival (2007-2008). Since 2011 he has been working on the research, development and production of the ‘Mi Casa / My Home’ trilogy. La casa de Mama Icha is his first feature film.

The Universality of It All – Director – Andrés Bronnimann

What connects us? THE UNIVERSALITY OF IT ALL, a feature-length documentary by Andrés Bronnimann, explores this simple yet complex question with profound perspective and intimate detail. Told through the lens of the filmmaker’s longtime friendship with Emad, a Yemeni refugee living in Vancouver, Bronniman examines the subject of human migration and how it relates to such varied topics as climate change, colonialism, neoliberalism, globalization, identity politics, fertility rates, wealth gaps, trade wars, terrorism, and the media. Taking viewers on a journey around the world, the film analyzes various cases of migration using both an economic and historical viewpoint, arriving at the realization of our shared interconnectedness amidst the major events of the 21st century. Armed with only a camera and computer, THE UNIVERSALITY OF IT ALL is the result of two years of passion, sacrifice, and determination by Bronnimann himself. His objective? To inspire young people across the globe to see the connections that all global and local issues have. “I believe that if more people are able to see the similarities and correlations that we all share, than perhaps we can find solutions to the pressing challenges ahead of us,” says Bronnimann. “I want to awaken the critical thinking of my generation, and this film is me doing everything I can to accomplish that.”

 

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For news and updates go to: theuniversalityfilm.com

Director’s Statement – 21st-century audiences are used to speed and absorbing vast amounts of information, hence the film’s overall style is designed to fit those needs.  “The Universality of It All” has a mixture of styles, techniques, and storylines that make for a fresh and innovative approach to storytelling. Fast-paced editing, aesthetically-striking cinematography, thought-provoking montages, informationally-rich infographics, alternative and experimental soundtrack, et cetera; are among some of the qualities that make this film proper for its day and age. The goal was to create a piece that could entertain, inform, and inspire at the same time; hence all the artistic decisions were based on these three core concepts. The main storyline between the filmmaker and his best friend, is shot with a naturalistic approach that creates a sense of intimacy with the characters. In contrast, the historical and factual sequences are comprised of carefully selected visuals and symbolic cutting that add an extra layer of meaning to all the information given. We can find juxtapositions all across the film, not only in terms of style, but also in terms of narrative, locations, ideas, issues, and characters. 

About the filmmaker – Director / Producer Andrés Bronnimann is a Swiss/Mexican/Costa Rican independent filmmaker based in Costa Rica and France. Throughout his career, he has traveled to more than 30 countries, creating music videos, web-series, and commercials for different brands, artists, and organizations. Both a producer and a writer, a manager and a creative, he’s been involved in nearly every stage in the film production pipeline. “The Universality of It All” is Andres’ debut film, nearly 2 years in the making, where he was the only crew member. For more go to: bronnitv.com

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Freeland – Co-directors Kate McLean & Mario Furloni

Devi (Krisha Fairchild, KRISHA) has been breeding legendary pot strains for decades on the remote homestead she built herself. But when cannabis is legalized, she suddenly finds herself fighting for her survival. In tour-de-force performance, Krisha Fairchild (Devi) brings the timely, real-world story of black-market growers battling to survive to the screen. Featuring a heart-breaking turn by John Craven (UPSTREAM COLOR) as an old flame from Devi’s commune days, and Frank Mosley and Lily  Gladstone (CERTAIN WOMEN) as young workers adrift and bringing in the harvest, the film is full of standout performances that bring this very real community of fiercely independent characters to life. Set against the lush backdrop of the redwood forests of Northern California, Mario Furloni’s breathtaking cinematography pulls us into this isolated community in Humboldt County, the mythical birthplace of  weed. Co-directors Mario Furloni and Kate McLean imbue this emotional thriller with a deep and empathetic authenticity. They join us for a conversation on the challenges and rewards of embedding themselves into a notoriously closed community, bringing their experience as documentarian filmmakers into the narrative realm as well as working with a superb group of actors.

 

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

Debuts In Select Theaters October 15th

On Demand Everywhere November 19th

About the filmmaker – Kate McLean (Writer/Director) is a critically-acclaimed filmmaker and documentary producer. Three of her short docs have been in the NYTimes Op-Docs series. She is a producer on BILL NYE: SCIENCE GUY (SXSW 2017) and WE ARE AS GODS (SXSW 2020). 

About the filmmaker – Mario Furloni (Writer/Director/DP) is a Brazilian-born director and cinematographer based in the Bay Area. Aside from the films he has directed with Kate McLean, he is the cinematographer and co-producer of the critically-acclaimed documentary THE RETURN, which won the Audience Award at Tribeca 2016 and was nominated for Emmy and Peabody awards.

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100% on Rotten Tomatoes

“There’s a veracity to Freeland that works, and it’s matched in Fairchild’s emotional performance, one that captures the fear and depression that comes with recognizing the world may be moving on without you.” — Roger Ebert

“Beautifully etched character study” – Sheri Linden, THE HOLLYWOOD REPORTER

“[An] introspective, succinct mood piece enriched by Fairchild’s phenomenal lead performance and the artistic vision of two compassionate filmmakers in tune with the essence of their craft” The Playlist

“[Krisha Fairchild has] one of the most commanding faces in recent American cinema” – Eric Kohn, INDIEWIRE

“Fairchild is magnificent” – Katie Rife, THE A.V. CLUB

Convergence: Courage in a Crisis – Director Orlando von Einsiedel & Hassan Akkad

An epic collaboration that spans eight countries and 9 individual stories, Convergence reveals the power of compassion and community in the face of a crisis. Beginning at the onset of the pandemic, the documentary follows everyday citizens across the globe as they rise to the challenges of this upheaval in extraordinary ways — from a Syrian refugee fighting the UK government to include hospital cleaners and porters in bereavement pay to a doctor committed to serving Miami’s homeless community. But as this generation defining crisis begins to unmask deep-rooted flaws and inequities worldwide, their diverse journeys tell a more unified narrative about our common humanity and how, by coming together, great change can emerge from chaos. Featuring the work o filmmakers from around the world including; Hassan Akkad (UK), Amber Fares (US), Alexander “Lali” Houghton (Peru), Guillermo Galdos (Peru), Juhi Sharma (India), Lieven Corthouts (Belgium), Mauricio Montiero Filho (Brazil), Mohammad Reza Eyni (Iran), Sara Khaki (Iran) Wenhua Lin (China), as well as producers Don Coogan and Liz Garbus.  Director Orlando von Einsiedel and Director Hassan Akkad joins us for a conversation on capturing the sweep of the pandemic on distressed public health systems from around the world while focused on the deeply humanistic stories of families and health care workers behind the infection rates and deaths.

 

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Watch on netflix.com/Convergence: Courage in a Crisis

About the filmmaker – Orlando von Einsiedel is the Oscar-winning director of short documentary, The White Helmets. His first feature documentary, the Bafta and Academy-Award nominated documentary, Virunga won over 50 international film awards including an Emmy, a Peabody, a Grierson and a duPont-Columbia Award for outstanding journalism. He is a former professional snowboarder and lives in London, UK. Virunga (2014)The White Helmets (2016)Lost and Found (V) (2019)Skateistan: To Live and Skate Kabul (2011).

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“A stirring tribute to the sheer incalculable nature of the sacrifice made by countless caregivers.” – Matt Fagerholm, RogerEbert.com

“It’s a humanistic endeavor, essentially, out of which emerge memorable people doing heroic work in inglorious places.” – John Anderson, Wall Street Journal

“It’s one of the best documentaries of 2021.” – Randy Myers. San Jose Mercury News

CRUTCH, Co-Directors Sachi Cunningham and Vayabobo (Chandler Evans)

CRUTCH takes the audience on a journey that literally spans the entire globe. The documentary features the abandoned Pittsburgh steel mills of Bill’s childhood; his diagnosis with Legg-Calvé-Perthes disease, a rare, degenerative condition of the hip; the underground NYC break dance battles of his twenties; his groundbreaking performances in Sydney, Quebec, Madrid, Helsinki, Moscow, London, Paris, Tokyo, and more. CRUTCH is a global story, a powerful story, a transformational story, and one which will have you re-evaluating your own perspectives. From childhood “cripple” to international provocateur,  CRUTCH is an engrossing, emotional story of an artist’s struggle to be understood and an auspicious DOC NYC debut. Two decades in the making and employing a kinetic tapestry of 8mm film from the 70’s, Hi-8 and VHS tapes from the 80’s, mini-DV tapes from the 90’s, and stunning HD footage from the 2000’s,  CRUTCH documents Bill’s extraordinary life’s story: the history of Bill’s medical odyssey, his struggles with chronic pain, the evolution of his crutch dancing and skating, his rise to become a world-renowned performance artist, and his transformation from an angry skate punk to an international hero. Co-directors Sachi Cunningham and Vayabobo (Chandler Evans) join us to talk about Bill Shannon’s fierce determination to breakthrough cultural perceptions of what it is to be a dancer, skateboarder and performance artist.

 

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

About the filmmaker – Director /Producer Sachi Cunningham is an award winning documentary filmmaker and Associate Professor of Journalism at San Francisco State University. A graduate of the UC Berkeley Graduate School of Journalism and Brown University, Cunningham has worked on the staffs of PBS FRONTLINE/World, where she covered stories from the first Presidential election in Afghanistan to sex trafficking in Dubai, and the Los Angeles Times, where she was recruited to start their first video team. When not making documentaries, Cunningham can be found swimming somewhere in the Pacific, where she is known for her pioneering big wave water surf photography

About the filmmaker – Director / Producer / Writer Vayabobo (Chandler Evans) is a writer/director, whose award winning videos have garnered over 150 million views online. Vayabobo wrote and directed for Disney Interactive and subsequently helped to launch Buzzfeed Video. He wrote Visions of Everest, a feature length documentary about the only blind man to summit Mount Everest and has written for TV shows on CBS, Syfy and CW. His work in advertising includes directing commercial spots for companies such as Disney, Singapore Airlines, Hamilton Beach and KB Homes. When not working, you can catch Vayabobo playing and documenting Capoeira around the world.

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2021 Viet Film Fest – Artistic Director Eric Nong

Viet Film Fest is the largest international Vietnamese film festival in the world, Viet Film Fest (VFF) showcases the best creative work by and about Vietnamese people. Viet Film Fest was created in 2003 with a small audience in auditoriums at University of California, Irvine and UCLA. Situated in the largest Vietnamese community outside of Vietnam, the festival features films by persons of Vietnamese descent or productions that focus on the Vietnamese experience. Now running successfully for over a decade, Viet Film Fest (VFF) has expanded to draw an annual onsite audience of over 5,000 and a global fanbase. Viet Film Fest has drawn Academy Award nominated directors from France and Canada, as well as films from Israel, South Korea, Japan, Brazil, and Germany. Through the universal language of film, Viet Film Fest brings together multiple perspectives to expand the scope and horizons of Vietnamese cinema. The Viet Film Fest Artistic Director Eric Nong joins us for a conversation on this year’s film line-up, special events, film premieres, special guests and the growth of Vietnamese filmmaking.

 

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

Virtual & drive-in screenings go to: vietfilmfest.com/festival/full-lineup

Overview: vietfilmfest.carrd.co

About the guest – Eric Nong – Born and raised in Orange County, CA, Eric Nong is a self-taught classic film buff who, since 2012, maintains a blog dedicated to movie write-ups. In addition to his passion for film, he has served as a volunteer and writer for Viet Film Fest 2018. Eric was also a part of Viet Film Fest 2019’s Curatorial Committee and volunteered during the 3-day event. Eric has a BA in Political Science from UC Irvine (also attended UC  Santa Cruz for the first two years of undergrad); MPP from UCI with a focus on education and poverty alleviation. In his spare time, Eric volunteers his time to teach English to Buddhist monks at Chùa Bát Nhã in Santa Ana, California.

Founding organization for Viet Film Fest – Vietnamese American Arts & Letters Association (VAALA) was founded in 1991 by a group of Vietnamese American journalists, artists, and friends to fill a void and provide a space for artists to express themselves as a newly resettled immigrant community. The original mission of VAALA was to support Southeast artists, with an emphasis on Vietnamese literature and visual arts. VAALA is a community-based non-profit organization historically run entirely by volunteers. Over the years, VAALA has collaborated with diverse community partners to organize numerous cultural events to connect and enrich communities. These events have included art exhibitions, book signings, music recitals, plays, and annual events such as the Viet Film Fest and the Children’s Moon Festival Art Contest.

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What Happened, Brittany Murphy – Director Cynthia Hill

WHAT HAPPENED, BRITTANY MURPHY follows the life and tragic death of actress Brittany Murphy, The two-part series goes beyond the conspiracy theories and headlines and features new interviews and never-before-seen archival footage. Instead of sensationalizing stories, Hill relies heavily on research and takes a nuanced approach to crafting complex stories about women, victims, and contemporary issues. Post-research, she spends a great deal of time tracking down the people able to shed light on the story and works to gain their trust. This allows her to do a deeper dive during an interview and capture the story from all perspectives. In addition to WHAT HAPPENED, BRITTANY MURPHY and her previous Emmy-nominated film, PRIVATE VIOLENCE, Hill has proven to be an investigative documentary filmmaker that gives a voice to the voiceless. Emmy-nominated filmmaker Cynthia Hill joins us to talk about what drew her about Brittany Murphy’s story, navigating the twists and turns the tragic tale took and her commitment to not sensationalize an already salacious story.

 

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The two-part series WHAT HAPPENED, BRITTANY MURPHY, premiering on HBO Max on October 14. 

About the filmmaker – Over two decades of award-winning filmmaking, Markay Media has proven its ability to tell a damn good story. With accomplished director Cynthia Hill at the helm, this team of spirited documentary professionals specializes in crafting essential, but sometimes overlooked stories with artistry and resilience. Markay Media’s distinctive approach has found a perfect base for content-creation in Durham, North Carolina, where the team harnesses local assets to bring the complexity of the region to international audiences. Pairing outstanding craftsmanship with intimacy and compassion, Markay Media consistently achieves visually rich, empathetic portraits of the American South and beyond. Cynthia Hill was born and raised in conservative rural North Carolina and now resides in the more liberal urban area of the state, she also has a unique “outsiders” perspective that she brings to her work. Hill is the founder of Markay Media, a female run production company based in Durham, North Carolina. Additional titles include A Chef’s Life, Road to Race Day and Somewhere South with Chef Vivian Howard.

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The Rescue – Co-directors E. Chai Vasarhelyi and Jimmy Chin

From Academy Award-winning (Free Solo) filmmakers E. Chai Vasarhelyi and Jimmy Chin, THE RESCUE chronicles the enthralling, against-all-odds story that transfixed the world in 2018: the daring rescue of twelve boys and their coach from deep inside a flooded cave in Northern Thailand. Award-winning directors and producers E. Chai Vasarhelyi and Jimmy Chin keep viewers on the edge of their seats as they use a wealth of never-before-seen material and exclusive interviews to piece together the high stakes mission, highlighting the efforts of the Royal Thai Navy SEALs and US Special Forces and detailing the expert cave divers’ audacious venture to dive the boys to safety. THE RESCUE brings alive one of the most perilous and extraordinary rescues in modern times, shining a light on the high-risk world of cave diving, the astounding courage and compassion of the  rescuers, and the shared humanity of the international community that united to save the boys. Co-directors and co-producers Elizabeth Chai Vasarhelyi and Jimmy Chin (Free Solo, Meru) join us for a conversation on the many challenges they faced telling a story the world witnessed in real-time and how bringing in the remarkable story of a team of “weekend” cave diving specialist implemented a high risk plan that not only saved the lives 12 young boys and a soccer coach but turned the headlines into a deeply human story of courage, compassion and selflessness.

 

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For news and updates go to: films.nationalgeographic.com/the-rescue

Watch in LA area at landmarktheatres.com/los-angele /the-rescue

Director’s Statement – Our films attempt to examine questions that transcend their subject matter. THE RESCUE is about an impossible rescue, but really, it’s about moral responsibility. When we have the skill set to rescue someone, do we bear the burden to do so even if we put ourselves at risk? It’s also a story about the common humanity that brings us together rather than what divides us. All these stories are about overcoming insurmountable odds. They feature unexpected heroes. And they invite the audience into specific worlds in a deep and authentic way. In THE RESCUE, that’s the world of cave diving. We wanted to make this movie for many of the same reasons that the story of the Thai children trapped in the cave captivated the hearts and minds of the world in 2018. It was an against-all-odds story that gave you hope. It brought out the best in people who united from many different nations to help these kids. There’s a line in the film that says, “Generosity is the beginning of everything,” and that’s ultimately what the film is about. We were scheduled to go to Thailand in spring 2020, but as the shoot neared, it became clear that it was too risky to travel internationally. We were dealing with different cultures, different languages, different time zones; and there were numerous constraints, but ultimately the story is still moving. The children, the cave divers, the Thai Navy SEALs, the US Special Forces and an entire community all showed us what great courage looks like. There’s a fairy-tale quality to the story. We couldn’t help but be struck by the fact that just as the boys were trapped in place in 2018, the whole world was trapped in place while we were making this movie. And yet, in 2018 the world came together to help the boys. THE RESCUE reminds us that amazing things are possible when people have integrity and a sense of responsibility for each other.  – Chai Vasarhelyi and Jimmy Chin

About the filmmaker – Elizabeth Chai Vasarhelyi (Director, Producer) is an Academy® Award-winning filmmaker. Most recently Vasarhelyi directed and produced “Free Solo,” an intimate, unflinching portrait of rock climber Alex Honnold, which was awarded a BAFTA and the Academy® Award for Best Documentary Feature in 2019. The film also received seven Emmy® awards. Vasarhelyi’s other films as a director include “Meru” (Oscars Shortlist 2016; Sundance Audience Award 2015); “Incorruptible” (Truer Than Fiction Independent Spirit Award 2016); “Youssou N’Dour: I Bring What I Love”, which premiered at the Telluride and Toronto Film Festivals; “A Normal Life” (Tribeca Film Festival, Best Documentary 2003); and “Touba” (SXSW, Special Jury Prize Best Cinematography in 2013). Vasarhelyi has directed pieces for the New York Times Op Docs, Netflix’s design series “Abstract” , ESPN’s “Enhanced” among others. She has received grants from the Sundance Institute, the Ford Foundation, the Rockefeller Brothers Fund, Bertha Britdoc, and the National Endowment of the Arts. She is a member of the DGA as well as AMPAS. She holds a B.A. in comparative literature from Princeton University and splits her time between New York City and Jackson Hole, Wyoming, with her husband Jimmy Chin, their daughter, Marina, and son, James.

About the filmmaker – Jimmy Chin (Director, Producer) is an Academy® Award-winning filmmaker, National Geographic photographer and professional climber and skier. He has led and documented cutting edge expeditions around the world for over 20 years. He has climbed and skied Mount Everest from the summit and made the coveted first ascent of the Shark’s Fin on Mount Meru. His photographs have graced the covers of National Geographic Magazine and the New York Times Magazine. Jimmy co-produces and co-directs with his wife Chai Vasarhelyi. Their film “Meru” won the Audience Award at the Sundance Film Festival in 2015 and was on the 2016 Oscar shortlist for Best Documentary Feature. Their latest documentary “Free Solo” won a BAFTA® and the Academy® Award for Best Documentary Feature in 2019, as well as seven Emmy® awards. Jimmy splits his time between New York City and Jackson Hole, Wyoming, with Chai, their daughter, Marina, and son, James. 

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100% on Rotten Tomatoes

“EXTRAORDINARY. A rousing film that celebrates humanity at its most selfless. Witnessing this profound miracle feels like receiving an overdue supply of oxygen. TRULY BREATHTAKING.” – Tomris Laffly, Variet

“A PULSE-THUMPING, NERVE-INDUCING non-fiction STANDOUT.” – Jake Coyle, Associated Press

“CRITIC’S PICK. A riveting, immersive, stomach-in-your-throat documentary. A true life men-on-a-mission movie intense enough that even Michael Bay and Peter Berg should be able to recognize that no mega-budget dramatization could match up to it.” – David Ehrlich, IndieWire

“A TENSE, ABSORBING DOCUMENTARY WITH A STRONG EMOTIONAL CHARGE” – Allan Hunter, Screen Daily

Lamb – Director Valdimar Jóhannsson

Selected for the 2020 Cannes FIlm Festival’s Un Certain Regard, LAMB tells the story of a childless Icelandic couple, Maria (Noomi Rapace) and Ingvar (Hilmir Snær Guðnason) living with their herd of sheep on a beautiful but remote farm. When they discover a mysterious newborn on their farmland, they decide to keep it and raise it as their own. This unexpected prospect of a new family brings them much joy. They soon face the  consequences of defying the will of nature, in this dark and malevolent folktale from director and co-writer Valdimar Jóhannsson in his striking feature film debut. Director Valdimar Johannsson joins us for a conversation on the organ for this unusual tale and the willingness of his cast and crew to commit themselves an insidious fantasy that manifests itself with its own set of vindictive rules.

For news and updates go to: a24films.com/films/lamb

To watch LAMB go to: tickets.lamb.movie

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91% on Rotten Tomatoes

“A film that proves just how far disbelief can be suspended if you’re in the hands of a director – and a cast, and an SFX/puppetry department – who really commit to the bit.” Jessica Kiang, Variety

“Lamb is a disturbing experience but also a highly original take on the anxieties of being a parent, a tale in which nature plus nurture yields a nightmare.” – David Rooney, Hollywood Reporter

“The majority of the picture is strong enough to satisfy audiences with a taste for folk horror oddities, even if the ending isn’t quite as punchy as one might have anticipated.” – Wendy Ide, Screen International

“An uncanny modern folktale that’s as thoughtfully considered as it is wildly absurd.” – Siddhant Adlakha, IGN Movies

“An emotional film that will stick with you long after it has ended. Powerful performances.” – Nathaniel Muir, AIPT

Jacinta – Director Jessica Earnshaw

Shot over three years, JACINTA begins at the Maine Correctional Center where Jacinta, 26, and her mother Rosemary, 46, are incarcerated together, both recovering from drug addiction. As a child, Jacinta became entangled in her mother’s world of drugs and crime and has followed her in and out of the system since she was a teenager. This time, as Jacinta is released from prison, she hopes to maintain her sobriety and reconnect with her 10-year-old daughter, Caylynn, who lives with her paternal grandparents. Despite her desire to rebuild her life for her daughter, Jacinta continually struggles against the forces that first led to her addiction. JACINTA earned its director, Jessica Earnshaw, the award for Best New Documentary Director at the 2020 Tribeca Film Festival. It has continued an impressive festival run at DOCNYC, AFI Fest, IDFA, and the Hot Springs Documentary Film Festival where it won the Best Documentary award. With unparalleled access and a gripping vérité approach, director Jessica Earnshaw joins us to talk about her deeply intimate portrait of mothers and daughters and the effects of trauma over generations.

 

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

The Hulu Original Documentary will premiere on Hulu on October 8

About the filmmaker – Jessica Earnshaw is a documentary filmmaker and photographer currently based in Los Angeles. Her work focuses on criminal justice, familial relationships and women. Her photography has appeared in National Geographic, The Marshall Project, Mother Jones Magazine, The New York Times, The Wall Street Journal, NPR, amongst others. Jessica is a graduate of the International Center of Photography’s photojournalism program (New York). She later worked as a junior photo editor at TIME Magazine. In 2015, she received the prestigious Rita and Alex Hillman Foundation Fellowship & Grant to photograph aging in American prisons. In 2016, her aging in prison work was published in National Geographic, Huffington Post and PDN Magazine and named one of the most interesting photo essays of the week by Buzzfeed. Jessica has worked on stories in the criminal justice space for several years that cover issues surrounding re-entry after life sentences, gender-responsive corrections, and trauma. Jessica’s first feature film, JACINTA, won the Albert Maysles Best New Documentary Director Award at the Tribeca Film Festival 2020. Executive produced by Impact Partners, JACINTA was selected for the Cinema Eye Stay Focused 2021 initiative and nominated for a Cinema Eye Honors Spotlight Award. Jessica was recently selected for Doc NYC’s 40 under 40 list.  jessicaearnshaw.com

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100% on Rotten Tomatoes

“A searingly honest portrait of kinship and addiction… A hard-hitting and heartbreaking documentary… In a playing field usually occupied by men, the fact that‘Jacinta’ focuses on three generations of women whose lives have beenupended by drugs and crime makes it a rare study.” – Jordan Mintzer, The Hollywood Reporter

“[A] gripping, characterful doc debut… remarkably engrossing… As a

snapshot of relapse, recidivism and remorse in a dead-end mill town in

Maine, ‘Jacinta’ is perceptive and persuasive.” – Jessica Kiang, Variety 

“A profound meditation on the troubling intersection between addiction and incarceration… Overflowing with humanity… Earnshaw has made a deeply emotional and poignant film on the personal, familial horrors of addiction.” – Christian Gallichio, The Playlist

“Earnshaw has created a powerful portrait of inherited trauma that’s, ultimately, also a story of love and hope.” – Alliance of Women Film Journalists, Lois Alter Mark

Witkin and Witkin – Director Trisha Ziff

From the acclaimed director comes the deep and resonant story of the Witkins, identical twins born in Brooklyn in 1939. Painter and life-long educator Jerome and renowned photographer Joel-Peter may be brothers, but their lives, art and personalities could not be more divergent. Joel-Peter is a celebrated and highly controversial photographer whose Caravaggio and Dali–inspired arrangements, often constructed with cadavers and body parts, are transgressive and macabre. His identical twin brother, Jerome, is an equally acclaimed figurative painter, whose work explores political, social and cultural themes. Yet, for all their similarities, for much of their 80 years, the Witkins have willfully chosen to remain apart. Filmed over the course of four and a half years at five locations across the United States — including the home where the Witkins grew up in Brooklyn, Joel’s home in Albuquerque, and Jerome’s home in Syracuse near the university, where he teaches fine art – WITKIN & WITKIN , which played such prestigious documentary festivals as Hot Docs, AFI Docs, DocFest and IDFA, chronicles the brothers’ decidedly separate paths as artists and as people, until, at their first-ever joint exhibition they encounter an unexpected change in their artistic trajectories and self-perceptions, as well as their relationships with each other. Trisha Ziff (The Man Who Saw Too Much, Chevolution) joins us to talk about her intimate and intensely human film explores the themes of love, loss and distance, while showcasing the Witkins’ fascinating bodies of work.  

 

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For updates and how to watch go to: indiepixfilms.com

For news and updates go to: 212berlin.com/project/witkin-witkin

About the filmmaker – TRISHA ZIFF has worked for the last twenty-five years in photography as a writer, editor, curator and documentary filmmaker. Her first film as producer/writer was Oaxacalifornia (US/UK, 1995). In 2008, Ziff co-directed Chevolution, her opera prima for Netflix/Red Envelope, with Luis Lopez. Other credits include director and producer of The Mexican Suitcase (Mexico/Spain, 2011); Pirate Stories (2014), a series of shorts in filmed in London, Palestine, Dubai and Mexico City;  In 2015 she began collaborating with WABI PRODUCTIONS on her films; The Man Who Saw Too Much (2015) winner of Best Documentary and Best Score at the Mexican Academy Awards, Best Documentary at Monterrey International Film Festival, and the Press Award at Morelia Film Festival; Witkin & Witkin (2018), nominated for a Mexican Academy Award; and Oaxacalifornia: The Return (2020).  Ziff is now in development with WABI PRODUCTIONS on FRIDA’S GAZE, (2023) traces the narrative and history of ‘Fridamania’ and BRIDGET’S STORY, a woman worker in the fast food industry demanding $15 an hour minimum wage. Trisha  teaches film and media studies and guest lectures at various universities in the U.S., Mexico, and Europe. Her work has been supported by the National Endowment for the Humanities, Sundance Institute, California Humanities, IMCINE & EFICINE in Mexico, Ibermedia and the Irish Film Board. She is represented by WABI PRODUCTIONS in Mexico and internationally.

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100% on Rotten Tomatoes

“Their individual processes and influences is great fodder for art enthusiasts, but the brothers’ peculiar and purposeful life-long estrangement is what gives the doc a through line.” – Radheyan Simonpillai, NOW Toronto

“Each unorthodox and unique in his own inimitable way, the Witkins make for compelling viewing in this bold, intimate portrait of their relationship.” – Christopher Llewellyn Reed, Hammer to Nail

“What makes the documentary work is its reflections over expression through art especially for the subjects who happen to be twins.” – Erick Estrada, Cinegarage

“The film unearths the insidious tensions that put pressure on their relationship until it almost dissolved.” – Luis Fernando Galván, En Filme