2013 Full Frame Documentary Film Festival program by Michelle Benham

Full Frame Documentary Film Festival April 4â&#x20AC;&#x201C;7, 2013

D u r h a m , N o r t h C a r o l i na

full frame documentary film festival

Welcome from Deirdre Haj

A r e t h e r e t o o m a n y f i l m f e s t i v a l s ? None other than

Welcome from Tom Rankin

Robert Redford, the founder of Sundance himself, posited this idea in January,

Staff & Boards

stating, “There’s a festival in every neighborhood.” I found myself perplexed

Programming & Selection Committees

by this notion. And I had to think, if that’s true, what a gift for communities—

Volunteers & Team Staff

the opportunity to see independent films in a theater and engage in conversa-

sponsors

donors

Full Frame is extremely grateful to the following partners for their generous support.

Full Frame gives heartfelt thanks to the following individuals for their generous support.

Presenting

Associate

full frame donors

Duke University

Durham Arts Council

Executive Producers

Durham Central Park

Wyndham Robertson

Leadership

Durham Chamber of Commerce

American Tobacco Campus/ Capitol Broadcasting Company, Inc.

Supporting A&E IndieFilms The City of Durham Durham Convention Center Durham Marriott City Center Quince Imaging, Inc.

Benefactor

Durham Parks and Recreation

Directors

Fullsteam Brewery

Karen and Dan Berman Kathi and Steve Eason Mrs. Frank H. Kenan Friends of Nancy Lee

GlaxoSmithKline IBM Indiewire

$20,000+

$10,000 – $19,999

In honor of Nancy Lee

Ink Printing & Design KONTEK Systems

Writers

North Carolina Film Office

Clay Farland

North Carolina State University Old North Durham Inn B & B ROMO*PR

$5,000 – $9,999

In loving memory of Melanie Taylor

Cavett and Barker French Ina Smith Johnson and Thomas P. Johnson Barbra and Andrew Rothschild

Carolina Theatre

Saint Augustine’s University Department of Film & Interactive Media

Giorgios Hospitality Group

SunTrust Bank

Producers

The Thomas S. Kenan Institute for the Arts at the University of North Carolina School of the Arts

Martha and James Ackerman Anonymous Deirdre and Richard Arnold Lisa and Leon Capetanos Deborah Dean and Thomas Wenger Kerry Dietz and Eva Schocken Fenhagen family Joan Gillings Kay Jordan and Will Alphin Emily Kass and Charles Weinraub Marian and Dudley Lacy Nancy Lee and Marie Wilson Jennifer Parker and Peter Rosenberg Michele Pas and Barry Poss David Sontag Alan Teasley and Andrew Wheeler

National Endowment for the Arts North Carolina Arts Council

Partner The 2050 Group – Film Publicity Agency Beyu Caffe Breakiron Animation & Design

The University of North Carolina School of Journalism and Mass Communication West End Wine Bar WNCU

$2,500 – $4,999

Bull City Mobile

Friend

Counter Culture Coffee

Asian/Pacific Studies Institute at Duke University

Figure 8 Films

Beery Media

Hartley Film Foundation

Bruegger’s Bagels Bakery

INDY Week

Durham Area Transit Authority

Julian Price Family Foundation

The Charles E. Guggenheim Family

Mad Hatter Bakeshop & Café

Guglhupf Bakery

Merge Records

Harris Beverages

Myriad Media

Cinematographers

Horse & Buggy Press

$1,000 – $2,499

Nicholas School of the Environment

The Pig

Pop’s Trattoria/Rue Cler

Lilly’s Pizza

The Reva and David Logan Foundation

Old Havana Sandwich Shop

Saladelia

SunTrust Foundation

Beverly and Robert Atwood Rae Ann and Patrick Baker Stacey and John Burkert Leto Copeley Vandana Dake and John Warasila Leslie Digby and Chuck Pell Ashley and Jeremy Falcone Jane and Jim Finch Leslie Fischer and Murat Kaptanoglu Laura and Gerard Hall Margaret and Paul Hondros

Theo Davis Printing

The Sign Shop of the Triangle

Trailblazer Studios

Total Production Services, Inc.

TROSA, Inc.

Wine Authorities: Independent Wine Shop, Durham

Whole Foods Market Vimeo

K.J. Hunt Deborah Jakubs and James Roberts Valerie Johnson Nancy Kalow and Daniel Dektar Tom Kenan Tracy Mancini and Norris Cotton Christopher and John McLachlan Barb and Mike McNulty Terri Monk and Craig Weldon Kimberly Glenn Phillips and Phil Phillips Nicole Ranger Caroline and Arthur Rogers Joanna and Michael Selim Cosette Serabjit-Singh and Dick Philpot Bill Shore Trudy and Stuart Smith Mindy and Guy Solie Laura Meyers Stabler and Brian Stabler Patti White and John Sander Julie and Kevin Witte Krista and Michael Zarzar

Editors

$500 – $999

Deirdre and Joseph Haj Pricey Harrison Mary Jane Rivers Lauren and Jim Whitehurst

Production Managers $250 – $499

Hannah and Richard Andrews Cynthia Hill Jessica Edwards and Gary Hustwit Hannah and Paul Kirschenfeld Bahar Leventoglu Sandra and Ned McClurg Lee Nersesian Jennifer and John Newall Jo and Newland Oldham

Sound Designers

$100 – $249

Jennifer Baker and Ted Terrenoire Alan Berliner Lisa Brachman and Robert Roubey Kayla Briggs Janice Lee Bryant Woodrow Burns Carl Family Fund Patricia Daggett Cathy Davidson

Judy and Curt Eshelman Barbara Fenhagen In honor of Ina Smith Johnson Deborah and Michael Gerhardt Susan and Christopher Graebe Pamela Green Kristin Hondros and Bill Fick Stephanie Huffman Haeyoung Kim Aaron Kirschenfeld Emily Klein Sally and Robert Jackson Ann and William Mann Elin Nagel and David Covington William Pope Rachel Raney and Esteban Bortiri Ann Rebeck and Misha Angrist Deborah Roach Alice Sharpe Beth Silberman and Ken Rose Maura Stokes

Assistant Directors

$1 – $99

Donna Anderson and Kurt Eichenberger Maureen Berry Nils Brubaker Karen Byrd Heather Davis Patricia Easterbrook Heather Ebert Marcy Edenfield Ann Fessler Barbara Konhaus Geistwhite Will Hackney Gloria Hall Elizabeth Hardin Alisa Jenkins Shirley Cason Jenkins Amy and William Jenniches Diana Jewell Adam Jones Bonnie and Wes Jones Barbara and Stuart Keeley Jan Krawitz Richard Matsuoka Leila May Gale Meyer Claire Millar Melanie and Scott Mitchell Diana Newton Jackie Paré Marnie Cooper Priest Renee and Burt Rauch Janet Shaffer Merrill Shatzman and Alan Cohen Toby Shimin Katherine and Mark Simonsen Harriet Solomon James Squire Sarah Stein Jeffrey Stern David Suwala Carol Thomson Angela Vieth and Arthur Goodwin Christiane Voisin Benton Wise Dave Wofford

special thanks

nt eh wa n dk os cs Companies and Offices The 2050 Group: Adam J. Segal

F ULL F RAME AD VOCATE AWAR D It is with great pleasure that the Full Frame Documentary Film Festival names Molly Thompson as the recipient of the 2013 Full Frame Advocate Award.

A&E IndieFilms: Molly Thompson, Robert DeBitetto Alley Twenty Six: Shannon Healy American Tobacco Campus: Valerie Ward, Tex Law

Full Frame Archive – Duke University Libraries: Kirston Johnson

Rise: Michael Cutler, Tom Ferguson, Ryan Wiles

Fullsteam Brewery: Emily Francis, Sean Lilly Wilson

Saint Augustine’s University Department of Film & Interactive Media: Natalie Bullock-Brown

Garrett Scott Documentary Development Grant Fund: Ian Olds, Thom Powers, Rachael Rakes Gaudio Ltd: Sarah McKew

Saladelia/Mad Hatter: Fida and Robert Ghanem, Julie Appel, Carmello Cruz, Emily Reed

Geer Street Garden: Andrew Magowan

Scratch Bakery: Phoebe Lawless The Sign Shop of the Triangle: Nicole Rowe

Beyu Caffe: Dorian Bolden

Giorgios Hospitality Group: Giorgio Bakatsias, Igor Gacina, Jennifer McGowan

caring as passionately about the documentary form as the issues presented.

Breakiron Animation & Design: Lisa and Charlie Breakiron

And when it comes to Full Frame, Molly is always ready to make a phone call,

GlaxoSmithKline: Mary Linda Andrews, Elaine Rothbauer

The Broad Street Café: John Hite

Gmish

lend an ear, and share advice. During Independent Film Week, she hosts

Bruegger’s Bagels Bakery: Margaret KingBolar

Guglhupf Bakery: Claudia Cooper

Molly Thompson is the embodiment of all that Full Frame stands for: supporting documentary filmmakers and their films, demanding excellence,

a lunch for hundreds of documentary film professionals, an enormous commitment, and still graciously hosts the Full Frame Advisory Board meeting that very same week. A longtime partner of the festival, Molly has increased her involvement by supporting the A&E IndieFilm’s Speakeasy, where she urges all in attendance to “mix it up”—something she does so well. In short, when many people might say they are too busy, Molly says, “Bring it on.” As evidence of her tireless dedication and impeccable taste, Molly launched and continues to run A&E IndieFilms, the network’s feature documentary division. A&E IndieFilms productions include the Oscar®-nominated and Sundance award-winning Murderball, the Oscar®-nominated Jesus Camp, and Emmy Award–winners The Tillman Story and Under African Skies. Molly also executive produces the division’s original productions, which have included: My Kid Could Paint That, American Teen, The September Issue, The Tillman Story, and Client 9: The Rise and Fall of Eliot Spitzer. Thompson’s latest film for A&E IndieFilms, The Imposter, was shortlisted for Best Documentary Feature at the 2012 Academy Awards®. The film was also nominated for Best Documentary Feature at the 2012 Critic’s Choice Movie Awards and received two nominations for the 2013 EE British Academy Film Awards (BAFTAs): Best Documentary and Outstanding Debut.

t h e m e la n ie tayl o r ho s pi tali ty sui te One of the Full Frame Documentary Film Festival’s most devoted fans, Melanie Taylor, lost her battle with cancer in the spring of 2011. Melanie was a longtime attendee of the festival. For years, she was among the first audience members to arrive for screenings Thursday morning and the last to leave as seats cleared Sunday evening. Melanie’s enthusiasm and tenacity were remarkable; to see twenty films in a weekend was nothing. Her vigor helped inspire the Kathleen Bryan Edwards Award for Human Rights, which she and her family founded in Melanie’s mother’s name in 2007. In recognition of her profound attachment to the festival, Melanie’s daughter Clay Farland has graciously funded Full Frame’s Hospitality Suite in her name. This tribute is especially fitting of Melanie, for as Clay says, “She preferred to record rather than be recorded, and she preferred to host rather than be hosted.” The Hospitality Suite is at the heart of the festival, a place where filmmakers and filmgoers relax between screenings to share food and fellowship before the next show. We are grateful for support of this space, and we are proud to honor Melanie’s tremendous love for film and dedication to Full Frame throughout the weekend.

Asian/Pacific Studies at Duke University: Tanya Lee

Bull City Mobile: Shawn Deena, Elizabeth Edmiston, Ali Shameem

Harris Beverages: Sarah Dusack, Charlie Helms, Larry Wetterer

Southern Exhibition Services: Aimee Uhrig SunTrust Bank: Lisa Yarborough Theo Davis Printing: Mike Davis Thomas S. Kenan Institute for the Arts at the University of North Carolina School of the Arts: Lynda Lotich Through This Lens: Roylee Duvall

Hartley Film Foundation: Sarah Masters

Toast: Kelli and Bill Cotter

Home Depot: Sheba O’Bryant

The Tom Maxwell Trio

Horse & Buggy Press: Dave Wofford

Total Production Services: Rick Bryda

City of Durham: Peter Coyle, Sharon DeShazo, Kevin Dick, Micheal Lynch, Jina Propst, Joel Reitzer

IBM: Tsegga Medhin, Steve Pearson

Trailblazer Studios: Tom Waring, Leah Welsh

The Cookery and Crews: Becky Cascio, Rochelle Johnson, Chirba Chirba, The Parlour, Pie Pushers

INDY Week: Lee Coggins, Susan Harper, Gloria Mock

Carolina Theatre: Aaron Bare, Jim Carl, Michelle Irvine, Bob Nocek, Jamin Skipper, Carl Wetter

Counter Culture Coffee: Nathan Brown, Brian Ludviksen DaisyCakes: Tanya Catolos, Konrad Catolos Duke Tower: Valerie Blettner, Tracey Dissel Duke University: Michael Schoenfeld, James Roberts, Peter Lange, Chuck Catotti, John Morris, Chris Roby, Scott Selig Duke University Box Office: Anne Allen, April Billings, Marcy Edenfield, Kristi Horvath Durham Area Transit Authority: Nola Johnson Durham Arts Council: Margaret DeMott, Sherry DeVries, Jim Kershaw Durham Central Park: Ann Alexander, Ben Weber Durham Chamber of Commerce: Casey Steinbacher, Adrian Brown Durham City Council: Mayor William Bell, Mayor Pro Tempore Cora Cole-McFadden, City Manager Tom Bonfield, Farad Ali, Eugene A. Brown, Diane Catotti, Howard Clement III, J. Michael Woodard

IMDb: Christian Gaines

Triangle Rent A Car: Mike Erexson

Indiewire: Jason Gonzales, James Israel

TROSA: Michael Balsamo, Kevin McDonald

Ink Printing & Design: Jared Lambert, Margaret McNealy

University Ford: Grey Perry The University of North Carolina School of Journalism and Mass Communication: Chad Stevens, Kyle York

Junior Johnson’s Midnight Moon: Sarah LeRoy, Jessie Meador

UPS: Jimmy Lunsford

The King’s Daughters Inn: Colin and Deanna Crossman

Vimeo: Bret Heiman

USPS: Joyce Brown

KONTEK: Frank Konhaus, Billy Morris

Watts Grocery/Hummingbird Bakery: Amy Tornquist

Lilly’s Pizza: Jon Garrison

West End Wine Bar: Kevin Eastin

Loaf: Ron Graff

Whole Foods Market: Andrea Mastrobuono

Measurement, Inc.: Donald Timberlake

Wine Authorities: Craig Heffley

Mellow Mushroom: Daniel DeBrecht, Casey Fox

WUNC: Nancy Brookshire, Christy Dixon

WNCU: Uchenna Bulliner

Merge Records: Mac McCaughan, Spott Philpott Myriad Media: Ricardo Roberts

Individuals

National Endowment for the Arts: Alyce Myatt, Mary Smith, Dan Sonnett

Karen and Dan Berman

Nicholas School of the Environment: Scottee Cantrell, Bill Chameides, Amy Chapman-Braun, Donna Sell

Vandana Dake and John Warasila Cavett and Barker French Joan Gillings

North Carolina Arts Council: Jeff Pettus, Wayne Martin

Barbara and Jim Goodmon Michael Goodmon

Durham Convention Center: Virginia Ariail, Bosh Bajrakta, Laura Bradstreet, Jennifer Noble

North Carolina Film Office: Aaron Syrett

Sally Hines and Ron Abramson

North Carolina State University: Marsha Orgeron

Tom Kenan

Durham Convention & Visitors Bureau: Chelsey Morrison, Shelly Green

Old Havana Sandwich Shop: Roberto Copa Matos, Elizabeth Turnbull

Tracy Mancini and Norris Cotton

Durham Fire Department: Kenneth Crews

Old North Durham Inn: Debbie and Jim Vickery

Alexandra Nevid

Durham Police Department: Lt. Jonathan Martin

The Pig: Sam Suchoff

Durham Marriott City Center: Dennis Edwards, Christy Lovette

Pop’s Trattoria/Rue Cler: Chris Stinnett, John Vandergrift

Durham Parks and Recreation: Rich Hahn, Bill Hume, Gina Morais, Laura Nickel, Rhonda Parker, Annette Smith, Breanna Warren

Quince Imaging: Ryan Crossley, Scott Williams

Betty Kenan

Stephen Nemeth Michele Pas and Barry Poss Jeff Polish Wyndham Robertson Caroline and Arthur Rogers Alberto Savoia

The Reva and David Logan Foundation: Dan Logan

Joel Sheer Alan Teasley

FedEx: Mike Williams, Marvin Holcomb

Raleigh-Durham Airport Authority: Patricia Rossi, Terry Blevins

Figure 8 Films: Bill Hayes

Raleigh Music Brokerage: Cooper Cannaday

Empire Distributors: Aubrey Zinaich-Howell

ROMO*PR: Roberta Moore Patterson

Ron Swanson

full fr ame tribute

jessica yu

Joel Mora

has this all-Asian female cast. There aren’t a lot of

fencer. How was it that you picked up a camera and

Asians milling about Telluride, Colorado, so most

created something like Sour Death Balls? JESSICA YU

This is the funny thing—it was pretty random that I ended up going into film. People always say it’s great

2013 Full Frame Tribute J e s sic a Y u

to major in English because you can go into so many different fields, but the lack of direction can also be paralyzing. I started working in production mainly because it was freelance. I was somewhat interested in the process, but I mainly thought, oh, I can try this

Jessica Yu is an Academy Award®–winning filmmaker working in a variety of media and

out, work a few days, and then still compete in fencing.

genres. She has directed numerous short and feature documentary films, including In the

Yes, fencing. I knew that I wanted to compete for a year

Realms of the Unreal, Protagonist, and Breathing Lessons: The Life and Work of Mark O’Brien,

after college. Working as a production assistant was

for which she received an Oscar® in 1997. In addition to her work in documentary, she has

interesting, and it also gave me that freedom to travel.

directed multiple episodes of popular television series like The West Wing, Grey’s Anatomy, and Scandal, along with her own narrative works such as the feature film Ping Pong Playa. The fact that she can move between these various mediums is a testament to her ability to relate to the subject at hand, to adapt and torque her artistic vision to match an individual idea. This has led her to implement bold techniques. In the film In the Realms of the Unreal, the personal storybook drawings of reclusive artist Henry Darger blossom into an animated landscape of his visions. The testimonies of four dissimilar men in Protagonist are linked together through ambitious, large-scale puppetry. A Greek chorus of delicately maneuvered wooden figures lifts these various accounts into a singular arc that relates to the

and everyone thought I was in that film because it

You studied English at Yale. You were an All-American

As I didn’t go to film school, I would just grab bits

people just assumed. . . . It was like being in a Twilight Zone episode. I wrote a piece about that experience. The Pacific News Service picked it up, and Sandy Close, the director of Pacific New Service (I’m sorry this is such a long answer to your question) was also Mark O’Brien’s editor. She said you should meet this guy— someone should make a film about him. I remember thinking that was weird because I had just made a film about people eating candy, but that’s how I ended going from one to the other. I guess if there’s any deliberate movement from one film to the next, it’s that I like the chance to do something different. Sometimes in between films subjects come up that seem too close to the last film so I tend to gravitate away from those.

of knowledge wherever I could. I don’t remember

While your films deal with different subjects, in differ-

thinking, gosh, I can’t wait to make my first film. I was

ent styles, one thing that they all have in common is that

having lunch with some family friends, and their kids

you let the films’ subjects speak for themselves as much

had this really terrible sour candy. They loved passing

as possible. In Protagonist the four main characters

it around and seeing all the adults spit it out and make

tell their own stories. In Breathing Lessons, only Mark

terrible faces, and I thought this would be a fun film

O’Brien does the talking. In In the Realms of the Unreal,

and so then I was, of course, on the hunt for the world’s

while having artist Henry Darger speak for himself is

most awful candy. I found the Sour Death Balls, and

impossible, we learn the most about him through the

I thought it was a truth-in-packaging sort of thing so

narration of passages from his 15,000-plus-page epic

Euripidean dramatic structure. Writer Mark O’Brien opens up to Yu’s lens in Breathing Lessons,

I decided to make a film. I borrowed a friend’s camera;

journal and his autobiography. How do you approach

allowing us to imagine his experiences of working and maintaining relationships while confined

it was a little Bell & Howell that you cranked by hand,

your subjects, your interviews? How do you choose what

to an iron lung. He is remarkably candid with Yu in his descriptions, and she keeps his accounts

and I could afford a couple of tiny reels of film. So

to show or not show?

uncluttered by external commentary or techniques. Because each of her films is so distinct,

that’s how the first one started—it was kind of a lark—

it’s clear she gages her techniques to what’s before her.

and it was a perfect film to start learning. It was so

Yu’s first film, Sour Death Balls, observes a series of children and adults as they attempt to consume this extremely sour candy. It’s impossible not to cringe along with these people as their faces contort—eyes squinting, cheeks concaving—while partaking in the pucker. In a way that short is emblematic of what Yu has continued to do in her work. Even when approaching broader topics like her more recent Last Call at the Oasis, which examines the worldwide water crisis, she presents individual stories that cannot be ignored. These depictions do more than ask us to bear witness to other peoples’ lives; they ask us to feel, to inhabit, other lives. Along with the documentaries mentioned above, Full Frame is also showcasing The Kinda Sutra, The Living Museum, and Meet Mr. Toilet as part of the Tribute. The festival is also proud to feature the world premiere of Yu’s most recent film, The Guide, which focuses on the human side of environmental sustainability in Mozambique. In the following interview, Jessica Yu talks with Joel Mora, publishing intern at the Center for Documentary Studies at Duke University and one of the editors of this year’s Full Frame

small that I was able to do everything pretty much on my own in terms of editing and that kind of stuff. I think one interesting thing about your career is that your films are so varied; you don’t necessarily know you’re watching a Jessica Yu film. How do you go about choosing the subjects of your films? You went from playful and light in Sour Death Balls to complex and profound in Breathing Lessons, which is a very striking portrait of writer Mark O’Brien, who spent most of his life in an iron lung.

In my experience the opportunity to make a film is usually a random occurrence. I was traveling with Sour Death Balls and going to festivals and having a good time. So I’m at Telluride and I’m walking down

program, about her approach to directing, the difference between her television and documen-

the street and people start coming up to me and

tary work, and the thematic intersections amongst her films.

complimenting my film and asking for my autograph.

Sadie Tillery

Director of Programming, Full Frame Documentary Film Festival

This was one of my first festivals, and I was like, wow, this is how it works, how cool. And of course it turned out that The Joy Luck Club was playing at the festival,

When a film is more or less centered on an individual or, as in the case of Protagonist, a group of individuals, I find that I’m drawn to the person’s voice, meaning that . . . ok, I bet a lot of documentary filmmakers feel this way—you hear from people who say, oh, have you heard of this person, they’ve had such an interesting life, they’d make a great documentary. But it’s not just an individual’s circumstances that make for a strong story, it’s the character of the individual that draws you. I’m always looking for that essence of

full fr ame tribute

jessica yu

a person that makes you want to know more—what

a positive, unexpected way, and sometimes it’s the

Did you read a lot of comics or watch a lot of cartoons

does this particular individual do with the cards that

opposite. I don’t necessarily think that the change is

when you were younger, as there tends to be animation

he or she is handed?

a change in someone’s character so much as it is the

in your films? And even in films that don’t use anima-

absorption of wisdom or experience . . . a change in

tion, like Last Call at the Oasis, you find a way to illus-

Mark O’Brien is a perfect example. On the surface, the film could sound like what Mark called a “crip-

perspective almost, that the character finally accepts.

trate facts and anecdotes through graphics, some visual

ple-of-the-week story.” I remember that when I first

And that is something that is always unexpected

representation. How did you get started with animation,

heard about him I thought that his situation sounded

to the character, although it may seem inevitable

and how do you balance it with the stories you’re telling

extreme, to say the least, but it wasn’t until I read his

to the outsider.

so that it’s not gimmicky or a distraction? For instance,

It’s really interesting to hear your take on the films,

poetry that I was drawn in to the idea of making a film about him. I thought his work was incredible. This

because I get tunnel vision when I’m working on

was an early, good lesson for me to learn, that, again,

something, and then I focus on the next thing so it’s

a person is not just the sum of his circumstances, and

very hard for me to see connections between them.

that you need more than a situation to create a story

So it’s kind of cool to think about them in this way.

that connects with an audience. I would say that in the films you’ve mentioned that is what I’m always

spinning this heroic story about how a person can

in your film about Henry Darger, some of his art is animated but some isn’t.

That’s a good example because in In the Realms of the Unreal the animation was used only for showing parallel threads, the story of his “real life” and of his “fantasy life.” So when he tells the story of what’s

overcome anything. So he didn’t get to say very much,

I’m really engaged with how you don’t seem to grab your

happening in the world of his novel that’s when the

and people probably thought that he would be too diffi-

subjects and put them in a Jessica Yu box, by which I

Of course I’m not going to be able to capture every-

cult to understand. But I thought if we had the opportu-

mean, make films about unique people that still look and

animation happens. I try to find ways to use it in which

thing, but I’m trying to explore what is it that attracts

nity to make this film, why not make him the only voice

feel the same. Instead, it seems that you allow yourself to

it is necessary.

me to the person, and what it is that I want other

in the film? That was an idea we both liked immediately,

trying to do—to draw out the essence of the person.

people to see. It also helps if you have an articulate

so that became the basis for the direction of the film.

subject, and I’ve been very lucky on that front. With

There’s a point at which you decide the rules for

the film about Henry Darger, the problem was that

each film. The films, as you were saying, feel different,

there was so little of the material that you would nor-

because once I start doing my research, the material

mally rely on to make a biographical film. There were

starts to point to approaches that make sense for the

no home movies or recorded interviews, but there

story—the material dictates how the story should be

was this pile of evidence. The challenge was to go

told. Finding out what’s going to work is an interesting

through enough of it so that I felt like I was presenting

point in the process. But once I discover what the rules

something representative of those personal, intangible

are, if I try to step outside of them it can be really jar-

qualities.

ring. I have to remind myself, oh, wait, we’re not doing that. Not that films shouldn’t have a looseness to them,

In Breathing Lessons did you ever think about talking

but I think that you need to remind yourself that the

to Mark O’Brien’s friend Elizabeth Duvall to get her

audience is trusting you in a lot of ways, and part of that

perspective, or did you know it should only be Mark

means that you have to honor their investment in the

talking throughout the film?

story by following through with what you set out to do.

There were people in Mark’s life, and certainly some family members, who could have been in the film, but I think that the decision was kind of twofold. One was that after reading his poetry I realized he was someone who had such an urgency to communicate, had so much to say, that it wasn’t like I was going to be pulling teeth to uncover emotional insights. Also Mark is very

Another connection between the films, I think, is that they deal with transcendence, whether it’s transcending the darkest parts of humanity or overcoming a disability or, as in The Living Museum, battling mental illness through art. Is there something personal that makes you gravitate toward those stories?

be engulfed by a story, and the best way to tell that story.

And yes, I did grow up reading a lot of comic books and MAD magazine. I’m someone who always wishes

That makes it a lot more fun, although the idea of an

she could draw better . . . or at all, really. I like the

all-purpose “Jessica Yu Box” on my editing desk has

collaborative nature of working with an animator or

its appeal. So easy! Sometimes I wonder about my ten-

a good graphics person because it’s kind of like working

dency towards difficult doc subjects, like the story of

with a composer. You share the ideas together, you

Henry Darger, or Protagonist—how do I tell the back-

talk about the story, you get all excited. I do terrible

stories of people who weren’t expecting to have a docu-

storyboards, and then it’s like Christmas when

mentary made about them, people who aren’t media

the person comes back for show and tell. It is such

figures or anything. Sometimes these kinds of limita-

a cool feeling when you think, this is even better than

tions are what give you the license to do something

imagined. Maybe it’s the want-to-be artist getting

different, and that is something that I enjoy. It’s a nice

a vicarious thrill.

irony that limitations lead to freedom. You don’t want to make a film and be self-indulgent about it, but when

After The Living Museum you spent many years work-

there is a narrative puzzle, it’s just a great feeling to

ing in fiction, as you still do, whether for television series,

figure out a way to solve it that starts to make sense.

commercials, or films. What brought you into that world?

And then there are times when you think, this is just insane. With Protagonist I remember there was a point when we were doing the puppet shoot and we had all these puppeteers rolling around, practicing choreographed moves on these ancient Greek–inspired sets, and we had the voiceover in ancient Greek blasting through the room, and I realized that everyone thought I had lost my mind. I remember a cinematographer telling me once that crews often think the director is

funny and has this incredible charisma, so there is an

That’s an interesting way to put it. I think when you

openness that is rare. The second thing is that in our

start a story you want it to end up somewhere that is

clueless, because no one has the full picture of what’s

first conversation together I didn’t go in with the idea

a little bit unexpected, so moments of transcendence

going on except for the director. You have to make sure

that I was just going to get his ok and make a film—

or transformation—I mean, it’s something you can trace

that people know enough so that they can follow and

it was more like, let’s talk and see if we get along.

back to classic dramatic structure, which is something

do their job, but you have to also accept that everyone

One of the first things he mentioned was that there

Protagonist played with, the different moments in,

probably thinks you’re a little nuts. You have to just

had been a lot of media stories about him but usually

and drama of, somebody’s life. I think that when you

keep moving forward as long as you, at least, know

the reporter would let him say about two words and

are telling stories about individuals, you are looking

what’s in your head.

then there would be the voiceover of a newscaster

for that change. Sometimes it’s transformative in

That work actually came from Breathing Lessons. I was having a lot of nice meetings with nice people who said, oh, we’d love to work with you on our TV show so just let us know when you start directing TV, which was a nice way of saying no one wanted to take a chance. Then I had this meeting with John Wells Productions, the company that did The West Wing and ER, and they said, come in and we’ll have you observe, and we’ll guarantee you a shot at directing. I realized why people were hesitant to bring on newbies—it’s a very different world, the polar opposite of what I was doing with Breathing Lessons, running around with a crew of three people using short ends of film. And there’s The West Wing, with a bigger than life-size replica of the White House with cranes and Steadicams and a huge crew. As for commercials, I had the good fortune to start

full fr ame tribute

with Nonfiction Unlimited, which is a commercial

ible and navigate each relationship. Over time, you

production company that works with documentary

start to understand that while you might be exercis-

filmmakers. LJ Jeneski and Michael Degan were able

ing different muscles in talking with actors or subjects,

to see the potential in marrying nonfiction techniques

the underlying dynamic is similar.

jessica yu

and sensibilities with those kinds of jobs, and they’ve been great partners. I’ve been so lucky, not

What makes you decide whether a film should be a short

only because I enjoy the varied work but because

or not? Meet Mr. Toilet could have easily been a feature.

these other directing avenues support my documentary habit. People talk about this being a time of renaissance for documentary, and there are so many good films out there, but it’s still very, very hard to make documentaries exclusively for a living. You’ve said that working with fiction versus documentary is like working different muscles . . .

Isn’t that guy awesome? He’s great. I love Jack Sim. Jack’s story kind of launched Last Call at the Oasis. A long time ago, my producer, Elise Pearlstein, wanted to make a film about sewage, and so of course I’m like, ok. The opportunity to make a film about water came up, and we ran into this incredible person, Mr. Toilet. We filmed a sequence with him at the World Toilet Organization conference, which was part of our water

When you work on the set of a show that’s been run-

story in Singapore, but in the edit, we couldn’t find

ning for a while, you enter someone else’s home, and

a way to fit him in and do him justice. The chance to

time is very different. It’s a strict schedule; there’s

make a short with him came up, so that was just ser-

a lot of work packed into each day. And there are

endipity. There are a lot of times when I shoot things

different personalities, different jobs, and the scale

that I enjoy, or think are great, but in the end, I’m not

is much bigger; your role is intense but it’s circum-

able to use them, and it drives me nuts. But I also like

scribed. What I like about working on a series is the

the immediacy and instant gratification of a short.

intensity. You go in and work madly for three-and-a-

They can definitely take time—The Kinda Sutra took

half weeks and then you’re out of it. Plus, you get to

a lot of work, but I don’t feel that a film has to be

work with actors, various teams with different skill

feature length to be worthy of one’s time. It’s hard

sets, and there is a wider range of equipment and toys

for me to turn down the chance to do one.

to play with. With documentaries, you have different

In making shorts, I have had a long-running fantasy

pressures—you have time pressure and money pres-

that my career retrospective would be an hour long.

sure, and the story pressure is on your back. You’re

Although, at this point, I think I am past my self-

steering that ship much more personally. I like doing

imposed running time.

them both. When I’m working on documentaries, I might not have all the same resources, but it’s more

One of the subjects in Last Call at the Oasis quotes

my thing, and I have more creative freedom that way.

Einstein, saying, “Those who have the privilege to know, have the duty to act.” With Last Call, The Guide, and

the film. It’s a different kind of film for me, but it

film, the topic of population came up so many times

definitely opened up some ideas about the assorted

that the film seemed inevitable: What is really going

ways that we can tell these stories and connect with

on with population? Is that the conversation we

others, because there are a lot of issue-oriented films

should be having? How are people’s lives affected by

out there—it’s tough to figure out how to reach an

demographic shifts? And usually when we say popula-

audience without people feeling conservation fatigue.

tion, we mean over-population. Those are the kinds

That said, the opportunities to make Last Call and

of things we’re looking at, and I think it will be a very

The Guide were totally unconnected. The executive

different film from Last Call in that it will probably

producer of Protagonist, Greg Carr, is somebody

include the kind of personal storytelling that you see

I met at Full Frame years and years ago when I was

in some of the films that we were talking about earlier.

in Durham with In the Realms of the Unreal. Carr’s foundation approached us about making a film about

You told me you were sitting in an editing room all week,

the restoration of a national park in Mozambique,

so I’m wondering about how you approach editing.

and that’s where The Guide came from.

Is there a common thread or a feeling that you look for,

But do you feel that you have less control in documenta-

certainly, Meet Mr. Toilet you seem to be focusing more

ries because you’re not working with actors and

and more on global environmental issues. Is that a trend

you can’t predict what will happen on any given day

you’re actively focusing on at the moment, or is this

with a subject?

a case of films that just came up?

I think creative freedom gets confused with control

That’s another good question, because, again, I haven’t

sometimes . . . maybe what we’re talking about is

stepped back and looked at the films as a whole.

kind of story, but the challenge of tackling subject

authorship. And a lot of the authorship comes in edit-

I think that—maybe it’s also being a parent—the

matter with such universal ramifications has an unde-

I wouldn’t label myself an “issue” filmmaker, but I can see how many feel that the environmental pivot point upon which we are teetering is the story of our time. Of course filmmakers should be telling every

ing. Anyway, when I first started directing episodic

immediacy of environmental issues is inescapable,

niable pull. Now, watch, my next doc will end up being

TV, I remember being concerned about working with

but I’m not someone who is necessarily drawn to

about recreational catapulting or something. . . .

actors and learning actor-speak. I was talking about

an issue first. I like the idea of finding the story first,

this with an actor-director, and she reminded me that

with the exception of Last Call at the Oasis. In the case

I understand that the documentary you are making now

actors are people, and you don’t have to talk to them

of Last Call, I was approached by Diane Weyermann

also has to do with a global issue. Can you tell me about

that you want the audience to experience in the movie theater?

I love editing. There’s always a point when I look up and see that it’s like four in the morning and I thought I just had dinner. You experience this total engagement, and while you can’t expect an audience to feel that way the whole time, you hope that, at least at points in your film, they’ll have that feeling of being completely absorbed and invested in what’s happening. There is this filmmaker that I knew a long time ago, and he had a Post-it note on his editing table

in some special code, just find a way to communicate

at Participant Media, and once I started doing

what you’re working on?

that works. That made sense to me, because it’s the

research I discovered how precarious the water supply

same thing in documentaries: there’s no single way

The new film is going to be about population, which

is, and how little we are aware of it—the immediacy

the bar a little lower and don’t bore them. So I guess

to communicate with a subject. You have to be flex-

is a topic directly related to Last Call. When we were

and urgency of it all got us really motivated to make

the choice is either transcendence or “don’t bore me.”

traveling all over and talking with people for that

that said something like: Don’t be boring. Just put

jneesw s i cdao cysu

full fr ame tribute

Breathing Lessons: The Life and Work of Mark O’Brien In his own words and writings, poet and journalist Mark O’Brien articulates the details of a life spent confined to an iron lung. Stricken with polio as a child, O’Brien’s body may depend on the pressurized intake and release of air, but he refuses to let this define his existence—despite the obvious challenges, he graduated from Berkeley and has a career as a writer. He is matter-of-factly forthcoming about his relationships to his work, his caregivers and friends, his body and sex, and even to the misperceptions of disabled people in general. This quietly triumphant portrait of one individual’s ability to transcend the physical confines of his life invites us to question what is and is not impossible. ST

Filmmaker Q&A following screening 1996 / US / 35 minutes Director : Jessica Yu Producer : Jessica Yu Editor : Jessica Yu Cinematographer : Shana Hagan 2 3 / 7, Inc .

The Guide *

world premiere

Nineteen-year-old Tonga Torcida has lived near Mount Gorongosa in Mozambique since birth and has one lifelong dream: to be a tour guide for the Gorongosa National Park. The park became famous in the 1960s, before a war of independence with Portugal and civil war killed almost a million people and devastated much of the park’s wildlife. Today, Greg Carr is committed to the park’s restoration and conservation and plans to engage the local community in the effort by providing jobs to over four hundred individuals and ensuring that the resources yielded by the park are then spread to the surrounding villages. He and his colleagues are taken by Tonga, whose passion for the landscape embodies its future. When renowned biologist E. O. Wilson visits, Tonga is offered the remarkable opportunity to translate for him. The realization of his dream may just inspire Tonga to envision a more significant role for himself in sustaining this remarkable place. Exquisite imagery of lush scenery and majestic animals embellish this powerful portrayal of mutualism between both man and nature and man and fellow man. ST

In the Realms of the Unreal

The Kinda Sutra

Henry Darger lived an introverted life. By day he was a custodian at a hospital; by night he retreated into his own fantastic world, “The Realm of the Unreal.” When he died, neighbors discovered six decades worth of illustrations and writings about this madeup sphere in which a band of girls—the Vivian Girls— stand up against the evil powers of warring men. In this film, Yu untangles the mysteries of Darger’s creations. We hear from the few people who knew him but mostly we hear from those who knew him best, the characters in his exhaustive narrative. The spellbinding artwork and writings, meticulously animated and poignantly narrated by a young child, take center stage. Yu brings Darger’s bizarre and magical fantasy to life in an almost autobiographical testament. ST

Jessica Yu brings a whimsical yet thoughtful look at the gap between childhood imagination and grown-up facts regarding the birds and the bees. A series of interviews with people of all ages conveys youthful cluelessness (seemingly universal) about the body and sexuality. The film uses animation to demonstrate the wealth of images and ideas stemming from childhood misinformation and extrapolation. The recognizable style of illustrations from the Kama Sutra serve as a jumping-off point for a warm and humorous set of animations. NK

Filmmaker Q&A following screening 2004 / US / 81 minutes Director : Jessica Yu Producers : Jessica Yu, Susan West Animation Producer : Kara Vallow Co-producer : Joan Huang

Filmmaker Q&A following screening 2013 / US / 40 minutes

818.952.6799 Inscrutf@aol.com

Filmmaker Q&A following screening 2009 / US / 8 minutes Directors : Jessica Yu Producers : Patrick Degan, Anne Clements Executive Producers : Michael Degan, Loretta Jeneski Editor : Kim Bica Cinematographers : David Gil Animation : Stardust Studios Illustration : Nathan Reifke Composer : Jeff Beal

Editor : Jessica Yu

2 3 / 7, Inc .

Cinematographers : Russell Harper, Michael Barrow

818.952.6799 Inscrutf@aol.com

Composer : Jeff Beal

Director : Jessica Yu Producers : Elise Pearlstein, Jessica Yu

Saturday, April 6 — 7:40 pm

Editor : Jessica Yu

Cinem a 1

Cinematographer : Bob Poole Composer : Jeff Beal 2 3 / 7, Inc .

818.952.6799 Inscrutf@aol.com

Saturday, April 6 — 7:40 pm Cinem a 1

2 3 / 7, Inc .

818.952.6799 Inscrutf@aol.com

Friday, April 5 — 11:00 am F le t cher H a ll

full fr ame tribute

jessica yu

Last Call at the Oasis

The Living Museum

Meet Mr. Toilet

Protagonist

Every four days a farmer in Australia commits suicide. Las Vegas is fifty feet of water away from ceasing to function. Fetuses are being exposed to birth control pills. All of this is happening due to the scarcity and contamination of the world’s water supply. Jessica Yu’s arresting documentary highlights the fact that even though water is a renewable source, humans are quickly emptying aquifers that took thousands of years to fill. What water we do have is being polluted. We experience déjà vu with Erin Brockovich, who visits Hinkley, California, and discovers that its inhabitants are being exposed to the same chemical from the same company as featured in the Oscar®-nominated film that bears her name. Yu presents the information as beautiful aerial shots remind us of the majesty of our environment. Through interviews with scientists, farmers, water authority officials, and everyday citizens turned activists, Last Call at the Oasis alerts viewers to the possibility of change: The global water crisis is no longer solvable but it is manageable. JM

At the Creedmoor Psychiatric Center in Queens, New York, Dr. Janos Martin helps treat patients with severe mental illness by encouraging them to express themselves through art, whether in paint, sculpture, or collage. As part of this effort, Martin oversees the Living Museum, an annex at the hospital where art is not only made but also displayed for others to see. In vivid imagery, brilliant close-ups, and delicate conversations, director Jessica Yu presents the intricate, often visionary, work of these nontraditional artists, allowing the patients to describe their approaches and processes in their own, sometimes tangled, words. With patience and calm resilience, Dr. Martin offers feedback and ideas for best methods to the individual artists, who sometimes scream or are in tears, as he helps them displace their frustrations, and demons, onto canvas. Seen as a collective, these works illustrate the fine line between creativity and distress and illuminate the healing power of expression. ST

Forty percent of the world population does not have access to a toilet. Enter businessman Jack Sim, who aims to break the taboos around talking about basic sanitation. His argument is simple: 1.5 million children die unnecessarily each year due to water contamination. If toilets can become a desirable status symbol, worldwide sanitation will improve, and one of human beings’ most basic functions will no longer have drastic health effects on those downstream. In its brief three minutes, this film reminds us that “what you don’t talk about, you cannot improve.” ST

A reformed gay Christian, a bank robber, a left-wing German terrorist, and a martial artist tell us their stories. On the surface, these four people lead very different lives, but through the lens of Greek tragedy, Jessica Yu finds a way to reveal their deep-rooted similarities. As the film progresses, the motivations behind each man’s unique trajectory become profoundly intertwined. With its beautiful crosscutting among scenes from Euripides, ingenious re-enactments, and starkly focused interviews, this innovative film provides a rich tapestry that challenges us to reflect on the relationship of individual lives to the archetypal human experience. AT

Filmmaker Q&A following screening 2011 / US / 100 minutes

Filmmaker Q&A following screening

Filmmaker Q&A following screening 2012 / US / 4 minutes

Filmmaker Q&A following screening

Director : Jessica Yu

2007 / US / 90 minutes

Producer : Elise Pearlstein Editor : Adam Parker

Director : Jessica Yu

Cinematographers : David Gil, Siew Yaw Hoong

Producers : Elise Pearlstein, Susan West, Jessica Yu

Composer : Jeff Beal 2 3 / 7, Inc .

Director : Jessica Yu

Producer : Dawn Parouse Executive Producer : Sheila Nevins

Executive Producers : Jeff Skoll, Diane Weyermann, Carol Baum, David Helpern

Editor : Jessica Yu

Sunday, April 7 — 1:30 pm

Cinematographers : Shana Hagan, Ed Marritz

Cinem a 1

Cinematographer : Jon Else

HB O D o c ume n ta ry F il m s

Composer : Jeff Beal

1100 Avenue of the Americas New York, NY 10036

ATO Pi c t u res 1133 Broadway Suite 1120 New York, NY 10010

Friday, April 5 — 4:40 pm

212.367.9435 sean@idpfilm.com

DAC / P SI The ater

Sunday, April 7 — 1:30 pm Cinem a 1

Composer : Jeff Beal

818.952.6799 Inscrutf@aol.com

Producers : Elise Pearlstein, Jessica Yu

EditOR : Kim Roberts

Editor : Jessica Yu Cinematographers : Karl Hahn, Russell Harper

1998 / US / 78 minutes

2 3 / 7, Inc . 818.952.6799 Inscrutf@aol.com

Thursday, April 4 — 4:10 pm Cinem a 1

full fr ame tribute

t h e m at i c p r o g r a m

Sour Death Balls A series of children and adults each attempt to consume a Sour Death Ball candy. With napkins at the ready, Yu trains her camera on prepared but perhaps still unsuspecting targets. In vivid blackand-white, we’re exposed time after time to the moment of impact—the puckers, winces, and twists that accompany the intense sensation. For anyone who’s ever had a bite of something too extreme, this collage of cringes is at once familiar and utterly entertaining. ST

Filmmaker Q&A following screening 1993 / US / 5 minutes Director : Jessica Yu Producer : Jessica Yu Editor : Jessica Yu Cinematographer : Pam Tom 2 3 / 7, Inc . 818.952.6799 Inscrutf@aol.com

Stories About Stories

a m i r b a r-l e v

I’ve put together a slate of films I’m calling “Stories About Stories,” documentaries that in some way tackle the subject of narrative itself. Tonally and formally these films run the gamut, and they concern themselves with a wide array of subjects—love triangles, art scams, heavyweight boxers, war, and more. But all of them delve into the complex waters of storytelling—and the inevitable friction that happens when multiple stories collide and compete. Each of these films will make you think about the act of projecting meaning onto reality, a useful exercise, hopefully, for those of us who work in this strange and problematic medium where journalism and art meet. I’m not a social critic, but in my very unscientific assessment, the idea of “the narrative” has gone mainstream. Ten or fifteen years ago, I don’t remember a broad swath of people making a distinction between “the story” and “the facts.” That used to be the stuff of semiotics class, now it’s the purview of the pundit class. The political left wrings its hands about a perceived failure to sell the country on a coherent narrative. The political right, ironically, seems to have embraced the kind of language they once pilloried as moral

Thursday, April 4 — 4:10 pm Cinem a 1

relativism. “We’re an empire now, and when we act, we create our own reality,” an advisor to George W. Bush once infamously said during the early years of the Iraq War. “We’re not going to let our campaign be dictated by fact checkers,” a Romney pollster declared during the recent presidential election. As mentioned, I don’t feel qualified to speculate on story’s ascendant role, but it’s impossible to escape it in the cultural ether: “For Brands, 2012 Is The Year Of The Story,” one marketing industry publication exclaimed. “Storytelling is the ultimate branding technique du jour.” Apparently, narrative can sell shampoo. The culture seems to be standing an extra step away from the things that happen, in order to comment on the way we make sense of the things that happen. As I write this, USA Today’s “Life” section leads with a story lumping Reality TV, Manti Te’o, Lance Armstrong, and Beyoncé together. Its headline: “The new reality: Doesn’t have to be real.”

t h e m at i c p r o g r a m

stories about stories

years after its release in Japan. Mystery is what

This slipperiness around perspective and subjectivity has bled into the way we think about journal-

pushes this film into the realm of the metaphysical.

ism. On the one hand, it’s become an accepted point

A businessman disappears, and like nature abhorring

of wisdom that there is no such thing as objectivity.

a vacuum, a host of explanations and stories rush

On the other hand, journalists are excoriated

in to fill the void of his absence. The film crew sets

whenever they stray from a seemingly arbitrary

out to get to the bottom of things but is stymied,

middle ground. So, for instance, Anderson Cooper

in part, by the possibility that its lead investigator,

is attacked when he says that former Egyptian

the businessman’s forlorn fiancée, is lying to them. Like mystery, deceit is a useful device for a film-

president Hosni Mubarek is lying. Who does Cooper

maker interested in exploring and exposing the

think he is, making up our minds for us about fact

structure of narratives. I have a pet theory about

and fiction?

deceit: The first stories we tell ourselves as human

Speaking of the fault lines between fact and fiction, the uptick in scandals about memoirs appears

beings are predictions of behavior. Babies learn

to be a related development—from JT LeRoy and

the choreography of facial expressions, responses,

James Frey to Lonelygirl15 and many others, there

old friends, the Czech war hero Jan Wiener and the

almost seems to be an epidemic at work. Among

Czech novelist Arnost Lustig, as they take a road

fed. Presumably, early man had to acquire a certain

the most recent examples of this is Mike Daisey,

trip from Prague to the south of Italy. This is the

choreography when confronting a stranger in the

and counter-responses they must act out to get

who was revealed to have embellished an account

same route that Wiener used to escape from Nazi-

primeval woods. Everything that happens after we

of his journey to China to see where Apple products

occupied Czechoslovakia. Because his escape was

are babies (and cavemen) rests on a foundation of predictive behavior; culture, language, symbolism.

are manufactured. When this account was staged

an adventure of epic dimensions, including stow-

as theater and recounted on the radio program

ing away under the toilet hole of a moving train and

If we can’t trust the choreography, then all gives way

This American Life, the ensuing debate once again

seducing a nun, Lustig is interested in turning the

to an abyss of meaninglessness. But, paradoxically,

raised challenging questions about storytelling. Daisey is a performance artist, and doesn’t theater

Take Nina Davenport’s Operation Filmmaker.

journey into a novel. But along their trip, arguments

because meaninglessness is an approximation of

over the fundamental truths of the story intervene.

that experience Einstein calls beautiful, it can bring

permit artistic license? Is every story recounted

Soon after the fall of Baghdad in 2003, an Iraqi film

Wiener sees in his own tale an iron lesson in will.

us closer to sharing in an ineffable and elusive truth.

on This American Life true? Should David Sedaris

student, Mufthana Mohmed, is featured on MTV.

Lustig suggests the story contains more ambiguities

We are touching on something beneath the concep-

be held to the same standard as, well, Anderson

The producer and director of the film Everything Is

and lucky breaks. The way Lustig describes it, “Our

tual framework we normally impose on reality.

Cooper? According to Daisey, no. “What I do is not

Illuminated happen to see the program and decide

stories have crystalized with time.” This suggestion,

I think this is why it’s deeply tantalizing to study

journalism,” he protests. “The tools of the theater

to find Mufthana and give him the break of a lifetime,

that our memories simplify the facts and are often

a person’s face on a screen and try and figure out

are not the same as the tools of journalism.”

a chance to leave war-torn Baghdad and work on

self-serving, drives Wiener to the brink.

if he or she is lying.

Which brings us to documentary, a medium

their set. Davenport is invited to document Muftha-

In the aptly named Stories We Tell, Sarah Polley

This is the principle pleasure of Forbidden Lie$,

that employs the “tools” of journalism and those

na’s journey—or is she invited to memorialize Holly-

also has a crystalized story to investigate: a buried

in which Anna Broinowski tries to get to the bottom

of feature film: continuity, a three-act structure,

wood’s largesse? Either way, nothing goes as planned.

truth about her parents. Polley’s mother, who

of Norma Khouri’s 2003 best selling exposé Forbidden

and well-defined “characters.”

The Iraqi turns out not to be as appreciative as the

died when she was a child, comes to life through

Love. Khouri was internationally celebrated for her

Americans had hoped. (Sound familiar?) Mufthana’s

the fractured and divergent perceptions of her

bravery in coming forward about Jordanian honor

family. Her father is allowed to read a script

killings, but the film reveals that the status of women in Jordan may play into a narrative that is less truth-

We documentary filmmakers choose to explore class issues, family dynamics, war, sports—the list

“ingratitude” inevitably spreads from the Hollywood

is endless. Occasionally, we choose to take a step

producers to Davenport and her documentary crew.

of his recollections, and levels upon meta-levels

back from the facts and draw the audience’s atten-

Members of the documentary crew even begin to

of inquiry proliferate. Yet even as they do—and as

ful than convenient for the West, much like the Iraqis’

tion to the way they make sense of those facts.

turn on each other, and in a fantastically post-mod-

in Nina Davenport’s film, cameras are turned on one

supposed desire for our help in liberation.

But a funny thing happens when documentaries

ern moment, cameras are aimed at one another like

another—the mystery only deepens. A good mystery

turn story itself into a subject: A kind of barbershop

guns in a Mexican standoff. Davenport’s team knows

is almost always a winning formula in fiction,

also goes a step further, owning up to documentary

mirror effect is created, and suddenly the filmmak-

well that whoever controls the storytelling holds

but when nonfiction storytellers hit on a genuine

film’s own tricks and techniques, because of course,

ers must acknowledge their own role in interven-

the reins of power.

mystery, they have struck a goldmine.

ing between the facts and the audience and all that

This is true if the story is geopolitical, but it’s also

Albert Einstein famously said, “The most beautiful

Broinowski exposes Khouri’s fabrications but

the filmmaker is lying too. Nonfiction storytellers “crystalize” their stories just as much as old men

comes with that interposition. Once the audience

true about our personal stories. Two films that look

and deepest experience a man can have is the sense

who recall their youthful heroics. We must condense

is thinking about story, they must acknowledge that

at contended personal narratives are Sarah Polley’s

of the mysterious.” Mystery is the easiest way

our material into roughly ninety minutes. We make

at that very moment they themselves are being told

Stories We Tell and my own first film, Fighter. Both

to point to the disparity between story and reality,

choices about representing the hours, months, even

a story. This opens the floodgates to a host of ques-

documentaries look at the way narratives get

because mysteries happen when facts elude our

years, that we spend with our subjects. The only

tions, not only formal and aesthetic questions, but

fossilized into our personalities, facts be damned.

capacity to fit them into a consistent narrative.

thing that stops us from discarding the mitigating,

also ethical and even metaphysical ones. The films

In both films, something comes along that chal-

Shohei Imamura’s A Man Vanishes has only now

complicating moments that bring our “characters”

in this series ask those questions.

lenges an entrenched story. Fighter follows two

become available in the United States, forty-five

into sharper relief is our own conscience. (To what-

t h e m at i c p r o g r a m

stories about stories

In Q & A sessions I did for the film’s release, there was one question I knew I would be asked, invariably. “Why do collectors feel ripped off by the dad? After all, whether he painted them or not, it’s the same painting, right?” When asked this, I would often answer with my own question: If, hypothetically, you bought Hemingway’s pen, how would you feel if you found out that you were sent an exact replica that had never been used by him? After all, it’s the same pen. The answer is: ripped off. The question implies that story itself has no value, because it is intangible. But how intangible is story, actually? How powerful is it? This is a question asked by John Walter in Theater of War, which documents Tony Kushner’s production of Bertolt Brecht’s Mother Courage and Her Children. Kushner staged the canonical antiwar play in 2006 at the height of the Iraq war. As antiwar protesters are being rounded up in droves within earshot of the rehearsals, Kushner, Meryl Streep, and the rest of the cast and crew We filmmakers may not know when we cross the

interrogate the role and efficacy of theater as social

Among the many disasters Broomfield faces in his

protest. Walter’s own interrogation associatively

star-crossed attempt to document the production

line where our “lies” become indefensible, but

braids these questions and reflections together,

of a musical: the producers of his film request that

surely there is a line—and Driving Me Crazy proves it. Maybe this is a clue for how we documentary

along with musings on Streep’s process, Marxism,

he insert an actor/screenwriter playing the role of

and the life of Brecht. The structure of the film

an actor/screenwriter into his documentary. Broom-

filmmakers can strive to get as close to the truth as possible. We can’t avoid the reductionism inherent

ever degree we have one!) As Janet Malcolm said in

becomes a powerful statement about storytelling

field protests, but the actor/screenwriter is one step

The Silent Woman: “The narratives of journalism

because, like F For Fake, it eschews the artifice of

ahead of him—he writes his own lines to mimic and

to our storytelling—even Warhol’s eight-hour,

(significantly called ‘stories’), like those of mythol-

constructed chronology and unabashedly follows

appropriate Broomfield’s concerns. (i.e.: “What the

single-shot film Empire picks one particular angle at the expense of others. We will always be indicating

ogy and folklore, derive their power from their firm,

the vectors of the filmmaker’s thoughts and

heck is a screenwriter doing inside a documentary?”)

undeviating sympathies and antipathies. Cinderella

explorations. As Oscar Wilde said, “It is the spectator,

Instead of the exhilarating self-reflexivity of F for

for our audience in some degree of shorthand

must remain good and the stepsisters bad. ‘Second

and not life, that art really mirrors.” This approach

Fake, we get nauseating self-consciousness, which

what to make of the wicked stepsisters, as in Janet

stepsister not so bad after all’ is not a good story.”

to storytelling is in itself a form of subversion.

brings to mind Milan Kundera’s definition of kitsch.

Malcolm’s analogy, but perhaps we can strive to

In truth, any time we look at how a narrative

“Kitsch causes two tears to flow in quick succession.

depict the stepsisters’ wickedness in as complex

Orson Welles’s last film, F for Fake, is the quintessential exploration of the medium. Welles embraces

works, we implicate ourselves in the tale’s construc-

The first tear says: How nice to see children running

a light as our medium allows, pushing hard

the barbershop mirror effect wholeheartedly: he

tion, which plays with the “inside” and the “out-

on the grass! The second tear says: How nice to

against “white hat/black hat” oversimplifications.

speaks directly to the camera, shows us scenes,

side” of story. But if we take this “barbershop mirror

be moved, together with all mankind, by children

Tropes will continually evolve: When a filmmaker

and then re-edits them and shows them to us again.

effect” all the way to its epistemological conclusion,

running on the grass!”

F for Fake is a documentary, loosely, about art forg-

we realize something dizzying: not only is the reality

ery. The topic of forgery and with it, art’s inherent worth, is a fertile ground for stories about stories.

captured by nonfiction filmmakers a fiction, the “real” world wouldn’t exist for us without story!

What is the difference between a priceless master-

I think this is why Paul Klee said, “Art doesn’t reflect

piece and an indistinguishable reproduction?

what we see, it makes us see.”

Nothing but the value of the story, of course. My 2007 film My Kid Could Paint That shares in

Of course, Sacha Baron Cohen’s characters Ali G, Bruno, and Borat deploy exactly the same device as that of Broomfield’s producers—the insertion

lands on a cool device, others flock to mimic it. The best we can do is to try our best to swim against the current of these tropes as they are created. My own feeling is that not every documentary

of an actor into a documentary. I find it useful

should acknowledge its own design. Sometimes

to consider why one works and the other does not.

a story is best served by ignoring the storyteller.

One device provokes the unexpected, and the

But there will always be a canon of films, from

we might be tempted to throw up our hands and

other delivers the predictable. Sacha Baron Cohen’s

A Man Vanishes to now, that inspire us to be

When we try to wrap our heads around this notion,

this subject matter. A four-year-old girl’s paintings

decide that all storytelling is equally truthful

characters confront people with their assumptions

mindful of our process. These films keep me honest,

are compared to Jackson Pollock’s abstract expres-

(or untruthful). This is perhaps what Mike Daisey

and force them to defend their perspectives.

they help me to stay vigilant. I hope you will enjoy

sionist paintings and begin commanding tens

and James Frey would, in their own ways, argue.

The actor inserted into Broomfield’s film is the

them as much as I do.

of thousands of dollars—but it seems that her

But is it so? Seeing Nick Broomfield’s 1998 Driving

logical terminus of “reality” television and every

father may be secretly authoring the works of art.

Me Crazy was a formative experience for me.

other hackneyed mode of nonfiction storytelling.

t h e m at i c p r o g r a m

Borat “Sacha Baron Cohen, star of HBO’s hit comedy Da Ali G Show, takes his outrageous Kazakstani reporter character Borat to the big screen. In this hilariously offensive movie, Borat travels from his primitive home in Kazakhstan to the United States to make a documentary. On his cross-country road trip, Borat meets real people in real situations with hysterical consequences.” Criterion Pictures 2006 / US / 84 minutes Director : Larry Charles Producers : Sacha Baron Cohen, Jay Roach Executive Producers : Monica Levinson, Dan Mazer Co-Producer : Peter Baynham Editors : Craig Alpert, Peter Teschner, James Thomas Cinematographers : Luke Geissbuhler, Anthony Hardwick Writers : Sacha Baron Cohen, Peter Baynham C ri t e ri o n Pi c t u res Brian Block 847.470.8164 brian@criterionpicusa.com

Driving Me Crazy Filmmaker Nick Broomfield is hired to direct a film accompanying the 1988 German stage production of Body and Soul, a massive revival of African American music from the thirties and forties. He’s offered a $1.6 million budget and permitted all access. Choreographers’ rehearsals, casting calls, executive sessions—nothing’s off limits. But then, with little explanation, his budget is dashed. Cast members become less accommodating than anticipated. A producer of the film wants Broomfield to explore more esoteric ideas and suggests that the “documentary” feature a non-existent producer, going so far as to volunteer to play a scripted version of himself. If it sounds confusing, that’s because it is. Broomfield trains his lens on the messy arguments and chaotic interplay, shifting the subject from the production of the play to the production of the increasingly complicated film. Promises are broken, fuses blown, and cameras pushed out of the way, but Broomfield remains unwavering until the curtains finally close. ST

Q & A with curator following screening

stories about stories

F for Fake Orson Welles achieved instant celebrity with one of the greatest tricks in radio history, the notorious “The War of the Worlds.” In his hat and cape Welles pulls back the curtain in F for Fake to reveal to the audience how easy it is to blur the lines between fact and fiction as he splices film in the editing room. Welles then takes the viewer on a whiplash-filled cinematic journey through the life of famed art forger Elmyr de Hory and his biographer Clifford Irving, no stranger to fakery himself. It’s fitting that Welles’s last directorial effort is an examination of the relationship between art and truth, but beware, the self-proclaimed charlatan does not leave you without having played a few of his own tricks. JM

Q & A with curator following screening 1975 / US / 87 minutes Director : Orson Welles Producer : François Reichenbach Editors : Marie-Sophie Dubus, Dominique Engerer

Saturday, April 6 — 10:30 pm Cinem a 1 FREE — N O TI CKET REQ UIRE D

Janu s F il m s Brian Belovarac

2000 / UK, West Germany / 86 minutes

215 Park Avenue S, Floor 5 New York, NY 10003

Producer : Andrew Braunsberg

212.756.8761 belovarac@janusfilms.com

Editor : Amir Bar-Lev

Friday, April 5 — 1:00 pm Cinem a 2

La fay e t t e F il m s info@nickbroomfield.com

Saturday, April 6 — 1:00 pm Cinem a 2

Thursday, April 4 — 10:50 pm Cinem a 4

Director : Amir Bar-Lev Producers : Amir Bar-Lev, Jonathan Crosby, Alex Mamlet

Co-Producers : Ted Hope, Steve Menken Editor : John Mister

On the surface Fighter is about two old friends in their seventies, Jan Wiener and Arnost Lustig, Czech immigrants who decide to take a trip back to Europe after having lived in the United States for many years. As they retrace Wiener’s escape from Nazi-occupied Czechoslovakia, however, the film becomes an enthralling story about memory and friendship. Wiener’s story of his father’s suicide, laying flat under a train on an eighteen-hour trip to Italy, joining the Royal Air Force, being accused of being a British spy, and returning to Czechoslovakia only to be put in a communist labor camp is enough to capture the audience’s attention. But conflict arises, and keeps arising, when Lustig, a Holocaust survivor and former member of the Czech Communist Party, who wants to write a book about the journey and his own past (his father died in a camp), constantly analyzes every decision and action of the past (something Wiener has no patience for). With scenes that in matters of minutes take you from tears to laughter and then to anger, Fighter demonstrates how reliving memories can bring old friends closer then ever and take them to the brink of collapse. JM

Filmmaker Q &A following screening

Director: Nick Broomfield

Cinematographer : Robert Levi

Fighter

Cinematographer : Gary Graver

1998 / UK, West Germany / 85 minutes

Cinematographer : Gary Griffin F irs t Run F e at u res Paul Marchant 630 Ninth Avenue, Suite 1213 New York, NY 10036 212.243.0600 x 22 Paul@firstrunfeatures.com

Friday, April 5 — 4:00 pm Cinem a 2

Saturday, April 6 — 4:00 pm Cinem a 2

stories about stories

t h e m at i c p r o g r a m

Forbidden Lie$

A Man Vanishes

My Kid Could Paint That

Operation Filmmaker

Why are movies about outrageous con artists so fun to watch? Forbidden Lie$ combines caper and exposé and teems with so many self-serving characters that the camera itself seems to be the only one that isn’t lying. The film revisits Norma Khouri’s bestselling book Forbidden Love, a personal narrative of the events leading up to the “honor killing” of her Jordanian best friend, Dalia, because of her love for a Christian soldier. Upon closer look, it becomes apparent that Khouri may have taken extreme artistic license in her autobiographical account. Lit by the spark of contention, the film delves into characters and motives that are usually the province of fiction. The conventions of the thriller genre complement the film’s nonfiction commentary, especially when it comes to the West’s eagerness to believe the worst about the treatment of women in Muslim families. NK

In the 1960s, Tadishi Oshima, a Japanese businessman, goes missing. Or did he choose to disappear? Either way, his fiancée, Yoshie, who is desperate to find him, leads a filmmaking team on a trail to his whereabouts. Together, they set off interviewing his associates, neighbors, and even past loves. An odd set of circumstances slowly comes into focus: Had Tadishi embezzled funds? Could it be that his relationship with Yoshie’s sister was not what it seemed? As the testimonies deepen, Yoshie’s role in constructing the narrative of Tadishi’s disappearance comes into question. Even the filmmaker’s role is subject to speculation. Shot in blackand-white, with purposefully out-of-sync sound, this examination of truth and fiction may have taken over forty-five years to be released in the United States, but the questions at its core are remarkably current. ST

Q & A with curator following screening

2007 / Australia / 104 minutes

1967 / Japan / 130 minutes

At the age of three, Marla Olmstead was a rising art sensation: She had her own solo gallery show, sold her paintings for thousands of dollars, and received the kind of attention many artists only dream of. Despite some reservations, the Olmsteads embrace their daughter’s burgeoning career, traveling with her to promote her work and entertaining requests from a fervent media. But when a story gets this big, it has to change. A shocking 60 Minutes special calls into question whether or not Marla’s father may be the real artist of the acclaimed works. The revelation not only blindsides the Olmsteads, it shatters the story that director Amir Bar-Lev thinks he is telling. Bar-Lev thoughtfully attempts to untangle the contradictions, boldly owning his personal role in events while acknowledging the media’s power to build a person up only to tear her back down. In doing so, this poignant documentary expands beyond the world of art to examine our tendency to manufacture convenient truths and the stories that we, in turn, choose to believe. ST

Iraqi Muthana Mohmed longs to become a prominent filmmaker. In the wake of Operation Iraqi Freedom, MTV airs a story about Mohmed, and filmmaker Liev Schreiber decides to help make his dreams come true. Schreiber and his team invite Mohmed to intern on the set of their movie Everything Is Illuminated. Mohmed is met with open arms and boundless enthusiasm, but the reality of this cultural exchange is far different from the idealized visions of its architects. Frustrations rapidly mount. Mohmed is appalled by what’s asked of him, while his supervisors find it difficult to fathom his lack of interest. Filmmaker Nina Davenport, recruited to document a few days on the set, quickly realizes the fairytale is developing into a far knottier narrative. As she follows Mohmed’s journey toward his dream, doing her best to support his actions and iron out the misunderstandings, the distinctions between collaboration and manipulation continue to blur. Davenport navigates good intentions gone awry, including her own, in this candid examination of influence and filmmaking. ST

Filmmaker Q &A following screening

Filmmaker Q &A with curator following screening

2007 / US / 83 minutes

2007 / US / 92 minutes

Director: Anna Broinowski Producers : Sally Regan, Anna Broinowski Cinematographers : Kathryn Milliss, Toby Oliver Editor : Alison Croft B o n s a i F il m s

Jonathan Page

+61 404 004 994 jpage@bonsaifilms.com.au

Thursday, April 4 — 4:30 pm DAC / P SI The ater

Director : Shohei Imamura Producer : Shohei Imamura Cinematographer : Kenji Ishiguro Editor : Matsuo Tanji Ica rus F il m s Livia Bloom

Director : Amir Bar-Lev

Director : Nina Davenport

32 Court Street, 21st Floor Brooklyn, NY 11201

Producer : Amir Bar-Lev

Producer : Nina Davenport

718.488.8900 livia@icarusfilms.com

Cinematographers : Matt Boyd, Nelson Hume, Bill Turnley

Cinematographer : Nina Davenport

Editors : Nina Davenport, Aaron Kuhn

Editors : Michael Levine, John Walter

Saturday, April 6 — 7:30 pm DAC / P SI The ater

Nina D av en p o r t S o n y Pi c t u res C l a s si c s

98 Bergen Street, #2 Brooklyn, NY 11201

sonyclassics@spe.sony.com

917.902.0263 nina.davenport@gmail.com

Sunday, April 7 — 10:00 am

Saturday, April 6 — 10:40 am

Cinem a 1

DAC / P SI The ater

t h e m at i c p r o g r a m

new docs

new docs Our programming team is often asked what we are looking for when we select the films for Full Frame. That’s a difficult question to answer, and perhaps the best response is the titles described on the following pages. We are looking for films that create sparks, enlighten our

Stories We Tell

Theater of War

The youngest of five children, actress and director Sarah Polley (Away from Her, Take This Waltz) was only eleven years old when her mother died of cancer. In her absence, questions lingered, memories and stories continued to stir. Polley delicately peels back the layers of a subtle family mystery, buried beneath years of softly whispered speculations. Making a film about one’s own family is particularly tricky territory, but it is even more unwieldy when those closest to the filmmaker have different conceptions of past events. With tenderness, Polley gathers together the fractured perspectives of her father, her siblings, and many close family friends. Along with their poignant recollections, incredible 8mm footage breathes life into this shifting portrait of the luminous woman Polley lost when she was just a girl. As interpretations and contradictions are brought to light, we can’t help but ponder just how accurately we ever really know those whom we love the most. ST

John Walter’s film takes us behind the scenes of the Public Theater’s timely 2006 production of Bertolt Brecht’s Mother Courage and Her Children in New York’s Central Park. Walter chronicles the intricate decision making around this particular staging, which features adapted text by Tony Kushner and stars the indomitable Meryl Streep. With unprecedented access to all aspects of production—not just rehearsals but costuming, composing, and set design—Walter takes us inside the artistic process of living legends as he also reveals the history of Brecht’s original text. As Hitler came to power, Brecht was stripped of his German citizenship and exiled, only to find himself facing the House Un-American Activities Committee. The play was first performed in 1949 after Brecht’s forced return to Germany. This layered approach reveals a story within a story within a story by allowing the viewer to make profound connections between the events on stage, the circumstances of the playwright’s remarkable life, and the ways in which timeless themes of war and capitalism resonate today. ST

Q & A with curator following screening

perspectives, and encourage us to reflect more broadly on the world we live in and, perhaps even more importantly, the world(s) we don’t. We are honored to present fifty-two titles—thirty-seven features and fifteen shorts— as part of our 2013 NEW DOCS program. Fourteen of these films are premieres: six World Premieres, seven North American Premieres, and one U.S. Premiere. Nearly all films are screening in North Carolina for the first time. Films completed within the last two years qualify for the NEW DOCS program, and Full Frame’s selection committee recommended these titles from over 1,200 submissions from around the world. Beginning in the fall, this sixteen-person volunteer committee reviews each entry and meets throughout the winter to suggest final selections. The NEW DOCS program includes work from sixteen different countries. Twenty-nine of the fifty-two films are from the United States. The remaining twenty-three come to us from many points around the world: Cambodia, Canada, Denmark, England, India, Ireland, Mexico, Morocco, the Netherlands, Pakistan, Poland, Scotland, Serbia, Singapore, Spain, and Uganda.

2012 / Canada / 109 minutes

Filmmaker Q &A with curator following screening

Director : Sarah Polley

2008 / US / 95 minutes

tion-and-answer sessions will follow screenings, where listed. Please note that the schedule times include these Q&As.

Producer : Anita Lee

Many of the filmmakers will be in attendance to present their films. Twenty-minute ques-

Editor : Mike Munn

Director : John Walter

Cinematographer : Iris Ng

Producer : Nina Santisi Editor : John Walter

All NEW DOCS are eligible for the Full Frame Audience Awards. NEW DOCS films are also

R o ad sid e At t r ac t i o n s Stephanie Northern

Cinematographers : Felix Andrew, John Walter

shortlisted for a variety of additional prizes, listed on pages 58 and 59.

323.882.8390 stephanien@roadsideattractions.com KIN O LORB ER

Thursday, April 4 — 7:10 pm

333 West 39th Street, Suite 503 New York, NY 10018

The award winners will be announced at the Awards Barbecue on Sunday, April 7. A number

212.629.6880 contact@kinolorber.com

of the award-winning films, along with a few other handpicked sellouts, will be rescreened

Cinem a 1

as the Sunday Encore programs that afternoon. Encore screening times and venues will be

Friday, April 5 — 7:40 pm DAC / P SI The ater

available online and at the box office early Sunday afternoon following the barbecue.

new docs

12 O’Clock Boys

After Tiller

AKA Doc Pomus

American Promise

In Baltimore, Maryland, a ring of extreme dirt bike and ATV riders roam the urban streets. Many residents feel they terrorize the community, performing unsafe tricks and compromising traffic. The police have even come up with tactics to trap them, as attempting to chase the riders down could result in perilous high-speed antics. But meanwhile, Pug, a thirteen-year-old boy living on a dangerous Westside block with his single mother and brother, practices on his own small ATV and enthusiastically follows the riders. All he dreams of is a place with the group. This gloriously photographed film sets up a fascinating dichotomy between the ring’s internal experiences—given ample voice through director Lotfy Nathan’s familiarity with the riders— and external perspectives on its dangerous habits. Even in the face of conflict and danger, the desire to belong can be immensely powerful; perhaps all the more so in those pivotal years when one is coming of age. ST

In 2009, Dr. George Tiller was murdered while attending his church in Kansas. Now there are only four doctors in the United States who continue to perform third trimester abortions. Martha Shane and Lana Wilson take us inside the perspectives of these four remarkable individuals who risk their lives everyday to ensure a woman’s right to choose. Colleagues and personal friends of Tiller, they remember his profound influence and expound upon the complicated facets of their occupation. Their revelations range from the practical (where can one safely run a clinic) to the ethical (at what point is a patient declined) to the emotional (how does one even attempt to navigate such tremendous grief). With utmost care, the film also bears witness to the circumstances of individual patients facing this difficult choice. In doing so, what might have been an attempt to persuade or convince invites understanding and compassion. This restrained document is a poignant testament amidst a deafening war of belief and judgment. ST

Stricken with polio at the age of six, Brooklyn-born Jerome Felder knew something about the misery that spawns the blues. Inspired by Big Joe Turner, Jerome reinvented himself as blues singer Doc Pomus and made music history, penning dozens of hit songs with partner Mort Shuman for Ray Charles, the Drifters, and Elvis Presley. When singer-songwriters displaced hired guns like Pomus, Doc recast himself yet again, this time as a card sharp who presided over a never-ending poker party on the Upper West Side. An essential piece of mid-century Americana, this poignant and celebratory biopic pays homage to songs that transform pain into beauty, and to the man who didn’t just write “Lonely Avenue” but who lived on it. Interviews with musicians range from Jimmy Scott to John Lennon and Shawn Colvin to Dr. John. Still, the highest praise comes from would-be rival Bob Dylan, who says, “Everything you need to know is in ‘A Teenager in Love.’” MP

Filmmaker Q &A following screening

American Promise follows two African American boys from their first days of kindergarten through their graduation from high school. For over fourteen years, filmmakers Joe Brewster and Michèle Stephenson filmed their son Idris and his best friend, Seun. Both children start at New York’s prestigious Dalton School, but circumstances set them on separate paths. This strikingly personal document teases out the complications of receiving a private education—the remarkably high stakes of investing thousands of dollars in primary school with the hope of attending a top-tier university. What does it mean to receive a good education, and how does being a minority student influence that education? We find ourselves both inside the classroom and at home with equal intimacy. The directors approach arguments, celebrations, and even grief with such candor that at times it’s hard to believe that it’s their lives we’re watching on the screen. The rigorous editing of their story allows this document to stand as a broader examination of what it means to fulfill one’s potential. ST

2013 / US / 75 minutes

2013 / US / 88 minutes

Director : Lotfy Nathan

Directors : Martha Shane, Lana Wilson

Producers : Taylor Gillespie, Lotfy Nathan, John Kassab, Eric Blair

Producers : Martha Shane, Lana Wilson

Editor : Amy Linton

Directors : Michèle Stephenson, Joe Brewster

Editor : Greg O’Toole

Cinematographer : Antonio Rossi

Producers : Michèle Stephenson, Joe Brewster

Editor : Thomas Niles

Cinematographers : Hillary Spera, Emily Topper A nne- Ma rie Smi t h

Cinematographers : Errol Webber, Alfredo Alcantara, Margaret Byrne, Jon Stuyvesant

Cinematographer : Lotfy Nathan

Filmmaker Q &A following screening 2012 / Canada, US / 99 minutes

Filmmaker Q &A following screening

Directors : Peter Miller, Will Hechter

2013 / US / 138 minutes

Producers : Will Hechter, Peter Miller, Sharyn Felder

Editors : Mary Manhardt, Erin Casper, Andrew Siwoff

O s cil l o s c o p e Sam Hubball

150 Bloor Street West, Suite 14 Toronto, Ontario M5S 2X9

L o t f y N at h an

511 Canal Street, 5th Floor New York, NY 10013

416.964.9079 am@clearlakeproductions.com

194 S 2nd Street, Floor 3 Brooklyn, NY 11211

212.219.4029 samantha@oscilloscope.net

G reg o ry S . J o nes

508.380.5202 lotfynathan@gmail.com

Saturday, April 6 — 1:00 pm Cinem a 3

254 Adelphi Street Brooklyn, NY 11205

Saturday, April 6 — 7:20 pm Cinem a 4

Saturday, April 6 — 4:40 pm

201.838.5796 gregory@americanpromise.org

DAC / P SI The ater

Thursday, April 4 — 4:00 pm Cinem a 3

new docs

Ash *

world premiere

new docs

The Baby (De Baby) *

north americ an premiere

Ash (noun): The residue that remains after disintegration, or the acronym for Texas’s Austin State Hospital, once known as the State Lunatic Asylum. In this moody, experimental film, perfectly composed images of graffiti-riddled stairwells, rippled windowpanes, and crumbling plaster walls make the hospital’s abandoned wing seem frozen in time. However, subtle movements suggest that vestiges of life linger in the building’s decaying spaces: shadows dance across the peeling paint and dusty ceiling fans turn in the breeze. These rooms, now vacant, are haunted by the memories of the patients who once inhabited them. Their stories materialize via an eerily impersonal recitation of doctors’ logs. In conjuring up the remnants of lives burned by illness and clinical indifference, this arresting film transforms the nineteenth-century building into a ghostly memorial to the souls once locked, lost, and forgotten within its walls. TW

To hear Anneke Thompson-Kohnke tell it, she has led a fairly ordinary life. Perhaps now, but in the beginning it was quite the contrary. Anneke’s earliest memories do not really exist prior to a boat ride from the Netherlands to the United States in 1946 when she was almost six years old. Now sixty-five years later, this mystery begins to unravel. Through a series of interviews, childhood photos, and archival materials, we learn about Anneke’s early life: She was born in Hilversum on Christmas day 1940 to a young Jewish musician and his wife; Anne Frank babysat her in Amsterdam (their mothers were friends back in Germany); and her parents hired a courier to secret her away to safety with a Christian family in Voorburg when she was less than two years old. But how did she come to live in New York three years later? Revelatory and heartbreaking, we watch as all of Anneke’s past unfolds before her. WFM

Filmmaker Q &A following screening

2013 / Netherlands / 85 minutes

2013 / US / 10 minutes

Director : Deborah van Dam

Filmmaker Q &A following screening

Director : Nathan S. Duncan

Producers : Hello Films B.V., Deborah van Dam Filmprodukties

Producer : Nathan S. Duncan

Editor : Elja de Lange

Editor : Nathan S. Duncan

Cinematographer : Joost van Herwijnen

Battery Man (Biba Struja)

Black Out

Biba Struja has no sweat or salivary glands. What this means, besides Biba having very dry skin, is that he can withstand large amounts of electricity. After discovering his powers, Biba began supporting himself and his family by performing on Serbian television and at fairs and other shows, where he turns on lightbulbs and cooks really big hot dogs with his hands, and two forks. After years of work (his fingernails have burned off), Biba wants to know what is going on with his body. But how to explain biology and physics to a man who says he doesn’t believe in science? It is lonely enough being a man who many people don’t want to shake hands with for fear of electric shock and who is viewed as a sideshow act, but it must be even lonelier when scientists explain that you aren’t that different from other humans. But can other humans withstand one million volts of electricity? JM

north americ an premiere

School children in Guinea are willing to make enormous sacrifices for their education in hopes of escaping the circumstances of their parents. Determined to do well on their exams, but lacking electricity at home, many young students walk miles to study beneath the glow of parking lot, airport, and gas station lights. Eva Weber’s incredibly photographed film explores these surreal images of students who hit the books not in the quiet and comfort of a library but on the cold pavement of bizarre and makeshift urban study halls. More personally, Weber documents the hopes and circumstances of several individual children and the teacher who does his best to support their efforts. These accounts also reveal the danger of this nightly pilgrimage, which may or may not ultimately lead to a better life. ST

Directors : Dusan Cavic, Dusan Saponja Producer : Snezana Penev Editor : Djordje Markovic Cinematographer : Damjan Radovanovic Cik l o t r o n Dusan Saponja Omladinskih brigada 196/43 Belgrade 11000 Serbia +381637000577 dusan.saponja@ciklotron.net

2012 / UK / 47 minutes Director : Eva Weber Producers : Claire Neate James, Kat Mansoor Editors : Emiliano Battista, Eva Weber Cinematographer : Mattias Nyberg Au t l o o k F il m s a l es G mbH Youn Ji Spittelberggasse 3/14 1070 Vienna Austria +43 720 34 69 34 youn@autlookfilms.com

F il m s T r an si t In t e rnat i o na l , Inc Diana Holzberg

809 ½ W. 30th Street Austin, TX 78705

166 Second Avenue New York, NY 10003

301.514.9917 nathansduncan@gmail.com

212.614.2808 diana@filmstransit.com

Saturday, April 6 — 4:10 pm

Saturday, April 6 — 1:30 pm

Cinem a 3

Cinem a 1

Filmmaker Q &A following screening 2012 / Serbia / 54 minutes

Cinematographer : Nathan Efstation N at h an S . D uncan

Thursday, April 4 — 4:40 pm Cinem a 4

Saturday, April 6 — 10:20 am Cinem a 4

new docs

Blood Brother

Buzkashi!

By Her Side (Ik stond erbij)

Camera/Woman

Like many postgraduates yearning to experience the world, Rocky Braat traveled to India and marveled at the sights, sounds, and culture. But his short jaunt evolved into something more lasting when he visited an orphanage for children living with HIV. Rocky sold all his possessions and decided to move there permanently. Blood Brother is the heartwarming story of Rocky’s calling, seen through the eyes of his childhood best friend, director Steve Hoover. Hoover’s doubts about the sustainability of Rocky’s mission are answered the first time we walk through the orphanage doors; the love between the kids and Rocky is overwhelming. We see how hard Rocky works to make their childhoods as normal and carefree as possible, amid troubling and sometimes tragic conditions. This incredibly honest and moving film has as many moments of wonder and joy as it does wrenching sadness. The result is an unforgettable testament to selflessness and compassion. RM

This visually stunning film set in Tajikistan is about the centuries-old sport of Buzkashi. Like polo, the game is played on horseback; unlike polo, hundreds of sheepherders crush and slam each other while trying to snatch a sheep’s carcass off the ground and race it across a goal line. Azam, a poor shepherd and Buzkashi champion, is a traditionalist who believes his children and his beloved sport should walk a time-honored path. Enter Khurshed, an intense upstart with fancy horses and Mafia-esque alliances on the field, who wants to modernize Buzkashi and bring it international credibility. Soon Azam’s own son challenges tradition by questioning his future as a shepherd. As Azam trains in his barn for a confrontation on the field, his son prepares for his own turning point at home. Buzkashi! is a film to be seen on the big screen. The cinematography is lush and purposeful—even the mud clipping off the back of galloping horses looks crisp and exciting. RS

Filmmaker Q &A following screening

Kempenaerstraat 11B 1051 CJ Amsterdam Netherlands

In Morocco, Khadija supports her family by documenting wedding parties—as a woman, she’s permitted inside the celebrations where men are not allowed— yet she struggles with negative perceptions of her newfound occupation. After years of a bad marriage, Khadija and her eleven-year-old son moved in with her parents. Though her family depends on the money her job brings in, her mother and brother do not approve of the late nights that are required of Khadija as she attends the events of others. But if she were to quit, who would support the family? The self-assuredness and fulfillment Khadija finds in her work is met with painful isolation at home. We follow Khadija inside vivid celebrations and witness fragile moments of domestic frustration as she carefully navigates the needs of clients, friends’ desires, and obligations to her family. Camera/Woman offers a poignant and multilayered portrait of a woman who boldly pushes back against the oppressive expectations of those around her. ST

Filmmaker Q &A following screening 2012 / US / 93 minutes

2012 / Canada / 82 minutes

north americ an premiere

In this intimate and moving portrait, Marc, Ernest, and Bart reflect on their impending fatherhood. They share their feelings about first seeing the “magic stripes” of the pregnancy test and their thoughts about what their children may be like. In the second half of the film, we watch their faces as their babies are born. AT

Filmmaker Q &A following screening 2012 / Netherlands / 25 minutes Director : Niels van Koevorden Producers : Hasse van Nunen, Miga Bär Editor : Daan Wijdeveld Cinematographer : Niels van Koevorden Ha s s e van Nunen +31 619804184 hasse@eenvandejongens.nl

2012 / Morocco / 59 minutes Director : Najeeb Mirza Producers : Micheline Shoebridge, Najeeb Mirza

Friday, April 5 — 1:40 pm

Director : Karima Zoubir

Producer : Danny Yourd

Editors : Omar Majeed, Cameron Esler

DAC / P SI The ater

Producers : Karima Zoubir, Rachid Biyi

Editors : Steve Hoover, Tyson VanSkiver

Cinematographers : Najeeb Mirza, Randy Kelly, Jimmy Bustos

Director : Steve Hoover

Cinematographer : John Pope

Editor : Sofia Escude Cinematographer : Gris Jordana

A nim a l

N aj e eb Mir za

W o men Mak e M o v ies Kristen Fitzpatrick

100 First Ave, Suite 1100 Pittsburgh, PA 15222

45 Riverview Gatineau, Quebec, Canada J9H 4S7

462 Broadway, Suite 500 New York, NY 10013

412.860.0706 dannyyourd@gmail.com

613.852.4450 najeeb@oxusfilms.com

212.925.0606 kf@wmm.com

Thursday, April 4 — 4:20 pm

Saturday, April 6 — 10:00 am

Thursday, April 4 — 1:00 pm

F le t cher H a ll

Cinem a 3

new docs

The Crash Reel

Cutie and the Boxer

Dance for Me (Dans for Mig)

Downloaded

When it came to snowboarding, Kevin Pearce was an indisputable phenom. By his twenties, he had a rivalry with legendary boarder Shaun White, a growing team of sponsors, several championships, and a network of talented friends who loved the sport as much as he did. But in 2010, just months before the Winter Olympics, Kevin suffered a training accident that brought everything to a halt. After days of uncertainty, Kevin emerged from a coma with traumatic brain injury and, with the astounding support of his family, began an unbelievable process of recovery. With as much energy and heart as Kevin brought to snowboarding, Lucy Walker brilliantly documents the physical, mental, and emotional challenges he and his family face. Though Kevin’s journey is the center of the film, it does not shy away from examining the dangers of extreme sports (there is footage from his horrific crash and others). While Kevin’s life will never be the same, he has a new one to build and profound choices to make about what it means to truly recover and how to go on loving the sport he once gave everything to. ST

Noriko met artist Ushio Shinohara in New York when she was nineteen years old. She was captivated by the struggling artist, even though he was twenty years her senior, and has been by his side ever since (over forty years), helping him to produce and navigate the sale of his art, mainly large-scale “boxing” paintings in which he literally punches paint from one edge of the canvas to the other. While Ushio’s work has garnered acclaim, it is still hard for the couple to make ends meet. Despite living in the shadows of her husband’s grand ideas and his demanding approach, Noriko has continued to make her own artwork. She develops a series of drawings entitled Cutie that reveal aspects of her challenging life with Ushio. When a curator expresses interest in the drawings, the attention intensifies the strain on Noriko and Ushio’s relationship. Through animations of her drawings and an intimate vantage on their lives, this exceptional film reveals the delicate intricacies of dreams, love, and true partnership—in art and in marriage. ST

At its height, Napster had over 25 million users creating and sharing the largest catalog of recorded music ever available to the public. Downloaded retraces the history of one of the most disruptive technologies of the Internet Age, from its humble chatroom beginnings to its takedown at the hands of a music industry that didn’t know what hit it. Napster’s popularity was a shot across the bow at major music labels that had been dismissive of the Internet’s potential. The ensuing digital rights debate is still being waged today—even if Napster only exists as a shadow of its former self. With a cache of archival footage and illuminating interviews with people on both sides of the debate, Downloaded provides a fast-paced and highly entertaining account of the meteoric rise and fall of this revolutionary application. Napster may have been beaten, but it remains a foundational brick on the road to the networked world we inhabit today. RM

Filmmaker Q &A following screening 2013 / US / 108 minutes Director : Lucy Walker

Filmmaker Q &A following screening

Adolescence brings its own natural pressures— fitting in and finding confidence—but those forces are compounded when one is exceptionally talented. Fifteen-year-old Russian ballroom dancer Egor leaves his family behind to work in Denmark and live with his new partner, Mie, and her family. Working through language barriers and opposing customs, the young dancers pursue the European Ballroom Championship, where they aspire to international recognition. But unlike ballet, winning a ballroom competition depends on synergy with one’s partner. At home, Mie and Egor develop a sibling-like compatibility, but on the floor their relationship must transform itself into a compelling love affair. If Egor underperforms he will likely be sent home, a consequence that underscores the already tense sequences of preparation and competition. Like the extravagant makeup and grown-up silk and sequins that adorn their small frames, heavy adult expectations cloak the actions of these two young talents—but their conviction may just endure its weight. ST

Filmmaker Q &A following screening Director : Zachary Heinzerling

Producers : Julian Cautherly, Lucy Walker Editor : Pedro Kos

Editor : David Teague

Cinematographer : Nick Higgins

Cinematographer : Zachary Heinzerling

T he F il m Sa l es C o m pan y Jason Ishikawa

R A D iUS – T W C

165 Madison Avenue, Suite 601 New York, NY 10016

99 Hudson Street  New York, NY 10013

212.481.5020 jason.ishikawa@filmsalescorp.com

2012 / Denmark / 79 minutes Director : Katrine Philp Producer : Lisa Saxtrup Editor: Signe Rebekka Kaufmann

Filmmaker Q &A following screening 2012 / US / 107 minutes Director : Alex Winter Producers : Alex Winter, Maggie Malina, Devorah Devries Editor : Jacob Craycroft Cinematographer : Anghel Decca D e v o r a h D e v ries devorahdevries@gmail.com

Cinematographers: Sophia Olsson, Niels Thastum Ris e A nd Shine W o rl d Sa l es Schlesische Str. 29/30 Berlin 10997, Germany

Friday, April 5 — 7:30 pm F le t cher H a ll

2012 / US / 82 minutes

Producers : Lydia Dean Pilcher, Patrick Burns, Sierra Pettengill

Saturday, April 6 — 10:50 am

north americ an premiere

+49 30 4737 2980 info@riseandshine-berlin.de

Cinem a 1

Friday, April 5 — 4:30 pm Cinem a 1

Friday, April 5 — 10:10 pm Cinem a 3

new docs

The Expedition to the End of the World (Ekspeditionen til verdens ende) In the treacherous, freezing waters of northern Greenland, a motley collection of scientists and artists aboard a restored schooner set out for parts unknown, engaging in equal measures of exploration and whimsy. Along the journey, their encounters run the full spectrum from dramatic to banal, alarming to serene, and are accompanied by an equally wide-ranging soundtrack. An arctic study in contrasts emerges: the physical tension of the ship as it strains against unforgiving ice floes is juxtaposed with freewheeling banter and improvisation. Despite the isolation of the vast and barren surroundings, quarters are close and methodologies clash. Throughout the otherworldly adventure, viewers see images and hear musings that challenge and astound, not least of which are the discovery of a new species and the exploits of a snack-seeking polar bear. TM 2012 / Denmark / 90 minutes Director : Daniel Dencik Producer : Michael Haslund-Christensen Editors : Per Sandholt, Rebekka Lønqvist Cinematographers : Torben Forsberg, Valdemar Leisner, Adam Philp D anish F il m In s t i t u t e Malene Vincent Landemærket 26 Copenhagen K 1119 Denmark +45 33 74 35 98 maleneiv@dfi.dk

Far Out Isn’t Far Enough: The Tomi Ungerer Story Tomi Ungerer’s career defies easy description as his artistic life crossed diverse boundaries. Ungerer arrived in New York in the mid 1950s after a childhood spent in war-torn, Nazi-occupied Alsace. He worked as a graphic artist before exploding on to the children’s literature scene as the creator of unconventional characters like Crictor, the Mellops, the Three Robbers, and Moon Man. In the 1960s he designed iconic political protest posters, and authored and illustrated unrestrained erotica. When Ungerer’s erotic works came to the attention of the American Library Association in the early 1970s, his award-winning children’s books were effectively blacklisted and many of them went out of print. After this rejection, the artist left the United States for Nova Scotia, then Ireland, where he found a permanent home. Director Brad Bernstein, using animation to truly bring Ungerer’s work to life, delivers an extraordinary portrait of a man, who haunted by his childhood, transformed his life experiences into creative and fantastic expressions of art. DP 2012 / US / 99 minutes

First Comes Love Nina Davenport always wanted a family. She was especially close to her mother and knew that being one to a child of her own would bring her ultimate fulfillment. But there was one hang-up: the right man. So, still single at the age of forty-one, she decides not only to become a mother on her own but also to capture the entire process on film. A New York modern family emerges as she asks her gay friend, Eric, to be the sperm donor, and her best friend, Amy, to be her birthing partner. With humor and heart she moves through the triumphs and devastations of this transformative road to parenthood. The highs and lows, joys and challenges, are met with equal candor. Along the way she embarks on a new relationship and, devastatingly, loses her mother. First Comes Love, peppered with thoughts and advice from family members and friends, is a thoughtful meditation on love, loss, and baby making. ST

Filmmaker Q &A following screening 2012 / US / 105 minutes Director : Nina Davenport

God Loves Uganda With a burgeoning youth-heavy population and an aspirational middle class looking to acquire the habits and comforts of wealthy nations, Uganda has become a prime recruiting ground for evangelists. And many modern missionaries bring along with them an appalling strain of anti-gay prejudice. Gay Ugandans not only fear terrorizing mobs and vigilantes but also their own government, which has threatened to make homosexuality a capital offense. This film traces scenes of creepy neocolonial proselytizing back to America’s megachurches, which are sending waves of their most earnest young followers to Africa, and follows the courageous efforts of Ugandan religious leader Bishop Christopher Senyonjo as he takes a stand against bigotry and fights for the rights of LGBT people. “Religion is being used to demonize, and, in fact, to kill,” he says. “The Americans, when they preach hate here, they forget that they are preaching to people who will just take the law into their hands.” MM

Filmmaker Q &A following screening 2013 / US / 83 minutes

Producer : Nina Davenport

Director : Roger Ross Williams

Director : Brad Bernstein

Editor : Nina Davenport

Producers : Roger Ross Williams, Julie Goldman

Producer : Brad Bernstein

Cinematographer : Nina Davenport

Co-Producer : Rick Cikowski Editors : Rick Cikowski, Brandon Dumlao, Jason Schmidt Cinematographer : Jimmy O’Donnell

630 Ninth Avenue, Suite 1213 New York, NY 10036

Nina D av en p o r t 98 Bergen Street, #2 Brooklyn, NY 11201

F ul l C re d i t P r o d u c t i o n s

917.902.0263 nina.davenport@gmail.com

75 East 4th Street, #49 New York, NY 10003 718.414.2628 info@godlovesuganda.com

Friday, April 5 — 10:20 am Cinem a 4

Thursday, April 4 — 11:00 pm

Editors : Richard Hankin, Benjamin Gray Cinematographer : Derek Wiesehahn

F ir s t Run F e at u re s Marc Mercuri 212.243.0600

F le t cher H a ll

new docs

Friday, April 5 — 10:10 am Cinem a 3

Friday, April 5 — 10:20 pm Cinem a 4

new docs

Good Ol’ Freda

Homegoings

Irish Folk Furniture

Magnetic Reconnection

Seventeen-year-old Liverpudlian Freda Kelly was an ordinary girl who worked in an office typing pool and spent her off-hours hanging out at the Cavern—which she describes as smelling like disinfectant (the toilets overflowed), rotten fruit (it was near a wholesaler), and sweat—and listening to bands. She especially loved the Beatles. In 1963, Brian Epstein, the Beatles’ manager, chose her to work as the Beatles’ personal secretary and to run their fan club because she took the fans seriously and kept the band’s secrets with absolute integrity. Freda never wrote a book or did interviews after the Fab Four broke up, and she has lived a modest life with the same down-to-earth sincerity with which she performed the world’s greatest job. In Good Ol’ Freda she tells “one of the last true stories of the Beatles you’ll ever hear.” (The film’s soundtrack includes four vintage Beatles recordings.) LB

Isaiah Owens has lived with the dead since childhood. Filmmaker Christine Turner vividly captures this fascinating story, and the meticulous stages, of Owens’s work as a successful funeral director in Harlem by allowing viewers a candid behind-the-scenes view of the care, compassion, and attention to detail that go into the rituals of the theater of final farewells. In Homegoings, we observe a magically elegant match between passion and occupation that also sheds light on the myriad ways that Americans cope with the mortality of their loved ones—with grief, humor, faith, family, tribute, and tradition. AK

Well-worn cupboards, dressers, and flour bins get a second life in this gentle and lighthearted take on contemporary Irish culture. Neglected pieces of furniture manifest the animated will to drag themselves out of storage and back into repaired and useful states. Freshly and somewhat magically painted, they make their way back into the homes and lives of families. As the old is made new again, ancestors appear and family stories are kept alive in the retelling. It’s a simple thing—the sheep stand by and watch, the crockery comes and goes. The furniture is not fancy, but the film is a refreshingly fanciful treat. TBW

The Canadian Arctic is the terrestrial and extraterrestrial setting for a meditative survey of transience, from generations-old decay to fleeting particles of light. In Kyle Armstrong’s Magnetic Reconnection, the skies above Churchill, Manitoba, are alive with the fiery and dynamic aurora borealis, while the frozen earth below hosts a forgotten world of detritus in the form of decrepit machines and rusting scrap heaps. The vivid and stirring imagery is accompanied by halcyon audio in the form of a lyrical recitation from Will Oldham (Bonnie “Prince” Billy) and a score by Jim O’Rourke (Sonic Youth). TM

Filmmaker Q &A following screening

2012 / Canada / 13 minutes

2013 / US / 56 minutes

2012 / Ireland / 9 minutes

Director : Christine Turner

Director : Tony Donoghue

Producer : Christine Turner

Producer : Cathal Black

Editor : Kyle Armstrong Cinematographers : Kyle Armstrong, Trond Trondsen

Director : Kyle Armstrong Producers : Kyle Armstrong, Trond Trondsen

Editor : Sonejuhi Sinha

Editor : Ed Smith

2013 / US / 86 minutes

Cinematographer : Marshall Stief

Cinematographer : Tony Donoghue

Director : Ryan White

P e r a lta Pi c t u re s

T o n y D o n o g hue

10987-126 Street Edmonton, AB, Canada T5M 0P6

Producers : Kathy McCabe, Ryan White, Jessica Lawson

201 Eastern Parkway, #3G Brooklyn, NY 11238

Ballinderry Nenagh, County Tipperary Ireland

780.710.6050 kylesmacbook@gmail.com

Editor : Helen Kearns

917.806.6960 info@homegoings.com

+353 87 3269819 tonydonoghue@gmail.com

Ryan W hi t e

Friday, April 5 — 1:30 pm

Friday, April 5 — 7:30 pm

6115 Orange Street, #1 Los Angeles, CA 90038

Cinem a 1

K y l e A rm s t r o ng

Cinematographer : Austin Hargrave

202.870.9025 ryanwwhite@gmail.com

Friday, April 5 — 2:00 pm F le t cher H a ll

Friday, April 5 — 1:20 pm Cinem a 4

new docs

Maidentrip

Medora

Menstrual Man

Muscle Shoals

Laura Dekker was born on a boat, could sail alone at the age of six, and for as long as she could remember, dreamed of sailing around the world. After a prolonged court battle with Dutch authorities, and exposure in the global media, fourteen-year-old Dekker finally gets her chance to be the youngest person to complete a solo circumnavigation of the globe. Jillian Schlesinger’s debut feature film follows Dekker on her quest to sail the world, and discover her place in it. Spanning two years, three oceans, and five continents, the adventure unfolds as an intimately framed affirmation of independence and identity. Shot in large part by Dekker on board the Guppy and driven by her unscripted narration, the odyssey is infused with the teen’s humor, candor, and surprising strength. More at ease in a storm than in the boredom of a windless sea, Laura Dekker is a captivating subject. Maidentrip masterfully navigates this remarkable coming-of-age journey. DP

In the state of Indiana where life revolves around high school basketball, what happens to a community when their beloved team, The Medora Hornets, can no longer win a single game? The team’s lack of success is really a metaphor for the bad luck this rural community has endured, and that all small towns are facing in the United States. Medora latches onto your heart without ever letting go as the individual stories of the players unfold, as they try to figure out how to survive in a town so small—there are only thirty-three boys in the school—there’s little chance of employment or advancement. You’ll be so involved in every boy’s story that you will groan out loud every time they miss a lay-up and cheer when they make a basket. You’ll be happy when they break the cycle of failure and get angry when they fall into the traps of delinquency and alcohol. You want these young men to succeed because you want the town to succeed—because as you watch the film you come to understand that “once we lose these small towns, we can’t get them back.” JM

There is more than meets the ear in these memorable and colorful accounts of performance and perseverance in the legendary Muscle Shoals, Alabama, music scene. Muscle Shoals is the home of FAME Studios and its indefatigable founder, Rick Hall, as well as an endless list of classic recordings by artists ranging from Otis Redding to Bob Dylan to the Black Keys. How and why history was made here is illuminated by the hit-making producers, the remarkable and unpredictable session musicians known as the Swampers, and an array of musical luminaries such as Bono, Keith Richards, and Aretha Franklin. Ambitious in scope and style, the film traces the myriad obstacles and prejudices facing Hall and artists alike as the label evolves from striving to thriving and back again. TM

Filmmaker Q &A following screening 2013 / US / 82 minutes Director : Jillian Schlesinger

Filmmaker Q &A following screening 2013 / US / 82 minutes

world premiere

Periods can be a troublesome business. Self-educated microenterpreneur A. Muruganantham had a dream: to reduce gynecological diseases among rural Indian women by having women make and sell affordable maxi pads in their own villages. Muruganantham had observed his wife’s monthly rituals and how finances forced her to choose between buying pads for herself or milk for their children. He decided to find a way to improve this situation, and overall sanitary conditions, by changing the habits of women who still used traditional methods—cloth, sand, husks, or ashes— to handle their sanitary needs. Through meticulous research of pad fabrication and factory processes, he created a pad that requires only four simple machines to make, all of which can be operated and repaired by village women. Muruganantham’s Rags to Pads program seeks to strip away superstitions and embarrassment while improving the lives of millions of women. LB

Filmmaker Q &A following screening 2012 / Singapore, India / 63 minutes

Producers : Jillian Schlesinger, Emily McAllister

Directors : Andrew Cohn, Davy Rothbart

Editor : Penelope Falk Cinematographer : Hillary Spera

Producers : Rachel Dengiz, Davy Rothbart, Andrew Cohn, Rachael Counce

Producers : Amit Virmani, Seah Kui Luan

W il d Sh o t F il m s

Executive Producers : Steve Buscemi, Stanley Tucci, Wren Arthur, Michael Clark, Tim Foley, Alex Turtletaub

Cinematographer : Amit Virmani

267 Carroll Street Brooklyn, NY 11231

Editors : Vanessa Roworth, Mary Mandhart, Andrew Cohn

info@wildshotfilms.com

Cinematographer : Rachael Counce B e ac h sid e F il m s Michael Clark

Saturday, April 6 — 1:40 pm DAC / P SI The ater

Director : Amit Virmani Editor : Anand Kundra

Se a h Kui Luan 3B Teo Hong Road Singapore 088322 +65 9694 1044 luan@coupcom.com

625 Mildred Avenue Venice, CA 90291 310.230.3999 michael@beachsidefilms.com

Friday, April 5 — 1:40 pm DAC / P SI The ater

Friday, April 5 — 1:10 pm Cinem a 3

Filmmaker Q &A following screening 2012 / US / 111 minutes Director : Greg “Freddy” Camalier Producers : Greg “Freddy” Camalier, Stephen Badger Editor : Richard Lowe Cinematographer : Anthony Arendt Ea r G o gg l es P r o d u c t i o n s 1113 Spruce Street, Suite 402 Boulder, CO 80302 contact@muscleshoalsmovie.com

Friday, April 5 — 8:00 pm F le t cher H a ll

new docs

Nile Perch

Our Nixon

Outlawed in Pakistan

Economic in style and subject, Nile Perch is an austere, contemplative observation of Lake Victoria fishermen. Rendered in arresting black-and-white and handprocessed by Durham filmmaker Josh Gibson, the film reveals the practice and process of fishing in Africa’s largest lake, from morning catch to afternoon market to evening repast, all with intimate access yet respectful remove. “High contrast” may well describe the cinematography, but as the film evolves it seems that it also characterizes the results of a day’s work: what the fishermen must sell from their yield, and what remains for themselves. TM

President Richard Nixon placed a phone call to the moon and led the way in establishing a closer relationship with China, but he is best remembered for Watergate and the ill-advised installation of a voiceactivated tape recorder in the Oval Office. In Our Nixon, audio recordings are presented along with Super 8 movie footage shot by White House Chief of Staff Bob Haldeman, Domestic Affairs Adviser John Ehrlichman, and Deputy Assistant Dwight Chapin. These three young men, running the daily affairs of a doomed ship, made the films while on the job, both in the White House and on official trips. The footage is intimate and sometimes downright goofy (on a trip to Rome, the first angle on the Pope is sideways) and is cut together with contemporary television reports by Walter Cronkite, Barbara Walters, Mike Wallace, Dan Rather, and others. This rich documentary gives a fresh and fascinating look at this tumultuous time in the American presidency. TBW

Thirteen-year-old Kainat accuses four men from her Pakistani village of kidnapping and raping her, which places her squarely in the public eye in a country where rape victims are routinely considered dishonorable. The film, which spans more than five years and follows Kainat as she negotiates a deeply flawed criminal justice system, is told through the perspective of both Kainat and the accused rapists. Kainat and her family’s decision to speak out puts them all in grave danger, forcing them to live under police protection, even as the police’s limited investigation in the case makes it nearly impossible for Kainat to prove her case. While Kainat vows to keep fighting until the alleged rapists are sentenced to death, the men launch a public campaign against her, calling the teenager a liar. Within a short time, the situation takes a deadly turn. Outlawed in Pakistan is a staggering document depicting one young woman’s persistent fight to address harrowing circumstances and demand remedy. ST

Filmmaker Q &A following screening 2013 / US, Uganda / 17 minutes Director : Josh Gibson Producer : Josh Gibson Editor : Josh Gibson cinematographer : Josh Gibson

Filmmaker Q &A following screening 2013 / US / 85 minutes

J o sh Gib s o n 918 N. Mangum Street Durham, NC 27701 919.667.9093 joshigi@duke.edu

Saturday, April 6 — 10:30 am Cinem a 1

Director : Penny Lane

Pablo’s Winter (El invierno de Pablo)

Filmmaker Q &A following screening

For centuries, Almadén was home to one of Spain’s major mercury mines. Since the closing of the mine fifteen years ago, the town and its former miners, like Pablo, continue to struggle. Director Chico Pereira’s gorgeous black, white, and mercury-gray documentary debut exudes a lush vigor and richness that belies the economic state of Almadén and the advancing years of many of its residents. Dry-witted dramas unfold over not-so-quiet conversations, and many a Marlboro, in this laconic character study of a protagonist, who at first, second, and third glance remains singularly off-putting. But more time with Pablo yields a larger tale of hero and town—the beauty of both become increasingly more certain, and begrudgingly endearing. Ultimately, this alluring visual narrative cleverly combines the striking vistas of the village with the musings and ministrations of a grumpy old man to such excellent effect, you’ll be glad to pull up a chair and join him. WFM

2013 / Pakistan / 39 minutes

2012 / Spain, UK / 76 minutes

Producers : Brian L. Frye, Penny Lane

Directors : Habiba Nosheen, Hilke Schellmann

Director : Chico Pereira

Editor : Francisco Bello

Producers : Habiba Nosheen, Hilke Schellmann

Cinematographers : H.R. Haldeman, John Ehrlichman, Dwight Chapin

Producers : Opa Films in association with Scottish Documentary Institute and Screen Academy Scotland

Cinematographers : Habiba Nosheen, Hilke Schellmann

Editor : Hemal Trivedi

Editor : Nick Gibbon Cinematographer : Julian Schwanitz

P e nn y Lane

H2H F il m s Hilke Schellmann

214 Weirfield Street, 3rd Floor Brooklyn, NY 11221

245 W. 55th Street, Suite 503 New York, NY 10019

347.255.3416 lennypane@gmail.com

Sc o t t ish D o c umen ta ry In s t i t u t e Finlay Pretsell

646.822.9202 info@h2hfilms.com

78 West Port Edinburgh, EH1 2LE UK +44 0131 651 5873 finlay@scotdoc.com

Friday, April 5 — 4:10 pm

Thursday, April 4 — 1:00 pm

Cinem a 3

Friday, April 5 — 10:30 am Cinem a 1

new docs

The Palace *

us premiere

The remarkable Palace of Culture and Science in Warsaw, Poland, is a Stalinist behemoth built in the 1950s to honor the “friendship” between Poland and the USSR. The aging building serves as a contemplative site for director Tomasz Wolski’s mesmerizing cinematography. The film’s classic observational methods drolly suggest that the Palace and its denizens embody a metaphor for society. We see an ecosystem of clashing uses (city council meetings, swimming and diving practices, theater performances) all thoroughly monitored Vegas casino-style by an incongruously light-hearted security team. Dodgy elevators and their operators, cats and catwalks, workers and performing artists and homeless people, all contribute to the diverse community of the Soviet-era Palace in a postSoviet Poland. NK

new docs

The Pleasures of Being Out of Step

Pussy Riot — A Punk Prayer

Reborning

On February 21, 2012, an Orthodox church in Moscow was the site of a guerrilla punk performance by Pussy Riot, an all-female group of activist performance artists. Three of the members were arrested and eventually convicted and sentenced to prison for hooliganism. With surprising access, the film chronicles the sensational trial, the groundswell movements in support of the incarcerated, and the complicated intersection of state and church in Russia. Interviews with family members, undetained Pussy Riot members, and detractors all provide context and commentary on the controversial proceedings, while courtroom footage and daily news suspensefully unfolds on camera. Simultaneously heartrending and inspiring, Pussy Riot—A Punk Prayer is a cautionary tale about freedom of speech and public dissent that turns a deep-focus lens on the meaning of performance and persecution half a world away. TM

Reborn dolls provoke an uncanny and instinctive response. Jean Campbell’s realistic creations look like newborn babies, and that is precisely why they are baffling objects—the exactitude of the dolls’ features and expressions is arresting. These figures fulfill a purpose for Campbell that speaks to the power of objects in our lives. In Reborning, we follow Campbell as she crafts, dresses, and lovingly ships the babies to their new homes. NK

world premiere

2012 / Poland / 82 minutes

The pleasure of being out of step, according to Nat Hentoff, is not having to worry about being in step. Hentoff has spent his career letting words dance to their own beat in his columns for Downbeat and the Village Voice. One of jazz music’s groundbreaking critics, Hentoff made his name as an early champion of bebop’s urgent, modernist impulses. But his passion for music has always been inseparable from his unflagging commitment to free speech and journalistic activism. Over the years, he hasn’t just insisted that we listen to Charlie Parker and Miles Davis, he has ardently defended Lenny Bruce’s right to command a microphone and neo-Nazis’ right to march. In Hentoff’s mind, music and our Constitution-guaranteed rights to free speech are harmonious counterpoints. For him, spontaneous expression of any kind, even if it’s out of step with the mainstream beat, is the most vital instrument in the performance of the American experience. TW

Director : Tomasz Wolski

Filmmaker Q &A following screening

Producer : Anna Gawlita Editor : Tomasz Wolski Cinematographer : Tomasz Wolski

2013 / US / 87 minutes Director : David L. Lewis Producer : David L. Lewis

A nna G aw l i ta

Editors : Sam Pollard, David L. Lewis

J. Dabrowskiego 18/15 Warsaw, 02-561 Poland

Cinematographer : Tom Hurwitz

+48 609 421 497 kijora@gmail.com

D av id L . L e w is

Friday, April 5 — 1:20 pm

407 West 246th Street Bronx, NY 10471

Filmmaker Q &A following screening 2013 / UK / 88 minutes

Cinem a 4

Directors : Yael Bridge, Helen Hood Scheer Producers : Yael Bridge, Helen Hood Scheer Editors : Yael Bridge, Helen Hood Scheer Cinematographer : Helen Hood Scheer Hel en H o o d Sc hee r 332 Forest Avenue, #8 Palo Alto, CA 94301 310.621.2024 helen.scheer@gmail.com

Directors : Mike Lerner, Maxim Pozdorovkin

Friday, April 5 — 1:30 pm

Editors : Esteban Uyarra, Simon Barker

Cinem a 1

Cinematographer : Antony Butts R o a s t B ee f P r o d u c t i o n s 22 Denmark Street WC2H 8NG London, UK +44 7770 788544 mike@roastbeeftv.com

Saturday, April 6 — 10:40 pm Friday, April 5 — 4:20 pm

2013 / US / 8 minutes

Producers : Mike Lerner, Maxim Pozdorovkin

212.729.1624 david@wishingwellproductions.net

Cinem a 4

Filmmaker Q &A following screening

F le t cher H a ll

new docs

The Record Breaker Ashrita (formerly Keith) Furman had a rather bookish childhood. His father, Bernie, hoped Ashrita would eventually join his law practice, while his mother dreamed that he would attend Harvard. Instead, Ashrita began a spiritual journey that led him from bar mitzvah to brahma muhurta to guru Sri Chinmoy to Guinessport. Convinced that setting world records would honor his guru, Ashrita won his first Guiness Book World Record in 1979, performing 27,000 jumping jacks. He quickly found that these athletic, often quirky, feats fulfilled him. Now, bicycling underwater, slicing apples midair with a samurai sword, and climbing Mt. Fuji on a pogo stick are all in a day’s joy for Ashrita. Aided by longtime buddy Bipin and dog Champ, Ashrita meets each challenge with infectious enthusiasm and a charming lopsided grin. An undeniably comedic documentary, director Brian McGinn develops way more than easy laughs in this layered short. Ashrita’s dad poetically surmises, “He’s the happiest person I know. Isn’t that what every parent wants?” Indeed. WFM

Filmmaker Q &A following screening 2012 / Denmark / 25 minutes Director : Brian McGinn Producer : Mette Heide Editor : Brian McGinn Cinematographer : Steve Milligan B ri an M c Ginn 1910 Griffith Park Blvd. Los Angeles, CA 90039 650.796.3223 brimcgi@me.com

new docs

Remote Area Medical

A River Changes Course

Slomo

How is land most valuable, as a renewable or commoditized resource? How is ownership determined? Who decides? Is convenience progress? Families scavenge for wild potatoes in a deforested landscape, fishing farther and farther from home as the river seems empty, bringing in a back-breaking rice harvest that doesn’t cover their debts. Musing on what comes next, and how to get there, it seems that there are only questions. Is an eldest child’s service to the family sacrifice, or an opportunity for autonomy? How important is education and how is its value quantified? The Tonle Sap River changes course twice a year, but when a family leaves its traditional path, will it still know how to be a family? A beautiful and heartbreaking vérité look at three families subsisting in (what may be the end of) rural Cambodia. CRE

North Carolina native John Kitchin was a successful, ambitious neurologist living the life in San Diego, until he made the big change—giving it up, all of it, to devote his days to skating on one foot down at the boardwalk. Because of some plainspoken but powerful advice he received from an elderly patient, he now follows his unique slow-motion muse as he gracefully balances on one foot, working with gravity to propel his way to happiness. He can even give a neurological explanation of why it feels so good. Although we don’t know everything about his earlier days, we get a clear picture of this extraordinary man in a late and happy chapter of his life. TBW

world premiere

During the U.S. debate about healthcare reform, the media—reporters and news crews and filmmakers— failed to put a human face on what it means to not have access to healthcare. Remote Area Medical fills that gap. Remote Area Medical (RAM) is a program that started out giving medical attention to people in rural areas of poorer countries, but they have found it necessary to shift resources from countries like Guatemala to help people in the U.S. The film covers the span of a long weekend in which RAM sets up a clinic on a NASCAR speedway and helps almost two thousand people receive medical, dental, and vision care. While we watch with amazement at what these volunteers accomplish in three short days, and how truly grateful people are for their assistance, we know in the back of our minds that RAM shouldn’t have to exist. While every tooth pulled feels like a kick to the stomach, Remote Area Medical vividly reveals how crucial these services are, and how they lead to a chance at better lives for the patients in need. JM

Filmmaker Q &A following screening 2013 / US / 79 minutes Directors : Jeff Reichert, Farihah Zaman Producers : Dan O’Meara, Jeff Reichert, Farihah Zaman Editor : Sam Pollard Cinematographers : Jarred Alterman, Steven Bognar, Gary Griffin, Nadia Hallgren, Jeff Reichert, Erick Stoll, Errol Webber

2012 / Cambodia, US / 83 minutes

87 6th Avenue, #1 Brooklyn, NY 11217 646.465.2606 farihahzaman@gmail.com

Cinem a 4

Saturday, April 6 — 4:30 pm Cinem a 1

Director : Josh Izenberg Producers : Amanda Micheli, Josh Izenberg Editor : Traci Loth Cinematographer : Wynn Padula

Director : Kalyanee Mam Producers : Kalyanee Mam, Ratanak Leng, Youk Chhang

J o sh Iz enb e r g

Editor : Chris Brown

711 Hampshire San Francisco, CA 94110

Cinematographer : Kalyanee Mam D av id C . Magda el

734.904.1857 joshuaizenberg@gmail.com

600 W. 9th Street, Suite 704 Los Angeles, CA 90015

Friday, April 5 — 10:40 am

213.624.7827 dmagdael@tcdm-associates.com

DAC / P SI The ater

Saturday, April 6 — 10:30 am Cinem a 1

J e f f Rei c he r t & Fa rih a h Z a m an 917.414.4043 jeffreichert9@gmail.com

Thursday, April 4 — 4:40 pm

Filmmaker Q &A following screening

2013 / US / 17 minutes

new docs

Spinning Plates “Every restaurant exists to entertain people,” says Nick Kokonas, a partner in Chicago’s upscale Alinea. “No one needs to eat out. Why do you go to a restaurant? To be entertained. To enjoy yourself. To celebrate.” Director Joseph Levy explores three restaurants that offer dining experiences that resonate beyond the simple act of being fed. At Alinea, the experience is an artful performance by chef Grant Achatz and his staff. In Balltown, Iowa, Breitbach’s Country Dining regularly serves more people than live in the town; it’s a community center as well as a tourist destination. In Tucson, Arizona, Francisco Martinez opens La Cocina de Gabby so everyone can enjoy his wife’s cooking “because she cooks like an angel.” These three varied stories illuminate our associations with dining as family gathering, community expression, and performance art, or sometimes all three at once. AT

Filmmaker Q &A following screening 2012 / US / 94 minutes

new docs

A Story for the Modlins

Suitcase of Love and Shame

Director Sergio Oksman happened upon a box of personal effects on a sidewalk. Inside, he found a remarkable puzzle: decades worth of personal photographs, journal entries, and videos documenting the Modlins’ peculiar family dynamic. Investigating the father, mother, and son beyond the boundaries of the box, Oksman constructs a narrative on which to hang these bizarre images and excerpts. Elmer Modlin had a small role in a pivotal scene of the film Rosemary’s Baby. Margaret Modlin was an extravagant painter who kept her home and artwork shielded from the light of day. This trip through their lives, with a stranger as the tour guide, shows how the pictures we leave behind can dictate our histories. ST

2012 / Spain / 26 minutes Director : Sergio Oksman Producer : Sergio Oksman Editors : Fernando Franco, Sergio Oksman

north americ an premiere

This provocative and atmospheric film reminds us that the obsession with recording intimate moments (and the voyeuristic impulse to watch them) didn’t originate with Pamela Anderson and Tommy Lee’s 1995 sex tape. In the 1960s, Midwesterners Tom and Jeanie corresponded with each other and recorded their extramarital affair on reel-to-reel tapes, amassing sixty hours of sonic confessions and sexual encounters. These testaments to a desire assumed to be eternal were forgotten and decades later dispassionately auctioned off on eBay. From the tapes, filmmaker Jane Gillooly constructs a narrative arc of mediated romance, where eroticism and technological novelty have the same shelf life. Her film invites us to listen in on a relationship with the critical distance five decades can provide and to contemplate how our own confessions—so willingly offered up in emails and on social media—might read fifty years from now. TW

Cinematographer : Migue Amoedo

Filmmaker Q &A following screening

Mad rid e n C o r t o Ismael Martín

2013 / US / 70 minutes

Director: Joseph Levy Producers : Miranda Bailey, Matt Leutwyler, Jacquline Lesko Executive Producers : Sim Sarna, Phil Rosenthal, Taz Goldstein

ECAM – C/ Juan Orduña 3 28223 Pozuelo de Alarcón Madrid, Spain

Director : Jane Gillooly

+34 915121060 ismael@madridencorto.es

Producer : Jane Gillooly Editors : Jane Gillooly, Pam Larson

Editor : Joseph Levy Cinematographer : Erin Harvey

Cinematographer : Beth Cloutier

Friday, April 5 — 10:30 pm

G ab riel G ee r

Cinem a 1

360 N. La Cienega Blvd., 3rd Floor Los Angeles, CA 90048

323.951.9197 info@ambushentertainment.com

Thursday, April 4 — 8:10 pm Cinem a 4

L o v e and Sh a me LL C 61 Atherton Street Somerville, MA 02143 617.491.5585 jgillooly@verizon.net

Friday, April 5 — 10:30 pm Cinem a 1

Taxidermists Wildlife meets still life. Furry creatures, though frozen in space and time, are rendered in states of dynamic (re-)animation by skillful artists who practice their appreciation for nature through taxidermy. Director Nicole Triche’s keen eye for color, light, texture, shadow, and motion grants the spectator sensational opportunities to take in the visual majesty of animal “sculptures” that range from the quiet and quaint to the hyperbolically acrobatic. Amid this array of striking images, the taxidermists share their stories of participating in a competition considered the “Olympics of taxidermy.” Despite the film’s brief duration, Taxidermists’ still-life safari will not only leave a lasting, rich impression, it will also expand the viewer’s sense of appreciation for this age-old art form. AK

Filmmaker Q &A following screening 2012 / US / 21 minutes Director : Nicole Triche Producer : Nicole Triche Editor : Nicole Triche Cinematographer : Nicole Triche Ni c o l e T ri c he Campus Box 2850, Elon University Elon, NC 27244 336.278.5808 taxidermistsdocumentary@gmail.com

Friday, April 5 — 4:30 pm Cinem a 1

new docs

True-Life Adventure *

north americ an premiere

A bee, a water strider, and a roly poly are just a few of the characters in this four-minute, real-life drama shot in a 3.25-square-foot area of a stream in the Rocky Mountains on a lovely June afternoon. An oldfashioned nature documentary audio track adds charm and makes the bugs’ efforts seem downright heroic. RS

Filmmaker Q &A following screening 2012 / US / 4 minutes Director : Erin Espelie Producer : Erin Espelie Editor : Erin Espelie cinematographer : Erin Espelie E rin Es p el ie erinespelie@gmail.com

new docs

Twenty Feet from Stardom

The Undocumented

A Will for the Woods

For decades, backup singers, largely women and largely African American, have labored in the shadows of the music industry. Their sound has been an essential ingredient in the hit-making recipe. The singers profiled here, despite their undeniable talent, never broke through to the front of the stage, whether by fate or by choice (the latter more common than one would suppose). This film finally gives these singers their due. The low points and the triumphs of these women’s journeys force us to recalibrate our preconceived notions of art, fame, and success. While their stories reveal the shady machinations of a predatory industry, the film also shows the backup role as an art in its own right, requiring precision, nuance, and deep rootedness in the groove. And when they’re placed front and center and given a chance to solo, they flat-out crush it by out-cooing, out-melisma-ing, and out-belting any number of the divas they normally stand behind. MM

Filmmaker Q &A following screening

world premiere

The Undocumented is an unblinking, visceral tribute to immigrants who have lost their lives crossing the U.S.-Mexico border in Arizona. The film shows them— abandoned and lifeless—as evidence of a broken system. Many individuals are left to pick up the pieces. Some of them search for, rescue, and provide water and medical care for people who managed to survive under an unforgiving sun. For the unlucky, medical examiners painstakingly try to identify their remains in a morgue crowded with other victims of the Sonoran Desert. The audience shares in both the revelation and also the finality of a match between a dead migrant and his photograph. Empathetic advocates share the sad news with families in Mexico and help reunite the remains with their loved ones. With sensitivity to the humanity of the anonymous dead, Marco Williams explores the reasons for attempting a border crossing, documents the search for a name, and reveals the impact of a death on the families left behind. NK

2012 / US / 90 minutes

Filmmaker Q &A following screening

Saturday, April 6 — 4:20 pm

Director : Morgan Neville

Cinem a 4

Producer : Gil Friesen Editors : Jason Zeldes, Kevin Klauber Cinematographers : Nicola B. Marsh, Graham Willoughby R A D iUS – T W C 99 Hudson Street New York, NY 10013

world premiere

If living green is sometimes difficult, what about dying green? Is our collective legacy to be buried in such a way that we flood the environment with toxic chemicals and encroach on fragile woodlands, harming the ecosystem for generations to come? This intimate and thought-provoking film takes a personal approach to green burial, focusing on psychiatrist Clark Wang— a Duke alumnus, accomplished cellist, and passionate folk dancer—as he battles lymphoma while simultaneously challenging the traditional death-care industry. Supported by his partner and a loving community, Wang courageously fulfills his spiritual duty to protect green land even after his death. The film situates Wang’s crusade within the context of the widening green burial movement, shedding light on the work of the Green Burial Council and interviewing cancer survivor Kelly Lennon Weaver, who teaches her children about living and dying in harmony with nature. This rewarding film shows us how our difficult choices around the rituals of death impact the world we leave behind. MP

2013 / US, Mexico / 91 minutes

Filmmaker Q &A following screening

Director : Marco Williams

2013 / US / 103 minutes

Producer : Marco Williams Editors : Kris Liem, Dave Meneses Cinematographers : Marco Williams, Hector Mata, Thomas Peyton, Claudio Rocha

Directors : Amy Browne, Jeremy Kaplan, Tony Hale, Brian Wilson Producer : Amy Browne Editors : Tony Hale, Brian Wilson

Hip t ru t h P r o d u c t i o n s

Saturday, April 6 — 7:10 pm

2 Washington Square Village, #4K New York, NY 10012

Cinem a 3

212.677.3057 Hiptruthwilliams@gmail.com

Cinematographer : Jeremy Kaplan A m y B r o wne 82 Norman Avenue, #1 Brooklyn, NY 11222 646.289.2734 amybrowne1@gmail.com

Saturday, April 6 — 4:10 pm Cinem a 3

Saturday, April 6 — 1:20 pm Cinem a 4

new docs

Wolf Mountain

Wrong Time Wrong Place

Tonya Littlewolf literally runs with the wolves. Twenty-six years ago she founded Wolf Mountain Sanctuary, a refugee camp for wolves born in captivity that are unsuited to living as pets and unable to survive in the wild. This poetic short explores Littlewolf’s abiding love for her spirit brothers against the backdrop of the Mojave Desert’s Lucerne Valley, capturing the rhythm of daily life and culminating in an extraordinary demonstration of canine communion. MP

Filmmaker Q &A following screening 2012 / US / 7 minutes Directors : Dan Duran, Brendan Nahmias, Sam Price-Waldman Producers : Dan Duran, Brendan Nahmias, Sam Price-Waldman Editors : Dan Duran, Sam Price-Waldman Cinematographers : Dan Duran, Sam Price-Waldman Sa m P ri c e- Wa l d m an wolfmountainfilm@gmail.com

Saturday, April 6 — 10:00 am Cinem a 3

north americ an premiere

On July 22, 2011, Anders Breivik bombed the city center of Oslo and went on a shooting spree on the Norwegian island of Utøya, taking the lives of seventy-seven people within the span of a few hours. Director John Appel delicately captures the accounts of five victims of that day’s events. Through their individual testaments, Appel teases out the circumstances that led each survivor to be where he or she was that day. As a result, this poignant document is far more than a chronicle of events. A young man thought hard about not attending the camp on Utøya, and a business man nearly didn’t go to his Oslo office. A young woman pleaded for her friend to join her on the island, even though her friend’s parents had a bad feeling all along. Tenderly tracing ideas about chance occurrences in our lives and the significant role “almost” can play in events, this film is an inspirational, interconnected, and intensely human tribute to lives lost, and those saved, by mere seconds and the seemingly smallest of choices. ST 2012 / Netherlands / 80 minutes Director : John Appel Producer : Carmen Cobos

You Can’t Always Get What You Want “Posting the Daily Diary [online] is part of the LBJ Library’s ongoing mission to provide an intimate, unvarnished look at the inner workings of the Johnson White House.” At some point, the most private of public lives can become very public. President Johnson’s secretaries started keeping typed and handwritten daily diaries in 1959 when he was Senate majority leader and continued doing so through his presidency. Meetings, social events, and telephone calls were noted, as were descriptions of the president’s reactions to people and events, including his mood and, occasionally, events he directed be “off the record.” The library has made 630 hours of phone conversations available, though as of 2012, 10 hours are still classified for national security or personal reasons. You Can’t Always Get What You Want is a bright romp through episodes of international diplomacy, homeland arm-twisting, and personal gastronomy, as lifted from the pages of the diaries and recorded phone conversations and animated by archival photographs. CRE

Filmmaker Q &A following screening 2013 / US / 21 minutes Director : Phoebe Brush Producer : Phoebe Brush Editor : Phoebe Brush

Filmmaker Q &A following screening 2013 / US, UK / 9 minutes Director : Scott Calonico

Cinematographer : Erik Van Emple

Producer : Jeff Radice Editor : Scott Calonico

John Nadai

252 Gouin Blvd. East Montréal, Québec, Canada H3L 1A8

Sc o t t C a l o ni c o

514.844.3358 johnnadai@filmstransit.com

2117 Macalpine Circle Morrisville, NC 27560 832.477.2355 monkeydeep@gmail.com

Friday, April 5 — 7:10 pm Cinem a 3

In the early 1980s, the U.S. government began building a nuclear waste burial vault within Yucca Mountain in the Nevada desert. This twenty-minute meditative portrait stretches to embrace laboratory reports, archival recordings, and notions of deep time, end days, and rapture as viewed against the backdrop of this expansive landscape. Johnnie Bobb, chief of the Western Shoshone National Council, recounts how his people were pushed out of the land they once called home. Fred McMillen, a master mechanic at Yucca Mountain, talks about the toxic machinery used in the colossal attempts to entomb radioactivity deep in the land. The poisons are not only hidden within the mountain, they exist in those touched by the land and its past. ST

Cinematographers : Renato Velarde, Phoebe Brush

Editor : Mario Steenbergen

F il m s T r an si t

Yucca Mtn Tally

Friday, April 5 — 4:10 pm Cinem a 3

P h o eb e B rush 108 E. Murray Avenue Durham, NC 27704 919.452.2050 phoebe.brush@gmail.com

Friday, April 5 — 10:30 am Cinem a 1

awards & juries

new docs

AWARDS & JURIES

Prizes will be awarded on Sunday, April 7, at the Awards Barbecue. The festival offers the following awards: the reva and david logan

FULL FRAME AUDIENCE AWARDs

grand JURY AWARD

The Audience Awards are determined by counting audience ballots filled out during the festival.

$10,000 Sponsored by The Reva and David Logan Foundation Greg Barker Filmmaker (Manhunt, Sergio) Nina Davenport Filmmaker (Operation Filmmaker, First Comes Love) Tia Lessin Filmmaker (Trouble the Water, Citizen Koch)

Audience Award Feature $3,000

Audience Award Short $2,500 Provided by Vimeo All NEW DOCS, features and shorts respectively, are eligible for this award.

$2,000 Provided by Drs. Andrew and Barbra Rothschild Ross McElwee Filmmaker (Bright Leaves, Sherman’s March, Photographic Memory) Elise Pearlstein Producer (State 194, Last Call at the Oasis, Food, Inc., Protagonist) Angela Tucker Filmmaker ((A)sexual, Black Folk Don’t)

FILMMAKER AWARD $7,500 Provided by the Center for Documentary Studies at Duke University The CDS Filmmaker Award recognizes documentary films that combine originality and creativity with firsthand experience in examining central issues of contemporary life and culture. In keeping with the Center’s mission, the award was created to honor and support documentary artists whose works are potential catalysts for education and change. All NEW DOCS are eligible for this award. For the Center for Documentary Studies:

$2,000 Provided by the Charles E. Guggenheim family This annual prize is awarded to a first-time documentary feature filmmaker as a way to foster the work of new directors, young and old. It recognizes the extraordinary care that Charles Guggenheim took with the filmmakers whom he mentored and counseled throughout the filmmaking process. Robin Hessman Producer and Filmmaker (My Perestroika)

THE KATHLEEN BRYAN EDWARDS AWARD FOR HUMAN RIGHTS

Alison Klayman Filmmaker (Ai Weiwei: Never Sorry)

$5,000 Sponsored by the Julian Price Family Foundation

Mark Landsman Filmmaker (Thunder Soul)

In memory of Melanie Taylor

FULL FRAME INSPIRATION AWARD $5,000 Sponsored by the Hartley Film Foundation This award is presented to the film that best exemplifies the value and relevance of world religions and spirituality. Andrew Garrison Filmmaker (Trash Dance, Third Ward TX ) Sarah Masters Managing Director, Hartley Film Foundation Petna Ndaliko Katondolo Founder of Yole!Africa and Alkebu Film Productions Filmmaker and Human Rights Activist

Randy Benson Katie Hyde Lynn McKnight Dan Partridge Tom Rankin Elena Rue Teka Selman April Walton

THE CHARLES E. GUGGENHEIM EMERGING ARTIST AWARD

Sponsored by Merge Records

CENTER FOR DOCUMENTARY STUDIES FULL FRAME JURY AWARD FOR BEST SHORT

awards & juries

FULL FRAME PRESIDENT’S AWARD $5,000 Sponsored by Duke University The President’s Award recognizes up-and-coming filmmakers; the prize is awarded to the best student film. Representatives on behalf of the President’s Office of Duke University

This annual award is presented to a film that addresses a significant human rights issue in the United States. By inspiring advocacy, increasing awareness, and promoting equity and justice, the winning film will honor the legacy of Kathleen Bryan Edwards’s passion and activism for human rights. For the Kathleen Bryan Edwards Family: Anne Arwood Laura Edwards Clay Farland Margaret Griffin Pricey Harrison

THE NICHOLAS SCHOOL ENVIRONMENTAL AWARD $5,000 Sponsored by the Nicholas School of the Environment at Duke University This award honors the film that best depicts the conflict between our drive to improve living standards through development and modernization and the imperative to preserve both the natural environment that sustains us and the cultural heritages that define us. For the Nicholas School of the Environment: Cindy Horn Stephen Nemeth Hart Bochner Rebecca Patton Tom Rankin

invited programming

opening night film

center frame

invited programming Full Frame is proud to showcase a selection of twenty-five exceptional films screened along with those in competition. These documentaries come from all over the world, with countries of production ranging from the United States and Canada to Bulgaria and Italy. This diverse lineup includes three World Premieres, one North American Premiere, and one U.S. Premiere. The Invited Program comprises the festival’s Opening Night and Center Frame films, which feature extended conversations with filmmakers and special guests after the screenings. The program also features five screenings that are free and open to the public, including the Closing Night Film on Sunday evening and screenings of two award winners from the 2012 festival — Chasing Ice and Trash Dance.

Gideon’s Army In 1963, the Supreme Court ruled that all defendants have a right to counsel, effectively establishing courtappointed public defenders. Fifty years later, a single public defender can expect to manage hundreds of cases simultaneously, each with life-altering consequences for the accused and, as the film reveals, the lawyers. Three young public defenders—Brandy Alexander, Travis Williams, and June Hardwick—are straining to cope with the administrative challenges heaped upon them by the criminal justice system, and the cumulative toll their jobs are taking on their personal lives. As the film’s subjects navigate and negotiate their endless caseloads, they seek help from the Southern Public Defender Training Center, which aims to ensure that public defenders do not succumb to the pressures that cause so many of them to abandon the calling. The motivation and mentorship the lawyers find in this community provides a measure of temporary relief, but is it enough to keep the soldiers of Gideon’s Army fighting the good fight? TM

Moderated conversation following screening with director Dawn Porter and special guests Brandy Alexander and Travis Williams 2012 / US / 96 minutes Director : Dawn Porter Producers : Julie Goldman, Dawn Porter Editor : Matthew Hamachek Cinematographers : Chris Hilleke, Patrick Sheehan T ril o gy F il m s Summer Damon

Fight Like Soldiers, Die Like Children *

north americ an premiere

If You Build It * *

As commander of the U.N. Assistance Mission for Rwanda during the 1994 genocide, Lieutenant-General Roméo Dallaire watched helplessly as slaughter continued unabated. After combating post-traumatic stress disorder, he found a new call to action: “The ultimate focus of the rest of my life is to eradicate the use of children as instruments of war.” Director Patrick Reed follows Dallaire across his new battlegrounds in the Congo, Rwanda, and South Sudan, where he meets with local groups and learns how they indoctrinate child fighters. Animated scenes, based on accounts from Dallaire’s recently published book They Fight Like Soldiers, They Die Like Children, are interwoven throughout the film, which depicts a child’s journey through abduction, indoctrination, and death. Narrated by a former child soldier, the vignettes lend insight into the players and the politics and scale of these atrocities. Will Dallaire succeed where others have failed, or will he once again be forced to look on as the world turns away? DP

Moderated conversation following screening with director Patrick Reed, producer Peter Raymont, and special guest Lieutenant-General Roméo Dallaire 2012 / Canada / 83 minutes Director : Patrick Reed Editor: Michèle Hozer Cinematographer : John Westheuser

Toronto, M6J 1C9 Canada 416.703.5580 x237 orna@whitepinepictures.com

F le t cher H a ll

Sponsored by the American Tobacco Campus and Capitol Broadcasting Company

Designers Emily Pilloton and Matthew Miller bring their radical and innovative educational program to Bertie County, North Carolina, transforming people and place over the course of a turbulent and inspiring year. Each season brings a new set of challenges, both prescribed and unexpected, and the resourceful instructors (and their industrious students) must apply the principles of their curriculum—design, build, transform—to their lives as well as to their projects. Earnest, determined, and rousing, the film and its subjects, raise questions of self-reliance, citizenship, and community-building in its most literal interpretation. TM

Moderated conversation following screening with director Patrick Creadon, producers Christine O’Malley and Neil Baer, and special guests Emily Pilloton and Matthew Miller 2013 / US / 84 minutes Director : Patrick Creadon Producers : Christine O’Malley, Neal Baer Editors : Nick Andert, Daniel Clark, Doug Blush Cinematographer : George DeSort C h ris t ine O ’ Ma l l e y 4550 Kingswell Avenue Los Angeles, CA 90027 323.668.2104 christine@ocpmedia.com

Saturday, April 6 — 5:00 pm F le t cher H a ll

W hi t e Pine Pi c t u res Orna Maguire 822 Richmond Street West, Suite 301

Thursday, April 4 — 7:30 pm

Producers : Patrick Reed, Peter Raymont

8 Hillside Avenue, Suite LL1 Montclair, NJ 07042 973.744.0856 info@trilogy-films.com

world premiere

Friday, April 5 — 5:00 pm F le t cher H a ll

center frame

Manhunt A chronicle of the CIA’s twenty-year search for Osama bin Laden and Al Qaeda operatives, codenamed “Alec Station,” Manhunt introduces the dedicated team of research analysts within the mission known as the “Sisterhood.” This intrepid and obsessed group provides in-depth and personal accounts of their methods and the fascinating investigative procedures that ultimately led to the Seal Team Six raid on bin Laden’s compound in May 2011, which was reenacted in Kathryn Bigelow’s film Zero Dark Thirty. Other members of the mission recount their efforts in startling and polarizing detail, from managing informants, working with the FBI, and acquiring information from detainees using “enhanced interrogation techniques.” With remarkable access and suspenseful pacing, Manhunt takes the viewer down the decades-long and labyrinthine road to Abbottabad. TM

Moderated conversation following screening with director Greg Barker and special guests Cindy Storer and Susan Hasler, members of the original CIA ‘Sisterhood’ 2013 / US / 102 minutes

free closing night film

Big Star: Nothing Can Hurt Me Formed in 1971, Big Star recorded a mere three albums before disbanding in 1974. However, their legendary influence and the impact of their style belies their lack of commercial success and has elevated the band to mythic status. Tracing the history of the band, and the power-pop branches of Big Star’s family tree, the documentary revels in spirited interviews, scarcely seen archival footage, and appearances by Michael Stipe, Tift Merritt, Robyn Hitchcock, Matthew Sweet, and Django Haskins, among others. A reverent celebration of music and memory, the film affirms that the light from Big Star has traveled many years and is still reaching us. TM

Filmmaker Q &A following screening 2013 / US / 113 minutes Directors : Drew DeNicola, Olivia Mori Producers : Danielle McCarthy, Drew DeNicola, Olivia Mori Editors : Christopher Branca, Drew DeNicola

Editor : Joe Bini Cinematographers : Frank-Peter Lehmann, Erich Roland HB O D o c umen ta ry F il m s

Chasing Ice Can photography change the world? James Balog, a National Geographic nature photographer, hopes so. Smitten with the glittering, translucent beauty of arctic landscapes, Balog uses his inspiring images as catalyst in his new role as climate change activist. He and his colleagues created the Extreme Ice Survey (EIS) and installed cameras in remote northern locations to take photos at measured intervals. These time-lapse photography sequences stretch over years and sound an alarm as northern ice landscapes dramatically melt and recede. In the belief that a person’s own eyes can register evidence that overrides the statistics that skeptics question, his team’s images show how the dramatic changes in the world’s glaciers demand an urgent response. Scientific fact and aesthetic beauty merge in the monumental and dramatic scenes illustrating global warming’s chilling ravages. Invite your climate-change doubting friends to deny the sight of “the miracle and the horror” of vanishing glacial fields. LB

Cinematographer : Drew DeNicola

2012 / US, Iceland, Greenland / 74 minutes Magn o l i a Pi c t u re s 49 West 27th Street, 7th Floor New York, NY 10001 212.924.6701 publicity@magpictures.com

Director : Greg Barker Producers : John Battsek, Julie Goldman, Greg Barker

free screenings

F le t cher H a ll FREE — N O TI CKET REQ UIRE D

Trash Dance tells the story of an unusual, creative partnership between a dancer, Allison Orr, and the men and women of the Austin, Texas, Department of Solid Waste Services. In the film, non-dancers contribute to choreographing a public performance based on their daily activities in order to demonstrate what workers and their machines do on the job: quotidian movements parsed into ballet. The film documents the yearlong collaborative process that led to a rain-drenched but utterly cinematic performance in front of a cheering hometown audience. Gigantic mechanical trash vehicles really can dance, both as graceful soloists and in a synchronized chorus line. We observe the live show through a filmmaker’s lens: Multiple cameras allow the end product to become a statement of individuality that supersedes conventions of “faceless labor.” Indeed, the workers who collect trash, yard waste, dead animals, and bulky items reveal their unexpected talents, ambitions, and responsibilities. NK

Filmmaker Q &A following screenings 2012 / US / 68 minutes

Director : Jeff Orlowski

Director : Andrew Garrison

Producers : Jeff Orlowski, Paula DuPre’ Pesmen, Jerry Aronson

Producer : Andrew Garrison

Editor : Davis Coombe

Sunday, April 7 — 8:00 pm

Trash Dance

Cinematographer : Jeff Orwloski Ex p o su re , LL C

60 Cedar Brook Boulder, Colorado 80304 310.243.6306 info@chasingice.com

Editor : Angela K. Pires Cinematographer : Andrew Garrison A nd re w G a rris o n

10501 Hard Rock Road Austin, TX 78750 512.925.6769 garrisontx@gmail.com

1100 Avenue of the Americas New York, NY 10036

Friday, April 5 — 8:30 pm Saturday, April 6 — 1:50 pm

D urh a m Cen t r a l Pa rk

F le t cher H a ll

Saturday, April 6 — 6:30 pm P ower Pl a n t / F ull F r a me The ater FREE — N O TI CKET REQ UIRE D

Friday, April 5 — 6:30 pm P ow er Pl a n t / F ull F r a me The ater

Saturday, April 6 — 8:30 pm D urh a m Cen t r a l Pa rk FREE — N O TI CKET REQ UIRE D

invited programming

Citizen Koch

DaVinci

After the Supreme Court’s 2010 Citizens United ruling unleashed the financial floodgates that allow individuals and corporations to make virtually unlimited contributions to political campaigns, Scott Walker rode into the Wisconsin governor’s office on a deluge of bloated donations and immediately set out to repay his chief benefactors, billionaires Charles and David Koch. Pursuing a combative legislative agenda drawn straight from the Koch brothers’ playbook, his most controversial move was designed not to shore up the state budget, as he claimed, but to amplify the volume of corporate speech by silencing the voice of public-sector unions. Citizen Koch surveys the resultant chorus of protests by focusing on opposition voices from two very different political perspectives: the union members who converge on Wisconsin’s state capital to stall Walker’s unapologetic power grab and Republican presidential candidate Buddy Roehmer of Louisiana, who refuses to accept any corporate donations and, as a result, finds himself denied a spot in his own party’s presidential debates. TW

Through amazing cinematography, this arresting film takes us inside the cavity of a human chest and transforms it into a strange and supernatural land. A new camera-based computer allows doctors to perform heart surgery by controlling a single joystick, and we are along for the ride. In vibrant blues and purples, veins shimmer and a steady muscle pulsates, while a tiny metal probe attempts to repair damaged vessels. What might have been a straightforward medical document is instead a transcendent, fantastic journey into the depths of the human core. ST

Filmmaker Q &A following screening 2013 / US / 88 minutes

2013 / Italy / 25 minutes Director : Yuri Ancarani Producers : Maurizio Cattelan, Antonella Rodriguez Boccanelli, Ivan Frioni, Giorgio Gallenzi, Warly Tomei, Museo Marino Marini in Firenze Editor : Yuri Ancarani Cinematographer : Yuri Ancarani S t u d i o A nca r ani Yuri Ancarani Via Procaccini 4 20154 Milano Italy +39 335 206051 info@yuriancarani.com

invited programming

The Editor and the Dragon: Horace Carter Fights the Klan *

world premiere

In 1953, Ernest Hemingway received a Pulitzer Prize for his monumental work The Old Man and the Sea. That same year, the Pulitzer committee also awarded the prize to thirty-two-year-old Horace Carter, editor of the Tabor City Tribune in North Carolina, who was in the middle of a real-life struggle with the Ku Klux Klan in his small town. Carter, a graduate of the University of North Carolina and a protégé of Frank Porter Graham, wrote fearless editorials that blasted the Klan and its attention-seeking leader, Grand Dragon Thomas Hamilton, and aggravated many town leaders, including his own parents. At one point, Hamilton marched into Carter’s office and confronted him directly. The era comes back to life through rich archival footage and extensive interviews with Carter, who talks about his experiences as a target and his commitment to being a voice of dissent in an otherwise frightened and intimidated town. RS

Filmmaker Q &A following screening 2012 / US / 58 minutes

First Cousin Once Removed Alan Berliner always felt a particular affinity to his cousin Edwin Honig. Edwin was a professor, translator, and poet who had a celebrated career. His artistic sensibilities inspired Alan: they discussed art and life with a synchronicity all their own. So when Edwin began to succumb to Alzheimer’s disease, Alan was naturally devastated. But instead of closing the book on their exchanges, Alan chooses to embrace his friend and mentor on film. What emerges through these fragmented conversations, repeated introductions, and asides about the progression of their relationship is a personal document of a rare connection between two men. Even as memory fades, there is a dynamic between the cousins that refuses to lapse along with it. The film pays tribute to the man Edwin was, and the man he becomes through his trials with the illness. This cinematic keepsake reminds us how vital it can be to find connection and with what grace one can choose to approach letting go. ST

Filmmaker Q &A following screening 2012 / US / 78 minutes Director: Alan Berliner Producer: Alan Berliner

Directors : Carl Deal, Tia Lessin

Directors : Martin M. Clark, Walter E. Campbell

Co-Producer: Shari Spiegel

Producers : Carl Deal, Tia Lessin, Gillian Caldwell

Saturday, April 6 — 10:10 pm

Producers : Martin M. Clark, Walter E. Campbell

editor: Alan Berliner

Editor : Lisa Palatella

Cinem a 3

Editor : Tom Vickers

Cinematographer: Ian Vollmer

CinematographER : Warren Gentry

Story Consultant: Susi Korda

Cinematographers : Joan Churchill, Bill Turnley, Nadia Hallgren

Wa lt e r E . C a m p b el l El se w he re F il m s

5212 Memory Lane Durham, NC 27712

232 3rd Street, Suite B402A Brooklyn, NY 11215

919.698.5416 memorylaneprods@earthlink.net

347.693.2192 carl@elsewherefilms.org

Creative Associate: Mónica Savirón Composer: Miranda Hentoff E X PERIME N TS IN TIME , LI G HT & MOTIO N Alan Berliner 13 Vestry Street, 4th Floor New York, NY 10013

Thursday, April 4 — 1:20 pm F le t cher H a ll

Sunday, April 7 — 10:40 am

212.226.5213 ajberliner@aol.com

DAC / P SI The ater

Friday, April 5 — 7:20 pm Cinem a 4

invited programming

Free Angela & All Political Prisoners This remarkable film by Shola Lynch focuses on the life of revolutionary icon and champion of free speech Angela Davis. Davis was a professor at UCLA, an open member of the Communist Party, and an associate of the Black Panthers whose activism led to controversy and provocation. A pivotal moment in Davis’s life came in 1970 when she was charged with conspiracy in kidnapping and murder after Jonathan Jackson’s abduction of a judge from his Marin County courtroom, which resulted in a police shoot-out that left four people dead, including Jackson. Fearing an unfair trial, Davis went underground before her arrest. While Davis was eventually acquitted by an all-white jury, the story of this highly publicized and divisive case conjures up very current issues around race, gun control, and political bias. Since the conclusion of the trial, Davis has toured the world lecturing about her experiences. Through Davis’s own words, archival footage, and innovative recreations, this exceptional film cements these important accounts into an enduring record. ST

Filmmaker Q &A following screening

The Fruit Hunters “Do you feel the weight of fallen dynasties when you devour a lychee?” We barely take a moment to feel a piece of fruit’s firmness and to enjoy its scent. What’s happened to our passion? We’ve been in wars over fruit! The Fruit Hunters revives the passion, recklessness, and spontaneity of humanity’s long involvement with these gifts of nature. A fruit detective searches for vintage figs in European monasteries using clues from Renaissance paintings. In Asia, a pair of adventurers search for an exotic mango before loggers have their way with the land. Actor Bill Pullman works to create a community orchard in Hollywood and speaks about the effort with the same kind of fervor he brought to the role of president in the blockbuster Independence Day. A scientist attempts to breed a hardier strain of the delicate Cavendish banana. The passion of these hunters, as well as the film’s erotic, sensual cinematography, will light the spark we’ve all been missing. JM 2012 / Canada / 95 minutes Director : Yung Chang Producers : Mila Aung-Thwin, Kat Baulu, Bob Moore Editors : Mila Aung-Thwin, Hannele Halm, Omar Majeed

2012 / US, France / 101 minutes Director : Shola Lynch Producers : Shola Lynch, Carine Ruszniewski, Carole Lambert, Sidra Smith Editors : Lewis Erskine, Marion Monnier

Cinematographer : Mark Ó Fearghail Cine d i g m / Ne w V id eo Suzanna Lee

invited programming

In So Many Words *

world premiere

This intensely revealing biography of writer and clinical psychologist Lucy Daniels expands the documentary form in its freely evocative visualization of Daniels’s early life. Recreated scenes bring a dreamy visual texture to a story told in dark, powerful interviews. Daniels’s access to her earliest memories, in vivid detail, suggests the redemptive possibilities of years of therapy. Raised in a wealthy newspaper family in North Carolina, Daniels lived in a bubble of privilege and family dysfunction, which led to an intractable case of anorexia. During her teens, she was confined to various institutions to treat her illness and, along with other methods, was given electroshock treatments. Surprisingly, her highly acclaimed novels Caleb, My Son and High on a Hill followed the medieval horrors of these years and were written and published when she was still her twenties. Psychoanalysis meets cinematography in this formally creative and emotionally compelling film. NK

Filmmaker Q &A following screening 2013 / US / 77 minutes

2700 Colorado Avenue, Suite 200 Santa Monica, CA 90404

Director : Marco Bonfanti Producers : Anna Godano, Franco Bocca Gelsi, Marco Bonfanti

Editor : Elisabeth Haviland James

646.259.4191 slee@cinedigm.com

Writers : Lindsay Deviln, Elisabeth Haviland James Cinematographer : Andreas Burgess

Cinem a 4

2012 / Italy / 76 minutes

Director : Elisabeth Haviland James

902 Broadway, 9th Floor New York, NY 10010

Sunday, April 7 — 10:20 am

Is there still a place for nomadic shepherds in twentyfirst-century Europe, specifically the mountainous areas near the metropolis of Milan? The Last Shepherd provides an imaginative and surprisingly complex answer to this question. Defying historic prejudices and social clichés, shepherd Renato Zuchelli is on a mission to explain both the beauties and difficulties of the pastoral life. Marco Bonfanti’s whimsical and exquisitely composed film examines several contemporary issues, such as the way the recent economic crisis has affected European families, the disappearance of traditional farming, and the increasing disconnect between urban and rural environments. The shepherd’s assistant, who has an imaginary dog, and Renato’s practical and devoted wife, as well as his four children, number among the memorable characters. The climactic scene of the film, in which 700 sheep are herded into Milan’s Piazza del Duomo, is a beautiful, if unsanitary, depiction of the bucolic that resonates far beyond the city center. AM

Producers : Elisabeth Haviland James, Revere La Noue

Cinematographers : Sandi Sissel, Bradford Young C O D EB L A C K FILMS / LIO N S G ATE Kim Walters

The Last Shepherd (L’ultimo pastore)

T h o rna p p l e F il m s 331 West Main Street, Suite 406 Durham, NC 27701 917.432.8684 biz@thornapplefilms.com

Editors : Valentina Andreoli, Claudio Cormio Cinematographer : Michele D’Attanasio V isi t F il m s 173 Richardson Street Brooklyn, NY 11222 718.312.8210 info@visitfilms.com

310.255.3237 kwalters@lionsgate.com

Thursday, April 4 — 1:10 pm Cinem a 1

Sunday, April 7 — 5:10 pm Cinem a 4

Thursday, April 4 — 10:30 am Cinem a 3

invited programming

Leviathan Directors Lucien Castaing-Taylor and Véréna Paravel attached dozens of cameras to a commercial shipping vessel, giving a whole new meaning to the phrase “all aboard.” Through this innovative cinematography, we’re exposed to extreme and surreal vantages from this massive and forceful boat as it plows through the Atlantic. The rich tapestry of sounds and images dramatically shifts from dark corners of the deck, where fish remains slosh, to the shrill cries of gulls soaring above to the vibrations of the hull below the water’s surface. The experience is utterly engrossing, and yet because the perspectives continue to shift, we never quite get our sea legs. The resulting sensation is at once magnificent and squalid, inspired and damned. In witnessing this extreme sensory experience one can’t help but imagine the ways in which man, and his technology, abuses the natural world around him, mowing down the wonder and grace that stands in his way. ST 2012 / US, France, UK / 87 minutes

Mussels in Love (L’amour des moules) If you’ve ever partaken of that first steamy bite from a bowl of broth and briny mollusks, this glorious film is that moment’s cinematic equivalent. Over the course of seventy-three minutes, we meet an array of men and women who devote their lives, and livelihoods, to the Zeeland mussel. A breeder prepares an intricate system for efficient procreation. A fisherman harvests beds of mussels to sell at market. A chef delicately demonstrates his specialized preparation. A pair of friends shuck the shellfish in the surf. There’s even a mussel princess, not to mention a doctor who uses mussels’ natural glue to save the lives of unborn babies. Along with these often surprising professions of admiration, the film delivers magnificent underwater close-ups of the shellfish in their element. Whether one leaves this love letter to the Zeeland mussel with outsized cravings or a vow to never devour such magnificent creatures again will ultimately be a matter of personal taste. Regardless, the mussel’s seductive allure, as evident here, is undeniable. ST

Directors : Lucien Castaing-Taylor, Véréna Paravel

invited programming

Open Heart

Pandora’s Promise

In Open Heart, seven Rwandan children, including sixyear-old Angelique, have been approved for life-saving heart surgery at Sudan’s Salam Centre, the one hospital on the African continent that provides free cardiac care. However, the children’s parents aren’t allowed to take the 2,500-mile trip with them, and if the children die, their bodies must remain there. Rwandan cardiologist Dr. Emmanuel Rusingiza works with Dr. Gino Strada to save children who suffer from severe cardiac complications stemming from untreated strep throat and rheumatic fever (an epidemic affecting more than 13 million Africans). Director Kief Davidson forges a new path in health-advocacy documentaries by exchanging sanctimony and didacticism for emotional, visceral, and pulse-quickening drama. His cinematic eye and narrative mind craft a much larger story than one would imagine possible in the space of forty minutes. Much like the cardiac surgeons he presents, Davidson’s documentary is one of precision and compelling detail. Surgery scenes, while graphic, work to underscore the amazing resiliency of the heart and the child to which it belongs. WFM

Prominent environmentalists and former anti-nuclear activists reflect on their change-of-heart regarding the safety and potential of nuclear energy in the latest film by Robert Stone (Earth Days). In the aftermath of the Fukushima nuclear accident, new questions and old fears re-entered the cultural conversation. These debates are familiar to the film’s interview subjects, Stewart Brand and Richard Rhodes among them, who have come to have second thoughts about nuclear power. Uniquely qualified to argue the merits of nuclear energy as well as concerns about safety, these former detractors speak to commonly held myths, new innovations, climate change, and the allure of renewable resources with surprising statistics and pointed candor. Provocative and timely, Pandora’s Promise urges one to reconsider power and persuasion. TM

Producers : Lucien Castaing-Taylor, Véréna Paravel

2012 / Netherlands / 73 minutes

Filmmaker Q &A following screening

Editors : Lucien Castaing-Taylor, Véréna Paravel

Director : Willemiek Kluijfhout

2012 / US / 39 minutes

Cinematographers : Lucien Castaing-Taylor, Véréna Paravel T he Cinem a G uil d, Inc . Graham Swindoll 115 West 30th Street, Suite 800 New York, NY 10001 212.685.6242 gswindoll@cinemaguild.com

Producer : Reinette van de Stadt Editors : Dieter Diependaele, Govert Janse Cinematographer : Remko Schnorr Au t l o o k F il m s a l e s G mbH Youn Ji Spittelberggasse 3/14, 1070 Vienna Austria +43 720 34 69 34 youn@autlookfilms.com

Editors : Flavia de Souza, Kief Davidson Cinematographer : Zak Mulligan

Editor : Don Kleszy Cinematographers : Robert Stone, Howard Shack F il m Sa l es C o m pan y Jason Ishikawa 165 Madison Avenue, Suite 601 New York, NY 10016 212.481.5020 jason.ishikawa@filmsalescorp.com

Thursday, April 4 — 10:00 am F le t cher H a ll

Kie f D av id s o n 323.645.1000 info@kiefdavidson.com

Saturday, April 6 — 4:20 pm Cinem a 4

Director : Robert Stone Producers : Robert Stone, Jim Swartz, Susan Swartz

Producers : Kief Davidson, Cori Shepherd Stern

1040 Las Palmas Avenue, #10 Los Angeles, CA 90038

Saturday, April 6 — 10:10 pm Cinem a 3

Director : Kief Davidson

2013 / US / 89 minutes

Saturday, April 6 — 10:20 am Cinem a 4

invited programming

Running from Crazy Rather than hide from her past, Mariel Hemingway has chosen to face her family history of mental illness with focus and deliberation. Tracing the family’s struggles back to her grandfather Ernest’s suicide, Mariel engages in a remarkable dialogue with esteemed filmmaker Barbara Kopple and is refreshingly forthcoming and reflective about her approach to mental health and her life. Through extended interviews and a magnificent array of family archival material, Mariel recounts her experiences and the bold steps she has taken to escape the fate of her genes. There is no approach she will not explore—diet, exercise, meditation, therapy. She speaks candidly about her own career as a model and actress, and perhaps most poignantly, about the tragic loss of her older sister, supermodel Margaux, who took her own life. The film sheds light on the personal side of a public story and shines a beacon on the dark subject of suicide and mental illness with which so many individuals and families struggle. ST

Filmmaker Q &A following screening 2013 / US / 101 minutes Director : Barbara Kopple Producers : Barbara Kopple, David Cassidy Editors : Michael Culyba, Mona Davis Cinematographers : Andrew Young, Boone Speed, Michael Call, Phil Parmet C abin C reek F il m s 270 Lafayette Street, Suite 710 New York, NY 10012

Sofia’s Last Ambulance (Poslednata lineika na Sofia)

invited programming

Venus and Serena

We Always Lie to Strangers

Venus and Serena Williams redefined the sport of tennis when they burst on the scene in the mid 1990s. Over the course of their careers they have won countless titles and, as witnessed in the film, amassed quite a sideline of famous fans. Everyone from Anna Wintour to Spike Lee, even President Bill Clinton, has strong opinions about their influence. Between fashion magazine shoots and sports broadcasts, they seem to have taken over the media, but we’ve never seen them quite like this. With unprecedented access, Michelle Major and Maiken Baird followed the Williams sisters over the course of their most difficult season yet. In 2011, Venus struggled with exhaustion caused by an autoimmune deficiency while Serena navigated the fallout of a pulmonary embolism. The stars are remarkably candid about both their success and the adversity fame has brought them and talk about the significant role that family has played in their careers. This vibrant portrait offers a rare glimpse into the intense days and nights of living icons. ST

Branson, Missouri, population 10,520, might be considered a sleepy little Ozark town if it weren’t for the 7.5 million tourists a year who make the trip to this self-described buckle of the Bible Belt for familyfriendly entertainment. Ozark hospitality, God, and family define the entertainment, and tourism defines the local economy. Branson, “the live music capital of the universe” has fifty music theaters offering over a hundred shows, which along with other attractions, bring in an estimated $2.9 billion each year. Directors Schnack and Wilson cleverly borrow their title from the work of famous folklorist Vance Randolph, and as the title implies, the film works to uncover the divide between what’s in front of the curtain and what’s behind it, focusing on four performing families deeply rooted in the community. What we witness are compelling testimonies of the American Dream, both realized and unmet, and stories of lives that are not always entirely in sync with the conservative values promoted on stage. WFM

2012 / Bulgaria, Croatia, Germany / 76 minutes

Filmmaker Q &A following screening

Director : Ilian Metev

2012 / US / 99 minutes

2013 / US / 109 minutes

Director Ilian Metev attaches three cameras to the dashboard of one of Sofia’s few remaining ambulances (1.2 million people live in the Bulgarian capital). In doing so, he commands a precise view of the medic team: Dr. Krassimir Yordanov, paramedic Mila Mikhailova, and driver Plamen Slavkov. What we see is human, increasingly stressful, and immensely absorbing. What could be claustrophobic is instead spectacularly intimate, undoubtedly benefited by Krassimir, Mila, and Plamen’s natural ease in front of the cameras. Not an overly voluble group, their keenly expressive faces tell most of the story, that of a city’s crumbling healthcare system. Sporadic radio dispatches and a steady stream of cases (some absurdly comical, others expectedly tragic) fill in any gaps. As we ride with the ambulance team into the sunrise, we feel a melancholy comfort in the stoic fortitude of these public servants and a sense that everything will be okay. WFM

Producers : Ingmar Trost, Siniša Juricˇic´, Dimitar Gotchev Editors : Ilian Metev, Bettina Ip Cinematographer : Ilian Metev F il m s B o u t i q ue Köpenicker Str. 184 Berlin 10997 Germany +493069537850 valeska@filmsboutique.com, marine@filmsboutique.com

212.343.2545 cabincreekfilms@aol.com

Directors : Maiken Baird, Michelle Major

Directors : AJ Schnack, David Wilson

Producers : Maiken Baird, Michelle Major

Producers : AJ Schnack, David Wilson, Nathan Truesdell

Editor : Sam Pollard

Editor: AJ Schnack

Cinematographers : Cliff Charles, Rashidi Harper, Stephanie Jones

Cinematographers: AJ Schnack, David Wilson, Nathan Truesdell

Magn o l i a Pi c t u res Martin Wendel

Cine t i c Me d i a Dana O’Keefe, Kate Hurwitz

49 West 27th Street, 7th Floor New York, NY 10001

555 West 25th Street, 4th Floor New York, NY 10001

212.924.6701 mwendel@magpictures.com

212.204.7979 wealwayslietostrangers@gmail.com

Sunday, April 7 — 11:00 am

Sunday, April 7 — 4:30 pm

F le t cher H a ll

Cinem a 1

Friday, April 5 — 10:40 am Sunday, April 7 — 10:10 am Cinem a 3

DAC / P SI The ater

invited programming

c o n v e r s at i o n s

A& E I n d i e Fi lm s Sp e a k e a s y Full Frame is proud to present the A&E IndieFilms Speakeasy for the third year in a row. The venue hosts a number of panel conversations over the course of the festival that are free and open to the public. The Speakeasy offers a casual setting where a small audience can listen to industry leaders take on topics that are at the heart of the documentary community today. Most discus-

Which Way Is the Front Line from Here? The Life and Time of Tim Hetherington When British conflict photographer Tim Hetherington turned to documentary filmmaking, he met with immediate success, as a cinematographer on The Devil Came on Horseback, and then as a director of the Oscar®nominated Restrepo and the short Diary (all of which were shown at Full Frame). His eye for composition was admirable, as was his bravery under fire. He was bodyand-soul dedicated to the dangerous work of bringing the sights and sounds of the front lines to the world’s attention. But the real strength of Hetherington’s work came from his ability to connect person-to-person with everyone he came across, from ragtag Liberian irregulars and stockaded American marines to war’s countless victimized civilians. In 2011, he was killed in the lethal chaos of Libya’s Arab Spring. Author-turneddocumentarian Sebastian Junger, his filmmaking partner on Restrepo, assembled this loving portrait. Interviews with Hetherington’s parents, friends, colleagues, and girlfriend, along with footage from his various documentary projects, fill in a picture of a man worthy of the overused word “hero.” MM

Q&A following screening with Lily Hindy, deputy director of Reporters Involved in Saving Colleagues 2012 / US / 79 minutes

For better or for worse, Vice President Dick Cheney was the last decade’s most influential American politician. And yet, he remains cloaked in mystery. Cheney’s political brand was dedicated to re-establishing the executive authority, privilege, and secrecy endemic to the pre-Watergate era. In short, we don’t know Dick. This exhaustive treatment of Cheney’s career sheds much-needed light on the so-called “Prince of Darkness” and draws on a treasure trove of archival materials and penetrating commentary from Cheney’s political allies and enemies alike, all of which is anchored by an intimate interview with Cheney in his Wyoming retreat. Covering everything from his early failures in college and his stint in Nixon’s White House to his calculated power grab (and ultimate marginalization) in George W. Bush’s administration, the film offers one of the first comprehensive and even-handed looks at this tumultuous period in American politics, a history that feels recent but is rapidly receding in our rear view. TW 2013 / US / 105 minutes

Producers : R.J. Cutler, Francis Gasparini Editor : Greg Finton Cinematographers : Bob Richman, Sean Kirby T re v o r Smi t h

Producers : Nick Quested, James Brabazon

16030 Ventura Boulevard, Suite 380 Encino, CA 91436

Co-Producer : Gretchen McGowan

310.202.8166 ts@cutlerproductions.com

Editors : Geeta Gandbhir, Maya Mumma

G o l dc res t F il m s Gretchen McGowan 212.897.3935 gmcgowan@goldcrestfilms.com

Saturday, April 6 — 8:00 pm F le t cher H a ll

to view online. Last year’s A&E IndieFilms Speakeasy featured spirited and engaging discussions and debates between professionals working at the highest levels, both on stage and with the audience. This not-to-be missed series of conversations takes place on Friday and Saturday in the Durham Convention Center. A list of this year’s conversations is below. Specific panelists and further details will be available online and on site at the festival.

Friday, April 5 — 12:30 pm Based on a True Story

How documentaries become narrative features Friday, April 5 — 3:30 pm Pay the F**king Filmmakers

A response to Sean Farnel’s provocative article on independent film festivals in Indiewire Saturday, April 6 — 9:30 am Making the Cut

Editors talk about their art and their approaches

Directors : R.J. Cutler, Greg Finton

Director : Sebastian Junger

Cinematographers : James Brabazon, Tim Hetherington, Sebastian Junger

sions at the Speakeasy are filmed and available

The World According to Dick Cheney

Saturday, April 6 —12:30 pm To Be Seen

On explicit footage: How do filmmakers choose what, and what not, to show? Saturday, April 6 — 3:30 pm Stories About Stories

Sunday, April 7 — 2:00 pm F le t cher H a ll

The truth can be tricky: Thoughts on Amir Bar-Lev’s Thematic Program

c o n v e r s at i o n s

Garrett Scott Documentary Development Grant

SDF: In-the-Works

Only thirty-seven at the time of his death, Garrett Scott made a distinctive mark in the documentary genre during

The Southern Documentary Fund (SDF) is proud to present In-the-Works at Full Frame again this year.

his brief career. Without any formal training, he directed Cul De Sac: A Suburban War Story and went on to make

This program provides audiences with a unique opportunity to watch documentaries in various stages

Occupation: Dreamland, co-directed by Ian Olds.

of production, and to participate in the critique process. It also gives southern filmmakers the opportunity to receive feedback from a dedicated assembly of their peers and serious documentary enthusiasts.

Created by family, friends, and colleagues, this grant recognizes first-time filmmakers who, like Garrett, bring

This year, In-the-Works will screen excerpts from Occupy the Imagination and So Help You God.

a unique vision to the content and style of their documentary films. The recipients are selected based on their

Frank Stasio of WUNC’s The State of Things will moderate audience response and critique.

works-in-progress and are provided with travel and accommodations at the festival. Full Frame is honored to host these filmmakers and looks forward to their finished work.

For eleven years, the Southern Documentary Fund has nurtured documentaries made in or about the American South. SDF connects filmmakers with resources and audiences and has sponsored well over

Now in its seventh year, the Garrett Scott Documentary Development Grant has honored an impressive collection

a hundred projects since 2002. The work of SDF artists has been broadcast nationally and internationally,

of filmmakers. Their completed works have gone on to screen at the Sundance Film Festival, the Berlin Interna-

screened at hundreds of film festivals around the world, and is being used as effective tools for education

tional Film Festival, SXSW, and numerous other events, including Full Frame. Previous grant recipients include

and community development.

Robin Hessman for My Perestroika, Cameron Yates for Canal Street Madam, Rebecca Richman Cohen for War Don Don, Mai Iskander for Garbage Dreams, and Katherine Fairfax Wright and Malika Zouhali-Worrall for

So Help You God

Call Me Kuchu.

Ashle y York

The 2013 Garrett Scott Documentary Development Grant has been awarded to Mike Attie and Meghan O’Hara

In 1997, a family of Jehovah’s Witnesses was gunned down by a

for In Country and Lyric R. Cabral for (T)ERROR. Grant administrators will join the recipients in presenting short

group of teens near a highway rest stop outside Knoxville, Tennessee.

excerpts from their works-in-progress at 1:00 p.m. on Saturday, April 6, as part of the screening of 2011 grant

Appalachian-born filmmaker Ashley York, who grew up with these six

recipient Lotfy Nathan’s 12 O’Clock Boys.

teenagers in rural Kentucky, heads home to unravel the events leading to the gruesome murder. In her hometown, York interviews the teens’ families, then travels to prisons across Tennessee to visit the kids, now

(T)ERROR

much older, who are serving life sentences. Conflicting versions of what

Lyric R. Cabral

happened the day of the murder, and why, complicate York’s understand-

(T)ERROR is the first film to document an active FBI counterterrorism sting

ing of how this violent crime unfolded. So Help You God unflinchingly

operation. Featuring unprecedented real-time access to an informant and

examines the confluence of gun culture, religious fervor, sensational-

the suspect that he has been assigned to monitor, the film captures the

istic media coverage, and the experiences of rural, impoverished, and

dramatic aftermath that occurs when the target of the investigation realizes

mentally ill youth.

he is being set-up by the FBI. Interweaving this story with a penetrating look at the government’s broader counterterrorism campaign, the film aims to demystify the nature of America’s terrorist threat, and to illuminate

Occupy the Imagination

the political and ethical complexities of our country’s quest to protect

Rodrigo Dorfman

the homeland. Co-Director: David Felix Sutcliffe

Inspired by the uprisings of the Arab Spring, filmmaker Rodrigo Dorfman embarks on an exploration of his roots in 1970s Chile, where

In Country

as a child he witnessed the first peaceful socialist revolution in history.

Mike At tie, Meghan O’Hara

impact and legacy of his father’s controversial book How to Read Donald

Fascinated by the transformative power of art, Dorfman uncovers the Duck, which the military junta burned and banned for exposing Disney’s

In Country centers on a “platoon” of dedicated Vietnam War reenactors and blurs the boundaries of reality and fantasy to tell a story about men

hidden capitalist messages. When Occupy Wall Street explodes in New

searching for healing and camaraderie by reliving these dark days of

York City, Dorfman, camera in hand, begins a new quest for the spirit

America’s history. Following several participants, the film emphasizes the

of the Chilean Revolution in the euphoria of the Occupy movement.

struggle of these individuals, within both this invented world and their actual

A story of courage, defeat, and resistance, this trans-American film

lives. It would be easy to make light of their hobby, but the motivations

examines whether revolutionary consciousness can awaken our imagina-

that draw them to this controversial activity are diverse and unexpected.

tions in a world seduced, and flattened, by one ideology, capitalism.

Many of the group’s members are veterans of campaigns in Iraq, Afghanistan, and Vietnam, and each wrestles with his own relationship to war.

Sunday, April 7 — 1:40 pm Saturday, April 6 — 1:00 pm

cinem a 3

dAC / p si t he at re

Film & E vent Schedule * Cinema 2 Cinema 3 Cinema 4

Thursday, April 4

Fletcher

Film & E vent Schedule *

DAC Cinema 1 Elsewhere

Cinema 2 Cinema 3 Cinema 4

9:00

10:00

10:00 10:00 – 11:55

11:00

10:30 – 11:50

10:10 – 12:00

Pandora’s

11:00

Promise

The Last Shepherd

Noon

God Loves Uganda

Friday, April 5

Fletcher

DAC Cinema 1 Elsewhere

10:20 – 12:30 10:40 – 12:40 First Comes Love

11:00 – 1:00

Ambulance

12:30 – 1:30 Based on a True Story

1:00 1:00 – 3:05

2:00

Pablo’s Winter

Sofia’s Last

In the Realms of the Unreal

1:00

Yucca Mtn Tally

Slomo

The Kinda Sutra

Noon

10:30 – 12:40

1:00 – 3:00

Camera / Woman

1:10 – 3:20

1:20 – 3:25

Outlawed in Pakistan

2:00

Free Angela & All Political Prisoners

Citizen Koch

3:00

4:00

American Promise

6:00

The Record Breaker

4:30 – 6:40 Blood Brother

Forbidden Lie$

Medora

Magnetic Reconnection

convention center no ticket required

1:30 – 3:00

1:40 – 3:35 2:00 – 3:55 Good Ol’ Freda

Reborning

By Her Side

Homegoings

Sour Death Balls

5:00

Fighter

6:00

7:00

convention center no ticket required

4:10 – 6:10 You Can’t Always Get What You Want

Protagonist

Battery Man

Menstrual Man

3:30 – 4:30 Pay the Filmmakers 4:00 – 6:00

4:10 – 6:15

4:20 – 6:20 4:40 – 6:30

5:00

1:20 – 3:00

The Palace

3:00

4:00 – 6:45

F for Fake

1:10 – 3:00

Our Nixon

4:20 – 6:15

4:30 – 6:35 4:40 – 6:25

The Pleasures of Being Out of Step

5:00 – 7:00

Taxidermists

The Living Museum

center frame

Dance for Me

Fight Like Soldiers, Die Like Chidren

6:30 – 8:00

7:00 7:10 – 8:55

7:10 – 9:25 7:30 – 10:00

8:00

8:00 Stories We Tell

Opening

8:10 – 10:10 9:00 Spinning Plates

free power plant screening

Wrong Time Wrong Place

Night film

Trash Dance

7:20 – 9:05

9:00

Gideon’s Army

7:30 – 9:25

7:40 – 9:40 First Cousin Once Removed

8:00 – 10:10

Irish Folk Furniture

Theater of War

Cutie and the Boxer

Muscle Shoals

american tobacco

no ticket required

8:30 – 9:50 free outdoor screening

Chasing Ice durham central park

10:00

no ticket required

10:00 10:00 – 12:00 Opening Night Party

11:00

10:50 – 12:40 Driving Me Crazy

12:00

11:00 – 12:35

Durham Armory

The Expedition to the End of the World

ticketed event

10:20 – 12:25

Downloaded

Far Out Isn’t Far Enough

10:30 – 12:35 A Story for the Modlins Suitcase of Love and Shame

12:00

1:00

FILM CATEGORY

10:10 – 12:25 11:00

1:00

Tribute

New Docs

Thematic Program

Invited

Conversations

FILM CATEGORY

Tribute

New Docs

Thematic Program

Invited

Conversations

Film & E vent Schedule * Cinema 2 Cinema 3 Cinema 4

Saturday, April 6

Fletcher

Film & E vent Schedule *

DAC Cinema 1 Elsewhere

9:00

Cinema 2 Cinema 3 Cinema 4

Sunday, April 7

Fletcher

DAC Cinema 1 Elsewhere

9:00 9:30 – 10:30 Making the Cut

10:00

convention center

10:00 – 11:55 Wolf Mountain

11:00

10:00 10:00 – 11:50

no ticket required

10:20 – 12:15 Open Heart

Buzkashil! Black Out

Noon

10:50 – 1:05

10:40 – 12:40

10:30 – 12:35

11:00

Nile Perch Operation Filmmaker

The Crash Reel

10:10 – 12:20

10:20 – 12:00

Running

The Fruit Hunters

from Crazy

A River Changes Course

My Kid

10:40 – 12:05 11:00 – 1:05

The Editor and the Dragon

Could Paint That

11:30 – 1:00

Venus and Serena

Noon

Awards Barbecue Durham Armory

12:30 – 1:30 1:00 1:00 – 3:00 2:00

To Be Seen

1:00 – 3:10

convention center

Garrett Scott Documentary Development Grant

no ticket required

1:20 – 3:30

F for Fake 12 O’Clock Boys

A Will for the Woods

1:30 – 3:20

1:40 – 3:30

1:50 – 4:10

1:00 awards & encore screenings announced 1pm online and at the box office

2:00 2:10 – 4:10

3:00

3:00 – 4:00 School of Doc

3:30 – 4:30 Stories About Stories

4:00 4:00 – 6:00 5:00

2:20 – 4:20

3:00 Manhunt

6:00

sunday Sunday

encore 1

2:00 – 3:50 The World According to Dick Cheney

SDF: In-the-Works

Meet Mr. Toilet Last Call at the Oasis

encore 2

no ticket required

convention center no ticket required

4:10 – 6:20

4:20 – 6:05

Ash

True-Life Adventure

5:00 – 7:00

The Undocumented

Mussels in Love

center frame

Fighter

4:00

1:30 – 3:45

1:40 – 3:40

The Baby

Maidentrip

center frame

ticketed event

4:30 – 6:15

4:40 – 6:45

5:00

Remote Area Medical

AKA Doc Pomus

4:50 – 6:50 5:10 – 6:55

6:00

If You Build It

5:20 – 7:20 sunday

6:30 – 7:50 free power plant screening

7:00

sunday

In So Many Words

encore 4

4:40 – 6:40

4:30 – 6:45 We Always Lie

sunday

to Strangers

encore 3

encore 5

7:00

Chasing Ice

7:10 – 9:05 8:00

Twenty Feet from Stardom

american tobacco

7:20 – 9:15

no ticket required

7:30 – 10:05 After Tiller

8:00 – 9:45 Which Way Is the Front Line from Here?

9:00

The Guide A Man Vanishes

Breathing Lessons

7:30 – 9:30

8:00

7:40 – 9:40

8:00 – 10:15

sunday

8:30 – 9:50 free outdoor screening

encore 6

free closing night film

9:00

Trash Dance

Big Star

durham central park

no ticket required

10:00

no ticket required

10:10 – 12:30 11:00

DaVinci

10:40 – 12:35

Leviathan

Pussy Riot –

10:30 – 12:20 Borat

A Punk Prayer

12:00

11:00

12:00

free no ticket required

1:00

FILM CATEGORY

1:00

Tribute

New Docs

Thematic Program

Invited

Conversations

FILM CATEGORY

Tribute

New Docs

Thematic Program

Invited

Conversations

inde x by title

inde x by filmmaker

(T)ERROR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Magnetic Reconnection . . . . . . . . . . . . . . . . . . . . . 43

Ancarani, Yuri . . . . . . . . . . 64

Cutler, R.J. . . . . . . . . . . . . 72

Leng, Ratanak . . . . . . . . . . 51

Reichert, Jeff . . . . . . . . . . . 50

12 O’Clock Boys . . . . . . . . . . . . . . . . . . . . . . . . 32, 74

Maidentrip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Appel, John . . . . . . . . . . . . 56

Dam, Deborah van . . . . . . . 34

Lerner, Mike . . . . . . . . . . . . 49

Roach, Jay . . . . . . . . . . . . 26

After Tiller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

A Man Vanishes . . . . . . . . . . . . . . . . . . . . . 23, 25, 28

Armstrong, Kyle . . . . . . . . . 43

Davenport, Nina . 22, 23, 29, 41

Lesko, Jacquline . . . . . . . . . 52

Rothbart, Davy . . . . . . . . . . 44

AKA Doc Pomus . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Manhunt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Aronson, Jerry . . . . . . . . . . 63

Davidson, Kief . . . . . . . . . . 69

Lessin, Tia . . . . . . . . . . . . . 64

Ruszniewski, Carine . . . . . . 66

American Promise . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Medora . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Attie, Mike . . . . . . . . . . . . . 74

Deal, Carl . . . . . . . . . . . . . 64

Leutwyler, Matt . . . . . . . . . 52

Santisi, Nina . . . . . . . . . . . 30

Ash ... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Meet Mr. Toilet . . . . . . . . . . . . . . . . . . . . . . 10, 14, 19

Aung-Thwin, Mila . . . . . . . . 66

Degan, Patrick . . . . . . . . . . 17

Levy, Joseph . . . . . . . . . . . 52

Saponja, Dusan . . . . . . . . . 35

The Baby . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Menstrual Man . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Badger, Stephen . . . . . . . . . 45

Dencik, Daniel . . . . . . . . . . 40

Lewis, David L. . . . . . . . . . . 48

Saxtrup, Lisa . . . . . . . . . . . 39

Battery Man . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Muscle Shoals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Baer, Neal . . . . . . . . . . . . . 61

Dengiz, Rachel . . . . . . . . . . 44

Luan, Seah Kui . . . . . . . . . 45

Scheer, Helen Hood . . . . . . 49

Big Star . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Mussels in Love . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Bailey, Miranda . . . . . . . . . 52

DeNicola, Drew . . . . . . . . . 62

Lynch, Shola . . . . . . . . . . . 66

Schellmann, Hilke . . . . . . . 47

Baird, Maiken . . . . . . . . . . . 71

Devries, Devorah . . . . . . . . 39

Major, Michelle . . . . . . . . . . 71

Schlesinger, Jillian . . . . . . . 44 Schnack, AJ . . . . . . . . . . . . 71

Black Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

My Kid Could Paint That . . . . . . . . . . . . . . . . 24, 29

Blood Brother . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Nile Perch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Borat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Occupy the Imagination . . . . . . . . . . . . . . . . . . . . . 75

Breathing Lessons . . . . . . . . . . . . . . . . 10, 11, 13, 16

Open Heart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Buzkashi! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Operation Filmmaker . . . . . . . . . . . . . . . . . . . . 22, 29

By Her Side . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Our Nixon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Camera/Woman . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Outlawed in Pakistan . . . . . . . . . . . . . . . . . . . . . . . . 47

Chasing Ice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Pablo’s Winter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Citizen Koch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 The Crash Reel . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Bar-Lev, Amir . . . 21–25, 27, 29

Donoghue, Tony . . . . . . . . . 43

Malina, Maggie . . . . . . . . . . 39

Bär, Miga . . . . . . . . . . . . . . 37

Dorfman, Rodrigo . . . . . . . 75

Mam, Kalyanee . . . . . . . . . . 51

Shane, Martha . . . . . . . . . . 32

Barker, Greg . . . . . . . . . . . . 62

Duncan, Nathan S. . . . . . . . 34

Mamlet, Alex . . . . . . . . . . . 27

Shoebridge, Micheline . . . . . 36

Battsek, John . . . . . . . . . . . 62

Duran, Dan . . . . . . . . . . . . 56

Mansoor, Kat . . . . . . . . . . . 35

Smith, Sidra . . . . . . . . . . . . 66

Baulu, Kat . . . . . . . . . . . . . 66

Espelie, Erin . . . . . . . . . . . 54

McAllister, Emily . . . . . . . . 44

Stadt, Reinette van de . . . . 68

Berliner, Alan . . . . . . . . . . . 65

Felder, Sharyn . . . . . . . . . . 33

McCabe, Kathy . . . . . . . . . . 42

Stephenson, Michèle . . . . . . 33

Bernstein, Brad . . . . . . . . . 40

Finton, Greg . . . . . . . . . . . . 72

McCarthy, Danielle . . . . . . . 62

Stern, Cori Shepherd . . . . . 69

Biyi, Rachid . . . . . . . . . . . . 37

Friesen, Gil . . . . . . . . . . . . 54

McGinn, Brian . . . . . . . . . . 50

Stone, Robert . . . . . . . . . . . 69

The Palace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Black, Cathal . . . . . . . . . . . 43

Frioni, Ivan . . . . . . . . . . . . 64

Metev, Ilian . . . . . . . . . . . . 70

Sutcliffe, David Felix . . . . . . 74

Pandora’s Promise . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Blair, Eric . . . . . . . . . . . . . 32

Frye, Brian L. . . . . . . . . . . . 46

Micheli, Amanda . . . . . . . . . 51

Swartz, Jim . . . . . . . . . . . . 69

Cutie and the Boxer . . . . . . . . . . . . . . . . . . . . . . . 38

The Pleasures of Being Out of Step . . . . . . . . . . . 48

Gallenzi, Giorgio . . . . . . . . . 64

Miller, Peter . . . . . . . . . . . . 33

Swartz, Susan . . . . . . . . . . 69

Dance for Me . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Protagonist . . . . . . . . . . . . . . . . . . . . . . 10–13, 15, 19

Boccanelli, Antonella Rodriguez . . . . . . . . . . . . 64

Garrison, Andrew . . . . . . . . 63

Mirza, Najeeb . . . . . . . . . . . 36

Tomei, Warly . . . . . . . . . . . 64

DaVinci . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Pussy Riot – A Punk Prayer . . . . . . . . . . . . . . . . . . 49

Bonfanti, Marco . . . . . . . . . 67

Gasparini , Francis . . . . . . . 72

Moore, Bob . . . . . . . . . . . . 66

Triche, Nicole . . . . . . . . . . . 53

Downloaded . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Reborning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Brabazon, James . . . . . . . . 72

Gawlita, Anna . . . . . . . . . . . 48

Mori, Olivia . . . . . . . . . . . . 62

Trondsen, Trond . . . . . . . . . 43

Driving Me Crazy . . . . . . . . . . . . . . . . . . . . 24, 25, 26

The Record Breaker . . . . . . . . . . . . . . . . . . . . . . . . 50

Braunsberg, Andrew . . . . . . 26

Gelsi, Franco Bocca . . . . . . 67

Nahmias, Brendan . . . . . . . 56

Trost, Ingmar . . . . . . . . . . . 70

The Editor and the Dragon . . . . . . . . . . . . . . . . . . 65

Remote Area Medical . . . . . . . . . . . . . . . . . . . . . . . 50

Brewster, Joe . . . . . . . . . . . 33

Gibson, Josh . . . . . . . . . . . 46

Nathan, Lotfy . . . . . . . . . . . 32

Truesdell, Nathan . . . . . . . . 71

The Expedition to the End of the World . . . . . . . 40

A River Changes Course . . . . . . . . . . . . . . . . . . . . . 51

Bridge, Yael . . . . . . . . . . . . 49

Gillooly, Jane . . . . . . . . . . . 53

Neville, Morgan . . . . . . . . . 54

Turner, Christine . . . . . . . . . 42

F for Fake . . . . . . . . . . . . . . . . . . . . . . . . . . .24, 25, 27

Running from Crazy . . . . . . . . . . . . . . . . . . . . . . . . 70

Broinowski, Anna . . . . . 23, 28

Godano, Anna . . . . . . . . . . 67

Nosheen, Habiba . . . . . . . . 47

Virmani, Amit . . . . . . . . . . . 45

Far Out Isn’t Far Enough . . . . . . . . . . . . . . . . . . . . . 40

Slomo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Broomfield, Nick . . 24, 25, 26

Goldman, Julie . . . . . 41, 60, 62

Nunen, Hasse van . . . . . . . . 37

Walker, Lucy . . . . . . . . . . . 38

Fight Like Soldiers, Die Like Children . . . . . . . . . 61

So Help You God . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Browne, Amy . . . . . . . . . . . 55

Gotchev, Dimitar . . . . . . . . . 70

O’Hara, Meghan . . . . . . . . 74

Walter, John . . . . . . . . . 24, 30

Brush, Phoebe . . . . . . . . . . 57

Hale, Tony . . . . . . . . . . . . . 55

O’Malley, Christine . . . . . . . 61

Weber, Eva . . . . . . . . . . . . . 35

Burns, Patrick . . . . . . . . . . 38

O’Meara, Dan . . . . . . . . . . . 50

Welles, Orson . . . . . . . . 24, 27

Cabral, Lyric R. . . . . . . . . . 74

Haslund-Christensen, Michael . . . . . . . . . . . . . 40

Oksman, Sergio . . . . . . . . . 52

West, Susan . . . . . . . . . . 17, 19

Caldwell, Gillian . . . . . . . . . 64

Hechter, Will . . . . . . . . . . . 33

Orlowski, Jeff . . . . . . . . . . . 63

White, Ryan . . . . . . . . . . . . 42

Calonico, Scott . . . . . . . . . . 57

Heide, Mette . . . . . . . . . . . 50

Paravel, Véréna . . . . . . . . . 68

Williams, Marco . . . . . . . . . 55

Camalier, Greg “Freddy” . . . 45

Heinzerling, Zachary . . . . . . 38

Parouse, Dawn . . . . . . . . . . 18

Williams, Roger Ross . . . . . 41

Campbell, Walter E. . . . . . . 65

Hoover, Steve . . . . . . . . . . . 36

Pearlstein, Elise . . . . 16, 18, 19

Wilson, Brian . . . . . . . . . . . 55

Cassidy, David . . . . . . . . . . 70

Imamura, Shohei . . . . . 23, 28

Penev, Snezana . . . . . . . . . 35

Wilson, David . . . . . . . . . . . 71

Fighter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22, 27

Sofia’s Last Ambulance . . . . . . . . . . . . . . . . . . . . . . 70

First Comes Love . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Sour Death Balls . . . . . . . . . . . . . . . . . . . . 10, 11, 20

First Cousin Once Removed . . . . . . . . . . . . . . . . . 65

Spinning Plates . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Forbidden Lie$ . . . . . . . . . . . . . . . . . . . . . . . . . 23, 28

Stories We Tell . . . . . . . . . . . . . . . . . . . . . . 22, 23, 30

Free Angela & All Political Prisoners . . . . . . . . . . 66

A Story for the Modlins . . . . . . . . . . . . . . . . . . . . . . 52

The Fruit Hunters . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Suitcase of Love and Shame . . . . . . . . . . . . . . . . . . 53

Gideon’s Army . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Taxidermists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

God Loves Uganda . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Theater of War . . . . . . . . . . . . . . . . . . . . . . . . . 24, 30

Castaing-Taylor, Lucien . . . . 68

Izenberg, Josh . . . . . . . . . . 51

Good Ol’ Freda . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Trash Dance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Pereira, Chico . . . . . . . . . . 47

Wilson, Lana . . . . . . . . . . . 32

Cattelan, Maurizio . . . . . . . 64

James, Claire Neate . . . . . . 35

The Guide . . . . . . . . . . . . . . . . . . . . . . . . . . 10, 15, 16

True-Life Adventure . . . . . . . . . . . . . . . . . . . . . . . . 54

Pettengill, Sierra . . . . . . . . 38

Winter, Alex . . . . . . . . . . . . 39

Cautherly, Julian . . . . . . . . . 38

James, Elisabeth Haviland . . 67

Homegoings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Twenty Feet from Stardom . . . . . . . . . . . . . . . . . . . 54

Philp, Katrine . . . . . . . . . . . 39

Wolski, Tomasz . . . . . . . . . . 48

Cavic, Dusan . . . . . . . . . . . 35

Junger, Sebastian . . . . . . . . 72

If You Build It . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

The Undocumented . . . . . . . . . . . . . . . . . . . . . . . . 55

Pilcher, Lydia Dean . . . . . . . 38

York, Ashley . . . . . . . . . . . . 75

Chang, Yung . . . . . . . . . . . . 66

Juricˇic´, Siniša . . . . . . . . . . . 70

Polley, Sarah . . . . . 22, 23, 30

Yourd, Danny . . . . . . . . . . . 36

In Country . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Venus and Serena . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Charles, Larry . . . . . . . . . . 26

Kaplan, Jeremy . . . . . . . . . . 55

Porter, Dawn . . . . . . . . . . . 60

Yu, Jessica . . . . . . . . . . 10–20

In So Many Words . . . . . . . . . . . . . . . . . . . . . . . . . . 67

We Always Lie to Strangers . . . . . . . . . . . . . . . . . . 71

Chhang, Youk . . . . . . . . . . . 51

Kassab, John . . . . . . . . . . . 32

Pozdorovkin, Maxim . . . . . . 49

Zaman, Farihah . . . . . . . . . 50

In the Realms of the Unreal . . . . . 10, 11, 12, 15, 17

Which Way Is the Front Line from Here? . . . . . . 72

Clark, Martin M. . . . . . . . . . 65

Kluijfhout, Willemiek . . . . . . 68

Pesmen, Paula DuPre’ . . . . . 63

Zoubir, Karima . . . . . . . . . . 37

Irish Folk Furniture . . . . . . . . . . . . . . . . . . . . . . . . . 43

A Will for the Woods . . . . . . . . . . . . . . . . . . . . . . . 55

Clements, Anne . . . . . . . . . 17

Koevorden, Niels van . . . . . 37

Price-Waldman, Sam . . . . . 56

Gillespie, Taylor . . . . . . . . . 32

The Kinda Sutra . . . . . . . . . . . . . . . . . . . . . 10, 14, 17

Wolf Mountain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Cobos, Carmen . . . . . . . . . . 56

Kopple, Barbara . . . . . . . . . 70

Quested, Nick . . . . . . . . . . 72

Last Call at the Oasis . . . . . . . . . . . 10, 12, 14, 15, 18

The World According to Dick Cheney . . . . . . . . . 72

Cohen, Sacha Baron . . . . . . 26

La Noue, Revere . . . . . . . . . 67

Radice, Jeff . . . . . . . . . . . . 57

The Last Shepherd . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Wrong Time Wrong Place . . . . . . . . . . . . . . . . . . . . 56

Cohn, Andrew . . . . . . . . . . . 44

Lambert, Carole . . . . . . . . . 66

Raymont, Peter . . . . . . . . . 61

Leviathan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

You Can’t Always Get What You Want . . . . . . . . . 57

Counce, Rachel . . . . . . . . . 44

Lane, Penny . . . . . . . . . . . . 46

Reed, Patrick . . . . . . . . . . . 61

The Living Museum . . . . . . . . . . . . . . 10, 12, 13, 18

Yucca Mtn Tally . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Creadon, Patrick . . . . . . . . . 61

Lawson, Jessica . . . . . . . . . 42

Regan, Sally . . . . . . . . . . . . 28

Crosby, Jonathan . . . . . . . . 27

Lee, Anita . . . . . . . . . . . . . 30

Reichenbach, François . . . . 27

fellows & archive

e d u c at i o n a l p r o g r a m s

T e a c h the Teacher s For the past three years the Full Frame Documentary Film Festival has run the enormously successful documentary literacy program Teach the Teachers, which allows six teachers from Durham public high schools to attend Full Frame free of charge under the guidance of professor Alan Teasley. These education professionals watch and discuss films and learn to apply the principles set forth in John Golden’s book Reading in the Reel World: Teaching Documentaries

F ul l F r a m e F e l l o w s P r o g r a m The Full Frame Fellows Program is designed to educate, motivate, and nurture students interested in the documentary form. During the four days of the Festival, participating students have the opportunity to immerse themselves in everything Full Frame has to offer: films fresh on the circuit, classics from years past, engaging panel discussions, and the filmmaking community as a whole. Fellows also enjoy private master classes with legendary filmmakers. Previously, we have hosted sessions with DA Pennebaker and Chris Hegedus, Stanley Nelson, Ross McElwee, Steve James and Peter Gilbert, Marshall Curry, Albert Maysles, Gary Hustwit, Rachel Grady and Heidi Ewing, and James Longley, among others.

and Other Nonfiction Texts (National Council of Teachers of English,

This year, 165 students from 16 different colleges and universities will participate in the Fellows

2006). Studies show that documentaries are often used in class

Program. Students from the following schools are visiting Full Frame this year:

as a time when teachers disengage from students, rather than as opportunities to teach valuable literacy skills. Each teacher receives

American University

Rhode Island School of Design

educational credit for completed work, and the cost of their substi-

Duke University

Saint Augustine’s University

tutes is provided to place as little financial burden on the schools

Elon University

Stanford University

as possible. Many participating teachers utilize these new skills by

Florida State University

University of Alabama

creating lesson plans for our annual Free Youth Screening in Novem-

Hollins University

University of North Carolina at Chapel Hill

ber. We are thrilled at the synergy these two programs provide

New York University

University of North Carolina School of the Arts

educators and our local schools.

North Carolina Central University

University of Pennsylvania

North Carolina State University

Wright State University

The 2013 Teach the Teachers program is funded with generous support by GlaxoSmithKline.

The Fellows Program is made possible with generous support from the Thomas S. Kenan Institute for the Arts at the University of North Carolina School of the Arts, North Carolina State University, the University of North Carolina School of Journalism and Mass Communication, and Saint Augustine’s University Department

S ch ool of Doc

of Film & Interactive Media.

Full Frame’s popular School of Doc program returns again this summer. Professional filmmakers conduct this free camp for teens who are

The Full Fr ame Archive

interested in learning the art of documentary filmmaking. A select group of Durham high school students attend the five-week workshop,

The Full Frame Archive preserves past award winners of the Full Frame Documentary Film Festival to

complete their own short documentary film, and learn real-world

ensure a lasting legacy for the films, their creators, and the festival itself. Now in its sixth year, the col-

applications of the skills they have acquired. In addition to learning

lection has grown to include over ninety titles, winners from all fifteen festivals since Full Frame was

basic filmmaking skills, students gain self-esteem from working as

founded in 1998. A master of each film is preserved in a secure, climate-controlled storage facility at Duke

a group to tell their own stories. A study by the Adobe Corporation

University for the benefit of future generations.

Youth Voices Program shows has shown that students who participate

Part of the Archive of Documentary Arts in the David M. Rubenstein Rare Book & Manuscript Library

in programs like School of Doc show a 91 percent rate of interest

at Duke University, the Full Frame Archive is one of the few festival collections in the nation dedicated to

in continuing their education after high school. Our 2012 class of

preserving documentary films. The archive was established in 2007 as a collaboration between the Full

young filmmakers will attend Full Frame this year to learn more about

Frame Documentary Film Festival and Duke University Libraries. The Full Frame Archive is made possible

the documentary medium and to screen the work they created for

through support from Eastman Kodak; Alpha Cine Labs, Seattle; the Duke University Office of the Presi-

the public on Sunday. A second School of Doc is slated for later this

dent; Duke University Libraries; and the Andrew W. Mellon Foundation.

summer with participants of Student U, an education-based not-forprofit program in Durham. The 2013 School of Doc is made possible with generous support from IBM, the SunTrust Foundation, the friends of Nancy Lee, the Fenhagen family and Helen’s Fund, Ina Smith Johnson, and individual donors in our community.

Recent acquisitions have included the critically acclaimed films Buck and How to Die in Oregon. Non-circulating DVD copies of each preserved film are available for individual research use in the reading room of the Rubenstein Library. From time to time, films are screened on campus at educational events. For more information, including a link to the Full Frame Archive finding aid, please visit our website: http://library.duke.edu/specialcollections/fullframe.

how things work

—

pa s se s

how things work

—

tickets

Passes

Tickets

Passes enable you to reserve tickets to any ticketed event before they go on sale to the general

Tickets can be purchased online, acquired during the festival at the Box Office, and in the Last

public. At the festival, passes also allow you to acquire free tickets at the Box Office and in the Last

Minute Line at the event venues. Ticketholders use the Blue Line for seating at screening venues.

Minute Line. The number of tickets you can acquire varies depending on the type of pass. With the

With the exception of Full Frame’s free events, all festival events require a ticket for admittance.

exception of Full Frame’s free events, all festival events require a ticket for admittance. This page

Tickets are limited and many shows do sell out. If you are a passholder and looking for Passholder

explains how to use your pass to get Passholder Tickets and admission to events.

Ticket information, see How Things Work – Passes on the facing page.

How to Get Passholder Tickets

How to Get Into an event

How to Get Tickets

How to Get Into an event

Passholder tickets can be selected online until April 1,

All ticketed Full Frame events offer two seating lines

Tickets can be purchased online, acquired during the

All ticketed Full Frame events offer two seating lines

acquired during the festival at the Box Office, and in

(Green Line & Blue Line) that correspond to pass type,

festival at the Box Office, and in the Last Minute Line

(Green Line & Blue Line) that correspond to pass type,

the Last Minute Line at the event’s venue.

and a third line for filmgoers without tickets (Last Minute

at the event venues.

and a third line for filmgoers without tickets (Last Minute Line).

Line).

Online Tickets — Tickets that a passholder selects online before the festival will be packaged with the pass and can be picked up (ID required) during the festival at the Box Office in the Durham Convention Center:

The Green Line offers first admittance to programs and

Online Tickets

The Green Line offers first admittance to programs and

is where the following passholders line up: 20+ Pass,

Tickets that are purchased online are Will Call only

is where the following passholders line up: 20+ Pass,

Filmmaker Pass, Priority Pass, Patron Pass, and First

(ID required) and can be picked up during the festival

Filmmaker Pass, Priority Pass, Patron Pass, and First

Team Pass.

at the Box Office in the Durham Convention Center:

Team Pass.

Wednesday 12:00 – 8:00 pm

The Blue Line seats after the Green Line and is where

Thursday – Sunday 9:00 am – 10:00 pm

ticketholders and the following passholders line up: 15 Pass, 10 Pass, Doc Pass, Fellows Pass, Student Pass,

Box Office Tickets —Limit: 1 ticket per passholder per event

and Press Pass. The Last Minute Line seats after the Green and

—Free for passholders until individual pass ticket limit

Blue lines. Last Minute Tickets can be purchased for any

is reached

remaining seats; availability is not guaranteed.

—Available during the festival at the Box Office, located in the Durham Convention Center: Wednesday 12:00 – 8:00 pm Thursday – Sunday 9:00 am – 10:00 pm

Last Minute Tickets —Limit: 1 ticket per person; first come, first served —Free for passholders —Available in the Last Minute Line of the event’s venue after ticketholders are seated

Thursday – Sunday 9:00 am – 10:00 pm

The Blue Line seats after the Green Line and is where ticketholders and the following passholders line up:

Box Office Tickets

15 Pass, 10 Pass, Doc Pass, Fellows Pass, Student Pass, and Press Pass.

— $15 all films; $10 Sunday encores (no fees) —Limit: 8 tickets per event —Free for passholders —Available during the festival at the Box Office,

The Last Minute Line seats after the Green and Blue lines. Last Minute Tickets can be purchased for any remaining seats; availability is not guaranteed.

located in the Durham Convention Center: Wednesday 12:00 – 8:00 pm Thursday – Sunday 9:00 am – 10:00 pm

Last Minute Tickets — $15 all films; $10 Sunday encores (cash only; no fees) — Limit: 1 ticket per person; first come, first served — Free for passholders — Available in the Last Minute Line of the event’s venue after ticketholders are seated

ple ase note — Full Frame begins seating 30

minutes before showtime. The Last Minute Line

begins seating 15 minutes before showtime. If you

arrive after Last Minute Line sales conclude, your

ticket no longer guarantees a seat. At that time all

remaining seats will be forfeited. Out of respect

for exhibiting filmmakers, we strongly discourage

entrance to theaters after showtime. Passes and

tickets are non-refundable and non-exchangeable.

how things work

Screening Venues

—

venues

events

The Plaza

Thursday, April 4

Corner of Foster and Morgan Streets The ater / capacit y Lo cale Fletcher Hall 1,000

Carolina Theatre / 309 W. Morgan St.

Cinema One

275

Carolina Theatre / 309 W. Morgan St.

Cinema Two

Carolina Theatre / 309 W. Morgan St.

Cinema Three 500

Durham Convention Center / 201 Foster St.

Cinema Four 400

Durham Convention Center / 201 Foster St.

DAC-PSI Theater 200

Durham Arts Council / 120 Morris St.

Outdoor Screenings 400 Durham Central Park / 534 Foster St.

Power Plant 99 Full Frame Theater

American Tobacco Campus / 320 Blackwell St.

NOTE : Food and drinks are not allowed in the DAC-PSI and Full Frame theaters.

thursday – sunday

9:00 am – 9:00 pm

Located at the heart of the festival amidst the Armory, Marriott, Convention Center, and Carolina Theatre, the Plaza features Giorgios Bakatsias’ outdoor café, with grilled Mediterranean specialties, sandwiches and salads. Saladelia Café and Mad Hatter’s Bakeshop will be serving fresh pastries, sweets, on-the-go snacks and specialty coffee drinks. Open morning to night daily, the Plaza is also home to seating lines for Fletcher Hall performances.

Press Lounge Carolina Theatre, Donor Lounge thursday – sunday

9:00 am – 7:00 pm

Champagne Reception Carolina Theatre, Connie Moses Ballroom

6:00 – 7:30 pm Sponsored by SunTrust Bank Hosted by Toast, Wine Authorities, and Harris Beverages’ Stella Artois by invitation

Saturday, April 6 Thursday, April 4

Free Power Plant Screening

Opening Night Party

Chasing Ice

Durham Armory

Full Frame Theater, American Tobacco Campus 6:30 pm

The Carolina Theatre, Convention Center, and Central Park venues

Located on the third floor of the Carolina Theatre, the Press

10:00 pm – Midnight

offer concessions.

Lounge is where members of the press pick up passes,

Hosted by Cafe Parizade and Harris Beverages’ Goose Island

F e s t i va l V e n u e s

Live Music by the Tom Maxwell Trio

A&E IndieFilms Speakeasy

Box Office Durham Convention Center, Meeting Rooms 3 & 4 Wednesday 12:00 – 8:00 pm thursday – sunday 9:00 am – 10:00 pm

The Box Office provides tickets to purchasers and passholders. Tickets are available during Box Office hours until they sell out or 30 minutes before showtime. At that point, tickets may still be available in the Last Minute Line at event venues. The Box Office accepts Visa / Mastercard / American Express / Discover and cash. Will Call tickets are also provided by Box Office staff.

Pass Pick Up Durham Convention Center Wednesday 12:00 – 8:00 pm Thursday – Sunday 9:00 am – 9:00 pm

All passes (excluding Press) are picked up in the Durham Convention Center. Valid ID is required to pick up a pass. In addition to passes, the Convention Center is also where you can find general information, learn more about the event schedule and pass benefits, and find maps and recommendations for local sites and restaurants.

The Melanie Taylor Hospitality Suite Carolina Theatre, Connie Moses Ballroom Thursday 9:00 am – 4:00 pm Friday – Sunday 9:00 am – 7:00 pm

Located on the second floor of the Carolina Theatre, the Hospitality Suite provides refreshments and light fare daily to the following passholders: 20+ Pass, Filmmaker Pass, Priority Pass, Patron Pass, First Team Pass, and Press Pass.

Information Durham Convention Center thursday – sunday

inquire about press availabilities, and contact festival staff.

9:00 am – 9:00 pm

Located in the Durham Convention Center, the Information Desk is where you can receive general information, learn more about the event schedule or pass benefits, and find maps and recommendations for local sites and restaurants. Lost & Found is also located at the Information Desk.

Durham Convention Center, Meeting Rooms 1 & 2 The A&E IndieFilms Speakeasy will host a number of panel conversations during the festival—check the schedule in this Program Book for details. Free and open to the public, capacity of 60, no tickets required. Sponsored by A&E IndieFilms.

Merch

open to the public tickets avail able at box office ($25)

Friday, April 5 Free Power Plant Screening Full Frame Theater, American Tobacco Campus

thursday – sunday 10:00 am – 8:00 pm

6:30 pm

Official Full Frame merchandise is available during the festival in the Durham Convention Center, located between Cinemas 3 and 4, and also in the Box Office during Box Office hours. Visa / Mastercard / American Express / Discover and cash accepted.

free and open to the public

SERVICES ATM An ATM is located in the Marriott’s main lobby. Last Minute Tickets are cash only.

no tickets required

A map of Full Frame venues, participating restaurants, and accommodations can be found in this Program Book, online at fullframefest.org, and at the Information desk.

Parking

free Outdoor screening Durham Central Park

8:30 pm The Cookery Food Truck Roundup starts at 6:00 pm free and open to the public no tickets required

Saturday, April 6 Saturday Night Party

Friday, April 5

West End Wine Bar

10:00 pm – Midnight

free Outdoor screening