TIME, Director Garrett Bradley

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, TIME director 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.

 

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To watch beginning on October 16 go to: amazon.com/TIME-Garrett-Bradley

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

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“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

“A formally stunning masterwork of empathy, exhaustion, love, and rage.” – Jordan Raup, The Film Stage

“While gripping from start to finish, there isn’t a minute of “Time” that feels engineered for our entertainment.” – David Ehrlich, indieWire

“Transcendent yet down-to-earth.” – Beandrea July, Hyperallergic

“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, Director Erika Cohn

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 BEAST presents 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.

 

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

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

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“A harrowing documentary about the practice of forced sterilization.” – Evan Dossey, Midwest Film Journal

“Inside the belly of documentarian Erika Cohn’s Beast lurks a monstrosity more appalling than horror fiction.” – Scott Marks, San Diego Reader

Driving While Black, Co-directors Dr. Gretchen Sorin and Ric Burns

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.

 

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For  more on the story and history behind the the film go to: dwbfilm.com

DRIVING WHILE BLACK will air on PBS on Tuesday, October 13, 2020 at 9:00 p.m. (check local listings).

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’NeillAndy 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.com  And dwbfilm.com

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Herb Alpert Is… Director John Scheinfeld

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.

 

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

For more on the work and latest news go to: herbalpert.com

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

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“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

“You’ll probably come away from Herb Alpert Is… not only admiring the man but wishing you were him.” – Frank Scheck, Hollywood Reporter

Blood on the Wall, Director Nick Quested

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.

 

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For news, screenings and updates go to: nationalgeographic.com/blood-on-the-wall

For more on sebastianjunger.com

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.”

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“The film’s two brutal narratives – the caravans and the web of narco-trafficking – don’t always coalesce and may have benefited from a longer format.” – Kevin Crust, Los Angeles Times

“A very hard and complicated story to tell. But Junger and Quested are more than up to challenge in Blood on the Wall.” – David Zurawik, Baltimore Sun

All In: The Fight for Democracy, Co-directors Liz Garbus and Lisa Cortes

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 DEMOCRACY explores 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.

 

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ALL IN: THE FIGHT FOR DEMOCRACY will open in select theaters on September 9th and will be available on Amazon Prime Video on September 18th.

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. 

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100% on Rotten Tomatoes

“A documentary of supreme relevance that has the effect, at once chilling and rousing, of a political cautionary tale.” – Owen Gleiberman, Variety

“All In: The Fight for Democracy is a must-watch documentary…” – Danielle Solzman, Solzy at the Movies

“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

Buoyancy, Director Rodd Rathjen

BUOYANCY is the story of a Cambodian teenager sold into forced labor on a Thai fishing boat is a passionate testimony against social injustice and a moving coming-of-age tale about a boy whose humanity is put to the test. Spirited 14-year-old Chakra works the rice fields with his family. He yearns for independence and seeks out a local broker who can get him paid work in a Thai factory. Without telling his family, Chakra travels to Bangkok to make his fortune. But when he gets there, he and his new friend Kea realize the broker has lied to them. Along with other Cambodians and Burmese, they are sold to a fishing captain as slaves. Chakra and Kea are trapped at sea, trawling fish 22 hours a day, surviving on just a handful of cold rice a day. The captain quickly weeds out those weakened by the conditions or trying to escape, and throws them overboard. The trawler sells its catch and restocks its supplies without going to land, making escape impossible. Chakra looks to Rom Ran to understand what it will take to be free. With hope and humanity dwindling, Chakra decides to take matters into his own hands. Director Rodd Rathjen joins us to talk about shooting at sea, with a cast composed of mostly non-English speaking actor, making his first feature film.

 

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

Australia’s Official Oscar Submission
Ecumenical Jury Prize – Berlinale Panorama

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“A terse minimalist thriller… supremely satisfying.” – Paul O’Callaghan, Sight & Sound

“A harrowing edge-of-your-seat adventure tale with social punch.” – Deborah Young, The Hollywood Reporter

“Taut and urgent.” – Jessica Kiang, Variety

“Powerful. A gripping debut.” – Paul Byrnes, Sydney Morning Herald

Love Fraud, Co-directors Heidi Ewing and Rachel Grady

Bigamy. Identity theft. Fraud. For the last 20 years Richard Scott Smith has used the internet and his dubious charms to prey upon unsuspecting women in search of love — conning them out of their money and their dignity. But now his victims have banded together determined to seek sweet revenge. LOVE FRAUD is a 4-part limited documentary series that follows (in real time) a con-man who is on the loose and the dynamic women determined to put him behind bars. Oscar-nominated directors Heidi Ewing and Rachel Grady take viewers on a bizarre, engrossing ride through the twisted mind of a criminal and the chaos he leaves in his wake. LOVE FRAUD premiered at the 2020 Sundance Film Festival on Day One, marking the first time an episodic series was programmed on opening day in festival history. Co-directors Heidi Ewing and Rachel Grady join us for a conversation on the determination of the women who refused to be victimize by a sociopathic abuser and helped bring about some measure of justice, despite the collective ambivalence of several law enforcement agencies across multiple local and state jurisdictions.

 

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Watch Love Fraud on Showtime at: sho.com/love-fraud

For more on Love Fraud go to: lokifilms.com/love-fraud

RACHEL GRADY – DIRECTOR, EXECUTIVE PRODUCER –  Co-owner of New York’s Loki Films, Grady is the co-director of “Jesus Camp” (Oscar nominee), “The Boys of Baraka”  (Emmy nominee) 12th & Delaware (Peabody winner) and DETROPIA (Sundance and Emmy winner). Most recently Grady co-directed “Norman Lear: Just Another Version of You,” which premiered as the opening night film at the 2016 Sundance Film Festival. The film opened theatrically in July 2016 and will be broadcast on PBS October 25th. Most recently, she and co-director Heidi Ewing completed, “One of Us,” a documentary thriller about the ultra-insular Hasidic community of New York City, currently streaming on Netflix. Rachel is a member of the Directors Guild and the Academy of Motion Picture Arts and Sciences. She Resides in Brooklyn, N.Y. For more on the work of Rachel Grady and Heidi Ewing go to: lokifilms.com

HEIDI EWING – DIRECTOR, EXECUTIVE PRODUCER – Co-owner of New York’s Loki Films, Ewing is the co-director of “Jesus Camp” (Oscar nominee), “The Boys of Baraka” (Emmy nominee) 12th & Delaware (Peabody winner) and DETROPIA (Sundance and Emmy winner). Ewing co-directed “Norman Lear: Just Another Version of You,” which premiered as the opening night film at the 2016 Sundance Film Festival. Most recently, she and co-director Rachel Grady completed “One of Us,” a documentary thriller about the ultra-insular Hasidic community of New York City, currently streaming on Netflix. Heidi is a member of the Directors Guild and the Academy of Motion Picture Arts and Sciences. For more on the work of Heidi Ewing and Rachel Grady go to: lokifilms.com

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“There’s a fun kind of justice rolling across the American Midwest in this four-part documentary… Stunning graphics add to the slightly hyperreal feel.” – Brad Newsome, Sydney Morning Herald

“The work of collage artist Martin O’Neill and the animation by Andrew Griffin help to create an atmosphere of surrealistic fantasy around the hard facts of the case.” – John Anderson, Wall Street Journal

“As twisty and juicy as the story here is, Love Fraud keeps threatening to slip through your fingers, which makes it a bit like Richard Scott Smith, if you’re into that sort of mirroring.” – Dan Fienberg, Hollywood Reporter

“This is one of the fastest 200 minutes you’ll see all year.” – Brian Tallerico. RogerEbert.com

Epicentro, Director Hubert Sauper

EPICENTRO, a richly textured portrait of the resilient people of Cuba directed 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.

 

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

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

Coup 53, Director Taghi Armirani and Editor Walter Murch

While making a documentary about the Anglo-American coup in Iran in 1953, director Taghi Amirani and editor Walter Murch (Apocalypse Now, Godfather IIdiscovered extraordinary, never-before-seen archival material that had been hidden for decades. The 16mm footage and documents they uncovered not only allowed them to tell the story of the overthrow of the Iranian government in unprecedented detail, but it also led to explosive revelations about dark secrets buried for 67 years. Working with Ralph Fiennes (The Grand Budapest Hotel, Schindler’s List, The English Patient) to help bring the lost material to life, what begins as a historical documentary about four days in August 1953 turns into a live investigation, taking the filmmakers into uncharted cinematic waters. Ten years in the making, COUP 53 tells the story of the 1953 the Anglo-American coup d’état that overthrew Iran’s government of Prime Minister Mohammad Mossadegh and reinstalled the Shah. The CIA/MI6 covert action was called Operation Ajax. It was all about Iran’s oil and who gets to control and benefit from it. BP was at the heart of this story. Shot in seven countries, featuring participants and first-hand witnesses, and unearthing never seen before archive material, COUP 53 is a politically explosive and cinematically innovative documentary that lifts the lid on secrets buried for over sixty-six years. Director Taghi Armirani and Editor / Writer Walter Murch join us to talk about their own journey to tell the definitive story behind one of the 20th Century’s most consequential geo-political events.

 

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For news and updates go to:coup53.com

To watch go to: coup53.com/screenings

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“A MASTERPIECE OF POLITICAL INTERVENTION. Beyond extraordinary.” – Ariel Dorfman, Author and human rights activist

 “BREATHTAKING. THE MOST ENTHRALLING AND REVELATORY DOCUMENTARY I’VE SEEN OVER THE PAST YEAR. Remarkable. Taghi Amirani’s passionate and fearless work grew from an impudent home movie into a magnum opus.” – Todd McCarthy, The Hollywood Reporter

 “As compelling as a John Le Carré novel or a Costa-Gavras classic.” – Allan Hunter, Screen International

 “This is big.” – Werner Herzog, Filmmaker

Desert One, Director Barbara Kopple, Ambassador John Limbert and Staff Sergeant Taco Sanchez

In 1979, soon after Ayatollah Khomeini took power in Iran and the ousted Shah found shelter in the United States—to the great frustration of Iran’s new leaders—a group of revolutionaries attacked the U.S. Embassy in Tehran and took 52 Americans hostage. They were held captive there for 444 days. President Jimmy Carter announced that he wanted to resolve the situation through diplomatic channels, but later on he planned a secret military rescue mission. DESERT ONE is a fast paced as a thriller from acclaimed director Barbara Kopple. Kopple draws upon a wealth of unearthed archival sources, as well as intimate interviews with President Jimmy Carter, Vice President Walter Mondale, Ted Koppel, former hostages, journalists, and Iranian student revolutionaries who orchestrated the take-over of the American Embassy in Tehran—to meticulously reconstruct this defining period in history when U.S.-Iranian relations were on the brink of disaster. Illustrated with animations and lots of archive footage, the story focuses on the woefully unsuccessful rescue mission and the political wrangling in the background, culminating in Carter’s landslide loss to Ronald Reagan in 1980. Director and Producer Barbara Kopple, Ambassador John Limbert and Staff Sergeant Taco Sanchez joins us to talk about the roller coaster story that includes a game-changing sand storm, equipment failure, a deadly crash and a US President willing to take responsibility for a mission gone wrong. The fallout from the failed mission still hangs heavy over the fractured US-Iranian relationship.

 

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For news, updates and screenings go to: film/desert-one

About the filmmaker: Barbara Kopple is a two-time Academy Award winning filmmaker. A director and producer of narrative films and documentaries, her two most recent projects are the documentaries Miss Sharon Jones! which premiered at Toronto International Film Festival in September 2015, was the opening night film of DOC NYC and tracks the talented and gregarious soul singer of the Grammy-nominated R&B band Sharon Jones & the Dap-Kings during the most challenging year of her life and Shelter which tells a story of vets saving vets, delving into the psychological trauma created by military service, the effects that remain long after active duty, and the difficult road back to a normal life for these women and men. Other recent projects include Hot Type: 150 Years of The Nation which examines America’s oldest continuously published weekly magazine through the eyes of the passionate journalists who have sustained its critical voice and Running from Crazy, which premiered at Sundance in 2013 and received a 2014 Primetime Emmy nomination for Outstanding Documentary or Nonfiction Special. Fight To Live, which through the eyes of terminal patients and their advocates tells the story of the struggles many with rare and orphan diseases face in choosing their preferred therapies through the roadblocks imposed by the current FDA approvals process. A Force of Nature, which celebrates the life and work of journalist and philanthropist Ellen Ratner, following her from her home base in Washington, DC, to hurricane-ravaged Mississippi to war-torn South Sudan; Gun Fight, which explores the place of guns in US culture, profiling victims of gun violence and proponents on both sides of the gun debate; The House of Steinbrenner, part of ESPN’s Emmy nominated “30 for 30” series, which received a 2010 Peabody Award as well as the International Documentary Association Award for Best Continuing Series; and the Emmy-nominated, Woodstock: Now and Then, a look back at the legacy of the historic music festival, 40 years later. Well known for her work on US labor issues, Barbara directed Steamfitters Local Union 638 in 2007 for HBO’s acclaimed Addiction Series. The New York Times likened this short documentary to “crisp tonic with lime.” This program was awarded the Television Academy of Arts and Sciences Governor’s Award.  For more on Barbara Kopple’s films go to: cabincreekfilms.com

 
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“Kopple covers every angle of the story and the history in this gripping documentary that combines incredible archival footage and recordings with interviews of some surviving hostages and members of Delta Force, the unit that attempted the rescue.” – Catherine Springer, AwardsWatch

“You emerge from “Desert One” knowing certain aspects of the Iran-hostage crisis better than you did before. That makes it a worthy film, and an absorbing one.” – Owen Gleiberman, Variety

“A thorough and moving remembrance” – Roger Moore, Movie Nation

“As usual, master documentarian Barbara Kopple is up to the task.” – Cameron Meier, MeierMovies.com

Boys State, Co-directors Amanda McBaine and Jesse Moss

Since 1935 the American Legion has sponsored a program for teenagers to learn about democracy and civil discourse through a week-long engagement in self-governance. The sensational winner of the Grand Jury Prize for documentary at this year’s Sundance Film Festival, “Boys State” is a wildly entertaining and continually revealing immersion into a week-long annual program in which a thousand Texas high school seniors gather for an elaborate mock exercise: building their own state government. Filmmakers Jesse Moss and Amanda McBaine closely track the escalating tensions that arise within a particularly riveting gubernatorial race, training their cameras on unforgettable teenagers like Ben, a Reagan-loving arch-conservative who brims with confidence despite personal setbacks, and Steven, a progressive-minded child of Mexican immigrants who stands by his convictions amidst the sea of red. In the process, they have created a complex portrait of contemporary American masculinity, as well as a microcosm of our often dispiriting national political divisions that nevertheless manages to plant seeds of hope. Co-directors Amanda McBaine and Jesse Moss joins us for a conversation on chronicling the rough and tumble world of 1,000 aspiring politicians and how some of them shattered expectations,  emerging as the potential leaders for a more harmonious future.

 

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For news, and updates go to : tv.apple.com/us/movie/boys-state

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“The punchiest doc of the year focuses on an annual leadership conference in which teen boys prove they can run a government better than the old farts doing it now. This wake-up call promises a change in the air. And it’s exhilarating.” – Peter Travers, Rolling Stone

“Some of these boys are already as hard-faced and cynical as velociraptors. Some are gentle and sweet natured. Some are even shown changing their minds. It’s an amazing spectacle.” – Peter Bradshaw, Guardian

“This extraordinary portrait of a democratic process in microcosm is both a testament to how Washington, D.C. and the rest of the country could achieve bipartisanship as well as a look at what has led to such a fractured political system.” – Jordan Raup, The Film Stage

“There are so many laughs, and so many telling and relatable moments, and so many fascinating, colorful characters here, Boys State is utterly mesmerizing.” – Tasha Robinson, Polygon

For news, and updates go to : tv.apple.com/us/movie/boys-state

The Fight, Co-director Eli Despres (Elyse Steinberg and Josh Kriegman)

From the team that directed the jaw-dropping, award winning documentary on the life and mayoral campaign of former congressman Anthony Wiener (Weiner) comes THE FIGHT. Only days after the 2017 inauguration of Donald Trump, furious Americans gathered at airports across the country in protest of the Muslim ban. But it was the efforts of the American Civil Liberties Union, waging the fight in federal court, that turned the tide, staying the executive order on grounds of unconstitutionality. The ACLU has never granted access to its offices, even as its battles—on the fronts of abortion rights, immigration rights, LGBT rights and voting rights —have become more timely and momentous than ever. Rousing, inspiring and slyly humorous, their THE FIGHT follows four seismically important cases and a handful of magnetic attorneys. These lawyers may not know how to charge a cell phone or operate a stand-up desk but have persuaded Supreme Court Justices, beating back serious encroachments upon our freedoms. An antidote to endless news cycles filled with tweet tantrums, THE FIGHT inspires with the story of front-line warriors in the battle for the American soul. Co-director Eli Despres (Elyse Steinberg and Josh Kriegman) joins us to talk about this entertaining, fast-paced, and highly engaging peek behind the curtain of the self-effacing attorneys and their support team as they scramble to maintain and bolster many of the most substantive constitutional protections under constant assault.

 

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For news and updates go to: fightthefilm.com

The Fight is available for viewing at: fightthefilm.com/watch-at-home

The Fight is available for viewing at: fightthefilm.com/watch-at-home

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WINNER – U.S. Documentary Special Jury Award forSocial Impact Filmmaking – Sundance 2020

“Inspiring, infuriating, and unbounded. Filled with raw emotion and real world immediacy.”Kate Erbland, IndieWire

“A celebration of the lawyers on the front lines in the Trump age. Captures the intense emotion of the moment.”Beandrea July, The Hollywood Reporter

“A powerful, necessary, and illuminating look at the ACLU as it tries to navigate the age of Trump’s presidency” – Jason Gorber, POV Magazine

“In a moment divided into heroes and villains, there’s an urge for the film to go deeper into how, exactly, these lawyers use the Constitution as a cape.” – Amy Nicholson, Variety

“A gorgeous, enraging, and uplifting film.”Chris Hayes, MSNBC

We Are The Radical Monarchs, Director Linda Goldstein Knowlton

Set in Oakland, a city with a deep history of social justice movements, WE ARE THE RADICAL MONARCHS documents the Radical Monarchs – an alternative to the Scout movement for girls of color, aged 8-13. Its members earn badges for completing units on social justice including being an LGBTQ ally, the environment, and disability justice. The group was started by two, fierce, queer women of color, Anayvette Martinez and Marilyn Hollinquest as a way to address and center her daughter’s experience as a young brown girl. Their work is anchored in the belief that adolescent girls of color need dedicated spaces and that the foundation for this innovative work must also be rooted in fierce inter-dependent sisterhood, self-love, and hope. WE ARE THE RADICAL MONARCHS follows the first troop of Radical Monarchs for over three years, until they graduate, and documents the Co-founders struggle to respond to the needs of communities across the US and grow the organization after the viral explosion of interest in the troop’s mission to create and inspire a new generation of social justice activists. Director / Producer Linda Goldstein Knowlton (Somewhere Between, Dream,Girl, Whale Rider, The Shipping News) joins us to talk about the positive role-modeling, the sense of community connection and empowerment that the Radical Monarchs has brought into the lives of these young women of color.

 

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For news and updates go to: wearetheradicalmonarchsmovie.com

We Are the Radical Monarchs airs Monday, July 20 at 9 PM – PBS series POV

About the filmmaker Linda Goldstein Knowlton (Producer/Director) is an Emmy-nominated filmmaker, working in documentary and scripted feature films, as well as television.  In 2016, she Executive Produced the documentary DREAM,GIRL, which premiered at The White House.  The film showcases the stories of inspiring and ambitious female entrepreneurs. Goldstein Knowlton directed and produced one of the six, Emmy-nominated documentaries for the PBS MAKERS: Women Who Make America series.  The film, WOMEN AND HOLLYWOOD, aired in October, 2014 and includes interviews with  Jane Fonda, Shonda Rhimes, Lena Dunham, Ava Duvernay, Glenn Close, Julia Louis-Dreyfus, Alfre Woodard, Hunger Games producer Nina Jacobson, among many other notable women. Prior to that, she produced CODE BLACK, Best Documentary winner at LA Film Festival and the Hamptons International Film Festival, and the basis for the CBS one-hour drama of the same name. Previously she directed and produced SOMEWHERE BETWEEN, which won the Sundance Channel Audience Award at the Hot Docs Film Festival, and was released theatrically in over 80 cities across the US. For her directorial debut, she co-directed THE WORLD ACCORDING TO SESAME STREET, which debuted at the 2006 Sundance Film Festival in competition and aired nationally on PBS. Linda started her career producing feature films, including the award-winning WHALE RIDER and THE SHIPPING NEWS.

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Bloody Nose, Empty Pockets – Co-directors Bill Ross IV and Turner Ross

In the shadows of the bright lights of Las Vegas, its last call for a beloved dive bar known as the Roaring 20s. That’s the premise, at least; the reality is as unreal as the world the regulars are escaping from. BLOODY NOSE, EMPTY POCKETS is a mosaic of disparate lives, teetering between dignity and debauchery, reckoning with the past as they face an uncertain future, and singing as their ship goes down. Filmmaking duo Bill and Turner Ross return with an elegiac portrait of a tiny world fading away but still warm and beating with the comfort of community. Their beguiling approach to nonfiction storytelling makes for a foggy memory of experience lost in empty shot glasses and puffs of smoke. Bill Ross IV and Turner Ross (45365, Tchoupitoulas, Western, Contemporary Color) join us for a lively conversation on the fiction and non-fiction filmmaking expectations, the logistical and post-production challenges of making this film and the cinematic inspirations that inform Bloody Nose, Empty Pockets. 

 

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For news and updates go to: departmentofmotionpictures.com             

Renting Bloody Nose, Empty Pockets includes Director Introduction, the Feature Film and Post-Film Q&A with Cast/Crew. Order for July 8th in celebration of National Dive Bar Day! 10% of rental proceeds and 100% of all ‘GIVE’ donations benefit the US Bar Guild Foundation’s Bartender Emergency Assistance Program COVID-19 Relief Fund.

About the filmmakers: Bill Ross IV and Turner Ross are an American filmmaking team whose credits include the award-winning films 45365 (2009), TCHOUPITOULAS (2012), WESTERN (2015), and CONTEMPORARY COLOR (2017). Born and raised in Sidney, Ohio, and both graduates of the Savannah College of Art and Design, Bill and Turner Ross began work in the film industry in Los Angeles, with Bill as an editor and filmmaking teacher, and Turner in art departments on studio features. But they soon decided to eschew the day jobs of Hollywood and continue the creative partnership they began as kids by making their own films. In the years since, their films have brought them renown as some of the most innovative and interesting documentary filmmakers working today, with a style all their own and always evolving — pushing the art of presenting uninhibited portraits of and journeys through places, with all the complicated, humanistic, and lyrical truth that that entails. Their work has been supported by the Sundance Institute, the Rooftop Filmmaker’s Fund, Cinereach, the San Francisco Film Society and a generous grant from the late Roger Ebert. They were honored as Ambassadors for the American Film Showcase and as Sundance Documentary Institute Fellows. They were named Decade Filmmakers by Cinema Eye Honors, and in 2018 they became members of the Academy of Motion Pictures Arts & Sciences. When not making their own films, they collaborate with friends and fellow filmmakers such as Benh Zeitlin (BEASTS OF THE SOUTHERN WILD, WENDY), David Lowery (AIN’T THEM BODIES SAINTS, A GHOST STORY), A.J. Schnack (CAUCUS), Robert Greene (BISBEE ’17), Raoul Peck (I AM NOT YOUR NEGRO), and David Byrne. They live and work in New Orleans. According to Metacritic, Bill and Turner Ross are the 6th best reviewed filmmakers of the 21st century. For more go to: rossbros.net

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‘”Bloody Nose, Empty Pockets” may not be the straight-faced documentary it looks like, but it’s a sober-eyed document of our times nonetheless.’ (A-) – Eric Kohn, indieWire

“Blurs the boundary between documentary and feature filmmaking, making for a playful, compelling sui generis work.” – Leslie Felperin, Hollywood Reporter

“…a tragic piece about the homes away from home that provide comfort, as well as just how fleeting that comfort can feel in the bright light of day.” (A-) – Chris Barsanti, The Playlist

“Reaches for something just as truthful as either pure doc or pure fiction, finding a hybrid place in the middle that makes it no less powerful.” – Brian Tallerico, RogerEbert.com

Welcome to Chechnya, Director David France

In this searing documentary, WELCOME TO CHECHNYA, Academy Award –nominated director David France (How To Survive A Plague) brings us a terrifying real-life thriller that shadows a group of brave activists risking their lives to confront the ongoing anti-LGBTQ persecution in the repressive and closed Russian republic of Chechnya. In recent years, tens of thousands of LGBTQ people in the republic have suffered detention, torture and sometimes death at the hands of the authorities. But a small network of queer activists have mobilized into action, smuggling people in need out of their communities, securing visas and sheltering them in safe houses. Shot with astonishing access, largely with hidden cameras that keep rolling throughout every moment of escape, and employing a revolutionary face-swapping technique to protect the anonymity of its endangered subjects, WELCOME TO CHECHNYA exposes these under-reported atrocities, while highlighting an extraordinary group of heroic people confronting a brutal system. Director David France joins us for a conversation on the remarkably effective facial technology used by France to protect the identity of the film subjects and on the Russian republic’s pogrom against defenseless people being tortured and killed because of their sexual identity.

 

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For news and updates go to: welcometochechnya.com

Welcome to Chechnya premieres on HBO June 30

Director’s Statement: In my work as a journalist and author over many years, I have focused closely on the stories of outsiders and people who society has pushed to its margins – the disregarded, the ignored, the hated. When I turned to documentary filmmaking, I chose outsider activism as my subject. My first film, HOW TO SURVIVE A PLAGUE, documented the work of early AIDS activists, ordinary people with no training who marshalled the intricate details of virology to change the course of the epidemic. Next, I opened up the story of early gender radicals in THE DEATH AND LIFE OF MARSHA P. JOHNSON, which chronicled not only the founding of the modern LGBTQ movement but also the founding of the first transgender rights organization in 1970. WELCOME TO CHECHNYA completes this trilogy. It follows a group of ordinary humans who have done something extraordinary, and asks the question that has long preoccupied me: What makes a person assume enormous risk and responsibility when others might turn the other way?  What does it take, in other words, to be a hero?When I left their underground pipeline for the last time, knowing I could never go back once it became known I was reporting on their work, I wept with gratitude for the work they are doing. And for the opportunity they gave me to witness bravery of the most unvarnished kind: selfless, humane, and entirely queer. – David France

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100% on Rotten Tomatoes

“No one has ever found such a deep and humanitarian use of a ‘deep fake’.” – Zep Armentano, El Cinefil

“David France has created a true masterwork of LGBT empathy, working both as a devastating portrait of hate as well as a rallying cry to arms. This is one of the best documentaries of the year.” – Redmond Bacon, Culture Vultures

“Undoubtedly a magnum opus of sorts on human rights documentation” – Jessica Pena, Jumpcut

“Gripping, essential viewing” – Matthew Jacobs, HuffPost

“Welcome to Chechnya is as fearless as its subjects, unafraid to show the violence and emotional torture of these people.” – Brian Tallerico, RogerEbert.com

Sometimes Always Never, Director Carl Hunter

In the latest collaboration between director Carl Hunter and writer Frank Cottrell-Boyce SOMETIMES ALWAYS NEVER follows a stylish tailor and wayward father, Alan, (Bill Nighy) who is has spent a big chunk of his adult life playing the word game Scrabble. At the expense of his other relationships Alan has spent years searching tirelessly for his missing son, Michael, who stormed out over a game of Scrabble. With a body to identify and his family torn apart, Alan must repair the relationship with his youngest son, Jack (Sam Riley) and identify an online player who he thinks could be Michael, so he can finally move on and reunite his family. A quirky mystery / comedy starring the BAFTA winner Bill Nighy (Love Actually, Shaun of the Dead), SOMETIMES ALWAYS NEVER is a story about redemption, family, and finding the right words. Director Carl Hunter joins us to talk about his on-going work with screenwriter working with Cottrell-Boyce, and the photo that convinced lead actor Bill Nighy to join the project and striking the right visual look for his thoughtful, wryly funny film.

 

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For news, virtual screenings and updates goto: sometimes-always-never.com

About the filmmaker: Carl Hunter is a director, screenwriter and also the bass player for Liverpool band, The Farm, who had a number 1 LP, Spartacus in 1991, 3 top 10 singles and spent a total of 50 weeks in the official top 40s for both LPs and singles. He has been making films, producing and directing, since the late 1990s and in 2019 he directed his first feature film, Sometimes, Always, Never, starring Bill Nighy and produced by Hurricane Films. In 2007, Carl produced and co-wrote the feature film, ‘Grow Your Own.’ He’s currently developing his next ideas with writer Frank Cottrell-Boyce.

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“…charming, elegant, whimsical and unexpectedly moving gem.” – Chris Hunneysett, Daily Mirror (UK)

“It’s universally well acted and it’s directed with an inventive, original visual style that matches the audacity of basing a film on Scrabble, by TV director Carl Hunter. The end result is unusual, intriguing and endearing.” – Alexa Dalby, Dog and Wolf

“It’s Nighy who will have you enthralled. He delivers a subtle, nuanced performance that allows the actor to shine while in full support of his costars.” – Kevin Crust, Los Angeles Times

“Screenwriter Frank Cottrell Boyce, who adapted the film from his own short story, has crafted a joy of a script, which seeds its themes as elegantly as Nighy’s character, Alan, a Scrabble-obsessed tailor, wears his suits. – Wendy Ide, Observer (UK)

Disclosure, Director Sam Feder

DISCLOSURE (formerly titled Disclosure: Trans Lives on Screen) is an unprecedented, eye-opening look at transgender depictions in film and television, revealing how Hollywood simultaneously reflects and manufactures our deepest anxieties about gender. Leading trans thinkers and creatives, including Laverne Cox, Lilly Wachowski, Yance Ford, Jen Richards, Mj Rodriguez, Jamie Clayton, and Chaz Bono, share their reactions and resistance to some of Hollywood’s most beloved moments. Grappling with films like A Florida Enchantment (1914), Dog Day Afternoon, The Crying Game, and Boys Don’t Cry, and with shows like The Jeffersons, The L-Word, and Pose, they trace a history that is at once dehumanizing, yet also evolving, complex, and sometimes humorous. What emerges is a fascinating story of dynamic interplay between trans representation on screen, society’s beliefs, and the reality of trans lives. Reframing familiar scenes and iconic characters in a new light, director Sam Feder (Kate Bornstein is a Queer and Pleasant Danger) invites viewers to confront unexamined assumptions, and shows how what once captured the American imagination now elicit new feelings. DISCLOSURE provokes a startling revolution in how we see and understand trans people. Director Sam Feder joins us for a conversation on the prejudice and crippling stereotypes being pushed out by film and television as well as barrier breaking stories being told by filmmakers, writers and artists

 

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For news and updates go to: disclosurethemovie.com 

Watch: Disclosure premieres June 19 on Netflix

Statement from the filmmakers: DISCLOSURE shows audiences that decades-old stereotypes, memes, and tropes in the media both form and reflect our understanding of trans issues. They have shaped the cultural narrative about transgender people, and inform everything from dating and domestic violence, to school policy and national legislation. Since 80% of the population have never met a transgender person, all they know is rooted in media depictions, which are predominantly problematic and have rarely included participation by actual trans people. Disclosure is aimed at that 80%. 

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“A thoughtfully crafted film that puts underheard voices first.” – Beandrea July, Hollywood Reporter

“Crafted with obvious love, Feder beautifully guides the audience through the many pitfalls transgender people have faced along the road to representation.” – Ian Thomas Malone, FanSided

“(Disclosure) not only leaves us with the hope that things will improve, but it also shows us how much better the industry is when everyone is included, represented, and respected.” – Norman Gidney, Film Threat

“In making the film, Feder and Cox are rewriting the very history they set out to tell, adding one more title to “positive representation” list. That alone is worth coming out for.” – Jude Dry, indieWire

The Grey Fox, Producer Peter O’Brian

Francis Ford Coppola protégé Phillip Borsos directs The Grey Fox, an elegiac, low-key tale about real-life bandit Bill Miner that has become a classic of Canadian cinema. Having been released from jail in 1901 following a 33-year prison sentence for robbing stagecoaches, Bill Miner (Richard Farnsworth) finds himself living in a society that has completely changed from the one of his youth. He tries to put his life of crime behind him and settle down in Washington state with his sister, but the quiet life does not suit him. He feels restless but uncertain as to how to proceed next. The answer comes to him when he sees Edward S. Porter’s The Great Train Robbery. Soon, Miner has slipped over the border into Canada and, along with his new partner, Shorty (Wayne Robson), robs the Canadian Pacific Railway Trans-continental Express. Later, while laying low after the crime in a remote corner of British Columbia, he meets the beautiful, strong-willed photographer Kate Flynn (Jackie Burroughs). In writing this script, Borsos reportedly made heavy use of contemporary court documents and testimonies. Producer Peter O’Brian stops by to talk about his collaboration with director Phillip Boros and Richard Farnsworth and The Grey Fox 4K Restoration is being released through Kino Marquee.

 

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Watch The Grey Fox and support local theatres – kinomarquee.com/the-grey-fox

Kino Marquee is a new initiative that creates “virtual cinemas” for temporarily closed independent theaters. Local audiences support their community’s theater in these uncertain times by buying a virtual “ticket” to watch the film. Their ticket purchases directly support their local art house as all revenue is being shared between distributor and exhibitor, just as if they bought their ticket at the theater’s box office. Kino Marquee currently works with over 350 art house theaters across the nation.

Farnsworth is a superb camera subject, with a lulling sexual presence. [Director Phillip] Borsos is an inspired image-maker.” – Pauline Kael, The New Yorker

 “One of the loveliest adventures of the year…director Phillip Borsos is able to make this a human story and still keep it exciting as an action picture.” – Roger Ebert, Chicago Sun-Times

 “Terrific. Richard Farnsworth is a delight…remarkably appealing with a face the camera adores.” – Vincent Canby, The New York Times

“Fits beautifully between McCabe and Mrs. Miller and Unforgiven, each of them stories about characters coming to term with changing times. There are even echoes of The Irishman, and the newly-refreshed film is ripe for reconsideration.”  – Jason Gorber, Slashfilm

Kate Nash: Underestimate the Girl, Director Amy Goldstein

Amy Goldstein’s wildly entertaining documentary, KATE NASH: UNDERESTIMATE THE GIRL, chronicles the meteoric rise and years-long struggle of musician / artist Kate Nash to re-establish a thriving career on her own terms. At 18, Nash reached the stratosphere of pop music, vaulting from a working-class family in North London into worldwide tours, a platinum record, and a season dominating the music charts. Fast forward to ten years later: Kate is breaking down, nearly homeless. Defrauded by her manager, she is forced to take odd jobs–like hosting a QVC show in a comic bookstore–and must sell off her clothes. After hitting bottom, she rises out of the darkness by crowd-funding her third album, using the uplifting power of online culture and her own authentic voice. From pop wonder, to riot grrrl, to TV wrestling queen, Kate’s journey is an inspiring call to the creative heart in all of us: be fearless. Blending performance footage with verité style sequences, KATE NASH: UNDERESTIMATE THE GIRLis both a no-punches-pulled look at an artist in flux who manages to come out on top, and at an industry that proves its own gender bias at every opportunity. The film is structured around songs and lyrics, as they are written and performed by Kate Nash, to tell its unfolding story. Director Amy Goldstein joins us to talk about Kate Nash, her work ethic, determination, sense of humor and how that has served her over the many years of struggle.

 

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For news and updates go to: thehoopinglife.com/kate-nash-underestimate-the-girl

KATE NASH: UNDERESTIMATE THE GIRL will be released nationally on Friday May 22 via the groundbreaking virtual cinema platform ALAMO ON DEMAND. Following the Saturday, May 23 6:00 PST / 9:00 EST there will be an interactive performance and Q&A with Kate Nash.The exclusive release will then hit a limited traditional theatrical rollout in August. Watch tonight: On Demand.drafthouse.com/film/kate-nash-underestimate-the-girl

 

About the filmmaker: Amy Goldstein, Director/Producer/Cinematographer Amy Goldstein graduated from Hampshire College with a BA in semiotics and from NYU Film School. She was a Louis B. Mayer fellow at NYU film school. Her short, “Commercial for Murder” (1990), screened at the Berlin Film Festival and was distributed theatrically in a collection of shorts. Her thesis film, Because the Dawn, was presented as the American Independents at the Toronto Film Festival with Todd Haynes‘ Superstar: The Karen Carpenter Story. After school, Amy directed music videos for artists from around the world, including Rod Stewart‘s “Downtown Train”. She directed the feature film The Silencer, which she co-wrote with Scott Kraft, and they went on to develop pilots for HBO, CBS, Fox, Showtime, and MTV, and the hip-hop musical Check Under the Hood for Jersey Films/Polygram. She directed the award-winning feature film East of A, an edgy comedy about an alternative family facing the challenges of raising a child with HIV. Amy directed “The Hooping Life” (1999), a chronicle of a worldwide subculture of “hoopers” who transcend their personal toil and the world’s fears through hula-hooping. Her most recent project is the documentary about the career of pop star Kate Nash, Kate Nash: Underestimate the Girl. Amy Goldstein and Anouchka van Riel, Producer head up Span Productions

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“What emerges is a comprehensive, thoroughly engaging portrait of a woman who has made it on her own terms and is back for more.” – Christopher Llewellyn Reed, Hammer to Nail

“If you want a reminder that misogyny is alive and well, this is the documentary for you. It actually ends on a bright note, but the road there is brutal” – Lindsay Pugh, Woman in Revolt

“While not quite as saddening as the recent Avicii documentary, Kate Nash: Underestimate the Girl is another indictment of the music business and its tendency to chew up young talent.” – Suzi Feay, Financial Times

Defending Jacob, Executive Producer Mark Bomback

Andy Barber has been an assistant district attorney in his suburban Massachusetts county for more than twenty years. He is respected in his community, tenacious in the courtroom, and happy at home with his wife, Laurie, and son, Jacob. But when a shocking crime shatters their New England town, Andy is blindsided by what happens next: His fourteen-year-old son is charged with the murder of a fellow student. Every parental instinct Andy has rallies to protect his boy. Jacob insists that he is innocent, and Andy believes him. Andy must. He’s his father. But as damning facts and shocking revelations surface, as a marriage threatens to crumble and the trial intensifies, as the crisis reveals how little a father knows about his son, Andy will face a trial of his own – between loyalty and justice, between truth and allegation, between a past he’s tried to bury and a future he cannot conceive. The Apple+TV limited drama series is a gripping, character-driven thriller based on the 2012 New York Times best selling novel of the same name by William Landay. Creator and Executive Producer Mark Bomback joins us to talk about how he and his creative team, including director Morten Tyldum, brought this complex and nuanced tale to life.

 

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To watch Defending Jacob go to: tv.apple.com/us/show/defending-jacob

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“One thing that’s evident from the outset is that all of the actors are perfect for their roles. Jaeden Martell, in particular, is still a young actor, but he handles the dark material with ease, and I appreciated the way the journey began with him.” – Paul Dailly, TV Fanatic

“The director applies an autumnal hue, with a color range of frosty blues that really adjusts to the atmosphere of slowly crumbling feelings.” – Jorge Loser, Espinof

“Chris Evans does some of the best work of his career as Andy… He expertly conveys Andy’s desperate, ferocious need to protect his son, his genuine love for his wife – and the haunting memories that jolt him awake in the middle of the night.” – Richard Roeper, Chicago Sun-Times

“The pilot does a remarkable job of building up the situation and its main players, but leaving enough in a nebulous spot that there’s still some doubt and some questions to dig deeper into.” – Kevin Lever, Tell-Tale TV

Planet of the Humans, Director Jeff Gibbs

Released on the eve of the 50th anniversary of Earth Day and in the midst of the global Covid-19 pandemic, PLANET OF THE HUMANS takes a harsh look at how the environmental movement has lost the battle through well-meaning but disastrous choices, including the belief that solar panels and windmills would save us, and by giving in to the corporate interests of Wall Street. PLANET OF THE HUMANS is the debut movie from director Jeff Gibbs, whom Executive Producer Michael Moore calls “a brave and brilliant filmmaker whose new voice must be heard.” Gibbs is a lifelong environmentalist and longtime collaborator of Moore’s with whom he co-produced Bowling for Columbine and Fahrenheit 9/11. Gibbs has dared to say what no one will — that “we are losing the battle to stop climate change because we are following environmental leaders, many of whom are well-intentioned, but who’ve sold out the green movement to wealthy interests and corporate America.” This film is the wake-up call to the reality which we are afraid to face: that in the midst of a human-caused extinction event, the so-called “environmental movement’s” answer is to push for techno-fixes and band-aids. Moore and Gibbs decided that with the American public — and much of the world – confined to their homes and suddenly having to consider the role humans and their behavior have played in our fragile ecosystem, the moment was too urgent to wait until later this year for the film’s planned release. Director / Producer / Writer / Editor and Cinematographer Jeff Gibbs joins us for a free-wheeling conversation on the hard truths we all face and the dawning realization that we have allowed ourselves to be lulled into believing the billionaire class is going to ensure a sustainable collective future.

 

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For news and updates go to: planetofthehumans.com

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“This is perhaps the most urgent film we’ve shown in the 15 year history of our film festival” – Filmmaker Michael Moore, Founder, Traverse City Film Festival

“A delusion-shattering documentary on how the environmental and green energy movements have been taken over by capitalists.” – Frederic and Mary Ann Brussat, Spirituality and Practice

“A bleak picture of a near future that mankind’s very existence is irrevocably condemning.” – Simon Foster, Screen-Space

“This doc, directed by long-time Michael Moore collaborator Jeff Gibbs, advocates passionately for a planet suffering from environmental devastation but offers few glimmers of hope.” – Liam Lacey, Original Cin

“From the warnings of the 1950s to the 21st-century corporate takeover of green energy, a grim look at humanity’s fate as the planet heats up. Is there any hope? This feels like only half the story.” – MaryAnn Johanson, Flick Filosopher

Sorry We Missed You, Director Ken Loach

Ken Loach, the two-time Palme d’Or-winning, 83-year-old director trains his incisive lens on the human cost of our shopping habits and changing workforce. After losing their home in a financial crisis, Ricky and Abby trade the car she uses as a visiting nurse for a van, so Ricky can work as a delivery driver. The advantages of being self-employed come with the constant pressure of meeting impossible deadlines with no margin for error, sickness, or family emergency. Loach’s compassionate, hard-hitting drama will make you rethink your expectations the next time you enjoy the convenience of overnight delivery. Director Ken Loach (KES, THE WIND THAT SHAKES THE BARLEY, I, DANIEL BLAKE) joins us for a conversation on the explosion of the “gig-economy” and the insidious impact its having on work schedules, worker safety, worker health and on the emotional toll it’s taking on raising a family.

 

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For news, screenings and updates go to: zeitgeistfilms.com/film/sorrywemissedyou

 

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“FIVE STARS! Ken Loach raises his game yet further with this gut-wrenching tale of a delivery worker driven to the brink… It’s fierce, open and angry, unironised and unadorned..This brilliant film will focus minds. ” – Peter Bradshaw, THE GUARDIAN

“Ken Loach has done it again. His new film is another intimate and powerful drama about what’s going on in people’s everyday lives—not just in England, but all over the world.”  – Owen Gleiberman, VARIETY

“At age 82, [Ken Loach is] doing some of his strongest work in Sorry We Missed You, a drama of such searing human empathy and quotidian heartbreak that its powerful climactic scenes actually impede your breathing… This is an expertly judged and profoundly humane movie…. You’d have to be made of stone not to be moved to your core by it.” – David Rooney, THE HOLLYWOOD REPORTER

Ordinary Love, Co-directors Lisa Barros D’sa and Glenn Leyburn

Joan and Tom (Academy Award® nominee Lesley Manville and Liam Neeson) have been married for many years. An everyday couple with a remarkable love, there is an ease to their relationship which only comes from spending a lifetime together. When Joan is unexpectedly diagnosed with breast cancer, the course of her treatment shines a light on their relationship as they are faced with the challenges that lie ahead and the prospect of what might happen if something were to happen to her. Co-directors Lisa Barros D’sa (Good Vibration) and Glenn Leyburn (Cherrybomb) join us to talk about their collaboration with two top tier actors, striking a balance in the tone and look for their extraordinarily empathetic look at two people who truly care about each other.

 

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For news and updates go to: bleeckerstreetmedia.com/ordinary-love-film

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95% on Rotten Tomatoes

“A beautifully understated look at intimacy and devotion in the face of potentially devastating loss; stars Leslie Manville and Liam Neeson tap effortlessly into the relatable routines, rhythms and nuances of a lived-in, long term relationship.” – Todd Gilchrist, TheWrap

“Armed with an incandescent screenplay and unforgettable performances, Ordinary Love is affecting in its own quiet way, as it showcases a deeply moving portrait of a marriage tested under strain after a cancer diagnosis.” – Laura Delaney, RTÉ (Ireland)

“An achingly intimate portrait of a marriage weathering a storm, the third feature from directing team Lisa Barros D’Sa and Glenn Leyburn (Good Vibrations) is anything but ordinary.” – Wendy Ide, Screen International

“Everything is completely believable, the relationship and the home clearly lived in, and it’s this that gives Ordinary Love its quiet, but sometimes overwhelming, power.” – Jack Blackwell, One Room With A View