Category Archives: Releases

On DVD: THE BRIDGE

bridgeComing back to DVD today, Tuesday, March 3: THE BRIDGE

Eric Steel’s controversial exploration of Golden Gate Bridge suicides made its debut at Tribeca in 2006. It went on to screen at San Francisco, London, Sarajevo, Chicago, and Havana, among others. Initially released on DVD in 2007, Kino Lorber re-releases it now.

After reading that San Francisco’s Golden Gate Bridge was the most popular site in the world for suicide jumpers, Steel set out to document a year of the bridge, setting up cameras more than a mile away and shooting the expanse of the structure for the entirety of 2004. During this period, they caught several suicides and suicide attempts on film, a selection of which are shown here, accompanied by interviews with family members, friends, and witnesses who provide what background they can on why these individuals made the choice to end their own lives. Additionally, they speak with Kevin Hines, who suffers from bipolar disorder and survived an earlier jump – a rare occurrence as noted here. Steel was criticized for lying on his film permit application about the focus of his film, and even more so for including footage of the suicides he captured on film, with some suggesting he would encourage copycats, and others simply calling the project a snuff film in disguise. Despite these charges of voyeurism and exploitation, the film exposes the deep discomfort around the subject of suicide. As strangers are viewed walking along the bridge, the audience watches with dread as individuals linger, fearful that they may hop over the unprotected railing and fling themselves into the water below. While it’s a relief when this doesn’t happen, it’s still an uncomfortable shock every time it does. Steel’s interviews with survivors reveal something of the jumpers’ lives – and suffering – helping to humanize the disturbing statistics and draw awareness to the underlying issues of depression and other psychological problems that our society still doesn’t want to fully face.

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On TV: OUT IN THE SILENCE

out in the silenceComing 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.

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On VOD: KUNG FU ELLIOT

kung fu elliotComing to VOD today, Friday, February 27: KUNG FU ELLIOT

Matthew Bauckman and Jaret Belliveau profile of an aspiring Canadian 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.

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On VOD: ACTRESS

actressComing 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.

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On Cable: FREEWAY: CRACK IN THE SYSTEM

Freeway-530x317Coming 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.

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In Theatres: FAREWELL TO HOLLYWOOD

farewell to hollywoodComing 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.

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On DVD: WEB JUNKIE

web junkieComing to DVD next Tuesday, March 3: WEB JUNKIE

Shosh Shlam and Hilla Medalia’s behind-the-scenes look at Internet addiction rehab debuted at Sundance last year. It went on to screen at Miami, Dallas, Melbourne, Traverse City, One World, Hong Kong, ZagrebDox, Göteborg, and DOXA.

My pre-Sundance profile of the doc may be found here.

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On DVD/VOD: ALGORITHMS

algorithmsComing to DVD and VOD next Tuesday, March 3: ALGORITHMS

Ian McDonald’s profile of visually impaired chess debuted at the International Film Festival of India in 2012. Its screening circuit included Moscow’s Sports Films festival, Mumbai’s Shorts and Docs fest, the World Chess Championship, Kathmandu’s Film South Asia, Durban, and Sydney, among others.

I previously wrote about the film upon its theatrical release here.

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On DVD: CODE BLACK

CodeBlack460x260Coming to DVD tomorrow, Tuesday, February 24: CODE BLACK

Ryan McGarry’s inside look into America’s health care crisis made its debut at Los Angeles in 2013, where it won the Best Documentary Award. Other fest appearances include the Hamptons, Vancouver, Heartland, Denver, Santa Barbara, Portland, and Cleveland. In addition to a theatrical release, the film has screened at numerous medical schools around the US and in several other countries.

Shot between 2008 and 2012 by McGarry while he was a resident at LA Country General, this film presents a candid, doctor’s-eye-view of the state of emergency medicine from within the trenches. Beginning in the legendary, cramped C-Booth, the ward where many of the tenets of emergency medicine were originated, the film soon follows its young physician subjects as they adjust to the new demands of a state-of-the-art facility, which basically results in a stifling amount of bureaucratic paperwork that takes time away from actual interactions with patients who need them the most. As waiting times to seek medical attention continue to grow, the residents and staff grow frustrated, turning to unorthodox solutions to try to alleviate the problem, with varying levels of success. In focusing his attention on his experiences as a young physician, McGarry offers an unexpected, compelling perspective on the problems plaguing American health care, and, moreso, a provocation that a solution needs to be found, even if he doesn’t pretend to have an all-encompassing panacea himself.

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In Theatres: KUNG FU ELLIOT

kung fu elliotComing to theatres today, Friday, February 20: KUNG FU ELLIOT

Matthew Bauckman and Jaret Belliveau portrait of an inept provincial would-be action hero debuted at Slamdance last year, winning the award for best doc. Since then, it has screened at Sarasota, Hot Docs, Awesome Fest, Fantasia, and Fantastic, among other festivals.

The titular subject is an immature aspiring filmmaker who has two very bad homemade action films to his name that may or may not have won awards at local Canadian festivals. He ropes in his put-upon girlfriend and several friends to participate in his endeavors, filmed on the cheap on weekends in parks and featuring hokey martial arts and bargain basement stunts and FX. The film ostensibly follows him as he tries to up the ante in making his third film, BLOOD FIGHT, which gets delayed by technical issues, a trip to China, and, unconvincingly, domestic issues involving him lying about his supposed partial Japanese heritage, a dead ex, and several cases of infidelity. Despite Bauckman and Belleveau’s claims to the contrary, much of this reads as inauthentic, suggesting that Elliot and his girlfriend worked with the film team at least partially to stage some of what’s here – notably, very dubious captured-on-screen infidelity and over-the-top arguments – to make a semi-mockumentary played straight. At the very least, if the filmmakers weren’t a party to manufacturing the hard to believe elements, they instead may have been played by their subjects. Regardless, the film is never as funny or as provocative as it’s meant to be, though I’ll grant that it has clearly resonated with audiences much more than I’d have expected.

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