On a cold February night in 1983, Wanda Lopez was stabbed to death while she worked at a Corpus Christi Texas gas station. 21 year old Carlos DeLuna was arrested, and over the next six years, through his trial and subsequent imprisonment he protested his innocence, declaring that it was another Carlos who committed the crime. The prosecution insisted that this other Carlos was a “phantom’ and didn’t exist. THE PHANTOM tells the story of one of the darkest episodes in the long history of American justice. A story of how the State of Texas knowingly sent an innocent man to his death and left a serial killer at large. A case in which — for the first time — it can be conclusively proven that the US courts executed a blameless man. This film uncovers the shocking truth behind a tale of murder, corruption and lies that unfolded in the dusty, desperate streets of a Texas oil town nearly thirty years ago. Through illuminating interviews with witnesses, Carlos DeLuna’s family members, and legal experts the film asks, for the first time since 1983, if the judicial system executed an innocent man, examining key evidence that calls into question whether or not Carlos DeLuna was right about the other Carlos. Was he a phantom after all, or was he a brutal killer, and did a poor Hispanic young man have any chance within a justice system and a society that by its actions seemed to regard him as disposable? Director Patrick Forbes (The Widowmaker, Brexit: A Very British Coup) joins us for a conversation on a criminal justice system that spends more time obfuscating and dodging questions about their investigation and prosecution of an innocent man than reforming a system that makes a fatal mistake possible and coming clean about why Carlos DeLuna was really put to death.
About the filmmaker- Director, Producer, Writer Patrick Forbes career began as a very junior researcher on a BBC series, when he was arrested after discovering Britain had a (secret) spy satellite. At that moment it was clear that documentaries offered a lot more excitement and interest than his previous career a bank economist. He’s gone on to become one of Britain’s best documentary directors – winning the best director Bafta for his Channel 4 series ‘The Force’, best series Bafta for ‘The National Trust’ (BBC), and having his documentary feature about Julian Assange, ‘Wikileaks; Secrets & Lies’, premier at SXSW, before being seen around the world. Patrick believes that documentary is an art form that is as vital, exciting and uplifting as the best drama – a view confirmed by his recent films tracking Britain’s tumultuous exit from the European Union, where everyone involved talks with extraordinary candour about this defining moment of history.
When you look at Kenny Scharf’s surreal, colorful, pop-culture inspired art you can’t help but wonder where he gets his inspiration. This documentary about Scharf’s fascinating life—made over 11 years by the artist’s daughter, Malia Scharf, and Max Basch—answers that question. This fascinating documentary shows Scharf’s New York City arrival in the early 1980s where he quickly befriended Keith Haring and Jean-Michel Basquiat.This trio, amongst the fervent creative bustle of a depressed downtown scene, would soon take the art world by storm.Featuring interviews and rare archival footage with the artist himself along with Andy Warhol, Jean-Michel Basquiat, Keith Haring, Ed Ruscha, Dennis Hopper and Yoko Ono, the film shows Scharf’s arrival in New York City in the early 1980s, where he quickly befriended Keith Haring and Jean Michel Basquiat. There, amongst the fervent creative bustle of a depressed downtown scene, the trio would soon take the art world by storm. But unlike Haring and Basquiat, who both died tragically young, Scharf lived through cataclysmic shifts in the East Village as well as the ravages of AIDS and economic depression. Decades later, still obsessed with garbage, cartoons and plastic, and committed to the idea that art should be fun, Scharf’s whimsical mind continues to generate works rife with iconic images and bizarre forms. Co-directors Malia Scharf and Max Basch join us for a conversation on the New York City in the 1980s, why so many artists from multiple disciplines seized the opportunity to make art amidst the rumble of the Downtown, and the re-evaluation of Kenny Scharf’s prodigious technicolor artistic vision.
“A compelling and informative introduction to the life and work of Kenny Scharf. His perseverance, passion for art as well as for his inner child are very palpable.” – Avi Offer, NYC Movie Guru
“I found it heart warming and endearing, especially because of his daughter’s direction of the film. If you are interested in the art of this period, I think you will love this documentary.” – Katrina Olson, katrinaolson.ca
:This is the harrowing, heartbreaking, ultimately affirming story of Kenny Scharf, and I urge you to see it.: – Norman Gidney, Film Threat
“Playfully deconstructs the life and times of a creator who tries to balance their childlike playfulness with the adult responsibilities of the real world.” – Andrew Parker, The Gate
THE LAST OUT tells the story of three talented Cuban athletes, Happy, Carlos, and Victor, leave their families and homes behind as they set off in pursuit of the ultimate dream: a contract with Major League Baseball. Cuban ballplayers are among baseball’s brightest stars but Cuban ball-players can’t just sign out of Cuba – the US Embargo is still in place and only being strengthened under the current administration – so Cubans have to leave their homeland, often under dangerous circumstances and establish residency in a third Country like The Dominican Republic, Haiti or Costa Rica. At the rundown Estadio Antonio Escarre, they have spent the past year training long and hard, thousands of miles away from their families in Cuba. They travel to Costa Rica and train under a seedy sports agent who dangles promises while exploiting their talents. As they navigate immigration and the ulterior motives of handlers, each man finds an unexpected path forward to a better life. Set against the backdrop of the dangerous Central American migrant trail, THE LAST OUT offers a rare window into the dark side of professional sports. THE LAST OUT co-directors Sami Khan and Michael Gassert stop by to talk about their process of following the many twists and turns these young men’s lives take them on and the personal risk they and their team took in chronicling it.
Sami Khan’s most recent film, the short documentary St. Louis Superman (with Smriti Mundhra), was nominated for an Academy Award® and won a Special Jury Prize at Tribeca in 2019. Michael Gassert’s documentary and archival work has been supported by IFP, the Sundance Institute, UNESCO, and the Kennedy Center.
Produced and directed by filmmaker Bill Morrison, “let me come in” features a new song by Pulitzer Prize-winning composer David Lang performed by soprano Angel Blue, one of opera’s brightest stars. The short film incorporates rediscovered (and heavily damaged) footage from the lost 1928 silent film Pawns of Passion to astonishing effect. Filmmaker Bill Morrison, director of the highly acclaimed films Decasia and Dawson City: Frozen Time, has long been fascinated with ancient, decayed nitrate film stock from long-forgotten films—what he describes as “goopy, sticky films deemed not worth saving.” For “let me come in,” he has resurrected footage from what may be the last surviving reels of the 1928 German silent romance Pawns of Passion, discovered in a Pennsylvania barn in 2012. After decades of expanding in hot summers and contracting in freezing winters, the deteriorated nitrate film stock now reveals, in Morrison’s words, “imagery that seems to be pulled from a state of semi-consciousness, asleep but dreaming.” Morrison describes Lang’s song as “a rumination on love and the borderline separating two souls, seemingly from the precipice of consciousness. When I heard Angel Blue’s incredible interpretation, my mind immediately recalled the ambiguous tension in this scene from Pawns of Passion.Left to rot in a barn, and then scanned and archived again for another eight years on my own personal hard drive, it has found a new life through David’s words and music, and Angel Blue’s voice. It was very exciting to see how quickly it came together and how perfectly the image, words and sound meshed.” Director Bill Morrison joins us for conversation on his inspired interpretation of hauntingly beautiful film fragments.
About the filmmaker – Bill Morrison makes films that reframe long-forgotten moving images. His films have premiered at the New York, Rotterdam, Sundance, and Venice film festivals. In 2014 Morrison had a mid-career retrospective at MoMA. His found footage opus Decasia (2002) was the first film of the 21st century to be selected to the Library of Congress’ National Film Registry. The Great Flood (2013),was recognized with the Smithsonian Ingenuity Award of 2014 for historical scholarship. Dawson City: Frozen Time (2016) was included on over 100 critics’ lists of the best films of the year, and on numerous lists ranking the best films of the decade, including those of the Associated Press, Los Angeles Times and Vanity Fair. His work has previously been seen at LA Opera in productions of David Lang’s “anatomy theater” (2016) and David T. Little’s Soldier Songs (2019). Co-presented by Los Angeles Opera with composer David Lang and soprano Angel Blue. Special thanks to the Library of Congress National Audio-Visual Conservation Center. For more go to: billmorrisonfilm.com/bio-filmography
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
Jeffrey Wolf’s illuminating documentary BILL TRAYLOR: CHASING GHOSTS explores the life of a unique American artist, a man with a remarkable and unlikely biography. Bill Traylor was born into slavery in 1853 on a cotton plantation in rural Alabama. After the Civil War, Traylor continued to farm the land as a sharecropper until the late 1920s. Aging and alone, he moved to Montgomery and worked odd jobs in the thriving segregated black neighborhood. A decade later, in his late 80s, Traylor became homeless and started to draw and paint, both memories from plantation days and scenes of a radically changing urban culture. Having witnessed profound social and political change during a life spanning slavery, Reconstruction, Jim Crow segregation, and the Great Migration, Traylor devised his own visual language to translate an oral culture into something original, powerful, and culturally rooted. He made well over a thousand drawings and paintings between 1939-1942. This colorful, strikingly modernist work eventually led him to be recognized as one of America’s greatest self-taught artists and the subject of a Smithsonian retrospective. Using historical and cultural context, BILL TRAYLOR: CHASING GHOSTS brings the spirit and mystery of Traylor’s incomparable art to life. Making dramatic and surprising use of tap dance and evocative period music, the film balances archival photographs and footage, insightful perspectives from his descendents, and Traylor’s striking drawings and paintings to reveal one of America’s most prominent artists to a wide audience. Director Jeffrey Wolf (James Castle: Portrait of an Artist) and Producer Sam Pollard (Eyes on the Prize, MLK/FBI) join us for a conversation on the remarkable life and the unsettling times that infused the strikingly direct and unfettered work of a deeply intuitive artist.
Director’s Statement – My introduction to artist Bill Traylor came with the 1982 watershed exhibit “Black Folk Art in America” in DC. I had applied for a small grant to film the opening, and interview the featured living artists who attended. Traylor’s iconic art was used for the exhibit’s poster and still hangs in my office. Since encountering Bill Traylor’s art some 35 years ago, I have long contemplated his work, wanting to unravel and dig deeper into his world. Today, Bill Traylor is one of the most celebrated self-taught artists, with one of the most remarkable and unlikely biographies. Now, coming full circle, my documentary film Bill Traylor: Chasing Ghosts will premiere at the opening of a retrospective of his work at the Smithsonian American Art Museum, organized by Leslie Umberger, curator of Folk and Self-Taught Art. Bill Traylor: Chasing Ghosts strives to broaden our understanding of this period of transformation, a time when black people prospered as business professionals in Montgomery, in spite of living through the fear and volatility of Jim Crow South that impacted daily life. Traylor created his own visual language as a means to communicate and record the stories of his life. Traylor’s art is the sole body of work made by a black artist of his era to survive. He made well over a thousand drawings and paintings on discarded cardboard between 1939 and 1942. Bill Traylor did not begin to draw until he was an old man; and when he did, his burst of creativity demonstrated a unique mastery of artistic technique. Without setting out to do so, he became a chronicler of his times. – Jeffrey Wolf
“Critic’s Pick! A sincere, nourishing account of the artist. Wolf makes excellent use of photo and film archives, laying out the territory that fed Traylor’s vision.” – Glenn Kenny, The New York Times
“Brings the spirit and mystery of Traylor’s art to life and shines a spotlight on a creative gift that was long ignored and marginalized.” – Dave McNary, Variety
“Jeffrey Wolf’s exceptional documentary Bill Traylor: Chasing Ghosts seeks to tells its subject’s story in a deeply personal way, while also pulling back when needed to contextualize his work.” – G. Allen Johnson, San Francisco Chronicle
“Speaks volumes on the life and times of the artist. The pieces themselves… lend those ghosts of his past a persistent, ethereal relevance.” – Michael Rechtshaffen, Los Angeles Times
“A celebration of art and the best of humanity transcending poverty, racism and despair.”– Southern Poverty Law Center
“In Traylor, we can see the power of individual voice… the work is transcendent and essential.”– Jerry Saltz, New York Magazine
“An extraordinary artist… Traylor’s pictures stamp themselves on your eye and mind.”– Peter Schjeldahl, The New Yorker
Where his prior film, the acclaimed epic AQUARELA, was a reminder of the fragility of human tenure on earth, in GUNDA, master filmmaker Viktor Kossakovsky reminds us that we share our planet with billions of other animals. Through encounters with a mother sow (the eponymous Gunda), two ingenious cows, and a scene-stealing, one-legged chicken, Kossakovsky movingly recalibrates our moral universe, reminding us of the inherent value of life and the mystery of all animal consciousness, including our own. Experiential cinema in its purest form, GUNDA chronicles the unfiltered lives of a mother pig, a flock of chickens, and a herd of cows with masterful intimacy. Using stark, transcendent black and white cinematography and the farm’s ambient soundtrack, Master director Victor Kossakowsky invites the audience to slow down and experience life as his subjects do, taking in their world with a magical patience and an other worldly perspective. GUNDA asks us to meditate on the mystery of animal consciousness, and reckon with the role humanity plays in it.
“GUNDA is a mesmerizing perspective on sentience within animal species, normally – and perhaps purposely – hidden from our view. Displays of pride and reverence, amusement and bliss at a pig’s inquisitive young; her panic, despair and utter defeat in the face of cruel trickery, are validations of just how similarly all species react and cope with events in our respective lives. Victor Kossakovsky has crafted a visceral meditation on existence that transcends the normal barriers that separate species. It is a film of profound importance and artistry.” – Executive producer Joaquin Phoenix
Director’s Statement – Growing up I was very much a city kid, but at the age of four I spent a few months in a village in the countryside, where I met my best friend Vasya. He was much younger than me – just a few weeks old when we met – but over time he became my dearest friend and the times we spent together are some of the most cherished memories from my childhood. One day, when we were still young, Vasya was killed and served as pork cutlets for a New Year’s Eve dinner. I was devastated and immediately became (probably) the first vegetarian kid in the Soviet Union. As a consequence, since I became a filmmaker I have always wanted to make a film about the creatures with whom we share the earth, a film about animals as living, feeling beings in their own right. I wanted to make a film without patronizing or humanizing them, without any sentimentality, and without vegan propaganda. However, as the film I had in mind is not about dolphins, elephants, pandas or other cute animals we love to love, it was impossible to finance. I tried for almost three decades until I finally met Norwegian producer Anita Rehoff Larsen from Sant & Usant who took the risk on making it. We were unbelievably lucky to meet Gunda in the Norwegian countryside on the very first day of our research trip. Gunda is on the screen for over half of the runtime of the final film and is an extraordinarily powerful character – you do not need an interpreter to understand her emotions and experiences. As such I decided to make this film without any captions, voice-over, or music, you just need to watch it and allow yourself to feel. For me, the essence of cinema is showing, not telling. I do not make films if I want to tell an audience something I have no interest in prescribing an opinion. I make films if there is something I want people to see and to allow them to find their own conclusion. Documentary cinema is a great tool to show the realities of the world, to show things that we do not see by ourselves, that we do not want to see, or that we have collectively agreed that we do not see, and so we allow ourselves not to think about. With GUNDA I want people to see these animals as sentient beings and to encourage them to think about the possibility of their consciousness and selfhood. With that I feel that GUNDA is the most personal and important film I have made as a filmmaker and as a human being. – Victor Kossakovsky
NOMINEE – Best Feature – IDA Documentary Awards 2021
FEATURES SHORTLIST – DOC NYC 2020
TOP 10 FILM OF THE YEAR – The New York Times
“GUNDA is pure cinema. This is a film to take a bath in – it’s stripped to its essential elements, without any interference. It’s what we should all aspire to as filmmakers and audiences – pictures and sound put together to tell a powerful and profound story without rush. It’s jaw dropping images and sound put together with the best ensemble cast and you have something more like a potion than a movie.” – Paul Thomas Anderson
98% on Rotten Tomatoes
“Sublimely beautiful and profoundly moving, it offers you the opportunity to look – at animals, yes, but also at qualities that are often subordinated in narratively driven movies, at textures, shapes and light.” – Manohla Dargis, New York Times
“”Gunda” may be a meditational slow-burn, but as it unfurls its immersive audiovisual tapestry it hovers between non-fiction observation and lyrical insight, and to that end feels like an advancement of the nature documentary form.” – Eric Kohn, indieWire
“It is hard to fully articulate how, but Gunda is as much a damning meditation on the human condition as it is a glowing, thought-provoking portrayal of a mother’s love for her children, a sow’s love for her piglets.” – Matthew Anderson, CineVue
Martin Edralin’s feature debut film, Islands centers on the life of Joshua (Rogelio Balagtas), a timid, middle-aged Filipino immigrant, who works as a janitor at a local school, has lived in the comfort of his parents’ home his entire life. One day he pleads with God to find him a wife for fear of being alone forever. When his mother (Vangie Alcasid) suddenly passes, Joshua quits his job to take on full-timecare of his ailing and depressed father (Esteban Comilang). Inexperienced at taking care of anyone, including himself, Joshua struggles with his father’s care. Help arrives when a cousin, Marisol, (Sheila Lotuaco) visiting from abroad.Marisol’s warmth and nurturing breathes new life into the home and stirs confused emotions in him. ISLANDS director, producer and screenwriter Martin Edralin (Calvin, Emma, joins us for a conversation on his desire to explore the Filipino diaspora experience in his award-winning, and offbeat story of filial duty and adult puppy love.
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 be funny, charming, and uplifting is icing on the cake.” – Victor Stiff, Goomba Stomp
LITTLE FISH, the fourth feature film from director Chad Hartigan, is a romance set in a near-future Seattle teetering on the brink of calamity. The film imagines a world where a pandemic has broken out, that strikes with no rhyme or reason, and causes its victims to lose their memories. This is the world that newlyweds Emma and Jude find themselves in, not long after meeting and falling in love. When Jude contracts the disease, the young couple will do anything to hold onto the memory of their love. Starring Olivia Cooke (Sound of Metal, Thoroughbreds) as Emma, Jack O’Connell (’71, Starred Up) as Jude, Soko and Raul Castillo, LITTLE FISH, opens in the midst of a global epidemic: Neuroinflammatory Affliction, a severe and rapid Alzheimer’s-like condition in which people’s memories disappear. Couple Jude Williams and Emma Ryerson are grappling with the realities of NIA, interspersed with glimpses from the past as the two meet and their relationship blooms. But as NIA’s grip on society tightens, blurring the lines between the past and the present, it becomes more and more difficult to know what’s true and what’s false. Director Chad Hartigan (Morris From America, This is Martin Bonner) joins us for a conversation on the making of hissubversively sly sci-fi / love story and how the on-screen artistry of the two lead actors helped shape this prescient tale of love in an age of isolation and mistrust.
About the filmmaker – Writer/director Chad Hartigan is best known for his award-winning feature films THIS IS MARTIN BONNER and MORRIS FROM AMERICA. Hartigan won the John Cassavetes Award at the 2014 Independent Spirit Awards, as well as the “Best of NEXT” Audience Award at the 2013 Sundance Film Festival, for THIS IS MARTIN BONNER. Hartigan won the Waldo Scott Screenwriter Award at the 2016 Sundance Film Festival for his film MORRIS FROM AMERICA. LITTLE FISH marks the third collaboration between childhood friends Hartigan, composer Keegan Dewitt (HEARTS BEAT LOUD) and cinematographer Sean McElwee (THE INCREDIBLE JESSICA JAMES). Based on Aja Gabel’s short story, the film is written by up and coming screenwriter Mattson Tomlin who co-wrote the latest Batman film, THE BATMAN, and wrote the Netflix hit PROJECT POWER.
“In the midst of a flurry of pandemic-themed media coming out which tries to reflect the [present] situation, LITTLE FISH manages to distinguish itself from the crowd with its brilliant leads and emotional resonance.” – Oluwatayo Adewole, The Spool
“The result is better than smart, it’s stirring. With the NIA pandemic as a pretext, the essential subject becomes memory — its fragility, its wondrousness, its centrality to our existence as sentient beings.” – Joe Morgenstern, Wall Street Journal
“Hartigan’s moody evocation of Emma and Jack’s love – and the way in which it, like so much else, is predicated on knowledge of the past – casts a moving spell.” – Nick Schager, Variety
“Chad Hartigan’s Little Fish drips with equal doses of beauty and poignancy – an affecting dive into love and memory, and how it defines who we are.” – Natasha Alvar, Cultured Vultures
Filmed from 2017-2020, WOMEN IN BLUE follows Minneapolis’ first female police chief Janeé Harteau, as she works to reform the Minneapolis Police Department by getting rid of bad cops, retraining the rest, diversifying the ranks and promoting women—who statistically use less force than their male counterparts—into every rank of leadership. WOMEN IN BLUE focuses on four women in Harteau’s department, each trying to redefine what it means to protect and serve. After a high-profile, officer-involved shooting forces Chief Harteau to resign, the new, male chief selects only men as his top brass. The women left behind continue to fight to police differently and to rebuild community trust. WOMEN IN BLUE offers an unprecedented view into the inner workings of the MPD, chronicling a department—and a community—grappling with racism and a troubled history of police misconduct long before an MPD officer killed George Floyd in May of 2020. The film reveals the limitations of police reform through incremental change and asks questions that apply well beyond the city of Minneapolis. Could increased gender equity and more women —especially Black women — contribute to greater public safety? Director Deirdre Fishel joins us to talk about some of the many reason that law enforcement is at a critical juncture, how women can be agents of reform in more effective but often aren’t allowed to and the impact that the Floyd murder had on the project.
About the filmmaker – Deirdre Fishel is a producer/director of documentaries and dramas that have premiered in competition at Sundance, SXSW, AFI and Full Frame and been broadcast in 35 countries worldwide. Her most recent documentary CARE, which looks at the poignant but hidden world of home elder care, was funded by ITVS and the Ford and MacArthur Foundations. It was broadcast on AMERICA REFRAMED and had an extensive impact campaign with support from Bertha BritDocs, AFI DOCS, and the Fledgling Fund. Fishel has devoted the majority of her career to stories about women and is Director of the BFA program in Film/Video at City College. For more go to: newday.com/filmmaker/Fishel
“This is an unflinching study of a complex situation, showing gray areas where often only black and white are seen.” – Peter Keough, Boston Globe
“Plays like a spiritual prequel to everything we’ve seen in the past four weeks, and contains some early clues that there was something dreadfully wrong going on in the Minneapolis Police Department.” – Stephen Silver, Splice Today
“This is a timely, compelling look at a group of women who are dedicated to standing out in a male-dominated field.” – Mike McGranaghan, Aisle Seat
THE WAKE OF LIGHT tells the story of Mary, (Rome Brooks) a loving, selfless daughter who has spent her entire life caring for her widowed father after he suffered a stroke when she was a little girl. One day Mary meets Cole (Matt Bush, from TV’s “The Goldbergs”), a young man passing through her small town on a cross-country road trip, who falls for Mary and asks her to join him on his journey. Now Mary must choose between her deep-felt responsibility to her father or a chance at love.THE WAKE OF LIGHT has won over 20 Film Festival Awards during its festival run. THE WAKE OF LIGHT is written, directed, and produced by Renji Phillip and stars Rome Brooks and Matt Bush. Director Renji Philip (Cheesecake Casserole) joins us for a conversation on his sincere and heartfelt meditation on the choices we make, the power we have to change our destinies.
THE WAKE OF LIGHT will open on digital platforms on February 15, 2021.
About the filmmaker – Renji Philip is an award-winning writer, director and producer. He was born in Littleton, Colorado, the son of an Indian immigrant. He’s won 6 Best Film awards, 4 Best Director awards and 1 Best Screenplay awards for THE WAKE OF LIGHT. He studied acting at the Stella Adler Conservatory in New York for two years and with Howard Fine (and visiting teacher Uta Hagen) in Los Angeles as a full-scholarship student for four years. His films have been Officially Selected at Palm Springs, Raindance-London, Rhode Island International, Mill Valley, Frame 4 Frame, Mayday, Cinequest, Mill Valley, Methodfest, Winnipeg film festivals. For more go to: axispacificfilmworks.com
“THE WAKE OF LIGHT boasts a strong performance from Matt Bush, who elevates the movie.” – Nathaniel Muir, AIPT
“A film of immense CHARM, HUMOR and HOPE” – LOGAN TAYLOR – SXSW
“Beautifully shot and paying homage in part to What’s Eating Gilbert Grape, The Wake of Light may not be the most original storyline but it’s all about the journey on which the film takes its audience and not the destination.” – Joel Fisher, Battle Royale With Cheese
“A quiet, contemplative drama of people lost in failed dreams that lives up to some, if not all, of its ambitions.” – Daniel Eagan, Film Legacy
Life-affirming and profound, BEAUTIFUL SOMETHING LEFT BEHIND beautifully captures the heartbreaking, mundane and even the funny moments in the lives of several young children who have recently lost one or both parents. The Good Grief community in New Jersey focuses on a holistic approach to mourning, where children can give in to rage in ‘the volcano room’ or say goodbye to a dying teddy bear patient in ‘the hospital room.’ Over the course of a year, we get close to Kimmy, Nicky, Peter, Nora, Nolan and Mikayla along with their constant companion: grief, as they attend their weekly group meetings at Good Grief, practice small rituals to remember their loved ones, and go about the daily work of living. Filmmaker Katrine Philp keeps the camera and the point-of-view firmly on the children and while it is sometimes deeply sad, it’s also at times humorous to experience questions about life and death through their open and curious minds. Director Katrine Philp joins us to talk about gaining the trust of the Good Grief community, the unfettered way the children interact with one another, the loss of her own father during the making of Something Beautiful and how all of it informed the making of the film.
About the filmmaker – Katrine Philp is an award-winning director who graduated from The National Film School of Denmark in 2009. Her first film, ‘Book of Miri’, was awarded the President´s Award at the Full Frame Documentary Film Festival, nominated at IDFA and won the European Young CIVIS Media Prize in Germany. In 2014 Katrine won the Audience Award at the American Documentary Film Festival for her debut feature length documentary ‘Dance For Me’ which was also selected for POV on PBS in 2014. The film was also nominated for an Emmy Award in the category ‘Outstanding Arts and Culture Programming’ 2015. She directed ‘Home Sweet Home’ in 2015 – produced with Good Company Pictures (Winner of the Danish Film Academy’s Award 2016 for Best Short Documentary, IDFA, TIFF Kids), then ‘False Confessions’ in 2018 (award Winner at CPH:DOX, Nominated as best Nordic Documentary at Nordic Panorama, winner of Special Jury Prize at LA film festival. TV2 prime time). Beautiful Something Left Behind is her latest film which won the Grand Jury Prize at SXSW 2020. To find out more go to: goodcompanypictures.com/katrine-philp
WINNER – SXSW 2020 – Best Documentary Feature
OFFICIAL SELECTION – Winner’s Circle – 2020 DOC NYC
“Beautiful Something Left Behind” is a simple, elegant documentary about children coping with… heartbreaking loss, at a facility designed especially for them.” – Glenn Kenny, New York Times
“Very emotional. Heart warming and uplifting.” – FILM THREAT
“There are no manufactured moments of intense grief, just the day-to-day activities of parents, caregivers, and children doing their best to move on from the trauma they’ve experienced.” – Audrey Fox, JumpCut Online
“Katrine Philp’s lens gracefully avoids emotional manipulation, allowing the heartbreaking stories of its children and their process to take center stage” – THE FILM STAGE
RISING PHOENIXtells the extraordinary story of the Paralympic Games. From the rubble of World War II to the third biggest sporting event on the planet, the Paralympics sparked a global movement which continues to change the way the world thinks about disability, diversity & human potential.The film features breathtaking footage and compelling interviews with several Medal-Winning Paralympians including Tatyana McFadden (Para Athletics, United States), Bebe Vio (Wheelchair Fencing), Jean-Baptiste Alaize (Para Long Jump), Ntando Mahlangu (Para Track & Field),Matt Stutzman (Para Archery, United States), Jonnie Peacock (Para Sprint Runner),Ryley Batt (Para Wheelchair Ruby), Ellie Cole (Para Swimming), and Cui Zhe (Powerlifting).It also features an interview with Prince Harry, The Duke of Sussex. RISING PHOENIX Co-directors Peter Ettedgui and Ian Bonhôte makers of the BAFTA nominatedMcQueen, join us to talk about remarkable athletes who have worked most of their lives to fulfill the dream of being an Olympic champion as well as the story of the ParaOlympic founder, Ludwig Guttman, a Jewish doctor who rescued people from Nazi camps and believed in the power of community to heal and empower.
About the filmmaker – Peter Ettedgui’s ‘Rising Phoenix’ marks Peter’s second feature documentary as writer and director with Ian Bonhôte, following their collaboration on ‘McQueen’ in 2018. Described as “supremely engrossing and elegant” by Variety, the film was nominated for two Baftas (British Film and Documentary). Previously, Peter had cut his teeth in the non-fiction arena as writer of ‘Everything Or Nothing’ (the story of James Bond) and ‘Listen to Me, Marlon’ (a film biography of Marlon Brando told through the actor’s audio archive), for which Peter was the recipient of a Peabody Award and the IDA (Independent Documentary Award) for best writing in a documentary. Peter began his career in narrative fiction. He worked as director’s assistant and co-writer to Ken Russell on a number of feature and television projects, before writing screenplays including the Bafta-nominated ‘Onegin’, an adaptation of Pushkin’s classic tale of unrequited love, which starred Ralph Fiennes and Liv Tyler. He went on to produce films such as ‘Kinky Boots’, starring Joel Edgerton and Chiwitel Ejiofor, which became a hit Broadway/West End musical, and ‘Unmade Beds’ for Film4.Beyond his work as writer and producer, Peter has worked extensively as a development consultant and story editor including on ‘Spectre’ the 2017 Bond movie. For more go to: misfitsentertainment.com
About the filmmaker – IAN BONHÔTE is a two times BAFTA nominated director and producer for MCQUEEN, a feature documentary on Alexander McQueen the iconic fashion designer. RISING PHOENIX is Ian’s second documentary which he has co-written and co-directed alongside Peter Ettedgui. The film covers the story of the Paralympics from its humble beginning to becoming the third biggest sporting event in the world. Ian’s directorial debut, ALLEYCATS, was distributed internationally by Universal pictures in over 25 territories and by Filmmode in the US/Canada. Following this, Ian co-founded MISFITS ENTERTAINMENT alongside Andee Ryder, the producer of Alleycats. In 2018 Misfits Entertainment produced VIKING DESTINY, an action adventure film starring Terence Stamp. Prior to this, Ian co-founded PULSE FILMS in 2005 alongside Thomas Benski and Marisa Clifford. Pulse Films recently produced GANGS OF LONDON and AMERICAN HONEY (2016 Jury Prize Cannes Winner). The company is now a part of the VICE MEDIA GROUP. Ian has also directed international campaigns, music videos and fashion films for clients such as Puma, Nike, Pepsi, Mumford & Sons, Tom Jones, and fashion designers Matthew Williamson and Hussein Chalayan. For more go to: misfitsentertainment.com
“There are athletes all across the spectrum of sport who would kill to have a documentary portray them as heroic, epic and badass as Ian Bonhôte and Peter Ettedgui paint the superstars in “Rising Phoenix. – Roger Moore, Movie Nation
THROUGH THE NIGHT is a cinema vérité portrait of three working mothers whose lives intersect at Dee’s Tots Daycare in New Rochelle, NY: a mother working the overnight shift as a pediatric nurse; another holding down three low-wage jobs to support her two girls; and Deloris “Nunu” Hogan, who for over two decades has cared for the children of parents with nowhere else to turn. A tender portrait of titanic strength, love and selflessness, THROUGH THE NIGHT showcases the multiplicity of “women’s work” – paid, underpaid and unpaid; emotional and physical; domestic and career-oriented – all while negotiating the terms of a dignified existence under the three arrows of racism, sexism and capitalism in America. THROUGH THE NIGHT will open this Friday, December 11th at the Laemmle Virtual Cinema in addition to virtual cinemas around the country.Director Loira Limbal joins us for a conversation on the myriad of issues raised in this deceptively simple meditation of the why and how millions of hard working people in the home of the brave can do all the right things only to find themselves one random event away from the economic abyss that is modern American life.
About the filmmaker – Loira Limbal is an Afro-Dominican filmmaker and DJ based in the Bronx. She is the Senior Vice President of Programs at Firelight Media, an organization that provides mentorship, funding and industry access to emerging filmmakers of color. THROUGH THE NIGHT was an official selection of the 2020 Tribeca, AFI Docs, Camden, Hot Springs Documentary, Double Exposure and DOC NYC festivals. Her first film, ESTILO HIP HOP, aired on PBS in 2009. Loira is a Sundance Institute Fellow and a former Ford Foundation Justfilms/Rockwood Fellow. Additionally, she co-produces and helms the popular Brooklyn monthly #APartyCalledRosiePerez. Limbal received a B.A. in History from Brown University and is a graduate of the Third World Newsreel’s Film and Video Production Training Program. She is a Sundance Institute Fellow and a former Ford Foundation Justfilms/Rockwood Fellow.
“This quietly engaging documentary is also subtly political, showing with clear eyes how good people are trying to patch gaps in our society that shouldn’t be there in the the first place.” – Noel Murray, Los Angeles Times
“Through the Night is both celebration and indictment. A sympathetic depiction of “women’s work,” in all its unsung dignity, it’s also a quietly damning portrait of a merciless economy’s effect on working-class mothers… – Sheri Linden, Hollywood Reporter
“Without making it too obvious, Limbal’s documentary shines a light on the unspoken backbone of our economy. – Monica Castillo, Remezcla
‘”Through the Night” won me over though, not because director Loira Limbal has any illusions about objectivity, but because she prefers to step back and show the toll inequality takes on the very people our culture supposedly reveres most – families.” – Andrea Thompson, A Reel of One’s Own
ASSASSINSdocuments the bizarre, international plot, ripped from the headlines story ofKim Jong-nam—the half-brother of North Korea’s leader Kim Jong-un assassination in the bustling departures hub of Malaysia’s international airport. The spectacularly brazen murder happened in broad daylight, filmed entirely by security cameras. Footage showed two young women approaching Jong-nam from behind, covering his eyes with their hands, and pressing VX—the most lethal nerve gas on earth—into his eyes. He stumbled away and was dead within an hour. But if the murder was extreme, the story behind what came next was even more bizarre: The two women who killed Jong-nam claimed they had simply been hired to pull a video prank and had no idea what they were really doing. The Malaysian government scoffed, arrested and imprisoned the women and put them on trial for murder, facing execution. But was their outlandish story actually the truth? And would anyone believe them? ASSASSINS the latest film from director Ryan White (Ask Dr. Ruth, The Case Against 8), travels from the sanctums of Pyongyang to the rice fields of Indonesia and Vietnam to the courtrooms of Kuala Lumpur to tell an extraordinary tale of manipulation and subterfuge in the age of social media. A masterful investigation that offers an unprecedented look at the real story of Kim Jong-nam’s murder,ASSASSINSDirector Ryan White stops by to discuss the wildly improbable tale of a calculating dictator, a nefarious plot, a very public murder, and two women fighting for their lives.
“Ryan White’s fascinating documentary chronicles plays like a political thriller with tragic consequences for the two women at its center.” – Matt Goldberg, Collider
“It’s a Kafka-esque and sometimes darkly comic tale of deception and exploitation that makes for a smartly assembled and eminently topical film that arrives at a crucial juncture in world affairs…” – Justin Lowe, Hollywood Reporter
“As you watch the movie, I promise that there are moments when your jaw will drop.” – Owen Gleiberman, Variety
“Director Ryan White masterfully breaks down the complex mechanics of North Korean politics and the Malaysian justice system in a fascinating thriller.” – Ian Thomas Malone
In WANDER DARKLYfilmmaker Tara Miele explores grey, fuzzy light between reality and the sub-conscious In the aftermath of a traumatic incident, Adrienne (Sienna Miller) finds herself in a disorienting state of limbo, unstuck in time and witnessing life from a distance. Forced to confront her troubled relationship with her longtime partner, Matteo (Diego Luna), and the future of their infant daughter, Adrienne must relive and renegotiate the events of the recent past—and solve the mystery of the accident. Stepping into the shadows with Matteo, Adrienne looks for clues about what went wrong between them. Gently moving between the enigmatic and the romantic, WANDER DARKLY traverses genre borders, taking us on a journey that is both uncanny and emotionally resonant. Miller gives a wonderfully layered performance, navigating the film’s demanding tonal shifts. Luna is both elusive and engaged, walking the line between the film’s ethereal and earthly planes. Writer-director Tara Miele’s joins us for a lively conversation on her highly affecting existential drama that explores how we build narratives of love and loss from the fragmented memories of our lives and how we all live in a world where navigating the overwhelming truths of or daily lives can help us discover the love that binds us to each other as we face an uncertain future.
About the filmmaker – Tara Miele is a filmmaker originally from Long Island. She built her career working in both film and television, including directing three micro-budget features. She is perhaps most well known for her work that went viral in 2016 with the short film Meet a Muslim. Miele aims to create socially conscious work, and when she isn’t doing that, she is raising two daughters. Both love that their mom went viral. Tara became known for the viral video ‘Meet a Muslim’ which she created to combat Islamophobia. The video has been shared around the world over 45 million times. For television she directed the backdoor pilot Green Arrow and The Canaries, and has directed episodes of Arrow, Batwoman and Hawaii Five-0, as well as four micro budget feature films. She is a graduate of Ryan Murphy’s Half Foundation and the CBS Directing Initiative. Looking forward, Tara aims to create more socially conscious work in an effort to build bridges and conversations.
“Miller helps this emotionally complicated material to succeed. She is willing to take Adrienne to dangerous and unlikable places and is believable as a possible ghost, a shattered trauma survivor, and a romantic heroine.” – Anita Katz, San Francisco Examiner
“Miller and Luna are superb, traversing a range of emotional material without a false note. It’s their anger, their confusion, and their love that breathes life into the movie.” – Karen Gordon, Original Cin
“Sienna Miller and Diego Luna put on a clinic in screen chemistry in this melancholy puzzle-picture romance.” – Roger Moore, Movie Nation
Tandem Pictures is a leader in conceiving and implementing eco-sustainable filmmaking practices in the indie film space,with all of their productions following Environmental Media Association standards and the Producers Guild’s Green Best Practices. They’re also an advocate for how these practices – from using hybrid vehicles on set, to having the sound and camera teams use rechargeable batteries, to composting and using metal straws – can and should be adopted industry-wide. Female owned and operated, it is Tandem’s mission is to bring female talent and narratives to the forefront. They embrace female-centric storytelling, and pride themselves on the fact that the casts and crews of their films are composed of underserved and underrepresented minority groups, LGBTQIA, and women.tandempictures.com
JULIE CHRISTEAS – Tandem Pictures – Founder, Chief Executive Officer Julie’s recent films include BLACK BEAR (Sundance 2020) starring Aubrey Plaza, Christopher Abbott and Sarah Gadon which will be released later this year by eOne/Momentum and THE SURROGATE (SXSW 2020/Monument Releasing) . She also executive produced the cult horror favorite THE EYES OF MY MOTHER (Sundance 2016/Magnet Releasing), MONOGAMY (Best NY Narrative, Tribeca Film Festival 2010), the feature doc DUKALE’S DREAM starring Hugh Jackman, and GHOST TEAM starring Jon Heder, David Krumholtz, Justin Long, Amy Sedaris and Melonie Diaz. Previously she produced BLOOD STRIPE (Jury Prize for Best Narrative Film, LA Film Festival 2016), WILDLIKE starring Bruce Greenwood and Brian Geraghty (HIFF), and THE SLEEPWALKER starring Christopher Abbott and Brady Corbet (Sundance 2014/IFC).
JONATHAN BLITSTEIN – Tandem Pictures – Co-owner, Chief Operating Officer Jonathan’s most recently produced the acclaimed films THE SURROGATE, and BLACK BEAR (SUNDANCE, EOne/Universal release) starring Aubrey Plaza. Prior to Tandem he worked in production and branded entertainment for Vudu, Sony and Disney, supporting Fortune 500 Brands such as Walmart, Sprint and Covergirl. At Oracle (formerly CrowdTwist), he initiated the creation of Marvel Studios’ first nationwide fan loyalty program Marvel Insider. In his early career, he made two micro-budget feature films LET THEM CHIRP AWHILE and ANOTHER KIND which both premiered at the Woodstock Film Festival which were distributed on Netflix and VOD. Early career roles include marketing arthouse films such as Park Chan Wook’s OLD BOY, and Noah Baumbach’s SQUID AND THE WHALE.
As imaginative as the creative process it documents, A DOG CALLED MONEY is a uniquely intimate journey through the inspiration, writing and recording of a PJ Harvey record. Writer and musician Harvey and award-winning photographer Seamus Murphy, hatched a collaboration. Seeking first-hand experience of the countries she wanted to write about, Harvey accompanied Murphy on some of his worldwide reporting trips, joining him in Afghanistan, Kosovo, and Washington DC. Harvey collected words, Murphy collected images. Back home, the words become poems, songs, then an album, which is recorded in an unprecedented art experiment in Somerset House, London. In a specially constructed room behind one-way glass, the public – all cameras surrendered – are invited to watch the 5 week process as a live sound-sculpture. Murphy exclusively documents the experiment with the same forensic vision and private access as their travels. Director / photographer Seamus Murphy brilliantly captures encounters with the people and places he and Polly Jean visit, showcasing the humanity at the heart of his work, while also tracing the evolution of their shared experience into her recorded music and ultimately into their impassioned collaboration.
About the filmmaker – Seamus Murphy grew up in Ireland and is based in London. He is the recipient of seven World Press Photo awards for his photographic work in Afghanistan, Gaza, Lebanon, Sierra Leone, Peru and Ireland. He received The World Understanding Award from POYi in the USA for his work from Afghanistan and a film he made based around this work was nominated for an Emmy and won the Liberty in Media Prize in 2011. His work has been published and exhibited widely. He has made films for The New Yorker and Channel 4 Television in the UK. He is the author of four books including A Darkness Visible: Afghanistan (Saqi Books. 2008) is based on 12 trips to the country between 1994 and 2007 and is a chronicle of Afghanistan’s extraordinary recent history. I Am The Beggar of the World (Farrar Straus Giroux. 2014) offers a rare glimpse into the lives of Afghan women through their anonymous Landay poetry. He has collaborated with musician PJ Harvey on projects for Let England Shake and The Hope Six Demolition Project, for which he won a Q Award for Best Music Film in October 2016. Patti Smith listed Murphy’s film for Harvey’s The Words that Maketh Murder as one of her Top 10 artworks, saying “… this unheralded piece (directed by Seamus Murphy) is a wisp of humanity celebrating the small things. “Murphy and Harvey together published The Hollow of the Hand (Bloomsbury. 2015) a book of his photography and her poetry. An exhibition and live presentation of The Hollow of the Hand work took place at the Royal Festival Hall, London in 2015 and at Les Recontres d’Arles in France in 2016. His latest book The Republic (Allen Lane. 2016) is an immediate and personal portrait of Ireland and was exhibited at The Little Museum in Dublin in 2017.
“It’s fascinating to see the creative process laid bare in such a way, and the film confirms Harvey’s position as a vital and relevant artist who thrives through collaboration and experimentation.” – Jamie Healy, Radio Times
“Murphy has an unerring eye for poetic compositions that emphasise faces, isolated soldiers and civilians in battle zones, and anomalous juxtapositions of vulnerable non-combatants and military personnel.” – Graham Fuller, Sight and Sound
The incredible story that lies at the heart of Songs of Repressionbegins and ends atthe foot of the Andes Mountains in Chile in the picturesque German colony of Colonia Dignidad (Colony of Dignity). The beauty of the place belies a grim past. In 1961, a German preacher named Paul Schäfer and his congregation moved to Chile with the stated aim of helping the poor. They established Colonia Dignidad, which transformed into a closed sect where child abuse, collective beatings and slave-like living conditions were an ongoing reality for 45 years. Many in the colony assisted Pinochet’s dictatorship in torturing and killing political prisoners and burying them in mass graves on their own 40,000-acre land. In 2007, Schäfer was arrested and the colony opened up. During that process, the community changed its name to Villa Baviera (Bavarian Village), now a tourist resort where you can relax, eat German cuisine and listen to yodeling. It remains the home of several generations of perpetrators and victims of the cult, inexplicably coexisting without reckoning with decades of abuse. Co-directors Marianne Hougen-Moraga and Estephan Wagner join us to talk about their chilling exploration of the community through the experiences of its surviving members.
About the filmmaker – Marianne Hougen-Moraga (Director) Graduated with a Master’s degree in film studies from Copenhagen University. She also holds a master in Screen Documentary from Goldsmiths College. Hougen-Moraga has directed a number of short documentaries, such as ‘Returned’ (2011), which premiered at CPH:DOX, and ‘Sea of Sorrow – Sea of Hope’ (2017), which was nominated for a Danish Robert Award for best short documen- tary. Her feature documentary debut is ‘Songs of Represvsion’ (2020), which she has directed with Estephan Wagner.
About the filmmaker – Estephan Wagner (Director and Editor). Graduated from the National Film and Television School in London. Originally trained as an editor in Germany. Wagner has been working as a documentary director for more than a decade. He directed ‘Last Dreams’ (2013) that premiered at CPH:DOX. His feature documentary ‘Les Sau- teurs’ (2016) had theatrical distribution in Germany, France, the UK and Italy, has been screened at more than 70 film festivals and has won more than 15 awards including at the Ecumenical Jury Award at the Berlinale and the Cinema Eye Spotlight award.
Directed by Emmy-nominated filmmaker John Dower, THE MYSTERY OF D.B. COOPERbrings to life the stories of four individuals fervently believed by their family and friends to be “D.B. Cooper,” the mystery man who hijacked a 727 flying out of Seattle, traded the passengers’ lives for $200,000 and four parachutes, lept from the jet over some of Washington state’s roughest terrain, and was never heard from again. Almost 50 years later, the case continues to confound the FBI and inspire wild speculation as it remains the only unsolved airplane hijacking in United States history. THE MYSTERY OF D.B. COOPER draws from a combination of recreated and archival footage, as well as exclusive interviews with those most connected to the infamous case and its likeliest culprit, and explores how the heist inspired copycat hijackings around the world and elevated Cooper to “legend” status before his plane even touched back down on land. Director John Dower joins us for a lively conversation on the rabid D.B. Cooper cognoscenti who claim that they “know” what happened, the surprisingly strong bond Dower formed with the subjects he met making the film and the enduring and irresistible legend born on Thanksgiving eve, 1971.
About the filmmaker – John Dower is one of the country’s leading documentary directors. His feature Thriller in Manila was in competition at Sundance, BAFTA and EMMY nominated, and won a Grierson and a Peabody Award. Bradley Wiggins – A Year In Yellow was also BAFTA nominated in the best director category. As well as his sporting films he has a keen eye for comedy. His music documentary Live Forever was described by The Guardian as, “Sublime … finds that the truth is stranger and funnier than the myths” and his latest theatrical feature My Scientology Movie praised by The Telegraph as “a giddy, Pythonesque delight”, with Variety calling it “riotously funny”. His first documentary short, Ronald, continues that absurd tone and proved a massive hit on the American festival circuit. My Scientology Movie, which he also co-wrote, has topped a million pounds at the UK box office and is on course to be the highest grossing documentary of the year. As well as screening at prestigious festivals such as Sundance, Toronto, Tribeca, LFF, Berlin and Cannes his films have broadcast on HBO, ESPN, Sky, the BBC & Channel 4. Alongside his documentary work, John has directed a number of commercials for numerous leading brands and Agencies worldwide. Recent work includes campaigns for The Co-operative Bank, Not On The High Street and Omega. As well as spots for Sky HD, Aviva, Mars and Vodaphone. pulsefilms.com/director/john-dower/film or johndower.co.uk
“It’s fascinating and a lot of fun, but in a larger sense it speaks to the reason why people get fascinated with a story like this.” – Christy Lemire, FilmWeek
“By the end of The Hijacker Who Vanished: The Mystery of DB Cooper, I felt like saying: “Dammit, I’m DB Cooper.” – Carol Midgley, Times (UK)
“These brilliant characters, some deeply entangled in the story, some distant from it but connected, are believers. This film asks what keeps them believing, and it is a far bigger question than the mystery itself.” – Rebecca Nicholson, Guardian
“Interspersed in the thrilling minute-by-minute drama of the hijacking are the stories of people suspected of being responsible. Sifting the implausible from the probable makes for a fascinating show.” – Suzi Feay, Financial Times
The feature film debut of director Darius Marder,Sound of Metal, chronicles the life of Ruben, (Riz Ahmed) an itinerant punk-metal drummer. During a series of adrenaline-fueled one-night gigs, Ruben begins to experience intermittent hearing loss. When a specialist tells him his condition will rapidly worsen, he thinks his music career — and with it his life — is over. His bandmate and girlfriend Lou (Olivia Cooke) checks the recovering heroin addict into a secluded sober house for the deaf in hopes it will prevent a relapse and help him learn to adapt to his new situation. But after being welcomed into a community that accepts him just as he is, Ruben has to choose between his equilibrium and the drive to reclaim the life he once knew. Utilizing startling, innovative sound design techniques, director Darius Marder takes audiences inside Ruben’s experience to vividly recreate his journey into a rarely examined world. Director and screenwriter Darius Marder joins us for a conversation on technical challenge of creating a cinematic language to meet the demands of telling Ruben’s complex story, creating an environment for remarkable performances from Riz Ahmed, Olivia Cooke and Paul Raci and his collaboration with fellow director Derek Cianfrance (The Place Beyond the Pines).
About the filmmaker – DARIUS MARDER (Director, Writer) is a writer and director making his narrative feature directorial debut. His film Loot was awarded the Best Documentary Feature prize at the 2008 Los Angeles Film Festival, received five Cinema Eye Honors Award nominations and earned Marder an Independent Spirit Award nomination in the Truer Than Fiction category. Marder then co-wrote The Place Beyond the Pines with Derek Cianfrance and Ben Coccio. The original screenplay won the trio a PEN Literary Award in 2014. The following year Marder and Cianfrance co-adapted S.C. Gwynne’s Pulitzer Prize finalist Empire of the Summer Moon for Warner Bros. The film will go into production in 2021 with Cianfrance directing.
“As Ruben’s fear and rage begins to open itself to the unknown, the movie reaches toward something profound – finding real, furious power in the spaces between the sound.” – Leah Greenblatt, Entertainment Weekly
“An engrossing deeply affecting, meticulously crafted movie. The tone is straightforward and naturalistic. The camera focuses on intimate connections between the characters. This is a thoughtful, grounded, human scale film.” – Karen Gordon, Original Cin
“The film is profound, frightening, uplifting and, yes, actually breathtaking at times, and you’re not likely to take your hearing for granted anytime soon afterward.” – Brian Truitt, USA Today
“It’s a devastating, poignant, and ultimately hopeful film, especially for a side of humanity that rarely sees itself portrayed on screen.” – David Fontana, Film Inquiry
In 2018, 15-year-old Swedish climate activist Greta Thunberg held a school strike outside her country’s Parliament building in Stockholm. At first she sat alone, handing out information and answering questions from passersby. Slowly, others began to join her—and within months she had sparked a worldwide movement. I AM GRETA offers a personal and inspiring glimpse inside Greta’s path to becoming an internationally known environmental activist. Shot in the style of cinéma vérité and with support from the Thunberg family, cameras capture Greta’s meetings with government leaders, headline-making public appearances, and global protests. But they also depict Greta’s life outside of the moments visible on news channels worldwide: laughing at home with her family, writing impassioned speeches, and trying to handle the mounting stress of nonstop travel, public scrutiny and becoming the face of the climate change cause. The film culminates with Greta’s arduous two-week journey by sailboat to the UN Climate Action Summit in New York City, where she’s greeted by crowds chanting her name. (Greta stopped flying because of the high emissions caused by air travel.) Today, her #FridaysForFuture movement has organized climate strikes on every continent except Antarctica. As she tells the UN, “The world is waking up, and change is coming whether you like it or not.” Director Nathan Grossman joins us to talk about his filmmaker instinct to document Greta Thunberg’s first days in front of the Swedish Parliament, the remarkable level of trust he had with Greta and her family as he chronicled the tale of a young woman determined to hold the most powerful people in the world accountable for their pathological abuse of Planet Earth.
A Statement from Greta – “I really like the film and I think it gives a realistic image of myself and my daily life. I hope anyone who watches the film can finally understand that we young people aren’t school striking just for fun. We are protesting because we don’t have a choice. A lot has of course happened since I started school striking, but sadly we are still stuck on square one. The changes and the level of awareness needed are nowhere to be seen today. All that we ask for is for our society to treat the climate crisis as a crisis, and give us a safe future. I think the film shows just how far that is from happening right now. It shows that the urgency of the scientific message isn’t getting through.” – Greta Thunberg
About the filmmaker – Nathan Grossman is educated at The Stockholm Academy of Dramatic Arts. He started his career as a stills photographer for Rolling Stone India and later moved into documentary filmmaking, mainly focusing on environmental issues. In 2015 Nathan got the world’s attention for his short film The Toaster Challenge where an athlete tries to generate energy to toast a slice of bread. The video became a global phenomenon with over 15 million views. 2017 Nathan completed his first full-length tv-series for public broadcaster SVT, about the growing meat consumption in Sweden. The show sparked a big discussion about meat consumption in Sweden and got nominated for best factual program of the year.
“FASCINATING. A close-up, behind-the-headlines portrait of a passionately committed, media-savvy young woman.” – Caryn James, The Hollywood Reporter
“ABSORBING. An uplifting, inspirational story.”– Lee Marshall, Screen International
“INTIMATE AND URGENT. Thunberg’s very existence has been politicized by both friend and foe, but “I Am Greta” is intent on reminding people that she’s really just a kid who has a big dream.”– Kate Erbland, IndieWire
“[Grossman’s] straightforward yet utterly compelling documentary invites us into the life of a remarkable teenager who is sure to accomplish even more remarkable things in the years to come.” – Andrew Collins, Radio Times
Oscar winning Director Ron Howard’s gripping new documentary. Rebuilding Paradise, movingly recounts and expands on the devastating events of Nov. 8, 2018. A tragedy that began with a spark from a transmission line in Northern California, coupled with climate-impacted conditions, quickly grew into a devastating firestorm that engulfed the picturesque city of Paradise, California. By the time the Camp Fire was extinguished, it had killed 85 people, displaced 50,000 residents and destroyed 95% of local structures. It was the deadliest U.S. fire in 100 years — and the worst ever in California’s history. As residents faced the damage to their lives, to their homes and to more than 150,000 acres in and around their 141-year-old town, they did something amazing: They worked together to heal. The community members went on to forge a bond stronger than what they had before the catastrophe, even as their hope and spirit were challenged by continued adversity: relocations, financial crises, government hurdles, water poisoning, grief and PTSD. From the moment the crisis began, The Camp Fire and its overwhelming aftermath became a de facto lesson in what we all must do: protect our environment, help our neighbors, plan for future dangers and remember to preserve the traditions that unite us — just as these resilient citizens did when they began the important task of REBUILDING PARADISE. Producer Sara Bernstein joins us for a conversation on how the production team, led by Oscar-winning director Ron Howard gained the confidence and trust of families scarred by one of the most devastating fires in California as well as documenting the resiliency and character of the people rebuilding Paradise.
About the filmmaker – Sara Bernstein is an award-winning producer and Executive Vice President at Imagine Documentaries the newly launched documentary division of Ron Howard and Brian Grazer’s, Imagine Entertainment. Recent feature films she has executive produced include Once Were Brothers: Robbie Robertson and the Band (2019) and Dads (2019) which premiered at the Toronto International Film Festival. The Ron Howard-directed documentary film, Rebuilding Paradise (2020), for National Geographic Films, D.Wade: Life Unexpected (2020) for ESPN Films and the documentary feature film on legendary chef Julia Child, Julia (2021) directed by Academy Award nominees Julie Cohen and Betsy West. Prior to joining Imagine, Bernstein was Senior Vice President, HBO Documentary Films over seeing nonfiction development and production for HBO. Credits include Academy Award-winner Citizenfour (2014), Academy Award-winner Music by Prudence (2010), Academy Award nominees Burma VJ: Reporting from a Closed Country (2008), Iraq In Fragments (2006), The Children of Leningradsky (2005), Poster Girl (2010). Emmy-nominated The Inventor: Out for Blood in Silicon Valley (2019), Emmy-nominated The Case Against Adnan Syed (2019), Judd Apatow’s Emmy-winning The Zen Diaries of Garry Shandling (2018), Emmy winners Going Clear: Scientology and the Prison of Belief (2015), White Light, Black Rain: The Destruction of Hiroshima and Nagasaki (2007) and Mea Maxima Culpa: Silence in the House of God (2012). Emmy-nominated The Case Against 8 (2014), Mapplethorpe: Look At The Pictures (2016), Chris Hegedus & D.A. Pennebaker’s Emmy-nominated Unlocking The Cage (2016); Beware the Slenderman (2016), I Love You Now Die (2019) and Mommy Dead and Dearest (2017). Bernstein has garnered 10 Emmy wins, 29 Emmy nominations and 11 Peabody Awards. Documentaries she has supervised have garnered 2 Oscars and 13 Oscar nominations.
“Rebuilding Paradise might easily have blazed with righteous fury, but its conclusions are quieter and bleaker.” – Ellen E Jones, Guardian
“Filmmaker Howard admittedly does a superb job of immediately drawing the viewer into the briskly-paced proceedings…” David Nusair, Reel Film Reviews
“Howard’s documentary is not so much about the fire as it takes a looks at the resilience members of the community showed. It is both painful and inspirational.” – Rick Bentley,Tribune News Service
“Mr. Howard wants us to know that greater challenges lie ahead… Yet his documentary also dramatizes the resilience and resourcefulness we can bring to bear in meeting them. Calamity, the film says, isn’t destiny.” – Joe Morgenstern, Wall Street Journal
The Atlantic’s first feature documentary, WHITE NOISE, is the definitive inside story of the movement that has come to be known as the alt-right. With unprecedented access, WHITE NOISE tracks the rise of far-right nationalism by focusing on the lives of three of its main proponents: Mike Cernovich, a conspiracy theorist and sex blogger turned media entrepreneur; Lauren Southern, an anti-feminist, anti-immigration YouTube star; and Richard Spencer, a white-power ideologue. Directed and shot by Daniel Lombroso in his directorial debut, this film takes the viewer into the terrifying heart of the movement—explosive protests, riotous parties, and the rooms where populist and racist ideologies are refined, weaponized, and injected into the mainstream. Just as the alt-right comes to prominence, infighting tears the movement apart. Spencer and Cernovich clash over the role of white nationalism in conservative politics. Southern struggles to reconcile her leadership role with the sexism and misogyny of her peers. Lawsuits mount and internecine fights erupt, but even as the alt-right fractures, its once-marginalized ideas gain a foothold in mainstream discourse; in Republican politics; in the establishment right-wing press, especially Fox News—and on the world’s biggest social-media platforms. Director Daniel Lombroso joins us to talk about his immersive experience into the world of the white nationalist movement, an ideologythat echos and trades on the tropes of fascism.
WHITE NOISE releases on October 21 in the U.S. on iTunes, Amazon Prime Video, and Google Play.
About the filmmaker – Daniel Lombroso is a freelance director and journalist. For five years, he was a staff producer at The Atlantic, where he directed shorts exploring Russian espionage, the Israeli settlement movement, far-right Christian media, and more. Lombroso graduated from McGill University with a degree in political science and lives in New York City. His debut feature film, WHITE NOISE, based on his four years reporting inside the alt-right, premiered at AFI DOCS in June 2020 to critical acclaim. It is the first-ever feature film by The Atlantic. For more go to: daniellombroso.com
“Lombroso did his homework, embedding himself with these people for several years, so that he won their trust and became privy to their private lives. “White Noise” is a deadly serious movie, but it is also, in a certain way, a funny one, because it captures the comedy of how much trouble even the influencers of hate now have squaring their lives with their belief systems. It takes reality to create characters as rivetingly contemptible as these.” – Owen Gleiberman, Variety
“There have been several documentaries made about the ideological conditions that laid the ground for the Trump era, but White Noise may be the most illuminating.” – Stephen Silver, Splice Today
“Lombroso’s strategy is patient, and ruthless. He listens to these racists, spending long periods with them to better understand their lifestyles. We slowly start to see that they all kind of hate and resent each other; these fissures are at the heart of this movement’s moral and intellectual rot.” – Alan Zilberman, Brightest Young Things
“Director Daniel Lombroso takes a very clear-eyed approach to the subject, utilizing unprecedented access to show the movement for what it is – an effort to launch a full-on culture war, driven by people whose anger and media savvy is matched by their opportunism. Despite refraining from overt commentary most of the time, the last couple minutes of White Noise poignantly pull together the results of recent alt-right messaging.” – Mike McGranaghan, The Aisle Seat