Category Archives: Releases

In Theatres: BREASTMILK

Breastmilk-Key-Image-Photo-by-by-Cynthia-Van-Elk-280x140Coming to theatres today, Wednesday, May 7: BREASTMILK

Dana Ben-Ari’s indepth look at mother’s milk debuted at Woodstock. It went on to screen at DOC NYC, Citizen Jane, and Australia’s Human Rights Arts & Film Fest.

I previously wrote about the film for the DOC NYC program, saying:
Bypassing the breastmilk vs. formula debate, Dana Ben-Ari’s film instead looks at the practical, societal, and biological realities faced by women who choose to breastfeed. Why are so few nursing mothers able to breastfeed exclusively? What has made a natural biological act into a taboo public activity? Where can an adoptive mother turn if she wants the benefits of breastmilk for her child? With candor and humor, mothers and other experts discuss the challenges, misconceptions and fears around mother’s milk.

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On DVD: UNITED IN ANGER

Coming to DVD today, Tuesday, May 6: UNITED IN ANGER: A HISTORY OF ACT UP

Jim Hubbard’s history of the grassroots AIDS activist group made its premiere at MoMA’s Documentary Fortnight in 2012. Other fest screenings followed at Hot Docs, and at LGBT fests around the world, including Frameline, Outfest, and Mix Brasil.

I previously wrote about the film out of Hot Docs here.

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On VOD: AN AFFAIR OF THE HEART

affair of the heartComing to VOD today, Tuesday, May 6: AN AFFAIR OF THE HEART

Sylvia Caminer’s exploration of Rick Springfield fandom made its debut at the Florida Film Festival last year. It also screened at IDFA, Hot Docs, Nashville, Sidewalk, Hot Springs, and Planete+ Doc, among others, before a limited theatrical release. FilmBuff now releases it on iTunes, Amazon, Google, Vudu, Hulu, PlayStation, and other VOD platforms.

I previously wrote about the doc here.

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On DVD/VOD: DESERT RIDERS

DESERT-RIDERS-master675Coming to DVD and VOD today, Tuesday, May 6: DESERT RIDERS

Vic Sarin’s investigation into child exploitation in Middle Eastern camel racing debuted at Vancouver in 2011. It went on to screen at IDFA, One World, and Thessaloniki Doc, among other fests.

Camel racing grew from a haphazardly organized local pastime to a point of international pride among the Middle East’s elite. With the sport’s development came the need for jockeys – the lighter, the better – leading to the industrywide practice of utilizing child riders, and, inevitably, a black market in child trafficking to meet the demand. Boys from Pakistan, Bangladesh, and Sudan were routinely sold into indentured servitude by family or acquaintances, sometimes knowingly, but often not, and subjected to harsh working conditions, forced hormone injections to keep them from growing, and, often, physical and sexual abuse. Documentary evidence of their plight helped to mobilize American intervention, ultimately leading the UAE in 2005 to ban jockeys under the age of fifteen from competing. Sarin’s film, unconnected to the early doc, revisits the story, while also checking in on the repatriation of the exploited children and the struggles many have had to deal with from their traumatic experiences, and, poignantly, from re-entering families and communities that may not be as welcoming as one might expect. This rough-hewn talking heads survey is workmanlike at best, spending far too much time on background for a controversy that largely took place a decade ago, and not enough time on the present-day circumstances of its subjects, who fail to be particularly individuated here.

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On DVD: FORGET ME NOT

forget me notComing to DVD tomorrow, Tuesday, May 6: FORGET ME NOT

David Sieveking’s personal chronicle of the impact of Alzheimer’s on his family had its world premiere at Locarno in 2012. It went on to screen at Thessaloniki Doc, Planete Doc, Sheffield, RIDM, Reykjavik, Talinn Black Nights, Documenta Madrid, and Zurich, among other events.

I previously covered the doc out of Thessaloniki here.

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On DVD: MERCEDES SOSA: THE VOICE OF LATIN AMERICA

Mercedes-Sosa-Key-Image-280x140Coming to DVD tomorrow, Tuesday, May 6: MERCEDES SOSA: THE VOICE OF LATIN AMERICA

Rodrigo H Vila’s tribute to the popular singer debuted at Panama last year. It went on to screen at DOC NYC, IDFA, Havana’s International Festival of New Latin American Cinema, and Sydney Latin American, among others.

I previously wrote about the doc here.

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In Theatres: DOCUMENTED

phpThumb_generated_thumbnailComing to theatres today, Friday, May 2: DOCUMENTED

Jose Antonio Vargas’ personal exploration of his life as an undocumented American made its debut last year at AFI Docs. Its fest circuit also included IDFA, Hawaii, Boulder, and the San Diego Asian film fests.

I previously wrote about the film out of AFI Docs for Indiewire saying:
Making its world premiere at AFI Docs as the festival’s Centerpiece Gala is this personal story about the experiences of an undocumented immigrant. Directing the emotionally-affecting project (with co-director Ann Lupo), Jose Antonio Vargas, a Pulitzer Prize winning journalist, reveals how he risked potential deportation and his successful career by coming out publicly in the New York Times Magazine about his undocumented status and becoming a very visible activist for immigration reform. There’s real power in Vargas’ story – a true American success story, just missing the papers – making him an ideal subject who provides a much-needed and sympathetic human face behind the staggering statistics and rhetoric around this pressing issue.

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In Theatres: MORE THAN THE RAINBOW

More-than-a-Rainbow-Key-Image-Photo-by-Arlene-Muller-580x300Coming to theatres today, Friday, May 2: MORE THAN THE RAINBOW

Dan Wechsler’s portrait of a New York street photographer had its world premiere at DOC NYC in 2012. It also screened at SF DocFest and at the Coney Island Film Festival, where it won best documentary.

From behind the wheel of the taxi cab he drove in the late 1970s-1980s, Matt Weber captured scenes of NYC life with his camera, often focusing on lives on the margins, people who were otherwise rarely the subject of a photographer’s lens. Self-taught, he made the plunge to full-time artist in 1990, selling his hack medallion and taking to the streets to follow his passion. Wechsler’s appealing film provides a platform for Weber to reveal his story, and that of his beloved city, frozen in time in his evocative black and white portraits. Weber makes for an affable Everyman, bolstered by comments from admirers and fellow street photogs, as they reflect on the changing face of their artform and of the cities they chronicle.

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On TV: A FRAGILE TRUST

A-Fragile-Trust-Key-Image-280x140Coming to PBS’s Independent Lens this coming Monday, May 5: A FRAGILE TRUST: PLAGIARISM, POWER, AND JAYSON BLAIR AT THE NEW YORK TIMES

Samantha Grant’s exploration of the Jayson Blair scandal premiered at Sheffield last year. Its festival circuit included DOC NYC, the Hamptons, Denver, Big Sky, Thessaloniki, Atlanta, Sebastopol Doc, and Cleveland, among others, before a limited theatrical release last month.

I previously wrote about the film out of DOC NYC here.

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In Theatres: KIDNAPPED FOR CHRIST

kidnappedforchristComing to theatres this Friday, May 2: KIDNAPPED FOR CHRIST

Kate S Logan’s look at a disturbing Evangelical Christian behavior modification facility made its debut at Slamdance earlier this year, winning the documentary audience award. It has gone on to screen at Big Sky, Cleveland, Nashville, Miami Gay, and Phoenix.

Despite its scenic setting in the Dominic Republic, Escuela Caribe is hardly a welcome getaway for its inhabitants, teenagers who have been abducted from their homes with the consent of their parents for perceived behavioral problems. Forced to endure the isolation and ludicrously strict rules of their new, bootcamp-like environment, teens like Logan’s primary subject, David, live in limbo, not even guaranteed of release after they turn eighteen. While some inmates briefly reveal some past behavior that might give cause to their parents’ concerns, David is only there because he came out to his parents. When he turns to Logan for help, asking her to pass a note back to his friends about his predicament, this shifts the direction of the student filmmaker’s project to question the rehabilitation function of the facility and to detail the struggle to secure his freedom. Unfortunately, at the same time, this seems to grant Logan license to make herself an active participant in the film, a distracting approach which I’ve written about before and remain convinced is, as is the case here, usually unnecessary. Ultimately, the idea behind the film is much more compelling than the execution, though it should be noted that, at least initially, Logan is able to get some surprisingly candid and eye-opening interviews with the institution’s staff.

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