Coming to NYC’s Stranger Than Fiction series tomorrow, Tuesday, March 3: THE FARM: ANGOLA, USA
Jonathan Stack and Liz Garbus’ exploration of life and death in the notorious Louisiana prison debuted at Sundance in 1998, where it won the Documentary Grand Jury Prize. Its festival run also included San Francisco, Full Frame, Santa Barbara, and Florida, among several others. The film was nominated for the Academy Award for Best Documentary Feature, and won two Emmy Awards.
Stack and Garbus, working with co-director Wilbert Rideau, then a death row inmate at Angola and the editor of the prison’s investigative journalism magazine, profile the lives of six other inmates in what is know as the country’s largest and most dangerous maximum-security prisons, once the site of a large slave plantation named after the African nation from which its labor was procured. Ranging from first timers just arriving to serve out their sentence to forty-year veterans, the men candidly discuss the realities of life behind bars as they reveal the circumstances that brought them there and the ways they’ve coped with the realization that, for 85% of its population, Angola will be their last stop before death – whether by execution or other causes. Starkly addressing the latter statistic, one subject, convicted for murdering his wife, is followed in his last months as he succumbs to lung cancer, while another man, who has already served 20 years of a 100 year sentence for rape, doggedly maintains his innocence but is perfunctorily denied parole consideration despite credible doubt. While the filmmakers don’t sugarcoat the crimes that many of their subjects have committed and admitted to, they powerfully point out the hypocrisy and injustice of a system that denies even the possibility of the rehabilitation that it’s supposed to support – rehabilitation that is demonstrable in several of the men whose stories they follow here, but who are doomed to live out the rest of their days behind bars.
Coming to PBS’s America ReFramed series tomorrow, Tuesday, March 3: OUT IN THE SILENCE
Joe Wilson and Dean Hamer’s personal confrontation with small town homophobia has been screening extensively at festivals, universities, conferences, and community events since 2009. Among the festivals it’s appeared in are Human Rights Watch, Nashville, Rhode Island, aGLIFF, ImageOUT, Reel Affirmations, and Reeling. The film has also received an Emmy Award.
After longtime partners Wilson and Hamer decided to place their wedding announcement in Wilson’s rural hometown newspaper, the simple act sets off virulent homophobia within the community of Oil City PA, with anti-gay activists like Diane Gramley, the heartless and humorless head of the local American Family Association, denouncing gay marriage. A local resident, Kathy, takes note of the controversy, and, with no one else to turn, reaches out to Wilson to somehow help her her teenage son, CJ, the victim of regular bullying at school. Moved by her plea, the filmmaking pair returns to Oil City to explore why the conservative community has reacted so strongly against their declaration of love and commitment, and why Kathy has had such difficulty finding support for CJ’s plight. Believing that commonality trumps difference, they seek out an illuminating dialogue with opponents, forming an unexpected friendship with an Evangelical preacher who criticizes their union, while they also serve as role models for young CJ, providing compassion and hope that he will make it through this challenging time.
A portrait of a beloved, influential American author, and the story of the more than three decade odyssey to complete it.
In 1982 documentary filmmaker Robert Weide contacted Kurt Vonnegut, proposing that he make a documentary about his life and career. Securing the author’s permission, the project commenced in 1988 – but what was intended to be completed in short course carried on until Vonnegut’s death in 2007. Over the intervening decades, the filmmaker and his literary idol became close – so much so, that the meta story of their friendship eventually found its way into the project, spurring Weide to complete the film with the assistance of filmmaker Don Argott.
Weide and Argott are nearing the end of a Kickstarter campaign to allow them to finish the long-gestating project. At the time of this writing, they’re closing in on their goal, having received over 80% of their $250,000 target so far. With just over a week and half to go before the deadline, there’s time for interested readers to contribute. For more information about the project, check out its website.
Vonnegut was the first author whose work I became obsessed with as a teenager, so, on a personal level, I’m extremely curious about the insight Weide gained about the author’s life and work through their decades-long collaboration. The fact that Weide was also behind Larry David’s CURB YOUR ENTHUSIASM as a director and executive producer promises a knowing appreciation of Vonnegut’s sense of humor and satire. While I’m typically extremely wary of meta elements to nonfiction projects, it’s a welcome sign that Weide has brought in Argott, himself an accomplished documentarian (LAST DAYS HERE, THE ART OF THE STEAL, and ROCK SCHOOL, among others), to oversee this element, who will hopefully providing some distance. At the same time, it’s the rare project that is crafted over such a lengthy period of time, so in this case, focusing some attention on the story behind the story seems justified, and, as the filmmakers note, at least in the case of Vonnegut, meta-textuality is a defining characteristic of his work, so this aspect should have a direct resonance with the film’s ultimate subject.
Coming to VOD today, Friday, February 27: KUNG FU ELLIOT
Matthew Bauckman and Jaret Belliveau profile of an aspring Canadaian action hero made its bow at Slamdance last year. Other fest screenings have included Sarasota, Hot Docs, Awesome Fest, Fantasia, and Fantastic Fest, among others.
I previously wrote about the film here.
Coming to VOD this coming Tuesday, March 3: ACTRESS
Robert Greene’s look at a woman uncomfortably performing a domestic role debuted at True/False last year. Other festival engagements included Hot Docs, Nantucket, AFI Docs, Art of the Real, Sarasota, DMZ Docs, Camden, CPH:DOX, RIDM, and IDFA, among others.
I previously wrote about the film here.
Coming to Al Jazeera America in two parts on Sunday, March 1 and Sunday, March 8: FREEWAY: CRACK IN THE SYSTEM
Marc Levin’s look at the rise and fall of a crack kingpin debuted at Los Angeles’ Pan African Film Festival. It was also shown in a sneak preview earlier this month in NYC’s Stranger Than Fiction series.
I previously wrote about the program here.
Coming to theatres today, Wednesday, February 25: FAREWELL TO HOLLYWOOD
Henry Corra and Regina Nicholson’s collaborative chronicle of death and the love of film debuted at IDFA in 2013. Screenings followed at Planete+ Doc, Thessaloniki Doc, Biografilm, Documentary Edge, and Dokufest Kosovo, among others.
After Corra, an established documentarian, meets Nicholson, an aspiring teenage filmmaker who has been diagnosed with bone cancer, the pair agree to work together to realize the latter’s dream of making a documentary feature about her life with cancer. While her parents are initially encouraging, they eventually grow uncomfortable with the rapport that develops between the cross-generational partners, even intimating that there’s an untoward sexual relationship between them. As Nicholson rebels, asserting her desire for independence and freedom as a young adult facing a ticking clock, Corra allows himself to be drawn into the family drama even as he continues to document his filmmaking partner as she grows sicker by the day. Never disguising the reality of Nicholson’s impending mortality, the film is a tough watch on an emotional level – as brash, and even bratty, as she can be, the viewer can’t help but form an attachment to the young protagonist, even if it’s not really evident that she has any particularly impressive filmmaking talent to justify Corra’s belief in her ability or his commitment to her aspirations. Corra himself is a much more difficult subject to reconcile. While he denies any improper relationship took place, their connection remains unsettling on multiple levels which have engendered controversy since the film’s debut – ethical concerns about the filmmaker/subject connection, about filming this very vulnerable young woman during an emotionally and physically fragile period, and placing himself in the middle of a nasty family argument that goes to very ugly places. Ultimately, the film can’t bear the weight of these unresolved and uncomfortable aspects, making it unsatisfying as a whole.