From 1968 to 1973, the public television variety show SOUL!, guided by the enigmatic producer and host Ellis Haizlip, offered an unfiltered, uncompromising celebration of Black literature, poetry, music, and politics—voices that had few other options for national exposure, and, as a result, found the program an improbable place to call home.The WNET-based series was among the first to provide expanded images of African Americans on television, shifting the gaze from inner-city poverty and violence to the vibrancy of the Black Arts Movement. With participants’ recollections and illuminating archival clips, Mr. SOUL! captures a critical moment in culture whose impact continues to resonate, and an unsung hero whose voice we need now more than ever to restore the SOUL of a nation. Director / Producer / Writer and the niece of Ellis Haizlip, Melissa Haizlip joins us for a lively conversation on the joy and passion that her uncle brought to all of his artistic projects but none more than this resounding response to a constipated white culture that marginalized outside voices with a joyous ode to the astounding depth and breath of Black Culture.
** Mr. Soul!’s Show Me Your Soul – 2021 Oscar® Shortlisted for the Best Song
About the filmmaker – Melissa Haizlip, Producer, Director, Writer is an award-winning filmmaker based in New York. Her work responds to pressing social issues at the intersection of racial justice, social justice, activism, and representation. Female transformation and empowerment are at the core of all of her ideas, with the goal being to advocate and amplify the voices of women and people of color. Melissa’s feature documentary, Mr. SOUL!, has been shortlisted for the Oscars, for Best Original Song. Mr. SOUL! has been nominated by the Guild of Music Supervisors for Best Music Supervision for a Documentary. Mr. SOUL! is also nominated for three NAACP Image Awards, including Outstanding Documentary (Film), Outstanding Writing in a Documentary (Television or Motion Picture), and Outstanding Breakthrough Creative (Motion Picture). Mr. SOUL! won the 2020 Critics Choice Documentary Award for Best First Documentary Feature. Melissa’s two-channel art films have been exhibited by the Hammer Museum Los Angeles Biennial, Contemporary Arts Museum Houston, and Stedelijk Museum in Amsterdam. Melissa has been awarded grants from the Ford Foundation JustFilms, National Endowment for the Humanities, International Documentary Association, National Endowment for the Arts, Black Public Media, Firelight Media, ITVS, Awesome Without Borders, and Puffin Foundation. Melissa went to Yale University. She’s currently co-executive producing a docu-series on women in hip-hop for Netflix.
“Mr. Soul! is an effulgent and joyous celebration of the life-changing public broadcasting program. … Imagine for a moment what pop culture might be like without Questlove and you may have a small sense of what things would be like without SOUL!.” – Douglas Davidson, CLTure
“There’s a sense of overpowering love and gratitude for Haizlip that’s beautiful and wholly felt throughout Mr. Soul!’s runtime, and it’s as warm and comforting as the hot milk cake that Haizlip’s mom used to make for him.” – Jenny Nulf, Austin Chronicle
“Broad in scope and rapidly paced, the film can feel as if it’s bursting at the seams. But it acutely conveys the radical joy that “Soul!” inspired, barely contained in the movie’s running time.” – Devika Girish, New York Times
“Mr. SOUL brings the amazing individual that was Ellis Haizlip back into the forefront of his and our cultural history.” – Robert Daniels, 812filmreviews
“[Mr. Soul!] highlights black excellence and champions equality, tolerance and inclusion … that it manages to b funny, charming, and uplifting is icing on the cake.” – Victor Stiff, Goomba Stomp
Can You Bring It: Bill T. Jones and D-Man in the Waters is a feature documentary that traces the history and legacy of one of the most important works of art to come out of the age of AIDS – Bill T. Jones’ tour de force ballet “D-Man in the Waters”. In 1989, “D-Man in the Waters” gave physical manifestation to the fear, anger, grief, and hope for salvation that the Bill T. Jones/Arnie Zane Company felt as they were embattled by the AIDS pandemic. As a group of young dancers reconstructs the dance, they learn about this oft forgotten history and deepen their understanding of the power of art in a time of plague. Bill T. Jones is arguably the most socially, politically and emotionally compelling choreographer alive today. Thirty years ago, he embedded motifs of risk and sacrifice, love, loss and resurrection in the choreography for “D-Man in the Waters”. Through an extraordinary series of interviews, archival material, and uniquely powerful cinematography of movement, this 90-minute, lyrical documentary uses the story of this dance to illustrate the triumph of the human spirit in art and in the community. Today, by learning the dance, a new generation reinvigorates the spirit of a community fighting to survive. Co-directors Rosalynde LeBlanc and Tom Hurwitz join us for a conversation on the history of D-Man in the Waters, why it is just as relevant today, the spirit of discovery for the student dance ensemble featured in the film and the collaboration with the visionary artist Bill T. Jones.
About the filmmaker – Rosalynde LeBlanc, Producer and Co-Director danced with the Bill T. Jones/Arnie Zane Company (1993 -1999), and Mikhail Baryshnikov’s White Oak Dance Project (1999 – 2002). She has also worked onscreen with film directors Burt Barr, John Turturro, Gretchen Bender, and Matthew Rolston. She can be seen in the short film, Roz, the PBS Specials, Still/Here, Free to Dance, Dancing in the Light, A Good Man, and in the feature film, Romance and Cigarettes. Ms. LeBlanc Loo is a leading figure in the legacy and pedagogy of Bill T. Jones. She re-stages his work around the country and runs the Jones/Zane Educational Partnership at Loyola Marymount University, where she is an Associate Professor in the Department of Dance. In 2020, her work in dance research and pedagogy was recognized with an honorary induction into the Jesuit Honor Society, Alpha Sigma Nu.
About the filmmaker – Tom Hurwitz, ASC, Co-Director and Director of Photography – Tom Hurwitz, ASC, a member of the American Society of Cinematographers, is one of America’s most honored documentary cinematographers. Winner of two Emmy Awards, the Sundance and Jerusalem Film Festival Awards for Best Cinematography, Hurwitz has photographed films that have won four academy awards and several more nominations, recently for Dancemaker and Killing in the Name. Mr. Hurwitz’s features and television programs have won dozens of awards, Emmy, Dupont, Peabody, Directors Guild and film festival awards for Best Documentary, over the last 25 years. He recently won Emmy Awards for Best Documentary Specials for the PBS show Jerome Robbins and the PBS series Franklin, as well as Sundance Awards for Queen of Versailles, and Love Free or Die. Other award-winning films and programs that Mr. Hurwitz has photographed include: Studio 54, Cradle of Champions, Joan Didion: The Center Will Not Hold, Nothing Left Unsaid: Gloria Vanderbilt and Anderson Cooper, Valentino: The Last Emperor, Harlan County USA, Wild Man Blues, My Generation, Down and Out in America, The Turandot Project, Liberty, Dolley, Faith and Doubt at Ground Zero, for PBS; and I Have a Dream, for ABC; and Killing in the Name, and Questioning Faith for HBO. In addition, films that he has directed have won the Cine Golden Eagle and have been shown in festivals around the world. Mr. Hurwitz is also a founding member of the faculty of The MFA Program in the Social Documentary Film Program at New York’s School of Visual Arts.
Bill T. Jones, Artistic Director/Co-Founder/Choreographer: Bill T. Jones/Arnie Zane Company; Artistic Director: New York Live Arts
Bill T. Jones is a multi-talented artist, choreographer, dancer, theater director and writer, and Associate Artist for the 2020 Holland Festival. Mr. Jones has received major honors including the Human Rights Campaign’s 2016 Visibility Award, 2013 National Medal of Arts to a 1994 MacArthur “Genius” Award and Kennedy Center Honors in 2010. Mr. Jones was honored with the 2014 Doris Duke Performing Artist Award, recognized as Officier de l’Ordre des Arts et des Lettres by the French government in 2010, inducted into the American Academy of Arts & Sciences in 2009 and named “An Irreplaceable Dance Treasure” by the Dance Heritage Coalition in 2000. His ventures into Broadway theater resulted in a 2010 Tony Award for Best Choreography in the critically acclaimed FELA!, the musical which was co-conceived, co-written, directed and choreographed by Mr. Jones. He also earned a 2007 Tony Award for Best Choreography in Spring Awakening as well as an Obie Award for the show’s 2006 off-Broadway run. His choreography for the off-Broadway production of The Seven earned him a 2006 Lucille Lortel Award. Mr. Jones began his dance training at the State University of New York at Binghamton (SUNY), where he studied classical ballet and modern dance. After living in Amsterdam, Mr. Jones returned to SUNY, where he became co-founder of the American Dance Asylum in 1973. In 1982 he formed the Bill T. Jones/Arnie Zane Company (then called Bill T. Jones/Arnie Zane & Company) with his late partner, Arnie Zane. Mr. Jones is currently Artistic Director of New York Lives Arts, an organization that strives to create a robust framework in support of the nation’s dance and movement-based artists through new approaches to producing, presenting and educating. For more go to: newyorklivearts.org
“Can You Bring It” is most compelling as an archival work. An early section pairs the original dancers’ memories of the piece’s development with visuals of the corresponding movement, sharply telegraphing the viewer into the creative process.” – Jude Dry, indieWire
Zaida Bergroth’s enthralling new film, TOVE begins in Helsinki, 1945.The end of the war brings a new sense of artistic and social freedom for painter Tove Jansson. Modern art, dizzying parties and an open relationship with a married politician: Her unconventional life puts her at odds with her sculptor father’s strict ideals. Tove’s desire for liberty is put to the test when she meets theatre director Vivica Bandler. Her love for Vivica is electric and all-consuming but Tove begins to realize that the love she truly yearns has to be reciprocated. As she struggles with her personal life, her creative endeavors take her in an unexpected direction. While focusing her artistic dreams on her painting, the work that started as a side project, the melancholic, haunting tales she told scared children in bomb shelters, rapidly takes on a life of its own. The exploits of the Moomins, infused with inspiration from her own life, bring Tove international fame and financial freedom. There’s a daily comic strip, syndicated all over the world to 120 newspapers in 40 countries, a stage play and stories that continue to delight people around the world. But as she begins to find her artistic identity she has to learn to find herself. Her unrequited love for Vivica is preventing her true liberty and only by learning to break away from her can she truly be free. Director Zaida Bergroth joins us for an engaging conversation on humanizing the creative journey of an internationally recognized artistic talent and a woman energized by her personal search for freedom, identity and desire.
Finland’s entry – Best International Feature Film for the 2021 Academy Awards
Director’s Statement– Tove Jansson – the ”Moominmamma”, the one that everybody knows, the one put on a pedestal. My impression of her has been this gray haired, wise, unnaturally calm and somehow untouchable human being. The more I have got to know her through the research and preparation, I have made for this film about her life, the more surprised I’ve become – this film will be anything but calm and predictable. Tove’s passion and energy, her strong emotions and how she expressed them and the fact that she was so unconventional; those were the things that surprised me the most. TOVE struggled with serious issues; she was aware of having a predisposition for depression, her relation to her father was complicated and the strenuous intimate relationships left their marks, but her positivity and her ability to always take other people into consideration and really understand them combined with how she looked for and appreciated light and joy, gives me inspiration and hope. These aspects I have wanted to include in the film about Tove. I wanted to depict Tove closely and sensitively and show as many surprising sides of her as possible, so that the audience understands how passionate and wild she was, how much she loved parties and love itself. TOVE tells about Tove’s life while celebrating courage and independence. With TOVE I once again deal with the same themes and characters that excite me, but this time around I especially enjoy Tove’s inspiring, rambunctious and positive company. Even though the events in her life were sometimes both painful and overwhelming, Tove kept her beautiful outlook on the world and the people in it. It is very comforting that such a wise and understanding person has lived such a wild and uncompromising life. I’m also excited to use my own knowledge in depicting Tove’s life: I’ve lived my childhood surrounded by artists – my mother is a painter and I’ve spent endless hours in her studio. I find it very exciting – and most of all important – to tell this story of an enormously talented and inspiring female artist who continues to have a huge impact on people all around the world.
About the director – Zaida Bergroth (born 1977) is a Finnish film screenwriter-director. Bergroth’s previous films (Maria ́s Paradise, Miami, The Good Son, Last Cowboy Standing) have been screened at festivals including TIFF and have received awards at the Busan International Film Festival, at the Chicago International Film Festival and many others. TOVE is her fifth feature film as a director.
“Though narratively simple, it’s a dazzling piece of work which perfectly captures the essence of the artist and both the necessity and cost of authenticity.” – Jennie Kermode, Eye for Film
“Biopics are a dime a dozen these days with many often featuring the usual cliched rise- and-fall scenario. But with Tove, director Zaida Bergroth is lucky enough to focus on a uniquely alluring Finnish sketcher.” – Susan Wloszczyna, AWFJ Women on Film
“TOVE dispatched me down a rabbit hole, or through a Moomin Door. I recommend the trip. – Anthony Lane, New Yorker
“A story that could have quickly succumbed to common themes about the dreams that are lost with age is instead a bitter-sweet celebration of a life, though imperfect, still lived to its fullest and with learned lessons accompanying regrets.” – Meghan White, AwardsWatch
“If anyone were expecting this to be about Moomins, they would be very disappointed, but if you were expecting a painful love story and struggle of an artist finding herself, this is the story for you.” – Katie Hogan, FILMHOUNDS Magazine
Suzanne (Suzanne Lindon) is sixteen. She is bored with people her own age. From the outside, everything appears lovely in her charmed world, but the everyday monotony of school and her relationships with friends and family feels completely uninspired. Every day on her way to high school, she passes a theater. There, she meets a 35-year-old actor named Raphaël (Arnaud Valois, BPM (Beats Per Minute). Despite their age difference they find in each other an answer to their ennui and develop a strong connection. Immersed in the world of grown-ups and adult choices, Suzanne begins questioning the pitfalls of blossoming too quickly and missing out on life – the life of a 16-year-old, which she had struggled so much to enjoy in the same way as her peers. SPRING BLOSSOM is a masterful and refreshing tale, filled with freewheeling musical numbers, of young teen’s sense of curiosity and wonderment at first-love. Director, writer and lead actor Suzanne Lindon joins us for a conversation on the personal story behind the story of SPRING BLOSSOM, the passion and confidence that propelled this project from diary to distribution and what was going through her mind on the first day the 19 year-old Suzanne step on to the set to direct her debut feature film.
About the filmmaker – Suzanne Lindon is 20 years old and was born IN April 2000 in Paris. At 15, she enrolled at the prestigious French high school Henri IV, and at the same time began writing SPRING BLOSSOM. Suzanne graduated high school with honors in 2018, and decided to take a one year preparatory course in sketching before joining l’Ecole Nationale Supérieure des Arts Décoratifs of Paris. It’s in 2019, the summer of her 19th birthday, that she decided to dive into preparation for her first feature film as both director and lead actress.
“Still just twenty when she directed and starred in the film, Lindon creates a portrait of first love which is fresh, honest and engaging.” – Wendy Ide, Screen International
“Writer-director Suzanne Lindon’s … dazzling directorial debut once again proves that there’s nothing more romantic than Parisian cafés and sun-bleached boulevards.” – Andrew Murray, The Upcoming
“It’s an extremely accomplished introduction from its young director-star, with Lindon delivering a beguiling take on first love that casually casts off the weight of judgement.” – Emma Simmonds, The List
“Spring Blossom is a light, frothy and charming drama from writer/director Suzanne Lindon, who shows great potential in becoming a formidable director in the future. Recommended.” – Harris Dang, The AU Review
Turner Classic Movies (TCM) is a two-time Peabody Award-winning network that presents great films, uncut and commercial-free, from the largest film libraries in the world highlighting the entire spectrum of film history. TCM features the insights from Primetime host Ben Mankiewicz along with hosts Alicia Malone, Dave Karger, Jacqueline Stewart and Eddie Muller, plus interviews with a wide range of special guests and serves as the ultimate movie lover destination. With more than two decades as a leading authority in classic film, TCM offers critically acclaimed series like The Essentials, along with annual programming events like 31 Days of Oscar® and Summer Under the Stars. TCM also directly connects with movie fans through events such as the annual TCM Classic Film Festival in Hollywood, the TCM Big Screen Classics series in partnership with Fathom Events, as well as through the TCM Classic Film Tour in New York City and Los Angeles. In addition, TCM produces a wide range of media about classic film, including books and DVDs, and hosts a wealth of material online at tcm.com and through the Watch TCM mobile app. Fans can also enjoy a TCM curated classics experience on HBO Max.
TCM UNDERGROUND – Tune in every Friday night for TCM Underground, our late-night movie franchise that showcases the best of classic cult favorites and hard-to-find films, from experimental shorts to off-beat comedies. For more discussions around the wild, weird world of cult films and films shown on TCM Underground, check out our web series TCM Slumberground on YouTube!
TCM SLUMBERGROUND is the official monthly pre-show for TCM Underground, a late-night cult movie franchise that airs at 2:00 am EST on Friday nights on Turner Classic Movies. In each episode, TCM Underground programmer Millie De Chirico sits down with a panel of her fellow TCM employees to discuss the upcoming double feature and other cult movie topics.
Other Midnight Films at past TCM Classic Film Festivals include: Boom!, Duck Soup, Eraserhead, Freaks, Gog, Island of Lost Souls, Kentucky Fried Movie, Night of the Living Dead, Nothing Lasts Forever, Phase IV, Roar, Santo vs. The Evil Brain,The Bride of Frankenstein, The Day of the Triffids, The Mummy, The Student Nurses, The Tingler, The World’s Greatest Sinner and Zardoz.
In the late 1960s, in the aftermath of the Watts Uprising and against the backdrop of the continuing Civil Rights Movement and the escalating Vietnam War, a group of African and African-American students entered the UCLA School of Theater, Film and Television, as part of an Ethno-Communications initiative designed to be responsive to communities of color (also including Asian, Chicano and Native American communities). Now referred to as the “L.A. Rebellion,” these mostly unheralded artists created a unique cinematic landscape, as—over the course of two decades—students arrived, mentored one another and passed the torch to the next group. Beyond the films themselves, what makes the L.A. Rebellion movement a discovery worthy of a place in film history is the vitality of its filmmakers, their utopian vision of a better society, their sensitivity to children and gender issues, their willingness to question any and all received wisdom, their identification with the liberation movements in the Third World, and their expression of Black pride and dignity. As part of the 2021 TCM (Turner Classic Movies) Film Festival is spotlighting two of the L.A. Rebellion’s leading lights, Charles Burnett and Billy Woodberry in the festival’s Special Collections section. Charles Burnett and Billy Woodberry join us for a conversation on their recollections the birth of the L.A. Rebellion and the inspiration for their life altering decision to become filmmakers.
About the filmmaker – Charles Burnett is a writer-director whose work has received extensive honors. Born in Vicksburg, Mississippi, his family soon moved to the Watts neighborhood of Los Angeles. Burnett studied creative writing at UCLA before entering the University’s graduate film program. His thesis project, Killer of Sheep (1977), won accolades at film festivals and a critical devotion; in 1990, it was among the first titles named to the Library of Congress’ National Film Registry. European financing allowed Burnett to shoot his second feature, My Brother’s Wedding (1983), but a rushed debut prevented the filmmaker from completing his final cut until 2007. In 1988, Burnett was awarded the prestigious John D. and Catherine T. MacArthur (“genius grant”) Fellowship and shortly thereafter Burnett became the first African American recipient of the National Society of Film Critics’ best screenplay award, for To Sleep withAnger (1990). Burnett made the highly acclaimed “Nightjohn” in 1996 for the Disney Channel; his subsequent television works include “Oprah Winfrey Presents: The Wedding” (1998), “Selma, Lord, Selma” (1999), an episode of the seven-part series “Martin Scorsese Presents The Blues” (2003) and “Nat Turner: A Troublesome Property” (2003), which was shown on the PBS series “Independent Lens.” Burnett has been awarded grants from the Guggenheim Foundation, the Rockefeller Foundation, the National Endowment for the Arts and the J. P. Getty Foundation. In 2011, the Museum of Modern Art showcased his work with a month-long retrospective.
To Sleep with Anger – Writer and Director Charles Burnett – A slow-burning masterwork of the early 1990s, this third feature by Charles Burnett is a singular piece of American mythmaking. In a towering performance, Danny Glover plays the enigmatic southern drifter Harry, a devilish charmer who turns up out of the blue on the South Central Los Angeles doorstep of his old friends. In short order, Harry’s presence seems to cast a chaotic spell on what appeared to be a peaceful household, exposing smoldering tensions between parents and children, tradition and change, virtue and temptation. Interweaving evocative strains of gospel and blues with rich, poetic-realist images, To Sleep with Anger is a sublimely stirring film from an autonomous artistic sensibility, a portrait of family resilience steeped in the traditions of African American mysticism and folklore.
About the filmmaker – Billy Woodberry Born in Dallas in 1950, Billy Woodberry is one of the founders of the L.A. Rebellion film movement. His first feature film Bless Their Little Hearts (1983) is a pioneer and essential work of this movement, influenced by Italian neo-realism and the work of Third Cinema filmmakers. The film was awarded with an OCIC and Interfilm awards at the Berlin International Film Festival and was added to the National Film Registry of the Library of Congress in 2013. His latest feature film And when I die, I won’t stay dead (2015) about the beat poet Bob Kaufman was the opening film of MoMA’s Doc Fortnight in 2016. Woodberry has appeared in Charles Burnett’s “When It Rains” (1995) and provided narration for Thom Andersen’s Red HOLLYWOOD” (1996) and James Benning’s “Four Corners”(1998). His work has been screened at Cannes and Berlin Film Festivals, the Museum of Modern Art (MoMA), Harvard Film Archive, Camera Austria Symposium, Human Rights Watch Film Festival, Tate Modern and Centre Pompidou. He received his MFA degree from UCLA in 1982 where he also taught at the School of Theater, Film and Television. Since 1989 Billy Woodberry is a faculty member of the School of Film/Video and the School of Art at the California Institute of the Arts.
Bless Their Little Hearts – Director / Producer / Editor Billy Woodberry – A key masterpiece of the L.A Rebellion, Bless Their Little Hearts distills the social concerns and aesthetics of that trailblazing movement in African American cinema. Billy Woodberry’s film showcases his attentive eye, sensitivity to the nuances of community and family, and the power of the blues. Searching for steady work, Charlie Banks (Nate Hardman) views his chronic unemployment as a kind of spiritual trial. But day work and selling a few catfish can’t sustain a family of five. While his wife, Andais (Kaycee Moore), works to support them with dignity, Charlie finds comfort for his wounded sense of manhood in an affair that threatens his marriage and family.At the heart of this devastatingly beautiful film is the couple’s agonizing confrontation – shot in one continuous ten-minute take – that ranks as “one of the great domestic cataclysms of modern movies.” (Richard Brody, The New Yorker) Named to the National Film Registry, Bless Their Little Hearts features contributions by two iconic American artists: Charles Burnett (Killer of Sheep, To Sleep With Anger), who wrote and shot the film, and Kaycee Moore (Daughters of the Dust), whose powerful performance as Andais Banks remains a revelation. Film restoration by Ross Lipman with Billy Woodberry at UCLA Film & Television Archive. 2K Digital restoration by Re-Kino, Warsaw. English captions and Spanish subtitles.
Turner Classic Movies (TCM)is a two-time Peabody Award-winning network that presents great films, uncut and commercial-free, from the largest film libraries in the world highlighting the entire spectrum of film history. TCM features the insights from Primetime host Ben Mankiewicz along with hosts Alicia Malone, Dave Karger, Jacqueline Stewart and Eddie Muller, plus interviews with a wide range of special guests and serves as the ultimate movie lover destination. With more than two decades as a leading authority in classic film, TCM offers critically acclaimed series like The Essentials, along with annual programming events like 31 Days of Oscar® and Summer Under the Stars. TCM also directly connects with movie fans through events such as the annual TCM Classic Film Festival in Hollywood, the TCM Big Screen Classics series in partnership with Fathom Events, as well as through the TCM Classic Film Tour in New York City and Los Angeles. In addition, TCM produces a wide range of media about classic film, including books and DVDs, and hosts a wealth of material online at tcm.com and through the Watch TCM mobile app. Fans can also enjoy a TCM curated classics experience on HBO Max.
STREET GANG: HOW WE GOT TO SESAME STREET takes audiences inside the minds and hearts of the “Sesame Street” creators, artists, writers, and educators who together established one of the most influential and enduring children’s programs in television history. Inspired by the activism of the late 1960s, socially conscious television executive Joan Ganz Cooney and Sesame Workshop co-founder Lloyd Morrisett conducted a revolutionary experiment: to harness the burgeoning power of television and create an educational, impactful, uplifting and entertaining show that could reach children nationwide, especially those living in urban areas. Cooney recruited trailblazing Muppets creator Jim Henson and acclaimed children’s television writer and director Jon Stone to craft the iconic and beloved world of “Sesame Street.”STREET GANG: HOW WE GOT TO SESAME STREET reintroduces this visionary “gang” of mission-driven artists, writers, and educators that audaciously interpreted radical changes in society and created one of most impactful television programs in history. With more than 20 interviews with original writers, cast, and crew, and never-before-seen behind the scenes footage, STREET GANG is told from the inside with humor and emotion, weaving together personal narratives and eyewitness accounts. The film explores the original mission of the “gang” that created this cultural phenomenon, now spanning 50-plus years and reaching more than 150 countries. Director Marilyn Agrelo joins us to talk about the enduring legacy of SESAME STREET as well as the beautifully disruptive and groundbreaking approach to connecting with children and in doing so made them into collaborators and the beneficiaries of this illuminating enterprise.
“Street Gang is a wonderful documentary that would play extraordinarily well whenever it was released, but in this present moment? It feels positively miraculous; a much-needed happy-sad warm blanket indeed.” – Shaun Munro, Flickering Myth
“It’s hard to ask for much more than a doc that captures creatives thoughtfully sneaking the civil revolution as well as basic education into children’s TV and includes a Muppets blooper reel.” – Chris Willman, Variety
“It’s genuinely, enormously inspirational to watch this ragtag band of beatniks and beardos turning sinister Madison Avenue techniques into instruments of learning.” – Sean Burns, Spliced Personality
“Carries tremendous power as an emotional reminder of such a triumphant run, also working beautifully as a reunion with old faces and as an introduction to key behind-the-scenes figures helping to bring inclusion to the masses.” – Brian Orndorf, BrianOrndorf.com
“Street Gang is a loving, emotional tribute to a global brand that tackled racism, education and more with puppets, music through a street that everyone wanted to live on – Sesame Street…” – Carla Renata, The Curvy Film Critic
PARIS CALLIGRAMMES is an epic self-portrait of Ulrike Ottinger, one of Germany’s most prominent contemporary avant-garde artists, known for her paintings, photographs, and, above all, her films. An impressive and extensive archive of sensorial memories, historical photographs, and documentary footage traces the early influences of Ottinger’s life in Paris in the 1960s. This was a time marked by her integration into the rich intellectual and cultural circles of the city, but also engagement in the political and social eruptions around the Algerian War and May 1968. These varied dimensions of her experience make PARIS CALLIGRAMMES an essential historical time capsule, beautifully interwoven with the most precious of memories and images. In a rich torrent of archival audio and visuals, paired with extracts from her own artworks and films, Ottinger resurrects the old Saint-Germaindes-Prés and Latin Quarter, with their literary cafés and jazz clubs, and revisits encounters with Jewish exiles, life with her artistic community, the world views of Parisian ethnologists and philosophers, the political upheavals of the Algerian War and May 1968, and the legacy of the colonial era. Director Ulrike Ottinger (Seven Women, Seven Sins, Ticket of No Return, Johanna d’Arc of Mongolia) joins us for a conversation on her life as young painter in Paris in the 1960s, and her personal memories of Parisian bohemianism and the serious social, political and cultural upheavals of the time into a cinematic “figure poem” (calligram) in “Paris Calligrammes”.
“In Paris Calligrammes, the artist Ulrike Ottinger casts a highly personal and subjective gaze back to the twentieth century. At the heart of her film is Paris: its protagonist is the city itself, its streets, neighborhoods, bookstores, cinemas, but also its artists, authors, and intellectuals. It is a place of magical appeal, an artistic biotope, but also a place where the demons of the twentieth century still confront us.” – Bernd Scherer
100% on Rotten Tomatoes
“One of the great works of first-person cinema. Ottinger’s personal and political masterwork. Extraordinary; a work of vital and energetic modernism.” – Richard Brody, The New Yorker
“Enriching, stimulating; vital and contradictory. Captures the zeitgeist as experienced by a young woman eager to soak up the cultural riches around her, which she then distilled through her own sensibility to create paintings reflecting the era’s upheavals.” – Jay Weissberg, Variety
“Never a dull moment; the work of a consummate artist who understands the importance of the form matching the story.” – Kaleem Aftab, Cineuropa
“Her cinema is restless, Odyssean: full of stories of exile and adventure. [‘Paris Calligrammes’ is] an homage to the intellectual and artistic life of the city in the 1960s.” – Amy Sherlock, Frieze Magazine
Part Geo-political saga, part ode to their origin country of Cuba, LOS HERMANOS/THE BROTHERS follows the journeys of virtuoso Afro-Cuban musician brothers, Ilmar and Aldo López-Gavilán, born in Havana in the 70s. At 14, Ilmar outgrew his island teachers and was sent to the U.S.S.R. to study violin. He never lived in Cuba again, ultimately landing as a working chamber violinist in the United States. Younger brother Aldo grew up mentored by Cuba’s impressive jazz and classical pianists, his extraordinary talent achieving renown on the island, but stymied elsewhere by the 60-year-old U.S. embargo. Though they see each other when family finances and visa restrictions allow, they’ve never had a chance to collaborate musically—something they’ve longed for all their lives. Tracking their parallel lives, poignant reunion, and momentous first performances together on stages across the U.S., LOS HERMANOS / THE BROTHERS is a nuanced, intensely moving view of nations long estranged, through the lens of music and family. Featuring an electrifying, genre-bending score, composed by Cuban Aldo López-Gavilán, performed with his American brother, Ilmar, and with guest appearances by maestro Joshua Bell and the Grammy-winning Harlem Quartet, filmmakers Ken Schneider and Marcia Jarmel take the viewer on a delightful musical tour through Cuba and the US, capturing the artistry behind their music and their deep familial bond.
Watch Los Hermanos / The Brothers beginning May 14
About the filmmaker – Marcia Jarmel is a veteran documentary director, producer, and impact producer. Prior to founding PatchWorks, Marcia directed and produced THE RETURN OF SARAH’S DAUGHTERS (Women in the Director’s Chair, IDA’s DocuWeek, Cinequest, international public television) and THE F WORD: A SHORT FILM ABOUT “FEMINISM” (Living Room Festival, AFI’s VideoFest, and Brooklyn Art Museum’s Judy Chicago film series). Angela Davis called THE F WORD “an important step toward rekindling discussion of feminism.” Marcia consults on social issue films, including HBO’s Emmy nominated 50 CHILDREN, and the Academy Award nominated LAST DAY OF FREEDOM. Marcia has been a resident at Working Films’ Content+Intent at Mass MoCA, Fledgling Fund’s Reel Education and Reel Impact, SFFilm’s FilmHouse, the Kopkind Colony, and twice a BAVC MediaMaker. She has taught at NYU-Tisch in Havana and Chapman University and served as a juror for the Emmys, BAVC MediaMaker, and many film festivals.
About the filmmaker – Ken Schneider is a Peabody Award winner who believes in the power of film to affect hearts and minds. For nearly 30 years, Ken has produced, directed and edited documentaries in English and Spanish, focusing on war and peace, human rights, artists’ lives, American history, contemporary social issues, and Cuba. His work has appeared on PBS’s series American Masters, POV, Independent Lens, Frontline, Voces, and on HBO, Al-Jazeera, Showtime, and on television and in film festivals worldwide. Ken co-edited the Oscar-nominated REGRET TO INFORM and has edited over 35 feature length documentaries that have won Primetime and Documentary Emmys, three Peabodys, a Columbia-Dupont, IDA (International Documentary Association) awards, an Indie Spirit award, and top awards at Sundance. Ken edits in English and Spanish and has a personal connection to Cuba, where his Vienna-born father was sheltered during the Holocaust. Ken has taught at NYU-Tisch, Chapman University, and San Francisco City College, and lectured at the SF Art Institute, University of San Francisco, and Harvard. He has been a panelist for the National Endowment for Humanities, Emmys, and various film festivals.
PatchWorks Films, co-founded by husband and wife team Marcia Jarmel and Ken Schneider, makes documentaries raising nuanced questions about critical contemporary issues. PatchWorks’ films have broadcast and screened worldwide and have each been used in robust engagement campaigns. Their most recent feature, HAVANA CURVEBALL screened in six countries, winning Best Documentary awards at the Boston and Seattle Children’s Film Festival, a special jury award at the Olympia Festival in Greece and a spot on School Library Journal’s “Best of 2014” list. Their previous feature, SPEAKING IN TONGUES, aired on PBS, won the Audience Award at the San Francisco Film Festival, and continues to be a catalyst for changing language education worldwide. Previous films include BORN IN THE U.S.A., which aired on Independent Lens and was hailed as the “best film on childbirth” by the World Health Organization, and several shorts. LOS HERMANOS/THE BROTHERS is their 9th collaboration, their 4th in Cuba. Clips and information on all PatchWorks’ features and shorts can be found at patchworksfilms.net.
“I cannot overstate the pleasure and excitement this film provides. It is a must-see.”- Marin Post
“an exhilarating and perceptive dive into the magical and confounded lives of two Cuban-born brothers” – ARThound
“Here is a purely celebratory film that at the same time biopsies political expedience and nationalism” – Woodstock FIlm Festival
“A remarkable film about a family ensnared in geopolitics” – San Francisco Chronicle
ANATOMY OF WINGS is the direct result of an after-school film project, where ten Black middle school girls gathered each week to collaborate with their Black and white mentors on a feature-length documentary about their own coming-of-age in Baltimore City. Weeks turn into years. Then, shortly before the girls’ high school graduations, a sea of misunderstanding arises about what’s to come. This self-defined ‘second family’ is left to question if their solidarity will survive the realities of living in a world of racial inequity.WINGS mentors created a safe space for the girls to practice filmmaking and share life experiences, questions and personal moments such as proms, first time gynecologist visits and accomplishments. Their lives in Baltimore reflected their corresponding community and, once in high school, the girls began inviting their best friends to join the program. The result: we became a group of 10. What began as a videography program evolved into a powerful space of sharing for ten years, where ten girls, mentors, professors and college students at MICA created a family. The co-directors Kirsten D’Andrea Hollander and Nikiea Redmond join us for a conversation on the power of storytelling, especially for young women of color, living in a community bereft of opportunity can be a powerful and unmistakable call to arms for real social change.
About the filmmaker – Kirsten D’Andrea Hollander is a full-time professor at the Maryland Institute College of Art (MICA), where she currently directs the MFA Filmmaking program. Equipped with an undergraduate degree in Painting from MICA in 1988, she turned to documentary filmmaking after receiving an MFA in Imaging and Digital Arts from UMBC in 1997. Having taught in higher education for 22 years, Hollander explored how the camcorder can be a collaborative tool to bear witness. In 2008 she launched the ‘Wings Video Skills After School Program for Girls’ and the recently completed ‘Anatomy of Wings’ feature length documentary. In 2011 Hollander was selected for an Independent Filmmaker Project Fellowship to launch her first feature length documentary, ‘Us, Naked: Trixie & Monkey’, which premiered with the DOC NYC film festival in 2014. In 2015, ‘Us, Naked: Trixie & Monkey’ received Best International Feature Length Documentary at the Netherland’s DOCfeed Film Festival and Best Feature Length Documentary at New York’s Coney Island Film Festival. The film went into international distribution with Random Media/The Orchard in 2017. Hollander lives in Baltimore City with her husband, son, and two silly dogs.
About the filmmaker – Nikiea Redmond received her Bachelors in Corporate Communication from the University of Baltimore in 2011. Growing up in East Baltimore Redmond became a mentor to the youth coming-of-age around her. Being a child in Baltimore’s impoverished neighborhoods, researching the history of slavery in her family, traveling with Freedom Schools focused on teaching African history – and working professionally in the public-school system has provided Redmond with the experience to tell the ‘Anatomy of Wings’ story with a direct understanding of societal makeups and the human rights she wishes to see in the world. Additionally, Redmond serves as a liaison bringing together political organizations, community groups and stakeholders in East Baltimore. The Afro-American Newspaper presented Redmond with the ‘Sam Lacy Award for Youth Leadership’ in 2004. She is also a 2015 recipient of the ‘Black Wall Street Journal Award’ for her work in Baltimore City.
January 12-24 2021, Highways, the legendary Los Angeles Performance Space and Gallery presents its Second Annual Film Maudit 2.0 festival showcasing and celebrating new outré, unusual and startling films. The festival will feature over 125 works of cinema from 25 countries including films rarely if ever, seen in festivals: works addressing socio-political issues and taboo subject matter that challenges conventional artistic assumptions and sexual mores.Virtual, online screenings of 18 feature films, 21 shorts programs, specially commissioned programs, and new film scored performed by artists who reflect the diversity of Los Angeles. Included are a range of narrative, documentary and experimental films that are deliberately bold, extreme, confrontational and unusual. Film Maudit 2.0 highlights this year include the U.S. premieres of Feature Films:Mathius Marvellous Shop, a Spanish/German surrealistic satire;Kriya, a magical Indian thriller, and the Los Angeles premieres of Woman of the Photographs; a powerful Japanese film about image and reality for a beautiful model; The Columnist, a darkly comic horror film from The Netherlands; A Dark, Dark Man, the Kazakhstan/France thriller just long-listed for the Golden Globes; and Darkness (Buio)the first feature film by Donatello Award-winning director Emanuela Rossi. Other special programs include a special fundraising screening of erotic art pioneers Annie Sprinkle and Beth Stephens’ Water Makes Us Wet, featuring a live stream Q&A with both; new, original music scores performed live to silent films, and multiple Feature and Shorts Programs that showcase works from 25 countries in 16 uniquely curated categories from ‘Ms. Fear’ to ‘Shattering Form’ – with animated documentaries to experimental works handmade on film; extreme horror to comic surrealism. There is a special focus on works in Film Maudit’s BEHOLD section, which includes NSFW! curated by Planet Queer, Hi Kicks Entrails, curated by performance artist Ironstone, and QLX: the Performance of Queer Latinx.
Film Maudit 2.0 festival is inspired by French avant-garde filmmaker and writer Jean Cocteau who created the original Festival du Film Maudit (literally “cursed films”) in 1949 aiming to celebrate overlooked, shocking and experimental films. Film Maudit 2.0, in its 2nd year, showcases a counter-cinema will blend of narrative, documentary and experimental films that in their style and/or subject matter, are deliberately bold, extreme, confrontational, troubling, shocking and/or unusual. The festival is funded in part by the California Arts Council, Los Angeles County Department of Cultural Affairs and the City of Santa Monica Cultural Affairs CAP Program.
About HIGHWAYS – Film Maudit 2.0 is co-presented by and takes place at Southern California’s boldest center for new performance and media arts, Highways Performance Space & Gallery in Santa Monica, CA. In its 31st year, Highways continues to be an important alternative cultural center in Los Angeles that encourages radical artists from diverse communities to develop and present innovative new works. Described by the Los Angeles Times as “a hub of experimental theater, dance, solo drama and other multimedia performance,” Highways promotes the development of contemporary socially involved artists and art forms. Under the helm of Executive Director, Leo Garcia, Highways has received funding and support from organizations such as the The James Irvine Foundation, Metabolic Studio, California Community Foundation, Liberty Hill Foundation, The Warhol Foundation, National Endowment for the Arts, and The Roy Cockrum Foundation. Leo Garcia is an award-winning playwright, filmmaker, visual artist and actor who has produced over 800 performance works as Artistic Director-turned-Executive Director of Highways since 2003. highwaysperformance.org
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.
GET DUKED! follows teenage pals from Glasgow Dean, Duncan and DJ Beatroot as they embark on the character-building camping trip — based on a real-life program — known as the Duke of Edinburgh’s Award, where foraging, teamwork and orienteering are the order of the day. Eager to cut loose and smoke weed in the Scottish Highlands, the trio find themselves paired with strait-laced Ian, a fellow camper determined to play by the rules. After veering off-path into remote farmland that’s worlds away from their urban comfort zone, the boys find themselves hunted down by a shadowy force hell-bent on extinguishing their futures. From writer-director Ninian Doff — making his feature debut after a slew of award-winning music videos and short films for artists including Run the Jewels, The Chemical Brothers, Miike Snow, Migos, and Mykki Blanco— comes an anarchic satire of generational politics, hip-hop-loving farmers and hallucinogenic rabbit droppings that pits the youth of tomorrow against the status quo of yesterday. GET DUKED! stars Eddie Izzard, Kate Dickie, Georgie Glen, James Cosmo and a breakout young cast featuring Samuel Bottomley, Viraj Juneja, Rian Gordon, and Lewis Gribben. Creator and director Ninian Doff joins us for a raucous conversation on the brilliance of Eddie Izzard, getting a chance to bring his music video chops to a feature film and why the Brits are so attuned to the power of satire.
About the filmmaker: Ninian Doff is a robot built by the military as an advanced ruthless killing machine. Unfortunately when they booted him up he showed no interest in murder and to their dismay started making films instead. He is considered the greatest military failure in history. Nominated for 9 British Arrows 2020 (Sainsburys and Veg Power), Grammy 2020 Best Music Video Nominated (Chem Brothers), Campaign’s Top 10 Directors 2019, Winner Shots Awards “Television Commercial of the Year – Up to and including 60 second” (Veg Power), BIFA Best Debut Director Nominated (Boyz In the Wood/ Get Duked!), Winner Just Film Grand Prix Talin Black Night Festival (Boyz In the Wood/ Get Duked!), Winner The Siren Award for Best Feature Film 2019 Lund Fantastik Film Festival (Boyz In the Wood/ Get Duked!), Winner Music video of the year Ars Independent Festival (Chemical Brothers), Nominated Best Dance Video UKMVA 2019 (Chemical Brothers), Winner SXSW Audience Award Midnighters (Boyz In The Wood), Winner of Best Director at UKMVA 2016. Winner Best Urban Video, Best Pop Video UKMVA 2016. D&AD Director Pencil 2016. Gold in FilmCraft at Europebest 2015. UKMVA 2015 Best Director Nominee. UKMVA 2104 “Best Director” Nominee. Winner UKMVA 2014 “Best Choreography”. Winner of UKMVA 2013 “Best Indie Video”. Jury and Audience award at ‘Depict13 at Brief Encounters Film Festival 2013. Nominee at UKMVA’s in last 3 years running including “Best New Director”. Selected for Saatchi and Saatchi’s New Director’s Showcase at Cannes 2012 and One Dot Zero’s “New British Talent 11”. Work has been screened at over A BILLION festivals around the world including SXSW, LA Film Festival, London Short Film Festival, Las Vegas Film Festival, Montreal Museum of Modern Art, The V&A London. For more on the filmmaker fo to: niniandoff.com
“Serves as a distinctive calling card for a gifted yet twisted comedian, one without the slightest qualms about turning a bucolic countryside jaunt into a bloody “The Hills Have Eyes”-style hunting party.” – Peter Debruge, Variety
“A rambunctious film shot through with daft humour and an endearing, toxic masculinity-smashing sweet streak.” – Jamie Dunn, The Skinny
“An anarchic, pitch black, generation gap horror comedy that’s also one of the funniest films in a year where we are desperately in need of a laugh.” – James Croot, Stuff.co.nz
The rePRO Film Festival begins its inaugural run this August 12-16. The virtual film festival is dedicated to exploring women’s reproductive healthcare, awareness, advocacy and bodily integrity in America. The lineup of films includes documentaries and narratives dealing with women’s rights, endometriosis, illegal sterilization, access to abortion, and reproductive justice for women of color, among other topics. rePRO Film Festival, will host five days of features, short films and themed-conversations focused on a range of topics including healthcare access, fertility, pregnancy, sexual education, abortion, and issues related to the gender spectrum. In-festival moderated conversations will include call-to-action messaging on how people can get involved in a corresponding initiative or topic. The conversations, designed to spotlight the creators who dare to tell stories about women’s reproductive rights, and to showcase courageous advocators, will be available online for free globally. All feature films playing the rePRO Film Festival are directed by women, and all filmmakers, including shorts filmmakers, are being paid to screen their films. The pay-what-you-can film ticket proceeds for films at the festival will be converted to donations to be split evenly among five beneficiary non-profit organizations – SisterSong, Endometriosis Foundation of America, Center for Reproductive Rights, URGE and Trust Women.Tickets are on sale online at repromamafilm.org. Tickets are all pay-what-you-can ($5, $10 or $15) with a limited number of complimentary vouchers available upon request to ensure access for all. rePro Film Festival and festival sponsor mama.film founders Lela Meadow-Conner, Mallory Martin and Debby Samples join us to talk about the launch of their deep dive into the issues, challenges and stories that face 49% of the world’s population and the people who love them.
About MAMA.FILM – Through the power of cinema, mama.film (link), a 501c(3) non-profit organization, unites nurturers of all kinds to ignite conversation and to reflect upon our shared human experience. Founded in 2019, in a pop-up microcinema in a shipping container in Wichita, Kansas, mama.film has since been awarded expanded programming to Cleveland, and to a virtual platform. Film selections include stories and topics that amplify and explore the evolving realities of the human condition and that spark dialogue and reflection. mamafilm is committed to representing the realities and complexities of a diverse range of nurturers, across race, class, geography, sexual preference, ability and generation.An emphasis is placed on independent and foreign films that are grounded in authentic storytelling. mamafilm is committed to supporting the work of creators who are nurturers and caregivers. Initial support for rePRO by mama.film was generously provided by a grant from the George R. Tiller, M.D., Memorial Fund for the Advancement of Women’s Health at the Wichita Community Foundation. Follow @mamafilm1 on Instagram or Twitter for updates, or follow rePRO by mama.film on Facebook for more updates.
MY DARLING VIVIAN is the the story of Vivian Liberto, Johnny Cash’s first wife and the mother of his four daughters. In 1951, Catholic schoolgirl Vivian Liberto meets handsome Air Force cadet Johnny Cash at her local San Antonio, Texas skating rink. Their whirlwind summer romance lays the foundation for a feverish three-year-long correspondence while Johnny is stationed in Germany. Thousands of letters later, the two marry upon his return in 1954. Within a year, a career blossoms and a family is started. By 1961, Johnny Cash is a household name, number one on the music charts, and perpetually on tour. Meanwhile, only two weeks postpartum, Vivian settles into their custom-built home in Casitas Springs, California with their four young daughters. Plagued by bobcats, rattlesnakes, all-hours visits from fans, and a growing resentment toward her husband’s absence, Vivian is pushed to a near breaking point when she and her daughters are targeted by hate groups over her perceived race. In MY DARLING VIVIAN, we meet the first Mrs. Cash as her daughters, Rosanne, Kathy, Cindy, and Tara, share with us first hand, for the first time, the entire story of love, isolation, fear, heartbreak, and survival. Director Matt Riddlehoover and Producer Dustin Tittle joins us to talk about an unacknowledged, but crucial part of the Cash legacy and the impact it has on the lives of those who loved him.
DIRECTOR’S STATEMENT – Vivian Liberto’s story is one that has intrigued me for years. Dustin, my husband and producing partner, is the grandson of Vivian and Johnny Cash; I’d heard fragments of her experience from my mother-in-law, Kathy, and how grossly misrepresented she was in the 2005 film, Walk the Line. It wasn’t until a close friend suggested we make this film that I even considered it a possibility – it seemed too huge a responsibility. Now that Vivian’s truth is being told at a time when our society is beginning to listen to its aggrieved women, maybe her joy and pain and reality can be fully accepted. Her life was romantic and bewildering, difficult and significant, and wholly filmic – more than a mere footnote in the biography of Johnny Cash. The marks that were left on our four interviewees as children are undeniable, and also worth noting. These women have held an important piece of hidden history that seems more relevant today than ever before. It’s time we sat down and spent an hour or so in their, and their mother’s, shoes. Over these past two and a half years, I’ve fallen madly in love with Vivian, and my hope is that others do, too. – Matt Riddlehoover, Director
“This is a long-overdue must-see that sets the record straight for a woman whose whole life was glossed over in favor of a more camera-ready tabloid romance. There is great value to be found in My Darling Vivian if you’re up to walk this line.” – Bradley Gibson, Film Threat
“Enriched by a treasure trove of family photos, home movies, and previously unheard recordings, “My Darling Vivian” defiantly upends the accepted Nashville and Hollywood narrative…” – Andrew Osborne, culturevulture.net
“My Darling Vivian is an unmistakably loving and sensitive portrait, an imperfect but impassioned attempt to makes the case that the easy Johnny Cash narrative is missing an important figure.” – Steve Pond, TheWrap
In YOU DON’T NOMI,a chorus of film critics and fervent devotees explore the complicated afterlife of 1995’s biggest film flop, Paul Verhoeven’s salacious SHOWGIRLS from disastrous release to cult adoration and extraordinary redemption 25 years later.Showgirlswas met by critics and audiences with near universal derision. YOU DON’T NOMI traces the film’s redemptive journey from notorious flop to cult classic, and maybe even masterpiece.The film features Adam Nayman (Vice Guide to Film), April Kidwell (I, Nomi) and Peaches Christ (Milk) as well as archive interview footage with the cast and crew of Showgirls. While SHOWGIRLSis the main subject of YOU DON’T NOMI, the documentary is also a retrospective of Verhoeven’s directing career from RoboCop, Total Recall, Basic Instinct, Starship Troopers and Elle, among others. It explores the themes that unite his films, while showcasing Verhoeven as a genius and as a controversial figure all at the same time. Director Jeffrey McHale joins us to talk about his own Showgirls odyssey and how he came to document the subculture that celebrates a film that cinephiles often vilify and embrace at the same time.
About the filmmaker Jeffrey McHale, Director / Producer / Editor, is a documentary filmmaker based in Los Angeles. His feature film debut, YOU DON’T NOMI, is the zenith of what he calls his “Showgirls adventure.” While McHale’s inspiration for You Don’t Nomi originated with the unexpected viral success of his 2010 trailer mashup of Paul Verhoeven’s Showgirls and Darren Aronofsky’s Black Swan, Nomi also synthesizes recurring themes in McHale’s work, including the examination of queer subcultures and the exploration of how identities are articulated. As a television editor, McHale’s work includes acclaimed technology and science news series TechKnow for Al Jazeera English and most recently the groundbreaking World Cup docuseries Phenoms for Fox. Earlier projects, including documentary shorts and music videos, have screened at NewFest, Frameline, Austin Gay & Lesbian International Film Festival, and the Melbourne Queer Film Festival. A native of Michigan, McHale began his career at WGN America after studying film at Columbia College Chicago.
“You Don’t Nomi makes a compelling case that the much-maligned pop-culture landmark can be judged as either tawdry rubbish or subversive comic triumph.” – David Rooney, Hollywood Reporter
“This is the most thoughtful deconstruction of a film imaginable, as well as an ideal festival choice for those who used to buy DVDs just for the commentaries.” – Kent Turner, Film-Forward.com
“While far from a straightforward documentary about a widely marginalized film, You Don’t Nomi reminds us that it’s okay to like things with rough edges, that streamlined perfection is overrated…” – Chuck Foster, Film Threat
“Nomi leaves it up to audiences to decide if Showgirls is trash, a masterpiece, or a “masterpiece of trash,” but one thing is certain: no matter how good or how bad one considers the film’s objective quality, one can enjoy Showgirls all the same.” – Pat Mullen, POV Magazine
Yale graduate Jeremy Garelick started in the mailroom at the Creative Artists Agency, before going on to work as assistant to legendary writer/director, Joel Schumacher on Tigerland, Bad Company, Phone Booth, and Veronica Guerin. Jeremy made his feature screenplay debut with the Vince Vaughn vehicle The Break-Up and followed that by teaming up with Todd Phillips to pen the production draft of The Hangover, establishing himself as the go-to A-list comedy writer in Hollywood. In 2015 Jeremy directed his first feature film, The Wedding Ringer starring Kevin Hart and Josh Gad. Between writing, directing, and show running his Netflix original limited series, Best. Worst. Weekend. Ever., and executive producing his YouTube Red original, Side Swiped, Jeremy also formed his own production company, American High. Staked with a $45 million film fund, American High has shot five indie comedies in Garelick’s recently acquired school-turned-studio in Syracuse, NY, including Big Time Adolescence, starring Pete Davidson, Jon Cryer, and Sydney Sweeney, which was recently invited to compete in dramatic competition at the 2019 Sundance Film Festival. In addition, American High Founder Jeremy Garelick is set to direct and produce a slate of three higher budget high school comedy features in 2020.
About American High: Do for this generation what John Hughes did for the audiences of the 1980’s. Embrace the R-rated reality of high school and tell stories from eclectic characters from diverse backgrounds as they navigate the most formative (and often most hilarious) years of their lives. Why high school? Simple. Because it is one of the only shared experiences that we all go through. It’s where every challenge feels like life and death, where every victory is your greatest accomplishment. It’s a world of firsts. It’s where you first snuck out of your house and got in real trouble. Where you first learned how to drive and crashed into a lake. It’s your first kiss. The first time you touched a boob or someone touched yours. Where you discover who your friends are, the music you love, the movies you love, what your style is, who you are. In 2019 American High produced HULU’s very first original film, THE BINGE, starring Vince Vaughn and directed by American High founder Jeremy Garelick.
American High is using its sound stages for manufacturing 3-D Face Shields for our COVID first responders, Watch this video and go to the American High website to see how you can join them.
AND THEN WE DANCED is a passionate tale of love and liberation set amidst the ultraconservative confines of modern Georgian society, AND THEN WE DANCED follows Merab, a devoted dancer who has been training for years with his partner Mary for a spot in the National Georgian Ensemble. The arrival of another male dancer, Irakli—gifted with perfect form and equipped with a rebellious streak—throws Merab off balance, sparking both an intense rivalry and romantic desire that may cause him to risk his future in dance as well as his relationships with Mary and his family. Director, writer and editor Levan Akin joins us to talk about is sensitive and moving account of finding love, no matter the cost and the way his film has opened a hopeful dialog in his beloved Georgia.
Director’s Statement: In Georgia there are three things that are upheld as the paragon of Georgian Tradition and National Identity: the Church, the traditional polyphonic singing, and the traditional national dance. The lead person I follow in the film actually shares the same name as me, his name is Levan and he is a dancer, I too used to dance when I was younger and I imagined being him in an alternate reality. I interviewed a lot of dancers and they all told me stories of how gender conservative and strict the Georgian Dance scene was. So I decided to set the story in this setting. The Georgian Dance would represent the “old” and the burgeoning love between two of the dancers would represent the new. With this film I find myself really going back to my roots as a filmmaker, working in an organic way, where the real lives of the people in the film and what’s going on in Georgia now affects the story. It is ever evolving. Telling the story of young LGBT+ people and their struggles on a smaller scale but also showing the history and situation of Georgia today on a larger scale. This film will not only be a very interesting look into a part of the world not so many people are familiar with but also a heartfelt movie about the importance of being free. – Levan Akin