• 26th African Diaspora International Film Festival To Showcase Films Featuring Miriam Makeba, Sandra Bland, Kofi Annan, Toni Morrison

    [caption id="attachment_32729" align="aligncenter" width="1200"]Kofi Annan's Suspended Dream Kofi Annan’s Suspended Dream[/caption] The African Diaspora International Film Festival (ADIFF) celebrates its 26th anniversary in New York City, with a total of 61 films from 40 countries including 27 World, US and NY Premieres.  Screenings will be held in five venues in Manhattan: Teachers College, Columbia University, Cinema Village, Riverside Church, The Dwyer Cultural Center and MIST Harlem. Some titles come directly from important national and international film festivals such as Sundance, the Tribeca Film Festival, the Pan African Film Festival, FESPACO, Cannes, Slamdance and Berlinale. Some of the films celebrate the contribution of men and women who have resisted and succeeded in affecting major changes in society. Films featuring Miriam Makeba, Sandra Bland, C.L.R. James, Errol Barrow, and Nobel Prize winners Dr. Denis Mukwege, Kofi Annan and Toni Morrison are part of the ADIFF 2018 line-up. Opening Night film Timeless: A Virgin Island Love Story travels in time from 19th Century Ghana to the modern day Caribbean. It is the story of Ajuwa, a Ghanaian warrior, who loses her soulmate to the slave trade; their souls reunite in contemporary US Virgin Islands. https://www.youtube.com/watch?v=kG1CJuoKqxU Closing Night film Muslimah’s Guide to Marriage is a comedy of manners about Muslimah Muhammad, a twenty-something African-American orthodox Muslim woman who lives in Inglewood, CA and has seven days and fourteen hours left in her Iddah (Muslim separation) before she will officially be divorced from her cheating husband. https://www.youtube.com/watch?v=FABbhzviyXU OTHER HIGHLIGHTS INCLUDE THE PREMIERE SCREENINGS: *Harlem Legacy by Shushana Dubreil and Genesis Tuyuc (World Premiere, USA, 2018, 26mins). A film that follows two middle schoolers from P.S 161 Pedro Albizu Campos Middle School, who defy both academic barriers and racial stereotypes through the “rigorous academic sport of debate”. *Freedom for the Wolf by Rupert Russell (NY Premiere, Germany, Hong Kong, India, Japan, Kuwait, Tunisia, Usa, 2017, 89mins). Democracy is in crisis. A new generation of elected leaders are dismantling freedom and democracy as we know it. Filmed over three years in five countries, Freedom for the Wolf is an epic investigation into this new regime of illiberal democracy. *Kinshasa Makambo by Dieudo Hamadi (Democratic Republic of Congo, France, Germany, Norway, Qatar, Switzerland, 2018, 75 mins). Follows young activists who fight for change in the Democratic Republic of the Congo. *Kofi Annan’s Suspended Dream by Vasselin Pascal (France, Ghana, USA, 2018, 52mins). Two times UN Secretary-General, Nobel Peace Prize laureate Kofi Annan talks about himself in an exclusive interview. *Minga and the Broken Spoon by Clay Edou (Cameroun, 2017, 80mins). A charming animation for the entire family, this African fable tells the story of Minga, an orphaned girl living with her stepmother Mami Kaba and her stepsister Abena. *Black Mexicans / La Negrada by Jorge Perez Solano (Mexico, 2017, 100mins). Black Mexicans / La Negrada is the first Mexican feature film about the Afro-Mexican community, filmed entirely with people from different towns around the Costa Chica in Oaxaca. *El Jaida by Selma Baccar (Tunisia, 2017, 104mins). Eight months before the Independence of Tunisia, four women meet at a prison for women called Dar Joued. *No Shade by Clare Anyiam-Osigwe (UK, 2018, 104mins). Told through the prism of love, relationships, dating and marriage, No Shade provides a raw perspective on the issue of colorism. *Shaihu Umar by Adamu Halilu (Nigeria, 1976, 142mins). Newly restored copy. Set in northern Nigeria towards the end of the 19th century, Shaihu Umar starts with a discussion between Islamic students and their renowned teacher, the wise man Shaihu Umar. *A Day for Women (Youm Lel Setat) by Kamla Abu Zeki (Egypt, 2016, 110mins). A new swimming pool opens in a poor Cairo district, with the announcement that Sundays are reserved for women. *They Had a Dream (Le Rêve Français) by Christian Faure (France, 2017, 2x90mins). They had a dream tells a story based on reality. It is both a social and a fictional saga, exploring the interconnected lives of two Guadeloupian families to reveal hidden and obscure aspects of French society. *Ellen: The Ellen Pakkies Story by Selma Baccar (Netherlands, Poland, South Africa, 2018, 123mins). Based on true events, Ellen tells of the troubled relationship between a mother and her drug-addicted son – a relationship that will eventually drive her to the edge and lead to his murder. *Last Life AKA Rise Again by Michael Phillip Edwards (USA, 2018, 82mins). The story of three American spirits as they inhabit 16 different characters moving through America’s racial history from the birth of the nation to the present. *Singleville by Mary McCallum (USA, 2018, 73mins). Singledom sucks for three feisty ladies with stories to tell and male egos to skewer in this raucously funny mockumentary that boasts an all-female cast.

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  • Jewish Documentary WHO WILL WRITE OUR HISTORY in U.S. Theaters in January 2019

    [caption id="attachment_32724" align="aligncenter" width="1200"]Who Will Write Our History Who Will Write Our History[/caption] Award-winning director Roberta Grossman’s latest film Who Will Write Our History is a remarkable new documentary that tells the story of a clandestine group of journalists, scholars, and community leaders in the Warsaw Ghetto, led by historian Emanuel Ringelblum  and known by the code name Oyneg Shabes, who vowed to defeat Nazi lies and propaganda not with guns or fists but with pen and paper. Who Will Write Our History written, produced and directed by Roberta Grossman; executive produced by Nancy Spielberg, and featuring the voices of three-time Academy Award nominee Joan Allen and Academy Award winner Adrian Brody will open in New York on Friday, January 18, 2019 at Quad Cinema – New York and in Los Angeles on Friday, February 1, 2019 at Laemmle’s Music Hall – Beverly Hills. In November 1940, days after the Nazis sealed 450,000 Jews in the Warsaw Ghetto, a secret band of journalists, scholars and community leaders decided to fight back. Led by historian Emanuel Ringelblum and known by the code name Oyneg Shabes, this clandestine group vowed to defeat Nazi lies and propaganda not with guns or fists but with pen and paper. They detailed life in the Ghetto from the Jewish perspective. They commissioned diaries, essays, jokes, poems and songs.They documented Nazi atrocities with eyewitness accounts. They sent reports of mass murder to London via the Polish underground. Then, as trains deported them to the gas chambers of Treblinka and the Ghetto burned to the ground, they buried 60,000 pages of documentation in the hopes that the archive would survive the war, even if they did not. Now, for the first time, the story of Emanuel Ringelblum and the Oyneg Shabes archive is told as a feature documentary. Written, produced and directed by Roberta Grossman and executive produced by Nancy Spielberg, Who Will Write Our History mixes the writings of the archive with new interviews, rarely seen footage and stunning dramatizations to transport us inside the Ghetto and the lives of these courageous resistance fighters. Featuring the voices of three-time Academy Award nominee Joan Allen and Academy Award winner Adrian Brody, the film honors the Oyneg Shabes members’ determination in creating the most important cache of eyewitness accounts to survive the war. It follows their moments of hope, as well as their despair, desperation and anger, sometimes at their fellow Jews as much as their Nazi captors. It captures their humor, longing, hunger and their determination to retain their humanity in the face of unspeakable hardships. And ultimately, through their voices, actions and real-time experiences, Who Will Write Our History vanquishes those who distort and dehumanize the “Other” in favor of those who stand up, fight back and, as one Oyneg Shabes member writes,“scream the truth to the world.”

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  • Award-Winning Documentary HILLBILLY Explores Urban and Rural America Stereotypes

    [caption id="attachment_32720" align="aligncenter" width="1024"]hillbilly hillbilly[/caption] The award winning documentary hillbilly directed by Sally Ruben and Ashley York is a timely and urgent exploration of how we see and think about poverty and rural identity in contemporary America, offering a call for dialogue during this divisive time in U.S. history.   The filmmakers go on a personal and political journey into the heart of the Appalachian coalfields, exploring the role of media representation in the creation of the iconic American “hillbilly,” and examining the social, cultural, and political underpinnings of this infamous stereotype. hillbilly won Best Documentary Feature at the 2018 Los Angeles Film Festival and recently made its New York Premiere at DOC NYC. The film opens in NYC November 23rd at the Cinema Village. Appalachia is no stranger to the complexity of media representation. Since our country’s inception, there has been a palpable divide between Urban and Rural America. Within this great divide, certain regions are viewed as “other,” and blamed for America’s social ills. Since the presidential election, the cultural divide in America has expanded. Stereotyping and slurs are rampant, finger-pointing and name-calling abound. hillbilly goes on a personal and political journey into the heart of the Appalachian coalfields, exploring the role of media representation in the creation of the iconic American “hillbilly,” and examining the social, cultural, and political underpinnings of this infamous stereotype. Filmed in Georgia, Kentucky, Ohio, Tennessee, Virginia, and West Virginia, hillbilly uncovers an unexpected set of artists, poets, activists, queer musicians, “Affrilachian” poets, and intersectional feminists — all unexpected voices emerging from this historically misunderstood region. hillbilly is a timely and urgent exploration of how we see and think about poverty and rural identity in contemporary America, offering a call for dialogue during this divisive time in U.S. history. ” I’m happy to see somebody trying to cover us as we really are and not what some people think we are. It’s wonderful the attention you’ve paid to so many areas that are so important to all of us. I’m proud to have been mentioned in the film a time or two. ” – Dolly Parton on hillbilly

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  • Alex Pettyfer’s Noir Thriller BACK ROADS Starring Juliette Lewis Opens Dec 7

    [caption id="attachment_32716" align="aligncenter" width="1200"]Back Roads Back Roads[/caption] Based on the Oprah’s Book Club selection and New York Times bestselling novel by Tawni O’Dell, Back Roads, the powerful directorial debut from actor Alex Pettyfer, explores the impact of family trauma with a powerful and visceral noir thriller.   The film which had its world premiere at the 2018 Tribeca Film Festival will open in theaters on December 7th. Pettyfer in addition to directing, also stars in the film alongside Jennifer Morrison (TV’s Once Upon a Time), Nicola Peltz, Chiara Aurelia, Hala Finley, June Carryl, with Robert Patrick, and Oscar nominated Juliette Lewis. After his mother, (a gritty Juliette Lewis), is imprisoned for killing his abusive father, Harley Altmyer (Alex Pettyfer) is left to care for his three younger sisters in rural Pennsylvania. Harley forgoes his college education, working dead-end jobs to pay the bills and raise his siblings, including his rebellious and promiscuous 16-year-old sister, Amber (Nicola Peltz). Scarred by his past, Harley becomes infatuated with Callie Mercer (Jennifer Morrison) the older married woman who lives nearby. Things take a dangerous turn when they embark on an affair and shocking family secrets soon begin to emerge. As Harley’s life spirals out of control, unspoken truths leading to a devastating conclusion come to the surface and threaten to consume him. https://www.youtube.com/watch?v=K_nkQQ-o1EY

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  • FILM REVIEW: NORTH POLE, NY: A Fantasy Powered By Belief

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    [caption id="attachment_32505" align="aligncenter" width="1200"]North Pole, NY 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.

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  • FILM REVIEW: Heart-Wrenching Story “ELEPHANT PATH/NJAIA NJOKU”

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    [caption id="attachment_32709" align="aligncenter" width="1200"]Elephant Path: Njaia Njoku 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.

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  • Child Labor Documentary INVISIBLE HANDS Opens in Theaters on Black Friday

    Invisible Hands Invisible Hands is a new documentary that exposes child labor and child trafficking; and offers a harrowing account of children as young as five years old making the products we buy and consume every day.  The film appropriately will open in New York on Black Friday November 23, and one week later in Los Angeles on November 30. Invisible Hands, directed by Shraysi Tandon, exposes child labor and child trafficking within the supply chains of the world’s biggest corporations, which produce some of our most loved items. The film offers a harrowing account of children as young as five years old making the products we buy and consume every day. Chilling undercover footage shows children being sold like animals to the highest bidder and others being abused by this pervasive slave labor. Invisible Hands digs deep into a modern slavery system quietly supported by some of the world’s largest companies, demanding to know why top stakeholders continue to engage in this unlawful practice. https://www.youtube.com/watch?v=k_hvZ1xafgU

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  • BUFFALO BOYS, Singapore’s Foreign Language Oscar Picks Sets January 2019 Release Date

    [caption id="attachment_32702" align="aligncenter" width="1200"]Buffalo Boys Buffalo Boys[/caption] Buffalo Boys, the directorial debut from Mike Wiluan, a producer on this year’s highly successful cultural phenomenon Crazy Rich Asians, and Singapore’s Official Foreign-Language Oscar Contender will be released in theaters and VOD in US on January 11, 2019. The film premiered earlier this year at the 2018 Fantasia Film Festival and 2018 New York Asian Film Festival. Buffalo Boys stars Yoshi Sudarso (TV’s Power Rangers: Dino Chargo and Pretty Boys), Ario Bayu (JAVA HEAT), Pevita Pearce (THE SINKING OF VAN DER WIJCK), Tio Pakusadewo (LETTERS FROM PRAGUE), Conan Stevens (THE HOBBIT), and Reinout Bussemaker (FLIGHT HS13). In 19th Century Java, a brutal massacre and the murder of Sultan Hamza by Captain Van Trach and his Dutch soldiers force Arana, Jamar and Suwo – the sultan’s brother and infant sons – to flee the country, bringing them halfway around the world to the American Wild West. After working the railroads and learning the cowboy way of life, Arana tells the boys it’s time to return to their homeland and avenge their father’s death. Back on Indonesian soil, the hunt for their father’s killer begins. Along the way, they meet some villagers including Kiona, the rebellious and beautiful headman’s daughter who Suwo falls for, and soon find out that the treacherous Van Trach still rules the area. Their presence puts the village in danger, quickly turning their quest for revenge into a fight for freedom. With the odds stacked against them, Arana, Jamar and Suwo use the skills they learned from the wilds of America to face Van Trach and his army in a showdown for justice. https://www.youtube.com/watch?v=9eqAgAFNMpg

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  • ROSIE and THE LONELY BATTLE OF THOMAS REID Win 2018 Irish Film Festival London Awards

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    [caption id="attachment_32697" align="aligncenter" width="1030"]Rosie by Paddy Breathnach Rosie by Paddy Breathnach[/caption] The Irish Film Festival London hosted the 2018 awards ceremony in celebration of Irish Film, honoring the Dublin-set drama Rosie with the award Best Feature Film and The Lonely Battle of Thomas Reid with the award for Best Documentary Feature. Each November, in the lead up to the Irish Film Festival London, which takes place from 21st November to 25th November, IFL hosts an awards ceremony in celebration of Irish Film. These awards highlight and reward the talents of a select number of Irish film makers, whose work has shown great distinction, originality and passion.

    2018 Irish Film Festival London Awards

    Best Short Film

    The Nominees Lint – 3 mins 15 secs / Dir: Lisa O’Sullivan Exploring the strange limbo state that we experience in the aftermath of a break up, Lint follows one person’s bizarre attempt at regaining some sense of normality. Winner: Early Days – 12 mins / Dir: Nessa Wrafter Though Kate knows she’s lucky to have become a mother, and her instincts toward her baby are fiercely protective, post-natal trauma and hallucinations make the world increasingly hard to bear. Can anything pull her back to reality – before it’s too late? Wren Boys – 11 mins / Dir: Harry Lighton On the day after Christmas, a Catholic priest from Cork drives his nephew to prison. Starring Lalor Roddy, Diarmuid Noyes and Fionn Walton.

     Best Documentary

    The Nominees Under the Clock -2018 / Documentary / 76 mins / Dir: Colm Nicell / Ire (U) This film tells the life-affirming stories of a generation of people whose relationships began under one of Ireland’s most iconic landmarks, Clerys clock. Be taken back in time to the days of the Dublin dance halls, courting, sneaking out to meet a fella, and the heart-racing times spent waiting, not knowing if they would turn up. Poc na nGael – 2017 / Documentary / 50 mins / Dir: Éamonn Ó Cualáin / Ire, (PG), Irish with English subtitles Starring: Ger Loughnane, Brendan Shanahan, Geraldine Heaney Irish hurling legend Ger Loughnane is on a mission to discover the Irish connections to ice hockey in Canada. He reveals how the Irish emigrants who settled there over 200 years ago, created the sport and played a key role in developing the game from its inception on a frozen pond in Nova Scotia to the modern arenas of today’s official championships. This is a poignant exploration of the incredible contribution of Irish immigrants in creating and developing a sport that went on to help define the new nation of Canada. Winner : The Lonely Battle of Thomas Reid: 2018 / Documentary / 85 mins / Dir: Feargal Ward / Ire (12A) For years, the farmer Thomas Reid has been locked in a grueling battle with his neighbour, U.S. microchip manufacturer Intel. The multinational wants to expand and has its eye on Reid’s land. Eager to boost employment in the region, the Irish authorities are doing their utmost to force Reid into a sale. But the farmer has no intention of leaving his 300-year-old ancestral home, where he lives alone, surrounded by cows and chickens. Feargal Ward’s documentary shows this tenacious eccentric to be a formidable opponent of the system.

    Best Feature Film

    The Nominees Winner: Rosie – 2018 / Drama / 86 mins / Dir: Paddy Breathnach / Ire (15) Starring: Sarah Greene, Moe Dunford, Fiona Ashe, Lochlann O’Mearain, Toni O’Rourke Irish writer Roddy Doyle was compelled back to script-writing for this Dublin-set drama, which tells a story, inspired by too many true stories in modern Ireland, of Rosie, a devoted mother of four, over a period of 36 hours as she and her partner, John Paul, and their family tries to cope with unexpected homelessness. Grace and Goliath – 2018 / Family drama, comedy / 93 mins / Dir: Tony Mitchell / Ire (PG) Starring: Emy Aneke, Savanna Burney Keatings, Jo Donnelly, Ciarán McMenamin, Olivia Nash A Hollywood big shot, Josh Jenkins (Emy Aneke), sweeps into Belfast to make a movie, but before long, his world crashes and he loses everything. Lily (Olivia Nash), a hotel cleaner, invites him to stay with her crazy family and gradually the people of this ‘strange’ city manage to touch his heart. A powerful story of how one man’s Goliath ego is brought down by one single dose…of Grace. The Little Stranger – 2018 / Drama, thriller / 111 mins / Dir: Lenny Abrahamson / Ire (12A) Starring: Domhnall Gleeson, Ruth Wilson, Will Poulter, Charlotte Rampling After a doctor is called to visit a crumbling manor, strange things begin to occur. The Little Stranger tells the story of Dr. Faraday (Domhnall Gleeson), the son of a housemaid, who has built a life of quiet respectability as a country doctor. During the long, hot summer of 1948, he is called to see a patient at Hundreds Hall, where his mother once worked. The Hall has been home to the Ayres family for more than two centuries, but now it is in decline and its inhabitants – mother, son and daughter – are haunted by something more ominous than a dying way of life. When he takes on his new patient, Faraday has no idea how closely, and how disturbingly, the family’s story is about to become entwined with his own.

    Best Irish Music Video Award

    The nominees 1/ Villagers – Fool – Director: Bob Gallagher https://www.youtube.com/watch?v=PI46nPj_1Eo 2/ Kodaline – Head Held High – Director: James Fitzgerald https://www.youtube.com/watch?v=5jje2x1HP0c 3/ Daithí (feat The Sei) – In My Darkest Moments – Director: Lochlainn McKenna https://www.youtube.com/watch?v=yymDRYx5JwM 4/Winner: Pillow Queens – Favourite – Director: Bob Gallagher https://www.youtube.com/watch?v=kyLuM7rIBsI 5/ Roisín Murphy (feat Ali Love) – Jacuzzi Rollercoaster – Director Roisín Murphy https://www.youtube.com/watch?v=QmB80LrNXVI 6/ Jafaris – Found My Feet – Directors: Nathan Barlow & Stephanie Naughter https://www.youtube.com/watch?v=j83M-EDduOM 7/ Hot Cops – Decay – Director: Aaron Eccles https://www.youtube.com/watch?v=jt-TVLH4I2o

    Suil Eile Award

    Under the Clock, received by director Colm Nicell. This film tells the life-affirming stories of a generation of people whose relationships began under one of Ireland’s most iconic landmarks, Clerys clock. Be taken back in time to the days of the Dublin dance halls, courting, sneaking out to meet a fella, and the heart-racing times spent waiting, not knowing if they would turn up… Ros Hubbard Award for Acting: Sarah Greene. The award was received by director Paddy Breathnach on behalf of actor Sarah Greene. The Festival Founder, Kelly O’Connor said, “It’s great to have so many of the filmmakers in attendance at the awards this year. It’s such a unique networking opportunity, rubbing shoulders with programmers from all the main exhibitors in London, not to mention producers, commissioners and international acting talent too. The Irish Embassy did a superb job of hosting us, and we are exceptionally lucky to have such a progressive and supportive Ambassador here in London to champion events like this as part of their busy schedule.”

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  • Documentary SAY HER NAME: THE LIFE AND DEATH OF SANDRA BLAND to Debut on HBO on December 3rd

    [caption id="attachment_28284" align="aligncenter" width="1200"]Sandra Bland in SAY HER NAME: THE LIFE AND DEATH OF SANDRA BLAND. Sandra Bland in Say Her Name: The Life and Death of Sandra Bland.[/caption] On July 10, 2015, Sandra Bland, a politically engaged and vibrant 28-year-old African American from Chicago, was arrested for a traffic violation in a small Texas town. After three days in custody, she was found hanging from a noose in her jail cell. Bland’s death was quickly ruled a suicide, sparking allegations of a racially motivated police murder and cover-up, and turning her case and name into a rallying cry nationwide. From the Oscar(R)-nominated, Emmy(R)- and Peabody Award-winning team of directors/producers Kate Davis and David Heilbroner (HBO’s “Traffic Stop,” “Southern Comfort,” “The Cheshire Murders” and “Jockey”), Say Her Name: The Life and Death of Sandra Bland examines this story in depth, revealing previously unknown details when it debuts Monday, December 3 (10:00-11:45 p.m. ET/PT), exclusively on HBO. Both a legal thriller and a parable about race in America, Say Her Name: The Life and Death of Sandra Bland follows the Bland family and legal team from the first weeks after her death as they try to find out of what really happened in that jail cell in Hempstead, Texas. Embedded with the family and their lawyers, the filmmakers tracked the story for two years, drawing on key documents, jail footage and interviews with those closest to the events. While the Texas authorities ruled Bland’s death a suicide, providing photos of a noose made out of a garbage-can liner as evidence of the cause of death, questions were raised about why she was held alone in a cell without surveillance cameras, whether cell checks by law enforcement had been fabricated and why Bland’s body had been severely bruised. Attorneys in the film examine the disturbing police dashcam video of Trooper Brian Encina’s aggressive treatment of Bland after pulling her over for failing to use a turn signal. Fearing that she had been murdered, her mother and sisters filed a suit against local law enforcement and the Waller County jail as protests amplified across the country. Say Her Name is punctuated with footage from Bland’s passionate “Sandy Speaks” video blogs that bring her voice to life. Through the videos, as well as voicemail messages and insights from close friends, she emerges a central figure in the narrative, an engaging and enlightened woman whose sharp, humorous remarks address subjects from black history to police brutality to natural hair. To those who knew Sandra Bland best, suicide seemed unimaginable. Following a contentious legal battle, the family settled with authorities, giving rise to the Sandra Bland Act, which is now law in Texas. The Act mandates a host of prison reforms aimed at preventing inmate suicide, and a street in Hempstead, Texas has been named in Sandra Bland’s honor. Interviewees in the film include: Geneva Reed-Veal, her mother; sisters Shante Needham, Shavon Bland and Sharon Cooper; Sheriff Glenn Smith, head of the Waller County PD; Elton Mathis, DA, Hempstead, Texas; Trey Duhon, county judge, Hempstead, Texas; Hannah Bonner, activist and Waller County minister; and family attorney Cannon Lambert. Say Her Name will have a limited theatrical run prior to its HBO debut. The documentary made its world premiere at the 2018 Tribeca Film Festival. It won Best of Fest at the Ridgefield Film Festival, and was nominated for awards at the Traverse City Film Festival, Chicago Film Festival, the St. Louis Film Festival and Nashville Film Festival, among many others. https://www.youtube.com/watch?v=pybBqJNg5ds https://www.youtube.com/watch?v=8j0zqjsP39Q

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  • OUT OF OMAHA, A LITTLE WISDOM, BARBARA RUBIN Win 2018 DOC NYC Awards

    [caption id="attachment_32681" align="aligncenter" width="1200"]OUT OF OMAHA 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.

    2018 DOC NYC Award Winners

    Viewfinders Competition

    [caption id="attachment_32683" align="aligncenter" width="1200"]A Little Wisdom, directed by Yuqi Kang 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.

    Metropolis Competition

    The jury selected from among seven films in this section, which is dedicated to stories set in New York City. [caption id="attachment_32682" align="aligncenter" width="1200"]Barbara Rubin & the Exploding NY Underground 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.

    Shorts Competition

    Grand Jury Prize Winner: In the Absence, directed by Seung-Jun Yi, is an unflinchingly honest look at the Sewol Ferry Disaster in South Korea. Jurors’ statement: “A complex story rigorously and sensitively told. Through interviews with survivors, eyewitnesses, and family members, as well as archival footage and recordings obtained from the South Korean authorities, the film delicately pieces together a tragedy, and in doing so, exposes a flawed political system.” Special Mentions: Obon, directed by Andre Hoermann and Anna Samo, and King of the Night, directed by Molly Brass and Stephen Tyler. The 2018 winning Short film qualifies for consideration in the Documentary Short Subject category of the annual Academy Awards® without the standard theatrical run (provided the film otherwise complies with the Academy rules).

    Audience Award

    Winner: Out of Omaha is a coming-of-age tale of twin African-American brothers filmed over eight years by director Clay Tweel (Gleason) and executive produced by musician J. Cole. The winner of the DOC NYC Audience Award receives a screening as part of the IFC Center’s Stranger Than Fiction screening series in 2019.

    DOC NYC PRO Pitch Perfect Award

    Recognized the best pitch given during DOC NYC PRO’s Pitch Perfect Day, based on the pitch itself, as well as the viability of the project, and was determined by industry professionals taking part in the daylong pitch event. Documentary pros who selected the winner were Patricia Finneran, Good Pitch Local Producer, Doc Society; Kelsey Koenig, Director of Development, Impact Partners; Dan O’Meara, VP Special Projects & Documentary, NEON; Hayley Pappas, Head of RYOT Films; Greg Rhem, Director, HBO Documentary Films; Molly Thompson, Senior VP, A&E IndieFilms. Winner: Civil War (or, Who Do We Think We Are), directed by Rachel Boynton, explores how America remembers the Civil War and what the stories we tell reveal about who we are, revealing a picture of contemporary society and our persistent conflicts within.

    IF/Then Shorts Northeast American Pitch Award

    New this year, in partnership with Tribeca Film Institute, the IF/Then Shorts Pitch at DOC NYC invited six filmmaking teams to pitch their short documentary projects focusing on stories of the American Northeast. One project was selected by an industry jury to receive up to $20,000 in completion funding, free post production services (provided by Sim NY), and the opportunity to participate in Tribeca Film Institute’s IF/Then Shorts distribution initiative. Winner: Mizuko (Water Child), directed by Kira Dane and Katelyn Rebelo.

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  • FILM REVIEW: ‘Call Her Ganda’: Justice For Jennifer

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    [caption id="attachment_29069" align="aligncenter" width="975"]CALL HER GANDA CALL HER GANDA[/caption] Ganda [gʌn-daː] – meaning “beauty” in Tagalog On October 11, 2014, Jennifer Laude was last seen with a United States Marine and later found dead in a motel bathroom. This and the identity of the suspect is known to both the Philippines and the United States Government, yet their imperialistic relationship and preponderant transphobia in both countries has rendered the case gridlocked. Filipino-American director PJ Raval seeks justice for trans woman Jeffery “Jennifer” Laude as her homicide evolves far beyond her death and echoes a long-pondered question: what is the United States’ role in the Philippines? Call her Ganda is a poignant exploration of LGBT+ relations in a time of social media saturation and in an environment dominated by lingering post-colonialism. Raval and journalist Meredith Talusan unravels the red herring media coverage and social delusion regarding Laude’s family and the trans community as they struggle for authentic visibility. This documentary intimately examines the resulting Filipino nationalism after Laude’s tragic death as well as the first indictment of a U.S. serviceman on Philippines soil. Born Jeffery Laude, Jennifer was the breadwinner of her family and provided financial support to her mother. Though her main source of income was promiscuous, the viewer is asked to look beyond her sex-work, identity, and race to ultimately find humanity in someone that is most likely foreign to themselves. The film provides a glimpse into the misunderstood trans-culture of the Philippines and its relation to the nation’s prevailing poverty and corrupt political system. Testimony from her friends and family acquaints us with the bright and benevolent life Laude led while conversely probing us to question the immoral capabilities of United States servicemen. We feel her mother’s struggle for justice, recognize her fiancé’s pain as he tries to make sense of the tragedy, and understand the upheaval of the Filipino people in response U.S.’s intrusion in Filipino law. Raval inquires us to examine the relationship the Philippines has with its Western Subjugator and challenge documents such as the Visiting Forces Agreement (VFA) that allow the U.S. to interfere in Filipino judicial processes under certain circumstances. Call Her Ganda makes it a point to remind us of media’s involvement in the proceedings following the incident and the interconnective soapbox that is social media. We see how opinions over the internet sustain widespread dogmatism over complex controversies and how media can contort the truth for political interest whenever convenient. Though Laude and Pemberton’s case may seem unambiguous to either side of the aisle due to predispositions of gender, race, and nationality, Talusan explores varying perspectives subsequently highlighting the numerous moral dilemmas that saturate both the events in question and the legal turbulence that follows. The film itself seeks “Justice for Jennifer,” yet rather than completely villainizing a single person or group, Talusan ventures toward understanding Pemberton’s perspective and widespread transphobia ultimately revaluating modern and western education of gender fluidity. Despite the film’s emphasis on social media’s tendency to polarize opinions, it doesn’t forget to demonstrate its power to bring people together under a meaningful cause. The film itself is a product of social support as it captures the united front that is transgender and Filipino pride. Joseph Scott Pemberton’s actions that night may have pained so many who knew and sympathized with Jennifer Laude, but this documentary makes it known that her death was not in vein. The anger and sadness that stems from mourning is galvanized into a passion for justice and social equality. Laude’s name stands as a reminder that trans people will continue to be marginalized and Filipinos overlooked if these moral dilemmas go unaddressed, unexamined, and uncontested. Call Her Ganda attempts to breed empathy regarding gender identity and race, ultimately breathing new life into Jennifer Laude by recognizing a deep desire shared by all humans: to unapologetically be one’s true self. Laude defined herself by who she knew she was and took pride in her identity making her truly Ganda. https://www.youtube.com/watch?v=6YwQtgBRhZQ

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