At the Philadelphia abortion helpline, counselors arrive each morning to the nonstop ring of calls from women and teens who are seeking to end a pregnancy but can’t afford to. In this short documentary we learn how economic stigma and cruel legislation determines who in America has access to abortion.Abortion Helpline, This is Lisa gives voice to women and teensaffected by discriminatory policies like the Hyde Amendment. At the abortion helpline in Philadelphia, phone counselors—all called Lisa—arrive each morning to the nonstop ring of calls from people who are seeking to end a pregnancy . . . and can’t afford to. Abortion Helpline, This is Lisa shares the stories of the callers for whom getting through to the helpline in time can literally be life-changing—for them and their families. Co-directors Barbara Attie, Janet Goldwater, and Mike Attie join us for a conversation on the continuing assault on the Constitutionally guaranteed right of women to seek and receive access to safe and legally appropriate health services and how important these privately funded community helplines are to women and their families.
Oscar Shortlisted 2021 Best Documentary (Short Program)
WINNER – Grand Jury Prize, Shorts – AFI DOCS 2020
NOMINEE – Best Short – IDA Awards 2020
SHORTLIST – Shorts – Cinema Eye Honors 2020
FINALIST – ShortList Film Festival 2020
The Hyde Amendment – What is the Hyde Amendment and why has its repeal become a litmus test for progressive politicians? In 1976, only three years after Roe v. Wade became the law of the land, the Hyde Amendment was enacted with the explicit intention of denying poor individuals—those receiving Medicaid—access to abortion. To learn more about the Hyde Amendment read this or watch this short video.
A GLITCH IN THE MATRIX ask the question, what if we are living in a simulation, andthe world as we know it is not real? To tackle this mind-bending idea, acclaimed filmmaker Rodney Ascher (ROOM 237, THE NIGHTMARE) uses a noted speech from Philip K. Dick to dive down the rabbit hole of science, philosophy, and conspiracy theory. Leaving no stone unturned in exploring the unprovable, the film uses contemporary cultural touchstones like THE MATRIX, interviews with real people shrouded in digital avatars, and a wide array of voices, expert and amateur alike. If simulation theory is not science fiction but fact, and life is a video game being played by some unknowable entity, then who are we, really? A GLITCH IN THE MATRIX attempts to find out. The film introduces us to a handful of real-world testifiers who are certain that their bodies and minds are being operated by some external game-player. Ascher, as ever an inviting, curious questioner (never one who mocks), brings a wealth of cultural and intellectual context to his latest exploration, from the videotaped musings of paranoid sci-fi giant Philip K. Dick to clips of Keanu Reeves in The Matrix and a host of bespoke animated re-creations that give eerie credence to the most outré of notions. Director Rodney Ascher joins us to talk about his paranoia-inducing, exhilarating and definitive introduction to a subject that, subscribe to it or not, involves us all.
About the filmmaker – RODNEY ASCHER (Director, Editor, and Executive Producer) RODNEY ASCHER is a filmmaker known for creating documentaries that explore the subjective experience, freely appropriating the vocabularies of genre, experimental, and found-footage films along the way. His first feature, 2012’s ROOM 237 looked at The Shining through the eyes of five very different people. He visualized their wildly different interpretations of Kubrick’s classic by juxtaposing excerpts of the film with everything from Murnau’s Faust to the cover of the January 1978 issue of Playgirl magazine creating a trip down the rabbit hole. His follow up, THE NIGHTMARE was called “The Scariest Movie of the decade.” Creatively, the film completely changed tactics from Room 237’s archival-driven montage. To visualize real people’s seemingly supernatural experiences during bouts of ‘sleep paralysis’ his team filmed interviews at night in the subjects’ own bedrooms and created stylized re-enactments inspired by the interviewees’ drawings and his own personal memories of a visitation by a ‘shadowman.’ Like Room 237, it premiered at Sundance before traveling around the world including an Imax screening in Moscow. A GLITCH IN THE MATRIX is his most ambitious film yet, using multiple styles of 3D animation to illustrate the experiences and philosophies of people who suspect the world itself is not quite real.
“A Glitch in the Matrix becomes not about whether we’re living in a simulation but about the many understandable reasons someone may think this. In effect, it winds up being about the mysteries of the human experience.” – Bilge Ebiri, New York Magazine/Vulture
“’A Glitch in the Matrix’ goes for the head by way of the heart, or maybe vice versa. Superb and startling, breathtaking and compassionate.” – Bill Arceneaux, Of Those Who
“A compellingly out-there look at the possibility that we’re all avatars in a game we can’t comprehend.” – Nick Schager, The Daily Beast
“Ascher’s appropriately discombobulating stew of queasiness, comedy, and terror seems well-cued to the subject matter, even while missing a certain editorial sharpness that might have brought some of its notions into greater clarity.” – Chris Barsanti, The Playlist
“While Ascher casts a wide net, “A Glitch in the Matrix” works quite well as an overview of the various epistemological questions it raises.” – Eric Kohn, indieWire
DEAR COMRADES! is based on a true story surrounding a strike by factory workers on June 1st and 2nd, 1962 in the city of Novocherkassk. The raising of food prices and the lowering of wages at the local factory led to a spontaneous uprising by thousands of area residents that eventually leading to violent reaction by local and federal officials. The events of those two days was kept secret until the nineties. DEAR COMRADES! focuses on the life and family of Lyudmila (Julia Vysotskaya) is a Party executive and devout communist who had fought in WWII for Stalin’s ideology. Certain that her work will create a communist society, the woman detests any anti-Soviet sentiment. During a strike at the local electromotive factory, Lyudmila witnesses a laborers’ piquet gunned down under orders from the government that seeks to cover up mass labor strikes in USSR. After the bloodbath, when survivors flee from the square, Lyudmila realizes her daughter has disappeared. A gaping rift opens in her worldview. Despite the blockade of the city, mass arrests, and the authorities’ attempts to cover up the massacre, Lyudmila searches for her daughter. We don’t know how the search will end, but realize that the woman’s life won’t ever be the same. Director Andrei Konchalovsky (Uncle Vanya, Siberiade, Runaway Train, The Inner Circle) and lead actor Julia Vysotskaya join us for a conversation on the importance of telling an unknown story, the role of art and storytelling and how Lyuda’s saga reflexes a broader perspective on Soviet-era repression.
Russia’s official submission to the 2021 Academy Awards® for Best International Film
Director’s Statement – The process of making films about the 1960s is increasingly becoming the process of restoring the historical authenticity of the era, a fairly difficult task all in itself. Recently we’ve been seeing plenty of films where the 60s-70s-80s of the 20th century look fake and contrived, without any resemblance to the Soviet films made at the time, like “The Great Cranes Are Flying” or “Ballad of a Soldier”. So, my goal was to scrupulously and in great detail reproduce the era of the USSR’s 1960s. I think that the Soviet people of post-war time, the ones who fought in the WWII until victory, deserve to have a movie that pays tribute to their purity and the tragic dissonance that followed the realization of how different the communist ideals were from the reality around them. – Andrei Konchalovsky
100% on Rotten Tomatoes
“KONCHALOVSKY’S MASTERPIECE. The artistry is calm, controlled, persuasively detailed… Catch it if you can. Beautiful and damning, DEAR COMRADES! is also an act of remembrance.” – Anthony Lane, The New Yorker
“A scintillating, surgical exposé of Khrushchev-era oppression… A 1962 massacre in the Soviet Union is reclaimed from its historical cover-up by Andrei Konchalovsky’s pristine, extraordinary drama… Perversely beautiful and coldly furious… meticulous and majestic, epic in scope and tattoo-needle intimate in effect.” – Jessica Kiang, Variety
“Now in his 80s, Andrei Konchalovsky, the veteran Russian director… has made one of his most Russian, and most accomplished, latter-day films… Carried off with evocative precision and a cannily underplayed emotional tug. The drama keeps a well-calibrated balance between political horror, the matter-of-fact texture of everyday life, and the rhetoric that keeps the Soviet machinery oiled – and that Lyuda is struggling to see through. The film’s magnetic centre is a strong performance from Vysotskaya, working from a base line of initial testiness to rising anxiety and terror in face of the oppression that she realizes she has been enabling.” – Jonathan Romney, Screen Daily
“Although at first sight this dramatization of a 1962 strike at a factory in the U.S.S.R. may seem a long way from the interests of contemporary audiences, it is surprising how much resonance the film has with the political struggles of our own time. much credit due to Julia Vysotskaya and her uncommonly gripping perf in the main role.” – Deborah Young, – The Hollywood Reporter
Pensioners Nina (Barbara Sukowa) and Madeleine (Martine Chevallier) have hidden their deep and passionate love for many decades. From the point of view of those surrounding them, including Madeleine’s meddling daughter (Léa Drucker), they are simply two neighbors sharing a hallway during their sunset years. In reality, this landing is a bridge between two worlds: one belonging to a widowed, doting grandmother, the other to a free-spirited woman who longs to spend her life with the person she loves. Clandestinely, Nina and Madeleine share a tender life, moving freely between their apartments until an unexpected event closes the portal. But their secret cannot remain hidden if they are to stay together – and their unconditional love is put to the test. Director Filippo Meneghetti joins us for a conversation on this beautifully rendered film that’s a loving tribute to passion, fidelity and a fierce determination to hold on to the people who matter most.
** France’s entry for 2021 Best International Film – Academy Awards
About the filmmaker – Director, screenwriter Filippo Meneghetti – Originally from Padova, Italy, Filippo’s earliest work experience was on New York’s indie film circuit. After film school and an Anthropology degree in Rome, he co-wrote the feature Imago Mortis (2009). He worked as a first assistant for several years before starting to direct his own short films, Undici (2011, codirected by Piero Tomaselli) and L’intruso (2012), which screened and garnered prizes at festivals in Italy and abroad. In 2018, Filippo moved to France where he made his next short, The Beast, which screened in competition at SXSW 2019 and can now be seen at international festivals. Two Of Us is Filippo’s first feature.
“The film’s brevity means some ideas are under-developed. But what we’re left with is a sublime and sublimely simple portrait of a love that’s been lived in and the devotion it will take to ensure that endures.” – Roger MooreMovie Nation
“Two of Us is absolutely beautiful … and [it’s] refreshing to see two older women as sexual beings in all their yearning.” – Sara Clements, AwardsWatch
“This is a smart movie that starts from a relatively simple yet captivating premise and then steadily gains in complexity as it develops.” – David Rooney, Hollywood Reporter
“Perhaps most importantly, what Two of Us captures is something which so much of mainstream media would rather ignore: the desire, passion and sexuality of people above a certain age.” – Becky Kukla, Film Inquiry
Lili Horvát’s PREPARATIONS TO BE TOGETHER FOR AN UNKNOWN PERIOD OF TIME is a mesmerizing psychological romance about a woman who upends her whole life to return to her home city of Budapest for a romantic rendezvous with a fellow surgeon, who then claims the two have never met. Márta Vizy (Natasa Stork) is a 39-year-old Hungarian neurosurgeon. After 20 years in the United States, she returns to Budapest for a romantic rendezvous at the Liberty Bridge with János (Viktor Bodó), a fellow doctor she met at a conference in New Jersey. Márta waits in vain, while the love of her life is nowhere to be seen. When she finally tracks him down, the bewildered man claims the two have never met. It’s unclear whether Márta’s wits are clouded by love or if other neurological factors are at play. Determined to solve the enigma, she takes a position at a hospital where she is treated as an outsider and must endure real and perceived slights, while also navigating a no man’s land separating love from madness. For her second feature, following 2015’s The Wednesday Child, writer-director Lili Horvát spins a delicate web of contrasts and silent explosions that shift the viewer’s understanding. Shot with impeccable symmetry on entrancing 35mm, it is an Orphic tale reminding us that, while the heart is an abstruse trickster, the human brain — ruling us with over 80 billion interconnected neurons — is our most complex organ. Director Lili Horvát joins us for a conversation on her Hitchcockian tale of a woman who’s certainty drives this compelling cinematic “love” story.
“What sets this film apart is its fusing of the impassioned and the grimly palpable.” – Anthony Lane, New Yorker
“ [A] state of existential crisis, one that director Lili Horvat teases with curiosity and ambiguity, as if Krzysztof Kieslowski were alive and well and making movies in Budapest.” – Barry Hertz, Globe and Mail
In her critically acclaimed debut feature film, BEGINNING, Georgian filmmaker director Dea Kulumbegashvili’s debut feature film zeroes in on Yana, a despondent woman wrestling with her crippling emotional isolation within a small community of Jehovah’s Witnesses. The setting for this harrowing story is a sleepy provincial village outside of Tbilisi, the capital of Georgia, a predominately Orthodox Christian country. Her husband, David, is the spiritual leader of the Witness community that has recently been terrorized by the fire bombing of their makeshift church by an extremist group. In the midst of this conflict, the familiar world of Yana slowly begins to unravel. Yana’s inner discontent grows as she struggles to deal with a sexual assault, an emotionally abusive husband and her own desires for a livable future. BEGINNING is Georgia’s entry for the Best Foreign Film for this year’s Academy Awards. Co-writer (Rati Oneli) and director Dea Kulumbegashvili joins us for a conversation on collaboration with Cinematographer Arseni Khachaturan, finding the right timbre for telling the story of Yana and locking in a spectacular performance by Yana’s Ia Sukhitashvili.
About the filmmaker – Dea Kulumbegashvili’s filmmaking has been informed by her experience of growing up in a place with such a mix of ethnicities and nationalities. Dea was born in Oriol, Russia and raised in a small town called Lagodekhi at the foot of the Caucasus Mountains in Georgia, a former Soviet Union republic. In 2016, she became the first Georgian director to have a film accepted in Cannes — her stunning minimalist short Invisible Spaces. In 2020, her feature debut BEGINNING became the first Georgian film to win the Golden Shell for best film as well as picked up the best director, best actress and best screenplay honors. If BEGINNING is nominated for the best international feature award at the 93rd Academy Awards in 2021, it will be another first for Dea, as well as a first for Georgia.
** Georgia official submission for Best International Feature Film – 2021 Academy Awards
OFFICIAL SELECTION – 2020 New York Film Festival
OFFICIAL SELECTION – 2020 Cannes Film Festival
WINNER – FIPRESCI PRIZE – 2020 Toronto International Film Festival
WINNER – 4 MAJOR PRIZES at the 2020 San Sebastian Film Festival including the GOLDEN SHELL FOR BEST FILM, BEST DIRECTOR, BEST ACTRESS, BEST SCREENPLAY
95% on Rotten Tomatoes
“The director’s compositions, way of holding us at a sometimes paralysing remove before bringing us painfully close, and brilliant use of off-screen space mark her out as someone to watch very closely, hopefully for years to come.” – Emma Simmonds, The List
“[T]here is an intensely ritualistic quality to “Beginning,” a remarkable – and remarkably bleak – debut feature… that unfolds with spare, mock-ceremonial deliberation, pausing every so often for an exquisite twist of the knife.” – Justin Chang, Los Angeles Times
“The film is composed of just a handful of medium static shots. Kulumbegashvili never overplays her hand, she continuously shifts the mood of her film – it can go from meditative to angry to downright provocative in the span of a few scenes.” – Jordan Ruimy, World of Reel
“The boxy frame of the camera turns into a trap in “Beginning,” the masterful debut feature by the Georgian filmmaker Dea Kulumbegashvili.” – Devika Girish, New York Times
BLIZZARD OF SOULSpays stark witness to the horrors and brutality of the First World War, as seen through the eyes of Arturs (Oto Brantevics), an innocent sixteen-year-old farm-boy turned soldier. Too young to fight but old enough to die, he enlists to serve on the Eastern Front with dreams of becoming a hero. Conscripted into one of Latvia’s first national battalions, Arturs soon discovers the grim reality of trench warfare. Fighting alongside his father and brother, he experiences the loss of his home and loved ones while growing up surrounded by constant danger and death on the battlefield. Adapted from the book by Aleksandrs Grins, which was banned in the USSR, the story was based on Grins’ own war experiences in a Latvian battalion, and the film is the biggest box office success in Latvia of the past 30 years. Director Dzintars Dreibergs joins us for a conversation on the tremendous impact that World War One had on the Baltic states of Lithuania, Estonia and Latvia, particularly in terms of their relationship to Stalin’s Soviet Union and how the loss of life as well as the heroism the Latvians experienced during the war became the spark for independence from the Soviets 70 years later.
** Latvia’s official submission for Best International Feature Film – 2021 Academy Awards **
Director’s Statement – First, the world is in the great place now. We live better than ever. We fight for human values which is impossible mission during the war. Many memories of soldiers tell how hard it was to live with themselves after they discovered animals within themselves, we can do sad things when fight for survival becomes real. However, the sad part is that still there are state leaders that can convince people to kill for some ideology, leaving other’s nothing else but to defend and then starting long and crazy circle of many tragedies. I hope the world can learn from the history and stop this nonsense. – Dzintars Dreibergs
“The filmmakers are unafraid of the picturesque, lighting scenes so they resemble old-master canvases.” – Mark Jenkins, Slant Magazine
“An honest yet frenzied interpretation of the veracity of warfare, with utterly breathtaking cinematography, reminiscent of the brilliance of “Band of Brothers”…As the young, endearing lead, Brantevics is extraordinary” – Guy Lambert, The Upcoming
“Blizzard of Souls, the 1934 novel from which this is drawn, is based on author Aleksandrs Grīns’ own frontline experiences, and The Rifleman successfully captures the hazy, gauzy quality of memory.” – Ellen E Jones, Guardian
Long before COVID-19, another pandemic was raging across the American landscape, penetrating all age groups, races and socio-economic classes. The cause: opioids. The culprit: Purdue Pharmaceutical and the company’s deceitful approach to lure in and hook patients. COMING CLEAN, Ondi Timoner’s new documentary, examines opioid addiction through the eyes of those affected and political leaders, as they come together to bring the profiteers to justice. Timoner deeply engages us by weaving in personal stories of addicts and their families struggling to overcome this painful addiction, sometimes with success but often with devastating and heart-wrenching consequences. COMING CLEAN presents a clear case against the perpetrators, including how they incentivized physicians to overprescribe opioids. In a hopeful turn, we witness the alliances built between addicts in recovery and policymakers as they work to remove the stigmas surrounding this addiction and impact laws and industries to bring necessary change in communities. A thought-provoking film on the state of our country and the current political landscape. Director Ondi Timoner (DIG!, We Live in Public, JUNGLETOWN) joins us to talk about the corrosive impact of the opioid crisis, the devastating impact it has had on families, communities and our vital institutions and who has been most responsible for this scourge.
About the filmmaker- Ondi Timoner has the rare distinction of winning the Grand Jury Prize at the Sundance Film Festival twice, for DIG! (2004) and WE LIVE IN PUBLIC (2009). Other award-winning features include: THE NATURE OF THE BEAST (1994), JOIN US (2007), COOL IT (2010), BRAND: A SECOND COMING (2015), and MAPPLETHORPE (2018), a scripted film she wrote and directed, starring Matt Smith. She also created and produced the critically acclaimed 10-hour nonfiction series JUNGLETOWN (2017). Ondi Timoner is a member of the Academy of Motion Picture Arts & Sciences, the DGA, the PGA, the International Documentary Association, and Film Fatales. Timoner has produced & hosted BYOD (Bring Your Own Doc) for thelip.tv, creating 300 episodes with the top documentary filmmakers over five years. She is also the Founder & CEA of A TOTAL DISRUPTION, an online network dedicated to telling the stories of entrepreneurs & artists who use technology to innovate the way we live. For more on Ondi Timoner films: interloperfilms.com
“COMING CLEAN takes one of the most important issues of our time — declining life expectancy, largely due to the opioid crisis — and unpacks it through a humanistic lens, with emphasis on real people and leaders on the ground who are providing solutions and, most importantly, hope. As thought-provoking as it is moving — and you find yourself rooting for these heroes and thinking about what they’ve taught you long after the film credits roll. The stigma-shattering message of this film will make a difference.” – Beth Macy, bestselling author of Dopesick & writer/producer of coming Hulu series Dopesick
“Coming Clean is an indictment of capitalism run rampant and once again profit taking precedence over human life. Hats off to the frontline warriors taking on this cause.” – Bradley Gibson, Film Threat
MLK/FBI is the first film to uncover the extent of the FBI’s surveillance and harassment of Dr. Martin Luther King, Jr. Based on newly discovered and declassified files, utilizing a trove of documents obtained through the Freedom of Information Act and unsealed by the National Archives, as well as revelatory restored footage, the documentary explores the government’s history of targeting Black activists, and the contested meaning behind some of our most cherished ideals. MLK/FBI is an essential expose of the surveillance and harassment of Dr. Martin Luther King, Jr. (labeled by the FBI as the “most dangerous” Black person in America),undertaken by J. Edgar Hoover and the U.S. government. Featuring interviews with key cultural figures including former FBI Director James Comey, MLK/FBI tells this astonishing and tragic story with searing relevance to our current moment. Directed by Emmy® Award-winner and Oscar®-nominee Sam Pollard, MLK/FBI recounts a tragic story with searing relevance to our current moment. Sam Pollard joins us for a conversation on how incredibly important Dr. King work and influence continues to illuminate every aspect of race relations, criminal justice, housing, wealth inequality, education access and political leadership.
Sam Pollard is an Emmy Award-winning and Oscar-nominated director and producer. His films for HBO, PBS, and the Discovery Channel include the documentaries Four Little Girls, When the Levees Broke: A Requiem in Four Acts, Slavery by Another Name, Sammy Davis, Jr.: I Gotta Be Me, ACORN and the Firestorm, Why We Hate, and Atlanta’s Missing and Murdered: The Lost Children. Pollard also directed two episodes of the groundbreaking series Eyes on the Prize. Since 1994 Pollard has served on the faculty of New York University’s Tisch School of the Arts. He is a member of the Academy of Motion Picture Arts and Sciences and lives in New York City.
NOMINEE – Best Feature – IDA Documentary Awards 2021
NOMINEE – Best Director – IDA Documentary Awards 2021
OFFICIAL SELECTION – Double Exposure Investigative FF 2020 OFFICIAL SELECTION – Masters – DOC NYC 2020
100% on Rotten Tomatoes
“RIVETING. A timely reminder that King’s struggle for racial justice wasn’t straightforward, nor is it close to complete.” – THE ATLANTIC, David Sims
“A blunt fable of state power and a nuanced essay on the fallibility of heroes and the ethics of historical inquiry. Rigorously focused on the facts of the past, the movie is also as timely as an alarm clock.” – THE NEW YORK TIMES, A.O. Scott
“SEARING. Serves as a chilling reminder that white supremacy is not solely a partisan problem; it’s a cruelty baked into the fabric of our political system, poisoning it at every level. Change comes when we allow ourselves to challenge the stories we have been told about our history.”– THE HOLLYWOOD REPORTER, Jourdain Searles
“It’s an argument for the humanity of our revolutionaries, flaws and all, a humanity that has been either systematically denied, or weaponized against them.” – Katie Walsh, Tribune News Service
What Would Sophia Loren Do? is a documentary short film that follows Vincenza “Nancy” Kulik, an Italian-American mother and grandmother living in Fort Lee, New Jersey. Nancy has seen her share of tragedy, but she has always been able to stay positive, inspired in part by another Italian mother, the movie star Sophia Loren. Nancy uses the question “What Would Sophia Loren Do?” as a guide to questions big and small. For example, “Would Sophia Loren eat whole wheat pasta?” Nancy thinks not. This phrase can also provide comfort and a source of strength in times of crisis. In 2016, Vincenza’s 51-year-old son died suddenly while undergoing a routine operation. Vincenza was devastated. She would seek solace in the love of her friends and family. But as she describes it, Vincenza also used the example of Sophia’s grace to help her get through the days and find the strength to persevere. For Vincenza, the words “What would Sophia Loren do?” have truly helped her to heal during some of the most difficult times of her life. Through the experiences of these two women we come to understand what it means to face life’s challenges with resilience and to age with courage, grit, and humor. The film debuts on Netflix on January 15 and is already heavily buzzed for the Oscar in the shorts category. There’s particular attention on Sophia this year, given her other Oscar-buzzed performance in The Life Ahead, directed by her son, Eduardo Ponti. Academy Award winning director Ross Kauffman (Born into Brothels, Tigerland) joins us to talk about the connection he shares with Vincenza, professionally and personally, and how her indomitable presence permeates this wonderfully alive story.
Directed, produced, and written by Jeff Kaufman and produced by Marcia S. Ross(Terrence McNally: Every Act of Life)NASRIN is an immersive portrait of one of the world’s most courageous human rights activists and an outspoken leader of Iran’s remarkably resilient women’s rights movement. She is currently in the fifth week of a hunger strike and serving a long sentence in Iran’s notorious Evin Prison. Millions of people from over 200 nations have called for Nasrin’s release including President-elect Joe Biden; journalist Christiane Amanpour; journalist/activist Gloria Steinem; author Margaret Atwood; Canadian Prime Minister Justin Trudeau, former US Secretary of State Hillary Clinton, New York Times columnist Nicholas Kristof, and many others. Secretly filmed in Iran by men and women who risked arrest, NASRIN features interviews with acclaimed filmmaker Jafar Panahi, Nobel Peace laureate Shirin Ebadi, journalist Ann Curry, and Nasrin’s husband and fellow-activist Reza Khandan. NASRIN is narrated by Oscar® winning actress Olivia Colman and also features an original song by Tony Award®-winning composers Lynn Ahrens and Stephen Flaherty and performed by 4-time Grammy® winner Angélique Kidjo. In addition, Washington Post columnist and former political prisoner Jason Rezaian serves as one of the film’s Executive Producers. Director Jeff Kaufman and Producer Marcia S. Ross join us to talk about one of the world’s most courageous woman and about the daily challenges she and other civil and women’s rights activist face in one of the world’s most repressive regimes.
Update on Nasrin: As of today, Nasrin Sotoudeh has been ordered back to prison in Iran. Earlier last month, she was released from prison due to health reasons and the corona -19 virus. Then, she had just ended her 40+ day hunger strike at the end of October in Iran’s notorious Evin Prison. Please join us in telling her story and amplifying her voice for her freedom. Nasrin hashtag #StandUp4NASRIN continues to grow daily.
About the filmmaker – Jeff Kaufman produced, directed, and wrote the documentaries Every Act Of Life (2018 Tribeca premiere, aired June 2019 on American Masters), The State of Marriage, Father Joseph, The Savoy King: Chick Webb and the Music That Changed America, Brush With Life: The Art of Being Edward Biberman, and Education Under Fire, plus a number of short films for Amnesty International, and programs for The Discovery Channel, and The History Channel. He also edited/designed a book based on the film Every Act Of Life, contributed cartoons to The New Yorker, and illustrations to The Los Angeles Times and The New York Times, wrote/illustrated several children’s books, and hosted daily radio shows in Vermont and Los Angeles.
About the filmmaker – Marcia Ross produced the documentaries Every Act Of Life, The State of Marriage, Father Joseph, and The Savoy King. Additionally she has an over 3-decade career as an independent casting director and casting executive, serving 16 years as EVP for Casting at Walt Disney Motion Pictures, and 5 years as VP for Casting and Talent Development at Warner Brothers TV. Some of her film and television credits include Clueless, Cujo, thirtysomething, Murder in Mississippi, 10 Things I Hate About You, The Princess Diaries, Romy and Michele’s High School Reunion, The Lookout, Enchanted, Oblivion, and Parental Guidance. She has received career achievement awards from the Casting Society of America and the Hollywood Film Festival.
In WANDER DARKLYfilmmaker Tara Miele explores grey, fuzzy light between reality and the sub-conscious In the aftermath of a traumatic incident, Adrienne (Sienna Miller) finds herself in a disorienting state of limbo, unstuck in time and witnessing life from a distance. Forced to confront her troubled relationship with her longtime partner, Matteo (Diego Luna), and the future of their infant daughter, Adrienne must relive and renegotiate the events of the recent past—and solve the mystery of the accident. Stepping into the shadows with Matteo, Adrienne looks for clues about what went wrong between them. Gently moving between the enigmatic and the romantic, WANDER DARKLY traverses genre borders, taking us on a journey that is both uncanny and emotionally resonant. Miller gives a wonderfully layered performance, navigating the film’s demanding tonal shifts. Luna is both elusive and engaged, walking the line between the film’s ethereal and earthly planes. Writer-director Tara Miele’s joins us for a lively conversation on her highly affecting existential drama that explores how we build narratives of love and loss from the fragmented memories of our lives and how we all live in a world where navigating the overwhelming truths of or daily lives can help us discover the love that binds us to each other as we face an uncertain future.
About the filmmaker – Tara Miele is a filmmaker originally from Long Island. She built her career working in both film and television, including directing three micro-budget features. She is perhaps most well known for her work that went viral in 2016 with the short film Meet a Muslim. Miele aims to create socially conscious work, and when she isn’t doing that, she is raising two daughters. Both love that their mom went viral. Tara became known for the viral video ‘Meet a Muslim’ which she created to combat Islamophobia. The video has been shared around the world over 45 million times. For television she directed the backdoor pilot Green Arrow and The Canaries, and has directed episodes of Arrow, Batwoman and Hawaii Five-0, as well as four micro budget feature films. She is a graduate of Ryan Murphy’s Half Foundation and the CBS Directing Initiative. Looking forward, Tara aims to create more socially conscious work in an effort to build bridges and conversations.
“Miller helps this emotionally complicated material to succeed. She is willing to take Adrienne to dangerous and unlikable places and is believable as a possible ghost, a shattered trauma survivor, and a romantic heroine.” – Anita Katz, San Francisco Examiner
“Miller and Luna are superb, traversing a range of emotional material without a false note. It’s their anger, their confusion, and their love that breathes life into the movie.” – Karen Gordon, Original Cin
“Sienna Miller and Diego Luna put on a clinic in screen chemistry in this melancholy puzzle-picture romance.” – Roger Moore, Movie Nation
Tandem Pictures is a leader in conceiving and implementing eco-sustainable filmmaking practices in the indie film space,with all of their productions following Environmental Media Association standards and the Producers Guild’s Green Best Practices. They’re also an advocate for how these practices – from using hybrid vehicles on set, to having the sound and camera teams use rechargeable batteries, to composting and using metal straws – can and should be adopted industry-wide. Female owned and operated, it is Tandem’s mission is to bring female talent and narratives to the forefront. They embrace female-centric storytelling, and pride themselves on the fact that the casts and crews of their films are composed of underserved and underrepresented minority groups, LGBTQIA, and women.tandempictures.com
JULIE CHRISTEAS – Tandem Pictures – Founder, Chief Executive Officer Julie’s recent films include BLACK BEAR (Sundance 2020) starring Aubrey Plaza, Christopher Abbott and Sarah Gadon which will be released later this year by eOne/Momentum and THE SURROGATE (SXSW 2020/Monument Releasing) . She also executive produced the cult horror favorite THE EYES OF MY MOTHER (Sundance 2016/Magnet Releasing), MONOGAMY (Best NY Narrative, Tribeca Film Festival 2010), the feature doc DUKALE’S DREAM starring Hugh Jackman, and GHOST TEAM starring Jon Heder, David Krumholtz, Justin Long, Amy Sedaris and Melonie Diaz. Previously she produced BLOOD STRIPE (Jury Prize for Best Narrative Film, LA Film Festival 2016), WILDLIKE starring Bruce Greenwood and Brian Geraghty (HIFF), and THE SLEEPWALKER starring Christopher Abbott and Brady Corbet (Sundance 2014/IFC).
JONATHAN BLITSTEIN – Tandem Pictures – Co-owner, Chief Operating Officer Jonathan’s most recently produced the acclaimed films THE SURROGATE, and BLACK BEAR (SUNDANCE, EOne/Universal release) starring Aubrey Plaza. Prior to Tandem he worked in production and branded entertainment for Vudu, Sony and Disney, supporting Fortune 500 Brands such as Walmart, Sprint and Covergirl. At Oracle (formerly CrowdTwist), he initiated the creation of Marvel Studios’ first nationwide fan loyalty program Marvel Insider. In his early career, he made two micro-budget feature films LET THEM CHIRP AWHILE and ANOTHER KIND which both premiered at the Woodstock Film Festival which were distributed on Netflix and VOD. Early career roles include marketing arthouse films such as Park Chan Wook’s OLD BOY, and Noah Baumbach’s SQUID AND THE WHALE.
If future generations look back at what it was truly like to be both human and alive in the late 20th century, they will be hard put to find a more powerful and enlightening testament than the songs of Shane McGowan. In a world where music has become increasingly sanitized and unable to venture beneath the surface clichés of human emotion, Shane’s songs stand out in ever greater relief. A cinematic exploration of Shane MacGowan’s story, Julien Temple’s film CROCK OF GOLD details Shane’s explosive existence, from his salad days, growing up in Ireland, to time spent on the mean streets of London and embracing the punk scene. To forming the Pogues and the conquering the known universe, we discover MacGowan’s passions, his humor and deep knowledge of music, history, spirituality & popular culture. For this is Shane’s story. A vision of the world through the eyes of the great punk poet himself and an intimate cast of close friends and family members, all channeled throughdirector Julien Temple’s inimitable and eternally vibrant lens. Director Julien Temple joins us for an enlightening conversation on MacGowan’s unusual childhood living on a farm without electricity, his collaboration with Johnny Depp and his respect and admiration for an artist that has stay faithful to his love of music and his country, no matter the cost.
Director’s Statement – In a world where music has become increasingly sanitized and unable to venture beneath the surface clichés of human emotion, none has bared their soul like Shane McGowan. His unique ability to plumb the dark recesses of the human soul, while in the very same breath celebrating its capacity to find healing transcendence, in both love and the sublime mysteries of existence, goes a long way to making sense of who we actually are. His work is raw, unflinching and unashamed, reflecting all the many places Shane inhabits – the invisible world, hedonism, alcoholism, God, redemption and romance, in all their respective grit and glory. And so, here, via the inventions of the Pogues and the Popes, via the hits, the flops, the fallouts of fame. Via the triumphs and the disasters. Via the love, the hate. Via the bodily abuse and miraculous survival against the odds. And above all else, via the songs… Shane’s incomparable songs, we join Shane, in this film, in his never-ending search for that elusive ‘Crock of Gold’… – Julien Temple
About the filmmaker – Julien Temple became established as one of the early pioneers of music videos, directing such diverse talents as; Rolling Stones, Sex Pistols, David Bowie, Kinks, Neil Young, Tom Petty, Janet Jackson, Jimi Hendrix, Pete Doherty and many more. He has directed feature films including the musicals ‘Absolute Beginners’ and ‘Earth Girls Are Easy’. Other directing credits ‘Pandaemonium’, selected as the Gala film at the Toronto Film Festival 2000 and winner of the Evening Standard best British actor award for Linus Roache. Temple’s feature documentary about the Sex Pistols ‘The Filth & The Fury’ screened in official selection at both the Sundance and Berlin Film Festivals 2001. In 2005 he directed ‘Glastonbury’, a vivid chronicle of the past thirty years of the music festival. ‘The Future Is Unwritten’, a film to celebrate the life of Joe Strummer, premiered at Sundance in 2007. His recent films include ‘Oil City Confidential’ a documentary about the forgotten precursors of punk, Dr. Feelgood, which won the main prize at the 2009 Turin Film Festival, ‘Imaginary Man’ a film about songwriter Ray Davies for BBC One Imagine and ‘Kinkdom Come’ about his brother Day Davies. Temple’s feature documentary ‘Requiem For Detroit’ won a Grierson Award for Best Historical Documentary 2010. He is currently working with producer Jeremy Thomas to develop ‘You Really Got Me – The Kinks’, the story of Ray and Dave Davies, the brilliant love hate sibling creative force behind the legendary band.
“Crock of Gold” isn’t intended as a lament for an artist derailed by his worst impulses, though. Instead, it’s a celebration of what MacGowan accomplished at his peak, as well as an explanation of the experiences that informed his music. – Noel Murray, Los Angeles Times
“Temple has always used archive material playfully; here, it’s particularly riotous, like a chaotic patchwork quilt tacked together by one of Shane’s drunk aunties. – Wendy Ide, Observer (UK)
“Bold and crass, insightful and fascinating. Director Julien Temple makes clear that this is a complex artist, with a multi-faceted personality, who has changed greatly over the years.” – Deirdre Molumby, entertainment.ie
“The director Julien Temple – who has excellent documentaries on the Sex Pistols, Joe Strummer and other galvanic musicians under his belt – is very good at this sort of thing.” – Glenn Kenny, New York Times
Octogenarian artist Audrey Flack has always been a trailblazer.QUEEN OF HEARTS: AUDREY FLACK, a documentary from Oscar® and Emmy® Award-winning directorDeborah Shaffer (The Wobblies, To Be Heard) and co-director/editor Rachel Reichman (Hitchcock/Truffaut, A Letter to Elia), is an intimate portrait of her life and work, as she returns to her canvas for the first time in decades, revealing her longtime struggles as an artist and mother to find her rightful place in the art world. At 88 years-old, Audrey Flack holds a unique place in the history of contemporary art in America. Feminist, rebel, mother, painter, sculptor and teacher, Audrey’s often controversial 40-year career evolved from abstract expressionism in the 1950s to photorealism in the 1970s. One of the first women ever included in the famed Janson’s History of Art, Audrey continues to create, explore, and inspire with her unique style and indomitable spirit. QUEEN OF HEARTS follows Flack as she takes her work in a brand new direction and reveals her long-term struggles as the mother of a child with autism. Flack has something deep and genuine to communicate to the world. Director Deborah Shaffer joins us for a conversation on getting to know her endlessly fascinating, multi-talented subject who is still testing, still experimenting, still searching.
About the filmmaker – Academy Award winning filmmaker Deborah Shaffer began making social issue documentaries as a member of the Newsreel collective the ‘70’s. She co-founded Pandora Films, one of the first women’s film companies, which produced several shorts. Her first feature documentary, The Wobblies, premiered at the New York Film Festival in 1979. During the 80’s Shaffer focused on human rights in Central America and Latin America, directing many films including Witness to War: Dr. Charlie Clements which won the Academy Award for Short Documentary in 1985, and Fire From the Mountain and Dance of Hope which both played at the Sundance Film Festival. Shaffer directed one of the first post-September 11 films, From the Ashes: 10 Artists followed by From the Ashes: Epilogue, which premiered at the Sundance and Tribeca Film Festivals. She is also the Executive Producer of the Academy Award-nominated short Asylum, and has directed numerous acclaimed public television programs on women and the arts. She directed and produced To Be Heard, which won awards at numerous festivals and aired nationwide on PBS. She has been awarded a Guggenheim Fellowship, and the Irene Diamond Lifetime Achievement Award by the Human Rights Watch Film Festival.
“a thoroughly engaging documentary portrait of an artist…[and] the perfect introduction to its subject, comprehensive in its detail and captivating in its approach.” – Christopher Reed, Hammer to Nail
“…what’s refreshing about Deborah Shaffer and Rachel Reichman’s look is how intimate and personal it feels, grounding a remarkable woman in a very personable and extraordinary light.”-Tynan Yanaga, Film Inquiry
“…she has been an incredible photorealist, armed with a convincing spray brush. Now, the artist finally gets her due in this documentary about her life.” – Nadja Sayej, Forbes
Fox Rich is a fighter. The entrepreneur, abolitionist and mother of six boys has spent the last two decades campaigning for the release of her husband, Rob G. Rich, who is serving a 60-year sentence for a robbery they both committed in the early 90’s in a moment of desperation. Combining the video diaries Fox has recorded for Rob over the years with intimate glimpses of her present-day life, TIMEdirector Garrett Bradley paints a mesmerizing portrait of the resilience and radical love necessary to prevail over the endless separations of the country’s prison-industrial complex. Bradley won the U.S. Documentary Directing Award at this year’s Sundance Film Festival, and is the first Black woman to be awarded the prize with TIME, her documentary feature debut. Director and producer Garrett Bradley joins us to talk about her beautifully rendered look into the most intimate moments of a determined matriarch and a family grappling with a life lived under the relentless cloud of uncertainty.
TIME will open in select theaters on October 9 ahead of its global launch on Amazon Prime Video on October 16.
About the filmmaker – Garrett Bradley works across narrative, documentary, and experimental modes of filmmaking to address themes such as race, class, familial relationships, social justice, southern culture, and the history of film in the United States. Bradley has received numerous prizes which include the 2019 Prix de Rome, and the 2017 Sundance Jury Prize for the short film “Alone,” which was released by The New York Times OpDocs And became an Oscar Contender for short nonfiction filmmaking, included in Academy Shortlist. Bradleys work can be seen across a variety of spaces including her Second Unit Directing work on Ava DuVernays “When They See Us” and the 2019 Whitney Biennial. In December of this 2019, Bradley’s first solo exhibition opened at The Contemporary Arts Museum Houston (CAMH), curated by Rebecca Matalon. In January of 2020, Bradley became the first Black American woman to receive Best Director at the 2020 Sundance Film festival for her first feature length documentary, “Time.” For more go to: garrettabradley.com
Sundance 2020 – Directing Award: U.S. Documentary
The Center for Documentary Studies Filmmaker Award
Full Frame Documentary Film Festival 2020 – The Charles E. Guggenheim Emerging Artist Award
“A vibrant cubist portrait, alive with shadings of Rich’s vulnerability and the psychic bruises from dealing with an indifferent correctional system, expensive lawyers and unresponsive courts.” – Sheri Linden, Hollywood Reporter
“It’s an enormous achievement to crystallize two decades of both fighting and loving in 81 minutes, as Bradley never takes Rich’s voice away to patronize or preach to the viewer about what we should care about.” – Ella Kemp, WeLoveCinema
BELLY OF THE BEAST shines a white hot spotlight on the pastoral farmlands surrounding the Central California Women’s Facility (CCWF), the world’s largest women’s prison. For decades CCWF concealed the reproductive and human rights violations transpiring inside its walls. A courageous woman, Kelli Dillon, who was involuntarily sterilized at the CCWF, teams up with a radical lawyer, Cynthia Chandler, to stop these violations. Together they spearhead investigations that uncover a series of statewide crimes, primarily targeting women of color, from inadequate access to healthcare to sexual assault to illegal sterilization. With a team of tenacious heroines, both in and out of prison, they take to the courtroom to fight for reparations. But no one believes them. As additional damning evidence is uncovered by the Center for Investigative Reporting, a media frenzy and series of hearings provide hope for some semblance of justice. Yet, doctors and prison officials contend that the procedures were in each person’s best interest and of an overall social benefit. Invoking the weight of the historic stain and legacy of eugenics, BELLY OF THE BEASTpresents a decade long, infuriating contemporary legal drama. Director Erika Cohn (The Judge, When the Voices Fade) joins us for a conversation about her incredible tale that chronicles the rampant abuse of incarcerated women, being coerced by a prison-based culture of medical personnel actively subverting their basic human rights.
About the filmmaker – Director Erika Cohn is a Peabody and Emmy Award-winning director/producer who Variety recognized as one of 2017’s top documentary filmmakers to watch and was featured in DOC NYC’s 2019 “40 Under 40.” Most recently, Erika completed The Judge, a Peabody Award-winning and Emmy-nominated film about the first woman judge appointed to the Middle East’s Shari’a courts, which premiered at the 2017 Toronto International Film Festival and was broadcast on PBS’ 2018 Independent Lens series. Erika co-directed/produced, In Football We Trust, an Emmy award-winning, feature documentary about young Pacific Islander men pursuing their dreams of playing professional football, which premiered at the 2015 Sundance Film Festival and was broadcast on PBS’ 2016 “Independent Lens” series. She has received numerous accolades for her work, including a Director’s Guild of America award for her fiction short film, When the Voices Fade. Erika grew up attending the Sundance Film Festival as a native Utahn, where she first began her career and later studied at Chapman University (California) and Hebrew University (Jerusalem) where she received degrees in Film Production, Middle East Studies, and Acting Performance. In 2013, Erika founded Idle Wild Films, Inc., which has released three feature documentaries and produced numerous branded content and commercial spots, including Gatorade’s “Win from Within” series, for which she received a 2016 Webby award nomination. Belly of the Beast is her third feature-length documentary. For more about Erika Cohn go to: idlewildfilmsinc.com
DRIVING WHILE BLACK: RACE, SPACE AND MOBILITY IN AMERICA is a ground-breaking, two-hour documentary film by acclaimed historian Dr. Gretchen Sorin and Emmy–winning director Ric Burns. Chronicling the riveting history and personal experiences – at once liberating and challenging, harrowing and inspiring, deeply revealing and profoundly transforming – of African Americans on the road from the advent of the automobile through the seismic changes of the 1960s and beyond – DRIVING WHILE BLACK explores the deep background of a recent phrase rooted in realities that have been an indelible part of the African American experience for hundreds of years – told in large part through the stories of the men, women and children who lived through it. The documentary draws upon the wealth of recent scholarship – and based on and inspired in large part by Gretchen Sorin’s recently published study of the way the automobile and highways transformed African American life across the 20th century – the film examines the history of African Americans on the road from the depths of the Depression to the height of the Civil Rights movement and beyond, exploring along the way the deeply embedded dynamics of race, space and mobility in America during one of the most turbulent and transformative periods in American history. Co-directors Gretchen Sorin and Ric Burns join us to talk about the crippling impact of systemic racism and the continuing stain of America’s original sin.
About the filmmaker – Gretchen Sullivan Sorin, Project Director & Senior Historical Advisor Dr. Gretchen Sullivan Sorin is Distinguished Professor and Director of the Cooperstown Graduate Program. Her dissertation and upcoming book form the basis of the scholarship for this project. Her research explores the role that the automobile played in the lives of African Americans during the Jim Crow era, the way that African Americans expressed middle class American values through car ownership, and how cars helped change deeply entrenched racial etiquette. Sorin received her Ph.D. in history from the University at Albany in 2009. For more on the work of Dr. Gretchen Sorin go to gpmuseumstudies.org
About the filmmaker – Ric Burns is an internationally recognized documentary filmmaker and writer, best known for his eight-part, seventeen and a half hour series, New York: A Documentary Film, which premiered nationally on PBS to wide public and critical acclaim when broadcast in November 1999, September 2001, and September 2003. Burns has been writing, directing and producing historical documentaries for over 25 years, since his collaboration on the PBS series The Civil War, (1990), which he produced with his brother Ken and co-wrote with Geoffrey C. Ward. Since founding Steeplechase Films in 1989, he has directed some of the most distinguished programs for PBS including Coney Island (1991), The Donner Party (1992), The Way West (1995), Ansel Adams (2002), Eugene O’Neill, Andy Warhol (2006), We Shall Remain: Tecumseh’s Vision (2009),Into the Deep: America, Whaling & the World (2010), Death and the Civil War (2012), American Ballet Theatre (2015), Debt of Honor (2015), The Pilgrims (2015), VA: The Human Cost of War (2017), and The Chinese Exclusion Act (2018). His work has won numerous film and television awards including six Emmy Awards, two George Foster Peabody Awards, two Alfred I. DuPont-Columbia University Awards, three Writer’s Guild of America Awards for Outstanding Individual Achievement in a Craft: Writing; the Eric Barnouw Award of the Organization of American Historians, and the D.W. Griffith Award of the National Board of Review. Find out more about Ric Burns and Steeple Chaase Films at: ricburns.comAnd dwbfilm.com
Inspired by a New York Times No. 1 bestseller,The Way I See It is an unprecedented lookbehind the scenes at two of the most iconic presidents in American history, Barack Obama and Ronald Reagan, as seen through the eyes of renowned photographer Pete Souza. As official White House photographer, Souza was an eyewitness to the unique and tremendous responsibilities of the most powerful person on Earth. Award-winning filmmaker Dawn Porter’s The Way I See It also reveals how Souza transforms from a respected photojournalist to a searing commentator on the issues we face as a country and a people. The Way I See It also traces Souza’s fearless public transformation from chronicler of history to critic of an administration he believes is destroying the legacy of empathy, honor and hope that he witnessed during his 13 years at the White House.Inspired by his two bestselling books, Obama: An Intimate Portrait and Shade: A Tale of Two Presidents, and featuring more than 400 of his photos, the film is an emotional and stirring reminder of America’s pledge of a government for and by the people. Director Dawn Porter joins us for a conversation about the personal journey of an accomplished photojournalist turned activist and when it comes to the most powerful person in the world, why judgement, perspective, honor, and empathy matter.
MSNBC Films premiere Friday, October 9th, 10:00pm EDT
About the filmmaker – Dawn Porter (Director, Producer) is an award-winning documentary filmmaker whose work has appeared on HBO, PBS, Discovery and Netflix, among others. A two-time Sundance Film Festival director, Porter may be best known for her film Trapped, which explored laws regulating abortion clinics in the American South. The film won the Special Jury Award for Social Impact Filmmaking at Sundance in 2016, in addition to a Peabody and numerous other awards. Porter’s 2013 documentary Gideon’s Army premiered on HBO and won Best Editing at Sundance. Gideon’s Army was nominated for both an Independent Spirit Award and an Emmy Award, and is part of the U.S. Department of State’s American Film Showcase. More recently, Porter completed John Lewis: Good Trouble, a feature documentary about the late congressman that will be distributed by Magnolia Pictures and CNN Films. Porter has been commissioned to make films for the Center for Investigative Reporting, Time and Essence magazines, The New York Times Op Docs and Amazon. Her work has received generous support from the MacArthur Foundation, the Ford Foundation, Tribeca Film Institute, Sundance Film Institute, Chicken & Egg Pictures and other esteemed organizations. The filmmaker is a member of the Academy of Motion Picture Arts and Sciences, the Academy of Television Arts & Sciences, and the Directors Guild of America.
“If you’ve seen Dawn Porter’s John Lewis documentary, you’ll fall in love with this candid look behind the scenes with a former White House photographer in her new documentary The Way I See It.” – Carolyn Mauricette, View From The Dark
“It’s effective because it gives us momentary relief and validates our rage while asking once again for us to have hope and to keep moving ahead.” – Allyson Johnson, The Young Folks
“Chief White House Photographer Pete Souza and the makers of The Way I See It kindly remind us what decency looked like not so long ago.” – Brigid Presecky, Impressionist Media
“Filmmaker Porter delivers a blisteringly-paced documentary that is, virtually from start to finish, nothing short of fascinating…” – David Nusair, Reel Film Reviews
A lifetime of making documentaries has convinced award-winning filmmaker Kirsten Johnson of the power of the real. But now she’s ready to use every escapist movie-making trick in the book – staging inventive and fantastical ways for her 86-year-old psychiatrist father to die while hoping that cinema might help her bend time, laugh at pain and keep her father alive forever. The darkly funny and wildly imaginative DICK JOHNSON IS DEAD is a love letter from a daughter to a father, creatively blending fact and fiction to create a celebratory exploration of how movies give us the tools to grapple with life’s profundity.DICK JOHNSON IS DEAD was filmed, produced and directed by Kirsten Johnson (Cameraperson), produced by Katy Chevigny and Marilyn Ness, co-produced by Maureen A. Ryan and executive produced by Megan Ellison. Director Kirsten Johnson joins us for conversation on her approach to working along side her dad, making the personal universal and how sharing her own acquired wisdom has impacted her life.
About the filmmaker – Kirsten Johnson is a cinematographer and director interested in addressing the changing dimensions and urgent ethical challenges of documentary camerawork. Her most recent film, CAMERAPERSON, premiered at Sundance 2016, was shortlisted for an Academy Award, won the National Board of Review “Freedom of Expression” prize, and was awarded three 2017 Cinema Eye Honors, including ‘Outstanding Nonfiction Feature’. CAMERAPERSON was named one of the ‘Top Ten Films of 2016’ by The New York Times and The Washington Post, was the Grand Jury Prize Winner of 9 international festivals, won the ARRI Cinematography Award, and is distributed by The Criterion Collection. Her short, THE ABOVE, premiered at the 2015 New York Film Festival and was nominated for the International Documentary Association ‘Best Short Award’ for 2016. Kirsten’s camerawork has appeared in the Academy Award-winning CITIZEN FOUR, Cannes Premiere RISK, Academy Award-nominated THE INVISIBLE WAR, Tribeca Documentary Winner, PRAY THE DEVIL BACK TO HELL, Cannes winner FAHRENHEIT 9/11, and Emmy Award-winning LADIES FIRST. She shared the Sundance 2010 Cinematography Award with Laura Poitras for their work on THE OATH. She and Katy Chevigny co-directed the Berlinale premiering DEADLINE, which won the Thurgood Marshall Award. She teaches “Visual Thinking” in the NYU Graduate Journalism Department. In 2017, she was awarded the Chicken and Egg Breakthrough Filmmaker Award and she is currently a Sundance Art of Nonfiction Fellow. She is a 2017 Guggenheim Fellow and was recently invited to be one of the 4% of ASC members who are women.
“A deeply moving vision of life in the face of bodily death and the threatened loss of selfhood, as well as a loving unpacking of the lifetimes of memories from which families are made.” – Richard Brody, New Yorker
“Instead of pushing her father’s death to the back of her mind, Johnson embraces it fully and even has fun with it. She takes her heartache and turns it into joy.” – Brianna Zigler, Little White Lies
“Unabashedly toying with the conventions of obituary, the documentation of the infirm, and the memorialization of a parent, the end result is a triumph.” – Jason Gorber, POV Magazine
“A touching and funny meditation on embracing life and fearing death at the same time.” – Eric Kohn, indieWire
With his trumpet he turned the Tijuana Brass into gold, earning 15 gold and 14 platinum records; He has won nine Grammys Awards between 1966 and 2014, and received the National Medal of Arts from President Barack Obama in 2012. Herb co-founded the indie label, A & M Records with his business partner, Jerry Moss, which recorded artists as varied as Carole King, Cat Stevens, The Carpenters, Janet Jackson, Peter Frampton, Joe Cocker, Quincy Jones, Sergio Mendes, and The Police. A&M would go on to become one of the most successful independent labels in history. He has shown his striking work as an abstract painter and sculptor, worldwide. And through the Herb Alpert Foundation, he has given significant philanthropic support of educational programs in the arts nationwide, from the Harlem School of the Arts and Los Angeles City College to CalArts and UCLA. John Scheinfeld’s documentary Herb Alpert is… profiles the artist, now 85, mostly from the perspective of colleagues like Questlove, Paul Williams, Sting, and Bill Moyers. In their words, the shy, unassuming trumpeter is a musical, artistic and philanthropic heavyweight. Director John Scheinfeld stops by to talk about many facets of Alpert’s personal and public life that make him the compelling and warm-hearted person he is.
About the filmmaker – John Scheinfeld – From pop culture to politics, sports to world religions, Venice and Toronto film festivals to PBS, Emmy®, Grammy® and Writers Guild Award nominee John Scheinfeld is a critically acclaimed documentary filmmaker with a broad range of subjects and productions to his credit. In addition to directing, writing and producing Herb Alpert Is…, Scheinfeld is in post-production on a primetime documentary special about comedy legend Garry Marshall that will air on ABC in the Spring of 2020. Another Scheinfeld feature documentary, Sergio Mendes: In The Key of Joy, had its World Premiere at the Santa Barbara International Film Festival in January 2020 and will be released worldwide on multiple media platforms later in the year. Previously, his feature documentary, Chasing Trane: The John Coltrane Documentary, was an official selection of the Telluride Film Festival and the Toronto International Film Festival before playing on 175 theater screens worldwide during the spring of 2017. In November 2017 it was the season premiere of Independent Lens, the largest showcase for independent documentary film on television. Scheinfeld is best known for two widely acclaimed feature documentaries: The U.S. vs. John Lennon, which tells the true story of the US government’s attempt to silence the beloved musician and iconic advocate for peace and Who Is Harry Nilsson (And Why Is Everybody Talkin’ About Him)?, a compelling yet wildly entertaining documentary about one of the most talented and uncompromising singer-songwriters in pop music history. For more on the work of John Scheinfeld go to: crewneckproductions.com
“The story of Herb Alpert is a lot more than a snappy greatest hits collection; it’s a deep dive into the agonies and ecstasies that drive profoundly creative people.” – Bill Newcott, The Saturday Evening Post
“This movie will likely go down as the definitive documentary about Alpert and, as such, it’s not a bad way to be remembered.” – James Berardinelli, ReelViews
“This documentary is a joyous celebration of Herb Alpert’s life and career as it examines his roots not only as a musician but as a painter, sculptor, businessman and philanthropist.” – Charles Koplinski, Reel Talk with Chuck and Pam
In Central America, a caravan of migrants seeking a better life heads north to the United States, as narco-traffickers — part of the cause for the caravan — move drugs and money back and forth across the same border. From Academy Award-nominated director Sebastian Junger and Emmy-winning producer Nick Quested, BLOOD ON THE WALL explores the depths of corruption plaguing Mexico and Central America and the policies of the past that have made it impossible for everyday people to find justice.Filmed in 2018 and 2019, just as the caravans made international news, BLOOD ON THE WALL is both intimate and wide-ranging as it follows a 17-year-old journeying from Honduras, a mother and daughter and their family trying to make the life-threatening trek easier for their kids, and smugglers and traffickers who reveal what set them on their own path. Using the same on-the-ground journalism and granular point of view that co-directors Sebastian Junger and Nick Quested used in Hell on Earth: The Fall of Syria and the Rise of ISIS, Korengal, and the Oscar-nominated Restrepo,BLOOD ON THE WALL brings the humanity of the migrants to the forefront and untangles how politics, the drug trade, violence, and the desire for safety result in unbelievable anguish happening in plain sight. Co-director Nick Quested joins us to talk about the extraordinarily violent and unstable circumstance these immigrants navigate and the palpable sense of cynical betrayal that the US and Mexico deploy against them.
About the filmmaker – Co-director Nick Quested is executive director and owner of Goldcrest Films, where he has built one of the premiere documentary brands in the world, winning two Emmys for his work. Quested has served as a producer on over 35 films, including Sebastian Junger’s The Last Patrol, Korengal, and the PGA- and twice Emmy-nominated Which Way Is the Front Line From Here?; the Oscar-nominated Restrepo; and National Geographic Doc Films’ duPont Award-winning Hell on Earth: The Fall of Syria and the Rise of ISIS. Quested is also an award-winning music video director, working with such artists as Dr. Dre, Nas, Puffy, Sting, Master P, Cash Money, and Trick Daddy. His credits include “Stretch and Bobbito: Radio That Changed Lives,” “Rubble Kings,” “Pussy Riot: A Punk Prayer,” “Smash and Grab: The Story of the Pink Panthers,” “Stolen Seas,” “The List,” “Tell Spring Not to Come This Year,” and “Doin’ It in the Park: Pick-Up Basketball, NYC.”
Claire (Lena Olin) lives a quiet domestic life in the Hamptons as the wife of celebrated artist Richard Smythson (Bruce Dern). Once a promising painter herself, Claire now lives in the shadow of her husband’s illustrious career. While preparing work for his final show, Richard’s moods become increasingly erratic, and he is diagnosed with dementia. As his memory and behavior deteriorate, she shields his condition from the art community while trying to reconnect him with his estranged daughter, Angela (Juliet Rylance) and grandson from a previous marriage. Challenged by the loss of her world as she knew it, Claire must now decide whether to stand with Richard on the sidelines or step into the spotlight herself. Director Tom Dolby (Call Me My Your Name, Little Men, Regarding Susan Sontag, Scotty and the Secret History of Hollywood) stops by to talk about his compelling, clear-eyed look at a loving couple’s faltering attempts to find a way forward.
About the filmmaker – Tom Dolby’s feature film writing and directing debut, Last Weekend, starring Patricia Clarkson, was released in 2014 by IFC/Sundance Selects and called “Chekhovian” by The New York Times, with Ms. Clarkson’s performance hailed as “terrifically nuanced, heartbreaking, and often very funny” by the San Francisco Chronicle. Dolby is the founder of Water’s End Productions, where he and his team have developed a slate of narrative features and documentaries with the goal of supporting provocative and challenging human stories. The company funded the development of the Academy Award-winning film Call Me By Your Name, on which he served as an Executive Producer. Dolby and Water’s End have also produced the critically acclaimed films Little Men, Regarding Susan Sontag, Scotty and the Secret History of Hollywood, The House of Tomorrow, and Little Woods, among others. Upcoming projects include an adaptation of the novel Women in Sunlight by New York Times bestselling author Frances Mayes (Under the Tuscan Sun). Dolby is also the author of four novels, and his writing has appeared in The New York Times, The Village Voice, and the San Francisco Chronicle, among others. Born in London and raised in San Francisco, he is a graduate of Yale University, where he received his B.A. in the history of art. He lives in Los Angeles with his two daughters. For many years, he had a house in Wainscott, NY, right next to East Hampton.
“By refusing to compromise about life’s messiness, it makes an art of chaos in elegantly composed vignettes filmed with a chilly beauty, and gives us an ending that is maddening, yet absolutely true.” – Andrea Chase,Killer Movie Reviews
ALL IN: THE FIGHT FOR DEMOCRACY is a riveting examination of voter suppression in the United States of America. The film weaves rich archival storytelling with the personal experiences of experts, activists, and would-be voters deprived of their rights. Current activism as well as historical insight expose what corrupted our democracy from the moment it was founded. Every time we the people take a step toward a more just and equal nation — granting rights to the disenfranchised, from women’s suffrage to desegregation — new forces and obstacles emerge that require us to fight for the right to vote once again. Stacey Abrams, the former Minority Leader of the Georgia House of Representatives and the first female African-American major-party gubernatorial nominee, offers an insider’s look at the patchwork of laws and barriers designed to hinder voting. Many U.S citizens remain unaware of this dangerous threat to their basic right to wield their power and raise their voices at the polls.ALL IN: THE FIGHT FOR DEMOCRACYexplores fundamental questions:Who gets to participate in our democracy, and who is pushed aside? How can we all fight back? Voting is the cog that makes the machinery of democracy work — and if the machinery breaks for some, it will eventually break for all. Co-directors Liz Garbus (Nothing Left Unsaid, I’lll Be Gone in the Dark, Lost Girls) and Lisa Cortes (The Apollo, The Remix: Hip Hop X Fashion, The Woodsman) join us to talk about how incredibly important voting rights are in determining the outcome of our elections and out quickly they can be taken away.
About the filmmaker – Liz Garbus is a two-time Academy Award®-Nominee, two-time Emmy Winner, Peabody Winner, Grammy Nominee, DGA Nominee, BAFTA-nominated director. LOST GIRLS (Netflix, 2020) is Garbus’ narrative feature debut, starring Amy Ryan, Gabriel Byrne, and Thomasin McKenzie. When Mari Gilbert’s daughter disappears, police inaction drives her own investigation into the gated Long Island community where Shannan was last seen. Her search brings attention to over a dozen murdered sex workers Mari will not let the world forget. LOST GIRLS will premiere at the 2020 Sundance Film Festival and then will be released in theaters and on Netflix.For more on the work of Liz Garbus go to: storysyndicate.com/work
About the filmmaker – Lisa Cortes Executive producer After graduating she went into the music business where she worked with Russell Simmons and Rick Rubin, the founders of Def Jam. Cortes then joined the staff at Mercury Records. After leaving the music industry, Cortes turned her interests to film. She enrolled at the School of Visual Arts in New York and later the New York Film Academy. A producer and close friend, Lee Daniels, was producing Monster’s Ball and Cortes and Daniels together subsequently collaborated on movies such as Woodsman (2004), Shadowboxer (2005), Tennessee (2008), and Precious (2009). Cortes founded her own company, Cortes Films in 2010. Cortes Films has produced two films Happy Birthday to a Beautiful Woman: a Portrait of My Mother, a film about Mickalene Thomas’ mother and her struggle with aging and kidney disease, and Kwaku Ananse a film about West African fables of Kwaku Ananse and a young woman named, Nyan Koronhwea, attending her estranged father’s funeral while trying to come to terms with her father’s double life.
“Voter suppression is broken down within an inch of its life with this informative, no holds barred documentary from Liz Garbus and Stacey Abrams. Our vote has never counted more and been more crucial. Don’t let you democracy be robbed!” – Carla Renata, The Curvy Film Critic
“Stacy Abrams’ urgent, powerful , and compelling documentary about voter rights and the attempt to suppress them could and should have a real world impact this election season.” – Pete Hammond, Deadline Hollywood Daily
EPICENTRO, a richly textured portrait of the resilient people of Cubadirected by renowned documentarian Hubert Sauper (We Come As Friends, Oscar-nominated Darwin’s Nightmare). Winner of the 2020 Sundance Grand Jury Prize for World Cinema Documentary, the film launches in virtual cinemas through Kino Marquee starting Friday, August 28. EPICENTRO is an immersive and metaphorical portrait of post-colonial, “utopian” Cuba, where the 1898 explosion of the USS Maine still resonates. This Big Bang ended Spanish colonial dominance in the Americas and ushered in the era of the American Empire. At the same time and place, a powerful tool of conquest was born: cinema as propaganda. In his latest film, Hubert Sauper explores a century of interventionism and myth-making together with the extraordinary people of Havana—who he calls “young prophets”—to interrogate time, imperialism and cinema itself.
About the filmmaker: Hubert Sauper is an Academy Award–nominated director, cinematographer, writer, and producer living in France. Best known for his documentaries We Come As Friends (2014) and the Academy Award-nominated Darwin’s Nightmare (2004), he has been recognized for his work with more than 50 film awards, among them a European Film Award, a French César, and awards at the Berlin, Venice and Sundance film festivals. Hubert is a visiting professor at several universities, including Harvard, Yale and Columbia.
Winner: Grand Prize, World Documentary – Sundance Film Festival
“A brilliant mixture of historical-poetic analysis and a ground-level journey among the denizens of Havana… The director’s remarkable eye for lived-in detail and for spectacular imagery will mesmerize you.” – Bilge Ebiri, Vulture
“Acclaimed nonfiction filmmaker Hubert Sauper turns his rigorous but compassionate gaze on this fascinating place in Epicentro… Sauper and his co-editor… work the material with a remarkable fluidity and gracefulness that’s consistently engaging and surprising.” – Leslie Felperin, The Hollywood Reporter
“[A] tender portrait of Cuba. Politics, people and the power of cinema are brought together to create a mosaic-like reflection on Cuba’s history… Epicentro shines in Sauper’s many encounters with the people of Cuba.” – Alan Hunter, Screen International