Should the government have the power to override a woman’s constitutional rights during pregnancy? That question is examined in PERSONHOOD, Jo Ardinger’s feature documentary directorial debut. This urgent and timely film explores the criminalization and targeting of pregnant women as seen through the eyes of a young mother swept up in dangerous new laws.
DOC NYC, America’s largest documentary festival, announced the full lineup for its expanded tenth anniversary edition, running November 6-15 at the IFC Center in Greenwich Village and Chelsea’s SVA Theatre and Cinépolis Chelsea. The 2019 festival includes 136 feature-length documentaries among over 300 films and events overall, making this landmark year DOC NYC’s biggest edition yet.
The Eyes of Orson Welles[/caption]
How do you write a letter to someone who has been dead for over 30 years? Mark Cousins’ answer is to look at their sketches that date back from their teenage years all the way their last and create profile through their eyes. The Eyes of Orson Welles has all the potential to be another self aggrandizing portrait of the filmmaker. Diving into the “genius” of the prolific man who has made his name in film, theatre, radio, as well visual art. His legacy could stand alone on having wrote/starred/directed Citizen Kane (1941), noted by many to be the greatest film ever made. However, Mark Cousins, having made a 900-minute comprehensive visual survey of all of cinema up to 2011, has made a film that is not really a film at all.
Orson Welles is dead, he has been since October 10, 1985. But hearing Cousins’ rich cadence describe the Moroccan travels Welles took as a teenager does more than conciliate a certain intimacy in the viewer. There is never a moment that Cousins’ narration addresses anybody that isn’t Welles, the film is literally a letter. This letter structure does more to give a materiality not just in seeing papers that are worn and yellowing but also to make Welles a present kind of living person within the film.
The next question to ask about this film is who is going to see it. Obviously those who are fans of Welles’ or Cousins’ work will get to a screening whenever possible. As Cousins’ opens the box he says “this never before seen” sketches have been dormant for however many years. Perhaps this film can be seen as an unearthing of a past history in a political/social life of filmmaker. Outside of the curiosity to see something new, there is not much for a person outside of niche of film culture. A film for film lovers. That is what I’ll say because The Eyes of Orson Welles says a lot more.
https://www.youtube.com/watch?v=Uh7PqV-259k
North Pole, NY[/caption]
By the halfway point of North Pole, NY — an hour-long exposé on the history and hardships of the theme park known as ‘Santa’s Workshop’ in upstate New York — one thing is undeniably clear: director Ali Cotterill, who also served as co-writer, editor, and camera operator, has an unyielding affection for her subject matter. And why shouldn’t she? After all, the citizens of Wilmington, New York—a sleepy tourist town snug in the Adirondacks—couldn’t be more endearing in their devotion to Santa’s Workshop, the holiday theme park upon which their idyllic community has grown and, ultimately, come to rely.
It’s not all tinsel, though. The park, founded in the late 1940s by businessman Julian Reiss and later bequeathed to his son Bob, has been on a downward trajectory since the Eisenhower years, when theme parks and car trips were supplanted by the arrival of jet travel which took public interest elsewhere. These days Santa’s Workshop—which receives hundreds of letters to Kris Kringle each year—operates less as a commercial attraction and more as a gauzy piece of post-war nostalgia. See, in one particularly sobering sequence, as long-time park performer and historian Julie “Jingles” Robards drives her ’54 Dodge around Wilmington, pointing out what were once neighboring theme parks like “The Land of Make-Believe” but today resemble the sort of overgrown and decrepit structures you’d forbid your children from playing on.
Cotterill knows better than to wallow. After all, there is plenty of good to focus on here: the jobs for local teenagers, the decades of tradition kept alive by returning visitors, and the overall feeling that yes, magic still exists in the world, even if it doesn’t pay well. Never do the scales tip to full-blown despair. There is a villain, businessman Greg Cunningham, whose brief ownership of the park in the late 1990s turned sour after tales of his past criminal misconduct came to light, but even his story (which takes up less than four minutes of screen time) plays like a curious detour in a bigger tale of indomitable community spirit.
It’s the balance between the magical and melancholy that makes North Pole, NY such a compelling documentary. It operates on a two-fold illusion: the precious and short-lived one kids know as Santa Claus, and the existence of his workshop as a place of perpetual wonder in the face of bankruptcy, disinterest, and gentrification. Watching these awestruck children—whose interviews make up some of the funniest (and weirdest) parts of the film—react to a ‘talking’ tannenbaum or stand giddily in line for their moment with St. Nick, I found myself both moved by their innocence and depressed for the day when they’ll grow up and see behind the curtain.
Ultimately that’s what rounds out North Pole, NY and gives it such an engaging air: the people. Some of them, like Jingles Robards, seem at times almost too sincere to really exist in 2018. Others, like park manager Matt Stanley, are palpable in their believability. As he makes the morning rounds repairing broken games and reading customer complaints his cell phone erupts into a rock rendition of “Carol of the Bells.” It’s a moment that in a fictional film might feel cheap or obvious, but here rings true. Despite the daily grind, this guy really, truly loves Christmas. That’s how, after seven decades, Santa’s Workshop continues to survive: on the selflessness of people who believe in it. The park, just like this splendid little film, is a labor of love.
North Pole, NY premiered in New York on November 9th at IFC Center as part of DOC NYC.
Elephant Path: Njaia Njoku[/caption]
Todd McGrain knows the importance of conservation. The artist turned filmmaker is best known for his Lost Bird Project, a series of larger-than-life sculptures dedicated to five extinct North American bird species. While this endeavor was chronicled in the 2012 film of the same name by Deborah Dickson, now McGrain himself has stepped behind the camera to bring us the story of another endangered species, one we might actually be able to save: the forest elephants of Bayanga, Central Africa. Elephant Path (or “Njaia Njoku” in the Bayaka language) has a lot going for it: a heart-wrenching story, impressive scope, engaging characters, and above all a sense of showmanship. McGrain’s storytelling approach is stylish and highly cinematic to the point where, by the end of the film’s 79 minute run-time, it’s a shock to realize how little has actually happened.
The story of “Dzanga Bai” (“Elephant Village”) is presented through a quartet of characters. Andrea Turkalo, an American biologist, has spent three decades observing elephants in their natural habitat. Aiding her efforts in Bayanga is local tracker Sessely Bernard, a village elder named for the river from which he first drank. Keeping watch over the elephants is Zephirine Sosso Mbele, one of a handful of “Eco Guards” tasked with warding off poachers. Late in the film, the guards receive additional defense training from Nir Kalron, an Israeli ex-military security contractor with a soft spot for animals.
Why the additional training? Because Bayanga, in fact the entire Central African Republic, is under siege by Séléka rebels and embroiled in a civil war. To the rebels, elephants are prime targets; the sale of ivory from their priceless tusks is how they fund their arsenal. At the start of the film they have not arrived at Dzanga, but from Turkalo’s foreboding narration we quickly gather it’s only a matter of time. Meanwhile, she and Sessely enjoy their work, the bulk of which is done from an observation deck and conducted via sketch pads and telephoto lenses, with minimal conversation. There is a sublime peace to this process.
That peace, of course, does not last. Eventually the Séléka arrive, guns blazing, and the region is plunged into oppression and terror. Turkalo is forced to flee to America while Sessely and the Bayangan community retreat into the forest to avoid persecution. I won’t detail what follows from here on out, sufficeth to say the elephants do not fare well. In one particularly haunting scene set back in America, Turkalo and a colleague review audio recordings of the forest, where distant gunfire produces cries of animal distress. A short while later, rhythmic tapping is heard. “They’re chopping off the tusks,” Turkalo observes coldly.
The human cruelty of Elephant Path is the film’s most striking element, despite the fact that none of it is ever shown happening. Early on, Sessely remarks to Turkalo how the behavior of elephants does not differ so much from that of humans; they flirt and fight, bathe each other, have children, play games. This salient observation returns with a vengeance when, in the aftermath of a Séléka poaching spree, Sessely inspects the demolished corpse of a slain elephant and angrily declares “This elephant was me.”
One of the inherent dangers of documentary filmmaking is arriving at an anticlimax. For a film shot and edited with the gusto of a narrative film, Elephant Path comes to an abrupt, somewhat underwhelming conclusion. Again I won’t spoil, but for all of Nir Kalron’s efforts in training up the Eco Guards to combat the bigger, better-armed Séléka poachers, the resolution of said problem feels like a non-ending, at least to the viewer. Little can be done about this, I know, but McGrain and crew (in particular cinematographer Scott Anger) set up such palpable villains in the occupying rebels that you can’t help but feel a little cheated out of a proper showdown. There is hope at the end of Elephant Path, even if only a modest amount, and that must be our reward. The remaining elephants saunter into Dzanga Bai, as always, and hose themselves down. Life goes on. For the living, anyway.
OUT OF OMAHA[/caption]
Out of Omaha, a coming-of-age tale of twin African-American brothers filmed over eight years by director Clay Tweel won the Audience Award at the 2018 DOC NYC. Other top 2018 award-winners included A Little Wisdom took the Viewfinders Grand Jury Prize; Barbara Rubin & the Exploding NY Underground won the Metropolis Grand Jury Prize; and In the Absence won the Shorts Grand Jury Prize.
A Little Wisdom[/caption]
Grand Jury Prize Winner: A Little Wisdom, directed by Yuqi Kang, centers on a Tibetan Buddhist monastery where young novice monks try to balance rituals and discipline with the distractions of modern life and childhood.
Jurors’ statement: “A Little Wisdom is a beautifully crafted, nuanced, and candid observational portrait of everyday life for young Tibetan monks; the film is filled with quiet, heart-breaking revelations as it explores both the joys and cruel power dynamics of childhood.”
Films featured in the Viewfinders section: Cooked: Survival by Zip Code, dir. Judith A. Helfand; Ghost Fleet, dirs. Shannon Service and Jeffrey Waldron; Heartbound, dirs. Janus Metz and Sine Plambech; The Kleptocrats, dirs. Havana Marking and Sam Hobkinson; A Little Wisdom, dir. Yuqi Kang; Out Of Omaha, dir. Clay Tweel; The Smartest Kids In The World, dir. Tracy Droz Tragos; Under The Wire, dir. Chris Martin; Walking On Water, dir. Andrey Paounov.
Barbara Rubin & the Exploding NY Underground[/caption]
Grand Jury Prize Winner: Barbara Rubin & the Exploding NY Underground, directed by Chuck Smith, is the untold story of an influential figure who defied sexist conventions and enabled surprising connections in the 1960s New York underground film scene.
Jurors’ statement: “Barbara Rubin was a leading figure in the New York avant-garde whose groundbreaking feminist art films were not recognized in her time. We were moved by her work and her spirit, which still resonate today.”
Films featured in the Metropolis section: Barbara Rubin & the Exploding NY Underground, dir. Chuck Smith; The Candidates, dirs. Alexandra Stergiou and Lexi Henigman; Creating A Character: The Moni Yakim Legacy, dir. Rauzar Alexander; Decade Of Fire, dirs. Vivian Vazquez and Gretchen Hildebran; Jay Myself, dir. Stephen Wilkes; See Know Evil, dir. Charles Curran; The World Before Your Feet, dir. Jeremy Workman.
China Love. At Only Photo Studio just out of Shanghai. This is a “go-to” pre wedding photography studio with 3 floors of ‘old world’ romantic and fantasy sets. July 2015[/caption]
Just for you our readers, an exclusive clip from China Love directed by Olivia Martin-McGuire premiering in the U.S. on November 9, 2018 at 2018 DOC NYC.
China Love takes us on a billion-dollar ride of fantasy exploring contemporary China through the window of the pre-wedding photography industry. The film is a feature length observational documentary which follows Chinese and Australian participants as they navigate love, weddings and family in the lead up to the most important ritual of Chinese society – getting married.
China Love is directed and produced by Olivia Martin-McGuire, produced by Rebecca Barry and Madeleine Hetherton, and features documentary subject Allen Shi the owner of the Jihao Group.
Beyond the Bolex[/caption]
DOC NYC kicks off this weekend and the lineup is bursting with titles. Here are a few interesting documentary films to give you a sense of the programming and inspire a reason to get out and watch something nice, or at least fun.
A new video clip and poster debuted today for the new documentary feature Creating a Character: The Moni Yakim Legacy that highlights the incredible legacy of Moni Yakim – a groundbreaking acting teacher whose techniques have influenced many of the most known actors in the world.
Creating a Character: The Moni Yakim Legacy is presented by former students Jessica Chastain and Anthony Mackie, featuring interviews with alumni such as Oscar Isaac, Laura Linney, and Kevin Kline; and will have its world premiere on Sunday November 11 at 9PM at the SVA theatre in New York at DOC NYC.
Using verite coverage, archival footage, and mime, the film portrays Moni’s journey as a young artist from Jerusalem to France in the 1950’s where he studied with the fathers of Mime, Marcel Marceau and Etienne Decroux. Discovered by Stella Adler, he became one of the founders of the Julliard Drama Division and the only one there 50 years later. The film also explores the experience of actors training at Juilliard, where an emerging star named Alex Sharp is followed from his very first year in Moni’s class to landing a leading role in a Tony Award Winning Broadway show.
After decades of waiting, Amazing Grace, the long-awaited documentary featuring Aretha Franklin’s signature performances at New Temple Missionary Baptist Church in Los Angeles, will make its world premiere at the 2018 DOC NYC, America’s largest documentary film festival. The film will be presented on Monday, November 12 at 6:45 pm and 9:00 pm at the SVA Theatre on 333 West 23rd St, NY, NY. Tickets are available at Docnyc.net.
The live performances, ranked among Ms. Franklin’s finest, were originally recorded and filmed during a church service in Watts on January 13 and 14, 1972. Warner Bros. Pictures captured the footage for a companion documentary to the double live album “Amazing Grace.” “Amazing Grace” would go on to be the biggest selling album of Aretha Franklin’s career, and the best-selling gospel album of all time. Mired in technical issues, the film was never released to the public.
Producer Alan Elliott acquired the film rights in 2007 and worked with a team of producers, including Joe Boyd, Robert Johnson, Chiemi Karasawa, Sabrina Owens, Jerry Wexler, Tirrell D. Whittley and Joseph Woolf, to bring the feature-length documentary to light. The film was edited by Jeff Buchanan and its music was mixed by Jimmy Douglass. The documentary is a labor of love and a timely tribute to the music icon who passed away in August 2018. The film is now ready for release with the complete support and blessing from The Aretha Franklin Estate.
“I am thrilled to work with Sabrina Owens and the family to do right by Aretha’s legacy,” said Mr. Elliott. “Being able to share this film and the musical genius of Aretha Franklin with her family and the world is an honor. Aretha’s fans will be enthralled by every moment of the film as her genius, her devotion to God and her spirit are present in every frame.”
Captivated by the heart and brilliance of the Queen of Soul, producer Tirrell D. Whittley stated, “Bringing this film to audiences is a great joy and privilege for me. Amazing Grace is a unique film that lifts the spirit and soul with the joy of gospel music. It’s a pure experience, showcasing Aretha Franklin in her element doing what she does best and being The Queen.”
“Amazing Grace is the heart and soul of Aretha Franklin,” said Sabrina Owens, Franklin’s niece and the Executor of the Aretha Franklin Estate. “This film is authentic and is my aunt at her core. She was a daughter of the church, she loved gospel music, and she always incorporated some form of sacred music in her concerts.”
The film features Ms. Franklin’s legendary gospel hits, performed in front of a distinguished audience that includes her father, the famed Reverend C.L. Franklin, Gospel legends Clara Ward and Mother Ward of the Ward Family Singers along with Mick Jagger and Charlie Watts of the Rolling Stones (who were in Los Angeles recording “Exile on Main Street”).
“Amazing Grace has been a lost treasure of documentary filmmaking for over four decades. I can’t think of a bigger honor for a festival than to premiere this film,” said DOC NYC artistic director Thom Powers.
North Pole, NY[/caption]
North Pole, NY, a documentary film directed by Ali Cotterill, chronicles the story of a historic Christmas theme park and the dreamers who fight to keep it open against all odds. North Pole, NY will premiere at DOC NYC on Friday, November 9th and Monday, Nov. 12th.
North Pole, NY is a revealing look at the battle for survival of one of the first theme parks in the U.S., Santa’s Workshop, located in the Adirondack Mountains in upstate New York. The film examines the park’s legacy, the dedicated staff and loyal residents, and its current struggles to survive, despite technological shifts and economic realities, while placing it in the larger context of the history and decline of the American roadside attraction.
The film follows the development of Santa’s Workshop, founded in 1949 by visionary entrepreneur Julian Reiss, who was inspired by the beauty of the Adirondacks to build “Santa’s summer home.” In the 1950’s, following national media attention, Santa’s Workshop becomes a cultural fixture with families and tourists who flock from all over the U.S. to the Adirondack Mountains. From the immersive, village-like setting and interactive holiday attractions, complete with song and dance, Santa’s Workshop created an enchanted land of make-believe for both adults and children alike.
As area development and cultural shifts alter the landscape of the Adirondacks, Santa’s Workshop struggles to remain relevant. When a would-be businessman proposes what looks like a life-saving deal to save Santa’s Workshop, the heritage and the spirit of the historic theme park is jeopardized. Santa’s Workshop becomes a casualty of a power struggle between an opportunistic businessman and the owner. With help from local residents and town council, the community rallies around Santa’s Workshop to restore the park to its greatness.
Through it all, Santa’s Workshop remains a place where past and current staff, and generations of families remember simpler times, irony-free kitsch, and the celebration of imagination. Santa’s Workshop links us to an important time and place in history– a time of innocence. For over 65 years, Santa’s Workshop, which has its own zip code as North Pole, NY, has served as the economic driver of the small community of Wilmington, New York. North Pole, NY is a portrait of small town America. It shows both the beauty and struggle of the Adirondacks.
Director Ali Cotterill says, “My vision in creating North Pole, NY documentary was to investigate the rise and decline of theme parks and roadside attractions, which were central to my childhood development and creativity. I discovered that Santa’s Workshop was part of larger story about economic dislocation in small town America, and the ceding of childhood imagination to corporatized and digitized fun. Theme parks, and Santa Claus himself, are fueled by the magic of believing, North Pole, NY asks the question, “What will we lose as a culture if we let places like Santa’s Workshop disappear? “
North Pole, NY had its World Premiere at IFF Boston 2018, where it opened to critical acclaim. It was the Official Selection at SF DocFest 2018 and NH DOCS 2018. North Pole, NY recently won the Audience Award for Best Feature Film at Indie Street Film Festival 2018.
North Pole, NY will premiere at DOC NYC during the following dates/times:
Fri. November 9, 2018 at 5:15pm at IFC Center
Mon. November 12, 2018 at 12:15pm at Cinepolis Chelsea
While I Breathe, I Hope[/caption]
What does it means to be young, black, and a Democrat in the American South? While I Breathe, I Hope follows South Carolina politician and CNN political analyst Bakari Sellers as he runs to become the first African American candidate elected statewide in over a century.
The film from award-winning director Emily Harrold who is making her documentary feature directing debut, and from Executive Producer Charlamagne Tha God, the radio personality who co-hosts the nationally syndicated iHeartRadio program The Breakfast Club will have it New York Premiere screening at DOC NYC on Sunday, November 11.
In 2014, Bakari Sellers–one of the youngest sitting members of the South Carolina House of Representatives–campaigns to be the first African American elected to statewide office since the 1870s. He runs for Lieutenant Governor, the second highest office in the state. The son of Cleveland Sellers, a prominent 1960s Civil Rights activist who was a leading member of SNCC, Bakari understands the difficult race relations in the American South. “Our race is not about what South Carolina was, it’s not about what South Carolina is, but it’s about what South Carolina can be,” he says. But as a Democrat in a red state, Bakari has a tough race ahead. News media consistently place Bakari behind his Republican opponent, Henry McMaster. Moreover, South Carolinians have not elected a Democrat to state office since 2006. Bakari doesn’t help his electability among white voters when he makes removing the Confederate Flag part of his campaign platform. But he refuses to give up. “I can’t win if I don’t run,” he states. But, in the end it seems South Carolina isn’t ready for the kind of change Bakari wants to bring to his state.
Just months after the election, racially motivated shootings in Charleston in June of 2015 throw Bakari back into the spotlight. As he struggles to deal with the brutal death of his friend Clementa Pinckney, he finds thousands of faces turn to him for leadership. Bakari rises as a spokesperson for the community while also trying to unravel and understand the strained race relations of his beloved state. As the Confederate Flag drops from the State House grounds, he is on national television explaining the momentous nature of this event. In one of the most significant moments of his life, Bakari addresses the Democratic National Convention in Philadelphia. He brings audiences to their feet as he proclaims “Stand up for progress. Stand up for justice. And stand up if you know like I know that we’re stronger together!”