About: An intimate child’s eye view of a counseling center which focuses on mourning the loss of loved ones.
The film screened as part of DOC NYC, for which our program notes read: New Jersey’s Good Grief counseling center offers a holistic approach to mourning. Filmmaker Katrine Philp presents viewers with a child’s perspective of its programs, offering an affectionate and intimate look at the lives of several children who have recently lost their parents and must navigate their grief by embracing sadness with honesty, bravery, humor, and love. The result is an enlightening film in which the students become our teachers in finding better ways of coping with loss.
AT THE READY Maisie Crow profiles Latinx teens in El Paso as they contemplate careers in border patrol and law enforcement against the backdrop of increasing xenophobia.
The 37th Sundance Film Festival takes place later this month, running January 28-February 3 both online and via satellite screens, with a lineup consisting of 71 features, 50 shorts, 4 episodics, and 14 exhibitions, performances, and VR experiences.
Once again, as I’ve done since 2011’s festival, I’ll profile each of the more than 30 feature and long-form episodic documentaries in advance of the festival, beginning tomorrow.
Please note: These are not reviews. As a Documentary Programming Associate for Sundance, I recommend every film in the 2021 lineup. These profiles instead provide background about the teams behind this year’s docs in anticipation of the festival and the films’ later release. For a sample, check out last year’s series, which began here.
About: A collection of recently unearthed letters offer a fascinating glimpse at the underground gay drag scene of 1950s-’60s NYC.
In 2014, a box of letters discovered in a Los Angeles storage unit, all addressed to the mysterious “Reno,” sets filmmakers Michael Seligman and Jennifer Tiexiera on a journey to track down the circle of friends behind the communications, all part of the pre-Stonewall drag scene in NYC. Excerpts from the colorful missives are read throughout the resulting film, bringing to life the vibrant but often dangerous milieu as experienced by men with such aliases as Claudia, Daphne, and Josephine Baker, not to mention the distinctive slang of that era’s gay subculture, while present-day interviews with the letter writers as well as queer historians offer both infectious humor and poignant reflection. While there’s a looseness to its structure, and a too abrupt transition from the subjects’ heyday to the devastation of AIDS, eliding the transformative two decades in between, the film is nonetheless incredibly engaging and an important excavation of queer history from a period when primary sources were often hidden, if not destroyed.