2014 Full Frame Documentary Film Festival program by Michelle Benham

Full Frame Documentary Film Festival April 3â&#x20AC;&#x201C;6, 2014

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

full frame documentary film festival

Welcome from Deirdre Haj

Welcome from Wesley Hogan

Staff & Boards

Programming & Selection Committees

Volunteers & Team Staff

sponsors

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

Presenting Duke University Leadership American Tobacco Campus/ Capitol Broadcasting Company, Inc.

Supporting A&E IndieFilms

Sustainer The 2050 Group – Public Relations Agency Beyu Caffe Daniel 13 HBO Documentary Films Indiewire INDY Week KONTEK Systems The Mary Duke Biddle Foundation Myriad Media

The City of Durham

North Carolina Film Office

Durham Convention Center

North Carolina State University

Durham Marriott City Center

West End Wine Bar

North Carolina Arts Council PNC

Associate

Quince Imaging, Inc.

Durham Arts Council Durham Central Park

Benefactor

Durham Parks and Recreation

Carolina Theatre

Fullsteam Brewery

Giorgios Hospitality Group

Greater Durham Chamber of Commerce

National Endowment for the Arts

Old North Durham Inn Bed & Breakfast

Vimeo

The Pit – Durham ROMO*PR

Partner Alizarin Gallery Breakiron Animation & Design Bull City Mobile Counter Culture Coffee Figure 8 Films Freudenberg IT LP (FIT) Google Glass Hartley Film Foundation Julian Price Family Foundation Mad Hatter Bakeshop & Café Merge Records Nicholas School of the Environment Pop’s—A Durham Trattoria

She Calls Me Todd WNCU

Friend 95x Asian/Pacific Studies Institute, Duke University Bruegger’s Bagels Bakery Durham Area Transit Authority Durham Coca-Cola Bottling Company Frontier Communications Guglhupf Bakery Horse & Buggy Press Moe’s Southwest Grill Old Havana Sandwich Shop Ponysaurus Brewing Co.

The Reva and David Logan Foundation

Revolution Restaurant

Saladelia

The Pig

Theo Davis Printing

The Sign Shop of the Triangle

Trailblazer Studios

Total Production Services, Inc.

TROSA, Inc.

Wine Authorities: Independent Wine Shop, Durham Yelp.com

donors

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

full frame donors Executive Producers

$20,000+

Marjorie Yarbrough Burton and Claude Burton Meredith and Eugene Clapp

Wyndham Robertson

Michael Crowell

Directors

Anne and Walter Dellinger

Vandana Dake and John Warasila $10,000 – $19,999

Karen and Dan Berman Mrs. Frank H. Kenan

Leslie Digby and Chuck Pell Ashley and Jeremy Falcone Nita Farahany and Theodore Loder

Writers

$5,000 – $9,999

Jane and Jim Finch

Kathi and Steve Eason

Leslie Fischer and Murat Kaptanoglu

Clay Farland In loving memory of Melanie Taylor

Amanda and Dan Heath

Cavett and Barker French

K.J. Hunt

Joan Gillings Ina Smith Johnson and Thomas P. Johnson, Jr.

Laura and Gerard Hall

Deborah Hylton and E. Leland Webb Sandra and Peter Jacobi Deborah Jakubs and James Roberts

Editors

$500 – $999

Margaretta Belin Deirdre and Joseph Haj Pricey Harrison Hannah and Paul Kirschenfeld Andrew Solt Josh Stein

Production Managers $250 – $499

Linda and Philip Carl Kathy Carter Constance Mahan Jo and Newland Oldham Benjamin Reese, Jr. Mary Jane Rivers Stephen Schewel

Emily Kass and Charles Weinraub

Nancy Kalow and Daniel C. Dektar

Sound Designers

Jennifer Parker and Peter Rosenberg

Tadeusz Kleindienst

Alan Teasley and Andrew Wheeler

Tracy Mancini and Norris Cotton

Walter Burns Karen and Steve Cochran Patricia Daggett Janie French Pamela Green Susan Grindstaff Richard Hibbits Kristin Hondros and Bill Fick Ian Kibbe Emily Klein Valerie Konczal and Kenneth Wetherington Sandra and Ned McClurg Gregor McElvogue Tema Jon Okun and Thomas Stern Sandra Powers Maura Stokes Lynn Whitaker

Producers

$2,500 – $4,999

Deirdre and Richard Arnold Rae Ann and Patrick Baker Lisa and Leon Capetanos Deborah Dean and Thomas Wenger Kerry Dietz and Eva Schocken Fenhagen Family Marion Jervay and Kenton Cobb Kay Jordan and Will Alphin Tom Kenan Lacy Family Fund of Triangle Community Foundation Nancy Lee and Marie Wilson Julie and Mark Morris Michele Pas and Barry Poss Rose and Dean Ritts David Sontag Laura Myers Stabler and Brian Stabler

Cinematographers $1,000 – $2,499

Hannah and Richard Andrews Beverly and Robert Atwood Susan Blackwell Gabriele Bowers Harris

Amyla Lavric Dona McNeill and Tony Scott Barbara and Michael McNulty Joanne Mechling Laurie Millar and Robert Bury Terri Monk and Craig Weldon Mary Mountcastle and James Overton Kim and Phil Phillips Nicole Ranger Caroline and Arthur Rogers Elizabeth and Michael Schoenfeld Joanna and Michael Selim Cosette Serabjit-Singh and Dick Philpot Chloe Seymore and Harrison Haynes Jennifer and Mark Shapiro Bill Shore Trudy and Stuart Smith Mindy and Guy Solie Louisa Warren Patti White and John Sander Julie and Kevin Witte Victoria Wright and Quinn Koontz Krista and Michael Zarzar Joyce and Kenneth Zeitler

$100 – $249

Assistant Directors Janice Lee Bryant Lorna Collingridge Cheryl Drescher Marybeth Dugan Pat Easterbrook George Evans Frank Franz Barbara Konhaus Geistwhite Gloria Hall Jeremy Kaplan Stuart Keeley Joe Keilholz Carmela and Gregg Kemp Pattie Kline Anna Koelsch Sarah Lawson Susan MacPhail Bill Marriott Jonathan Michels Claire Millar Jim Newman Alice Sharpe James Squire Carol Thomson David Uglow Bonnie Wright

$1 – $99

special thanks

F ULL F R A ME A D V OC ATE AWA RD We do not believe a company can meet its business responsibilities without meeting its community responsibilities as well. —Jim Goodmon It is with great pleasure that the Full Frame Documentary Film Festival presents the 2014 Advocate Award to Jim and Michael Goodmon. The Goodmons are the embodiment of truly engaged corporate and personal philanthropy. They are successful businessmen who dream big ideas, overcome all obstacles, and passionately believe, to our area’s great benefit, that if you move the Triangle forward, all boats will rise. Mr. Goodmon’s commitment to our region is legendary: As CEO of Capitol Broadcasting, Chairman of the AJ Fletcher Foundation Board of Directors, Chair Emeritus of Leadership Triangle, and re-inventor of the Durham Bulls, he has led with a vision that supports both business and community, and few people have contributed more to the success of the Full Frame Documentary Film Festival than Jim and his wife, Barbara. Jim Goodmon has lived a full life in the broadcasting industry. He understands and appreciates the power of journalism, communications, and storytelling, and is an unbridled supporter of both Full Frame and the documentary genre as a whole. Michael Goodmon, as vice president of real estate at Capitol Broadcasting, develops and oversees, among other properties, Durham’s American Tobacco Campus (ATC), Full Frame’s home. In the past four years, Michael has single-handedly developed the festival’s ability to screen documentaries for the community at ATC, starting with film screenings in Bay 7 and evolving into a robust yearlong schedule of free documentaries in his creation, the Full Frame Theater. By designing new offices for the festival staff, as well as creating a classroom, gallery, and state-of-the-art theater, Michael did what great philanthropists do: He delivered a strategic benefit to an organization he believes in. The entire space, which is leased by Duke University, offers a unique downtown presence for the university and the festival. The Goodmons believe in the power of documentary to effect change and often host their own screenings in the Full Frame Theater. The Full Frame Documentary Film Festival is enormously grateful to both Jim and Michael for all their years of support, goodwill, and dreams. We look forward to many more years of their guidance and friendship.

t h e m e l anie tayl o r h o sp itali 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.

nt eh wa n dk os cs Companies and Offices 95x: Steve Henson The 2050 Group: Adam Segal A&E IndieFilms: Eu-Hua Chua, Robert DeBitetto, Molly Thompson Alizarin Gallery: Cathy Crumpton, Judy May American Dance Festival: Katie Peeler American Tobacco Campus/Capitol Broadcasting Company, Inc.: Tex Law, John Morris, Valerie Ward Art of Cool: Cicely E. Mitchell, Al Strong

FedEx: Marvin Holcomb, Mike Williams

The Pit: Emily Fausch, Liz Henderson

Figure 8 Films: Bill Hayes, Kami Winningham First Class Valet Parking: Rozell Rogers

PlayMakers Repertory Company: Connie Mahan

Freudenberg IT LP (FIT): Theresa Fernandez, Michael Heuberger

PNC: Jenny Grant, Rebecca Quinn-Wolf, Dorsey Tobias

Frontier Communications: Naquan Banks, Mike Bartelt, Dennis Bloss

Ponysaurus Brewing Co.: Keil Jansen

Full Frame Archive – Duke University Libraries: Kirston Johnson, Naomi Nelson

Quince Imaging: Ryan Crossley

Fullsteam Brewery: Laura Pyatt, Sean Lilly Wilson

Asian/Pacific Studies Institute, Duke University: Tanya Lee

Garrett Scott Documentary Development Grant: Ian Olds, Thom Powers, Rachael Rakes

Beyu Caffe: Dorian Bolden

Gaudio Ltd: Elaine Marsh, Sarah McKew

Beery Media: Nic Beery

Giorgios Hospitality Group: Giorgio Bakatsias, Igor Gacina, Joshua Weaver

Breakiron Animation & Design: Charlie Breakiron, Lisa Breakiron

Google Glass: Kate Kolbert-Hyle, Zach Lash

Bruegger’s Bagels Bakery: Margaret KingBolar

Greater Durham Chamber of Commerce: Adrian Brown, Casey Steinbacher

Bull City Mobile: Elizabeth Edmiston, Tara Fusco, Tim Hambourger, Lindsay Parker

Guglhupf Bakery: Claudia Cooper

Carolina Theatre: Pally Hrncirik, Michelle Irvine, Jared McEntire, Bob Nocek, Carl Wetter City of Durham: Thomas J. Bonfield, Peter Coyle, Sharon DeShazo, Kevin Dick, Michael Lynch, Jina Propst, Joel Reitzer City of Durham Parks and Recreation: Rich Hahn, Laura Nickel, Kyle Swicegood The Cookery and Crews: Becky Cascio, Rochelle Johnson, Chirba Chirba, The Parlour, Pie Pushers Counter Culture Coffee: Nathan Brown Courtyard by Marriott Durham: Carrie Meade The Cupcake Bar: Anna Branly DaisyCakes: Tanya Catolos, Conrad Catolos Daniel 13: Jefferson Holt, Brooke Weston Duke Tower All-Condominium Hotel: Valerie Blettner, Tracey Dissel Duke University: Peter Lange, John Morris, James Roberts, Chris Roby, Michael Schoenfeld, Scott Selig Duke University Box Office: Anne Allen, April Billings, Chuck Catotti, Marcy Edenfield Durham Area Transit Authority: Brandi Beeker Durham Arts Council: Margaret DeMott, Sherry DeVries, Jim Kershaw Durham BPAC: Dale McKeel Durham Central Park: Ann Alexander, Lee Ann Tilley Durham City Council: Mayor William Bell, City Manager Tom Bonfield, Eugene A. Brown, Diane Catotti, Mayor Pro Tempore Cora Cole-McFadden, Eddie Davis, Don Moffitt, Steve Schewel Durham Coca-Cola Bottling Company: Robin Clause, Chris Hess Durham Convention Center: Virginia Ariail, Bosh Bajrakta, Louise LeClaire, Jennifer Noble Durham Convention & Visitors Bureau: Shelly Green Durham Fire Department: Kenneth Crews Durham Marriott City Center: Dennis Edwards, Woochan Kim, Christy Lovette, Jahmed Mills, Sharon Williams Durham Police Department: Cpl. Jonathan Martin

Hartley Film Foundation: Sarah Masters Horse & Buggy Press: Dave Wofford

Pop’s–A Durham Trattoria: Chris Stinnett Raleigh-Durham Airport Authority: Terry Blevins, Warren Creech, Patricia Rossi Raleigh Music Brokerage: Cooper Cannady The Reva and David Logan Foundation: Dan Logan Revolution Restaurant: Jim Anile, Nigel Cox Rise: Tom Ferguson, Brian Wiles ROMO*PR: Roberta Moore Patterson S&H Transportation: Sami Hanna Saladelia/Mad Hatter: Fida Ghanem, Robert Ghanem, Tim Gonzales Scratch Bakery: Karen Caffrey, Phoebe Lawless The Sign Shop of the Triangle: Jackie Broussard, Nicole Rowe

IMDb: Yasmine Hanani

Southern Exhibition Services: Aimee Uhrig

Indiewire: Jason Gonzales, Maureen Kaiser

Theo Davis Printing: Mike Davis

INDY Week: Ruth Gierisch, Susan Harper, Gloria Mock, Lisa Sorg

Thomas S. Kenan Institute for the Arts at the University of North Carolina School of the Arts: Thomas S. Kenan, Lynda Lotich

Ink Printing & Design: Jared Lambert, Margaret McNealy Julian Price Family Foundation: Laura Edwards, Clay Farland, Margaret Griffin, Pricey Harrison Junior Johnson’s Midnight Moon: Sarah LeRoy, Jessie Meador The King’s Daughters Inn: Colin Crossman, Deanna Crossman KONTEK Systems: Frank Konhaus, Billy Morris Loaf: Ron Graff The Mad Popper: Andrea Ginsberg The Mary Duke Biddle Foundation: Mimi O’Brien Measurement, Inc.: Donald Timberlake Mellow Mushroom: Daniel DeBrecht, Casey Fox Merge Records: Mac McCaughan, Spott Philpott Moe’s Southwest Grill: Kevin Rutledge Monuts: Rob Gillespie, Lindsay Moriarty Myriad Media: Marshall Alderman, Ricardo Roberts National Endowment for the Arts: Mary Smith Nicholas School of the Environment: Bill Chameides, Anita Ransom, Donna Sell Ninth Street Bakery: Ari Berenbaum North Carolina Arts Council: Jeff Pettus North Carolina Central University: Deirdre Guion, Stephanie Smith, The MBA Students, Marketing Seminar Class North Carolina Film Office: Cheryl Mauro, Aaron Syrett North Carolina State University: Devin Orgeron Old Havana Sandwich Shop: Roberto Copa Matos, Elizabeth Turnbull Old North Durham Inn: Debbie Vickery, Jim Vickery The Pig: Sam Suchoff

Toast: Kelli Cotter, Billy Cotter Total Production Services, Inc.: Rick Bryda Trailblazer Studios: Tom Waring, Leah Welsh Triangle Rent A Car: Tamara Baxter, Mike Erexson TROSA: Ashley Amburgey, Elisha Gahagan, Kevin McDonald UPS: Jimmy Lunsford USPS: Joyce Brown Velasquez Digital Media: Piper Kessler, Meredith Sause, Monique Velasquez Vimeo: Bret Heiman West End Wine Bar: Kevin Eastin Wine Authorities: Craig Heffley WNCU: Uchenna Bulliner WUNC: Christina Dixon Yelp.com: Lauryn Colatuno

Individuals Karen and Dan Berman Suzanne Faulkner Cavett and Barker French Joan Gillings Barbara and Jim Goodmon Michael Goodmon Deirdre Guion Sally Hines and Ron Abramson Betty Kenan Alex Jergensen Tracy Mancini and Norris Cotton Stephen Nemeth Jeff Polish Ben Reese Wyndham Robertson Caroline and Arthur Rogers Cosette Serabjit-Singh and Dick Philpot Jamin Skipper Alan Teasley Jenny Warburg

full fr ame tribute

2014 Full Frame Tribute steve james T went y

years

ago,

thirty-minute

short

intended

for

television

evolved

into a nearly three-hour-long film, and Steve James made documentary history. Hoop Dreams not only won over moviegoers, it went on to receive every major critics prize, including Peabody and Robert F. Kennedy Awards. In the years since, James has made over a dozen documentaries, including Stevie, the acclaimed miniseries The New Americans, The War Tapes, At the Death House Door, No Crossover: The Trial of Allen Iverson for ESPN’s 30 for 30 series, The Interrupters, and most recently, Life Itself, based on the memoir of Roger Ebert. His films have received many honors— two Independent Spirit Awards, an Emmy, a DuPont-Columbia Journalism Award—and numerous festival awards, including ones from the Full Frame Documentary Film Festival. We are extremely proud to celebrate the work of Steve James with our 2014 Full Frame Tribute. Documentary is rooted in the power to connect with other people. If you allow yourself to be still, to get truly quiet, to watch and listen, you might not agree with everything you see and hear in a film, but hopefully you’ll leave the theater with a deeper, maybe even a completely new, understanding of the people who’ve let you in on their lives. Steve James is a filmmaker who invites me, encourages me, to listen. James is going to prioritize honesty, even if that means not shying away from conversations that get tough and sticky. He’s navigated rocky terrain over the last few decades: race and poverty, personal relationships and cycles of abuse, communities consumed by violence. James has proven he’s not one to sweep the untidy bits aside or gloss over complications; he knows intuitively that’s where the crux of a story lies. James has a grounded sort of warmth, a candor that inclines one to share. We see that spirit in action when we look at the people he’s introduced us to through his films. They are some of the greatest documentary subjects of all time—Ameena Matthews, Reverend Carroll Pickett, Arthur Agee, Jr., William Gates. Their trust in James made it possible for him to capture them in moments of torment and triumph alike. James’s films are not passing introductions; he is in no hurry to distill a story down to a simple conclusion. These are documentaries that settle in for the long haul—Hoop Dreams and Stevie each took seven years to make. They pledge patience. More often than not, that means watching a movie that is a few hours long, which seems a worthy exchange for years of coverage. James gets quiet and listens, and he asks that we take the time to listen as well. As part of our Tribute to Steve James, Full Frame is proud to showcase a selection of his films: At the Death House Door, Hoop Dreams, The Interrupters, A Place Called Pluto, Reel Paradise, and Stevie. We’ll also feature a panel conversation around the twentieth anniversary of Hoop Dreams that explores the legacy of this landmark film. We’re thrilled that several of the men and women portrayed in these works, along with a number of James’s key collaborators over the years, are here to take part in the celebration. In the following interview, Steve James talks with Tory Jeffay, digital arts and publishing intern at the Center for Documentary Studies at Duke University and one of the editors of this year’s Full Frame program, about gaining trust and access, navigating on- and off-camera relationships, and the origins and impact of his body of work.

Sadie Tillery

Director of Programming, Full Frame Documentary Film Festival

steve james

Tory jeffay The film you’re probably still most known for is your first film, Hoop Dreams. What was the genesis of that initial film? How did you find the characters, Arthur and William? Steve James Well, it was serendipitous. I had just moved to Chicago, which has such a rich history of basketball, and I knew I wanted to make a film about what basketball means in African American culture. I grew up playing it, and it dawned on me when I was thinking about the film that something I had observed in my own basketballplaying career was that the game occupies a deeper and more resonant place in African American culture— a more central and important place. So the original idea was to get at what basketball means by looking at it through a single court in the city that had young dreamers like Arthur and William playing on it, and by talking

I’m sure people are glad that it ended up being the threehour epic it is. You talk about your films, at least films like Hoop Dreams and Stevie, as longitudinal, where you follow the characters for a sustained time. Were there other filmmakers out there making these types of films? Have you seen more filmmakers start making these films after the success of Hoop Dreams?

to former players who had had some success but never

An early inspiration for me was Michael Apted’s 28 Up.

made it to the NBA, maybe even a player in the NBA

I was blown away by it, by the sheer ambition of it,

who had come off of that playground. We were only going to make a half-hour film—shoot

by getting to see these people grow up literally before the cameras. I think that was something that came

for four weeks at most and have the whole thing done

back to me once we started with Hoop Dreams. In Hoop

in six months. Clearly that didn’t work out. We were

Dreams, we caught these kids at an age where they were

searching for a playground with this really interesting

going through remarkable physical changes, and of

guy Earl Smith, going around looking at courts. He

course, there were all sorts of remarkable changes going

noticed Arthur, and he was very taken with his potential.

on in their lives. While Hoop Dreams didn’t start this

And it’s a testament to Earl’s eye that here we were, me

idea at all, I do think that it was extremely rare then for

and my fellow producer Frederick Marx and producer/

people to follow stories over extended periods of time.

cinematographer Peter Gilbert, all of whom had played

I think that Hoop Dreams may have inspired some

quite a bit of basketball, and we were like, “Who?

filmmakers who wanted to do something similar, but

Which one?” We did not see what he saw. Earl really

I also think technology played a big role. Video made

zeroed in on Arthur—he said, “He’s young, but I can see

it much more practical and possible to even conceive

his potential.” And there’s that line in the movie when

of doing that film. When Hoop Dreams came out much

he says, “You know, I’ll bet you a steak dinner that

was made in the press about how we had shot 250 hours

in four years you’ll be hearing about him.” We were

of material. It was like, “Oh my god, I can’t believe you

fascinated with this process, which was what Earl did,

shot . . . oh my god, 250 hours!” You know, today that

so we latched onto that and thought this is interesting,

would be . . . “Eh, no big deal.”

we should start filming right now. And so almost

Hoop Dreams might be the first film originated on

immediately the idea of just focusing on a single

video that was released in theaters. When we were

playground was jettisoned in favor of following a kid

making it, I never in a million years thought a film like

like Arthur, who was, when we met him, leaving his

that could be in theaters, if for no other reason than

inner-city playground to try to make his dream come

that it wasn’t shot on film. Every documentary, the few

true at a suburban Catholic powerhouse basketball

that would come out every year, were always on film.

program. And we were on our way to the kind of epic

That used to be the tradition in documentary filmmak-

endeavor that Hoop Dreams became. We filmed for four

ing—it was filmmaking. And it was not cheap.

and a half years, almost five. And it took us seven and

I think the other thing that is so appealing about

a half years, ultimately, to make a film that ended up

following stories over time is regardless of what the

being almost three hours long.

story is, you get a sweep in the history of someone’s life

full fr ame tribute

and opportunities for genuine drama that are impos-

I would go visit him and make a short film about the

sible to capture if you just go in and shoot for a short

experience, incorporating my diary entries from when

period of time, no matter how dramatic the person’s life

I was his Big Brother. When I left Illinois he was fourteen

is. Shooting over time allows for genuine, real, deeper,

years old; when I came back, he was twenty-four. That’s

and I think, more compelling storytelling. And that’s at

a big difference. I talked to Stevie about making this film,

the heart of it. You’re not doing an issue-oriented film;

and he was agreeable. And things sounded pretty good

what you’re doing is telling someone’s story.

for him; I didn’t go down expecting anything particularly dramatic to be happening in his life. I knew I was going

After Hoop Dreams you directed a couple of fiction films.

to be narrating the film, but I had no intention of being

Were you thinking of making the transition into fiction

on-screen. So I go down there, and Peter was going to

filmmaking?

film it. Peter said, “You haven’t seen Stevie in ten years;

I started out wanting to be a fiction filmmaker. I really

was like, “Look, let’s just do it. And then you don’t have

fell in love with movies, with the work of Stanley

to use it, but you have it.”

I think I should film you seeing him.” I wasn’t sure, but he

Kubrick and Arthur Penn and Jean Renoir and Alfred Hitchcock. But I had come to it from more of a journalis-

I still had it in my mind that I wouldn’t be in the movie, but then things changed. Peter and I had taken a hiatus

tic background. As an undergraduate I had done

from shooting Stevie to make the film Prefontaine,

a communications major and had worked at the public

and I came back determined to get back to documentary.

radio station affiliated with the university. I think my

When I called up, I found out that Stevie had just been

DNA just has a more journalistic bent. Documentary

arrested and charged with molestation. That was the

combined both those impulses. At least the kind of

moment when the decision about whether I would be

documentaries I wanted to make and have mostly made,

in the film or not became really important.

which is documentaries that are stories. After Hoop Dreams I did get opportunities, more realistic opportu-

I felt like I needed to be in it because there was this ethical and moral complexity to the situation: I was both

nities, to pursue narrative filmmaking. It just so hap-

in his life and filming him in the midst of this tragic turn.

pens that the three films that I made after Hoop Dreams

But I wrestled with that decision. Ultimately, I felt that

were sports biopics. I enjoyed making them, but I never

there was no other way for the film to take account

got the chance to make a movie that was like the movies

of that without me being in front of the camera in some

I fell in love with. I would still like to do a narrative film that I felt really

fashion, hopefully in a critical fashion. In other words, I had to treat myself—even though I’m the director and

proud of, but I no longer have a burning desire to make

control what goes into the movie—with the same honesty

them, and that’s in part because I really love documen-

with which I treated other people in the film.

tary. When I was working on narratives, I really missed

And so I succeeded to the point that a lot of people

the intimacy of documentary filmmaking.

who’ve watched the movie really hate me [laughs]. They

Your next film, Stevie, provides about as much intimacy

made this movie, and I really dislike you. But up until

think, yes, you did exploit Stevie: You should never have as you could ask for. You narrate Hoop Dreams, we

a couple years ago I also received emails sent to the

hear your voice, but we don’t ever see you on the screen.

general Kartemquin address from people who had seen

In Stevie, you’re frequently in front of the camera.

the movie, and they would talk a little bit about the film

How big a decision was it for you to put yourself in the

but then they would talk about their own “Stevie.”

film, involve yourself in the story? I didn’t start out wanting to be in the film. Peter Gilbert, who also worked with me on Hoop Dreams, and I were headed to southern Illinois for various functions related to the film. I hadn’t been there in ten years. When I was in grad school at Southern Illinois University, Stevie was my Little Brother, but I had had very minimal contact with him in those intervening years. A few letters back and forth. So I had this idea that while I was down there,

I’m proud of having done the film despite all the misgivings I and other people had. Stevie is without question the most honest film I’ve made, and that may seem funny to say because I make documentaries—you’d probably say, well, I hope they’re all honest. And they are. All of the films are honest, I attest, but there are degrees of honesty in everything. I feel with Stevie I reached for a level of candor in relation to the people I was filming, and in relation to myself, that I have not matched before or since.

steve james

that whatever I think I know is completely shallow and facile compared to what the people who live in that community know. I’m there to learn, and I think spending the time there is important. If you spend a couple of weeks or a month, or even sometimes many months, you will have one idea of what that community is and who the people you’re filming are. But if you spend more time there, and you do it in an open way, then I think you begin to understand some things. Being an outsider can actually serve your film because everything is new to you. Stevie happened because you knew Stevie personally,

On the Criterion Collection DVD of Hoop Dreams,

but in most of your other films, you enter worlds that

when the scene comes up where the lights were turned

you most likely wouldn’t have access to if you weren’t

off in his home, Arthur says something in the commen-

there as filmmaker. How do you think about and negoti-

tary track like, “I don’t know that I would have filmed

ate your role as an outsider in these situations?

that if it’d been up to me, because it’s not that unusual for that to happen to people in my neighborhood.” And

Let me start with a little preamble about the difference

he’s right. It happens all too frequently. But what makes

between being an insider filmmaker and an outsider

that scene distinctive, and why it’s so important to the

filmmaker, because I think we don’t have enough films

film that we made, is to us it wasn’t normal. It struck

being made by insiders, particularly in communities

us as really awful. Which it is. Just because you’ve made

of color. There just are not enough filmmakers of color

your peace with something that happens a lot in your

telling their own stories, telling the stories of their com-

community, that doesn’t make it less awful, and it had

munities. It’s a travesty, frankly. I think it’s better in doc-

never happened to them, which made it all the more sig-

umentary than it is in any other part of the film business,

nificant. So we felt that was something that needed to

without question, but we still don’t have enough voices.

be in the film. That’s a small example, but it does show

So I think when you’re an insider in a situation, you

how, as an outsider, you might have a tendency to look

bring a history to the telling of a story that an outsider

at things with fresher eyes.

cannot appreciate. And it’s a perspective that, no matter how sensitive he or she is, an outsider cannot fully cap-

And this is important: I always work with a small crew; there’s usually just three of us. My collaborators are

ture. Which is why I think Spike Lee’s Do the Right Thing,

incredibly talented, outgoing yet sensitive people. Dana

for instance, is a great film, because he comes to it from

Kupper, who has shot several of my films going back

the vantage point of an insider telling the story of a com-

to Stevie, is just someone that people feel at ease with.

munity in Brooklyn like the ones he grew up in. But that doesn’t mean that we shouldn’t have out-

Same with Peter, and Adam Singer whom I’ve worked with going back to Hoop Dreams, and Zak Piper, who’s

siders telling stories. I believe that on artistic grounds,

been a producer and sound recordist on the last three

meaning I think that a part of what is appealing to many

films. You have to be a crew that your subjects enjoy

documentary filmmakers, certainly myself, is crossing

being with, or believe me, they will find an excuse for

borders—a desire to step outside of the community that

not having you around!

I live in or grew up in and see the world, and try to do more than just be a tourist in that world, to understand

Do you typically show your subjects a film before

something about that world. I think that’s a big part

it’s released or involve them in the editing process in

of what drives many documentary filmmakers to push

any way?

themselves outside the comfort zone of what they know and to make the artistic experience one that’s an act of

At Kartemquin Films, where I’ve done most all my

discovery. I think that’s something we should proclaim

documentaries starting with Hoop Dreams, we feel very

loudly and proudly. But then, that also raises questions

strongly that the key subjects of a film should see it

of how to enter communities in ways that are sensitive

before it’s done. It’s a promise I make to them. I don’t

to the fact that you are an outsider.

make it to everybody because I don’t think everybody

My approach has always been to go into a situation and make it very clear that I don’t know anything, or

deserves that gesture. Either at the beginning or early on in the process I say: Look, you’re going to get a chance

full fr ame tribute

to see this movie before it’s done—and I’m not talking about showing it to you right as it’s done and then saying there’s nothing we can do if you don’t like it. You’re going to get to see it before it’s finished, but you have to understand, I’m not giving you editorial control in any form. What I am promising you is that I will listen to what you have to say and take it very seriously. Good, bad, I will address it in some way. Maybe I will say I can’t change that, but I will explain why. If I think there’s a way for the film to be changed but still express what I want it to express, and it is more true to what you think or felt, then I will try to find a solution.

phones by our beds, and we’d be kicking ourselves.

Sometimes the process goes very smoothly and

I mean there were all kinds of things that went wrong

subjects have little they want to discuss. Other times,

early on, but I think what happens, as you go along and

it can get pretty testy: say, when the portrayal of a sub-

you develop more of a rapport and a trust, is that things

ject has some warts to it. The most extensive vetting

just start to click. With just about every film I’ve done,

I’ve done happened with John and Janet Pierson

the best stuff starts happening about halfway through

on Reel Paradise. They are both extremely sophisti-

the process because you’re in a different place than you

cated film people, and so they looked at the film from

were in the beginning.

both a deeply personal place and a professional one in discussing it with me. That was a unique experience.

Ameena, this dynamo of a person, wasn’t sure she wanted to be in the film, and for a long time she held

But every film I’ve done has become better as a result

back. We’d done one interview with her that was great,

of these discussions. I think that during filming people

and we’d captured one mediation in the streets that

are more relaxed about what they say: and what they

was great. And then she decided, well, you don’t need

do, because they know that the opportunity to talk

anymore; you’ve got it. And we were like, “You don’t

about things is going to happen down the road. Because

understand, no, no. We’re telling your story, and we’re

what I’m saying is, I’m not hiding anything, I don’t have

doing this for a year.” She just didn’t get it. She wouldn’t

some other agenda. It’s a trust-building thing. Paradox-

return our calls, and she wouldn’t pick up once she

ically, though it’s not really paradoxical at all, I’ve found

knew it was my phone. The first time Alex called she

that the more subjects feel some measure of control in

picked up, but then she didn’t pick up the next time he

this process, the more they open up and actually share

called. She wasn’t going to be fooled again. And it was

the real thing of their lives. It’s when people don’t at

tough. Then at a certain point, because her husband had

base really trust you that they’re not going to share.

played basketball and loved Hoop Dreams, she says to me, “Okay, Steve, I need to see Hoop Dreams. And what

As you’re working with these subjects—I’m thinking

else you got? Just give me some of your films. I need to

specifically of The Interrupters now—how do you

see some of this stuff.” And she told Alex to give her one

know when to show up? I imagine there were things

or two of his books. She called me up on a Monday and

you wanted to film that you didn’t manage to get.

said, “Okay, I watched all these films over the weekend.”

Yeah, you always miss stuff. The arc of the shooting process across all the films I’ve done, almost without exception, has been to feel like I’m missing all this hugely important stuff early on because I haven’t found the rhythm with the story or the people. With The Interrupters, it was hard because my creative partner and producer Alex Kotlowitz and I were on call. The “interrupters” themselves were on call, and we were next—if they chose to call us. Sometimes they

I said, “All of them?” And she goes, “Yeah, I watched them all. I get it now. I get it, what you guys are trying to do. I see now why you want more, but also I see what it is that you care about, the stories you want to tell.” So many of your documentaries have been made with Kartemquin Films. What does that collaboration look like? Gordon Quinn and Kartemquin quite literally took us

didn’t, and we’d find out about it later, and we’d be

non-experienced filmmakers under their wing with

like, “That would’ve been fine! Why didn’t you call us?”

Hoop Dreams. We had no track record, and generated

Or sometimes they would call, and we didn’t have our

no money for several years: We quite simply could not

steve james

have made the film without them. Gordon didn’t just

I can’t end without asking about the Roger Ebert film.

bring Peter into the project, which led to Peter and

You organized a crowdfunding campaign to make it,

I working together on several other films over the

and CNN is on board. When the film premiered at

years, he also served as a true creative executive pro-

Sundance, you streamed it live to your supporters.

ducer on Hoop Dreams. He spent many hours conduct-

You’ve done a lot of community outreach and program-

ing a master class on documentary editing when we

ming for your other films. Do you see this as an evolu-

really needed the help. It’s a role he has continued to

tion in how documentaries make it out into the world?

play in virtually all my films, along with sometimes acting as cinematographer and producer as well.

I think increasingly crowdsourcing will be a component,

Kartemquin is a unique cultural institution in Chicago,

and in some cases it’ll be the only way that some films

and it continues to nurture new filmmakers, and help

get made. It’s not a practical way to fund most films,

old ones like me, in myriad ways both practical and

certainly not films that can’t be done really inexpen-

creative. They’ve been instrumental to my success,

sively, because it’s hard work. But while it is hard work,

so I’ll keep coming back as long as they’ll have me.

I think what it does is two things: It gives filmmakers more autonomy in terms of making the films they want

In a way there are definite themes in your films—sports,

to make because they’re not as beholden to private

social justice, Chicago—but there’s also a lot of variety.

funders or broadcasters who may have demands.

Is there something specific that attracts you to a story?

And it is also a great way to build a community for your film because you’re getting people to invest, not just

I think there are certain things that continue to crop

financially, in what you’re doing. They have a stake

up in each of the films, primarily because I’m very inter-

in seeing what becomes of a film, and they have the

ested in individual lives that ultimately have something

sense of having helped.

larger to say. I’m interested in looking at people’s lives

In that regard, that’s what we’re doing with the

closely and intimately, but I find that the lives that fas-

Ebert film. We see it as a way to build community,

cinate me the most, or rather the stories that fascinate

which is so totally in keeping with who Roger Ebert

me the most, have real resonance on a larger level.

was. He really was proud of being in Chicago, but he

With Hoop Dreams these two boys want to chase

wasn’t just Chicago’s critic. He was a national critic

the dream of basketball, but it’s ultimately a story

and had a very populist view of film. When he could

about the elusiveness of the American Dream if you’re

no longer speak, when the Internet became his voice,

poor and black. Stevie started out as a portrait of the

he reinvented himself there, and we’re all the better

kid to whom I was once a Big Brother, but it ended up

for it. So this idea of streaming the film and doing

being, for me, a film that at its heart is about what we

a crowdsourced funding campaign seems in keeping

do with the people who are thrown away by society.

with the way Roger engaged with the public and with

What is our responsibility to them?

film.

I’m not a polemical person, and I try not to make films that are polemical because I don’t think that’s

Does it feel like you’ve come full circle to be making

who I am, or how the world works—I don’t believe

a film about someone who was such a champion of

it’s the way to reach people. I’ve been thrilled by the

your first film, Hoop Dreams?

tremendous impact that The Interrupters has had beyond anything I would have imagined, and I think

Yes, I mean it’s such a sort of poetic turn of events

that’s in part because we don’t pull any punches about

for me. Like you said, there was no greater champion

what it’s like to live in a besieged community. But it’s

of Hoop Dreams than Roger. So when the opportunity

not a polemic about violence. In fact some people watch

came along to make this film, I leaped at it. The idea

the film and want that. They’ll stand up at a Q&A and

that this is the twentieth anniversary of Hoop Dreams

ask, where’s the trenchant analysis? In a film like The

coming out and to have this film about Roger . . .

Interrupters, you hear what Eddy has to say, and what

well, it couldn’t be better. I just wish he were here

Cobe has to say, and especially what Ameena has to

with us still, for everyone who followed him and read

say. You get the analysis, but it may not be delivered

him and cared about him—and selfishly, so he could

in a way people are used to seeing and sometimes want

see the film.

to see it. But it’s there.

full fr ame tribute

At the Death House Door

Hoop Dreams

For fifteen years Carroll Pickett served as death house chaplain to the “Walls” prison unit in Huntsville, Texas. There he presided over ninety-five executions, including the first lethal injection to take place anywhere in the world. After each execution, Pickett would make an audiotape documenting his time spent with the victim and the distress he felt over his own role in the death chamber. He was particularly affected by the execution of Carlos de Luna, whom he firmly believed to be innocent; evidence later turned up by two reporters from the Chicago Tribune suggests he was correct. A stirring montage of photographs, sound, and raw emotion, the film offers a daring and original commentary on the death penalty. ST

Steve James’s landmark documentary follows the early careers of Arthur Agee, Jr., and William Gates, two black teenagers from inner-city Chicago who are recruited to play for the renowned basketball team at St. Joseph’s, a predominantly white suburban prep school. Shot over the course of five years, Hoop Dreams follows Arthur and William through high school and into their freshman year in college as they cling to their hopes for the future despite mounting odds. In its unflinching portrait of inner-city life, Hoop Dreams is as much a social commentary on class privilege and race division as it is a film about basketball and presents the audience with a lasting deconstruction of the American Dream. ST

Filmmaker Q&A following screening 2008 / US / 96 minutes Directors: Steve James, Peter Gilbert

Full Frame is proud to feature a newly restored digital master of Hoop Dreams, a restoration representing the collaborative effort of Sundance Institute, UCLA Film & Television Archive, the Academy Film Archive, and Kartemquin Films.

Producers: Peter Gilbert, Steve James

Filmmaker Q&A following screening

Executive Producers: Debbie DeMontreux, Christine Lubrano, Gordon Quinn, Evan Shapiro, Alison Bourke

1994 / US / 171 minutes

Co-Producers: Zac Piper, Aaron Wickenden

Director: Steve James

Editors: Steve James, Aaron Wickenden

Producers: Peter Gilbert, Steve James, Frederick Marx

Cinematographer: Peter Gilbert K a r t em q uin Tim Horsburgh 1901 W. Wellington Avenue Chicago, IL 60657 773.472.4366 Tim@kartemquin.com

Executive Producers: Gordon Quinn, Catherine Allen Co-Producer: Gordon Quinn Editors: William Haugse, Steve James, Frederick Marx Cinematographer: Peter Gilbert K a r t em q uin Tim Horsburgh

Friday, April 4 — 10:30 am

1901 W. Wellington Avenue Chicago, IL 60657 773.472.4366 Tim@kartemquin.com

cinem a 1

Friday, April 4 — 1:00 pm Cinem a 2

Saturday, April 5 — 2:50 pm Cinem a 2

s tneevwe dj a om cs es

Hoop Dreams at 20

The Interrupters

Join us for a conversation celebrating the twentieth anniversary of Hoop Dreams. Producer/director Steve James, producer and cinematographer Peter Gilbert, subjects Sheila Agee and Arthur Agee, Jr., and others instrumental in the film’s production will all be present to offer exclusive insider commentary. A variety of never-before-seen outtakes and clips from other projects attached to Hoop Dreams will complement behind-the-scenes stories and discussion. The program will also feature a screening of Journeyman, a new narrative short film directed by Leo Gilbert about an aging pro basketball player who must weigh his desire to continue playing abroad with his responsibilities to his young son. Journeyman stars Arthur Agee, Jr., and was shot by Leo’s father, Peter Gilbert, bringing Hoop Dreams’ connections full circle. This special conversation around the landmark documentary is not to be missed.

Chicago’s controversial CeaseFire organization aims to stop the spread of inner-city violence by sending its members directly onto the streets and into the fray. Steve James and journalist Alex Kotlowitz spent a year filming with the group and following three of its “interrupters,” Ameena, Eddie, and Cobe, as they intervened in volatile, threatening situations. The interrupters draw on lessons learned from their own complicated and troubled pasts to gain access and credibility with members of Chicago’s gang and drug communities, in the process establishing close friendships and offering alternatives to violence to those with little hope of a way out. The Interrupters is a powerful, thoughtful, and head-on look at a domestic war zone and its war heroes. The subjects and the filmmaking are equally inspiring and fearless. TM

Filmmaker Q&A following screening 2011 / US / 125 minutes

120 minutes Director: Steve James

Saturday, April 5 — 10:00 am DAC / P SI Theater

Producers: Alex Kotlowitz, Steve James Executive Producers: Gordon Quinn, Justine Nagan, Teddy Leifer, Paul Taylor, David Fanning, Mike Sullivan Co-Producer: Zac Piper Editors: Steve James, Aaron Wickenden Cinematographer: Steve James K a r t em q uin Tim Horsburgh 1901 W. Wellington Avenue Chicago, IL 60657 773.472.4366 Tim@kartemquin.com

Saturday, April 5 — 7:00 pm DAC / P SI Theater

full fr ame tribute

A Place Called Pluto

Reel Paradise

This new short film, part of David Shenk’s Living with Alzheimer’s project, introduces us to longtime Cape Cod resident Greg O’Brien, a reporter and newspaperman who loves the grit and rigor involved in sleuthing out a great story. O’Brien has been diagnosed with earlyonset Alzheimer’s disease. He refuses to abandon the fulfilling work he’s dedicated his life to, and so with the support of his family, he grapples with the disease by throwing himself into his writing and starts work on a book detailing his personal experiences and frustrations. In refusing to hide his illness or relinquish his hope, O’Brien courageously leans forward into the future with inspiring dignity and determination. ST

Janet and John Pierson met in the 1980s while working at New York’s Film Forum, got married, and proceeded to make quite an impact on American independent film as early supporters of filmmakers Spike Lee and Kevin Smith. John had a prolific run as a financier and producer’s rep in the 1990s, which he wrote about in his book, Spike, Mike, Slackers, & Dykes. In 2002, he jumped at the opportunity to program a year of free screenings at the world’s most remote movie theater, the 180 Meridian Cinema, a 288-seat house in Taveuni, Fiji. After living in Fiji along with their two teenagers for nearly a year, the Piersons invited Steve James to document the final month of this unusual endeavor. What emerges is a portrait of insiders and outsiders, misunderstanding and affinities, in two different cultures and within the family itself. Reel Paradise follows the ripple effects of a bold experiment based in the belief that movies can cross all divides. ST

Filmmaker Q&A following screening 2013 / US / 10 minutes Director: Steve James Producers : Steve James, Adam Singer Editor: Katerina Simic Cinematographer: P.H. O’Brien C r o w d s ta r t e r

Liz Ogilvie

646.206.7913 liz@crowdstarter.com

Filmmaker Q&A following screening 2005 / US / 110 minutes Director: Steve James Producers: Steve James, Scott Mosier Executive Producers: Janet Pierson, John Pierson, Kevin Smith

Friday, April 4 — 10:30 am cinem a 1

Co-Producer: P.H. O’Brien Editor: Steve James Cinematographer: P.H. O’Brien K a r t em q uin Tim Horsburgh 1901 W. Wellington Avenue Chicago, IL 60657 773.472.4366 Tim@kartemquin.com

Friday, April 4 — 4:50 pm DAC / P SI Theater

steve james

Stevie While a graduate student in Illinois, Steve James volunteered as Advocate Big Brother to teenager Stevie Fielding. Though they had lost touch, ten years later Steve returns to check in on his young friend and finds him at a turbulent crossroads in his life. Stevie has been charged with molesting a young family member, an accusation that has amplified the discord that already exists among his extended family. Reentering his life as both a filmmaker and a friend, Steve hopes to be a supportive figure to Stevie as he navigates these difficult circumstances. Steve wrestles with this complicated role without shying away from the divergent, sometimes volatile, responses of all involved. In the process, weâ&#x20AC;&#x2122;re introduced to a complicated young man who resists efforts to help him and the cycles of abuse and neglect that have led to life as he knows it. Provocative and wrenching, Stevie sheds light on the moral perils of documentary filmmaking. ST

Filmmaker Q&A following screening 2002 / US / 140 minutes Director: Steve James Producers: Steve James, Adam D. Singer, Gordon Quinn Executive Producers: Robert May, Gordon Quinn Editors: Steve James, Bill Haugse Cinematographers: Dana Kupper, Gordon Quinn, Peter Gilbert K a r t em q uin Tim Horsburgh 1901 W. Wellington Avenue Chicago, IL 60657 773.472.4366 Tim@kartemquin.com

Thursday, April 3 â&#x20AC;&#x201D; 12:30 pm DAC / P SI Theater

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

Approaches to Character LU C Y walker Each year, Full Frame invites a filmmaker to program a series around a chosen theme. This guest curator has free rein to draw from films that range across styles, that span eras, that vary in tone and tenor. When we decided that our 2014 Thematic Program would focus on the role of the subject in documentary film, we immediately thought of filmmaker Lucy Walker. From Waste Land to The Crash Reel, Walker’s own films have featured characters whose memorable personalities and personal journeys serve as the pulse of the narrative. In each of the twelve films Lucy ultimately compiled, we come to know the subjects through a range of highly diverse, highly effective techniques. The characters in these films are unforgettable, yes, but equally remarkable is the creativity employed in the filmmakers’ divergent approaches. In the following interview, Lucy Walker spoke with Emma Miller, Full Frame’s programming coordinator, about her film selections.

approaches to character

EMMA MILLER You were invited to select a series of character-driven documentaries for this year’s Thematic Program. How did you go about that process? LUCY WALKER Ultimately, I turned to characters that had stayed with me. It was tough because there are so many. For me, the most memorable characters have this gift of opening themselves up in front of the camera and possess the courage to share honestly. It’s hard to generalize about what’s memorable about a character, but I think

I don’t think there is a hierarchy of technique in these

in all the films I’ve chosen, there’s a kind of a dance

films, but I do find the diversity of technique really

of construction between the filmmaker and the sub-

inspiring. I think all the films I’ve chosen are really

ject, the character of the filmmaker and the character

successful examples of a filmmaker innovating a tech-

of the subject. These are films that ultimately give

nique that best optimizes character revelation. With

us a vantage point that’s incredibly interesting and

documentary, a lot of it is being flexible enough to play

therefore super memorable.

to the strengths of the material and find the best tech-

I’m drawn to films that give you a better idea of what a person is like: what their world is like, what their life is like—how life is playing out for them.

nique to tell the individual story. All of these filmmakers succeed in that regard. I believe the more weapons we have in our arsenal

For each of these documentaries, the filmmaking

as documentarians—the more tools that we have in

techniques and the approach to subject are so well

our toolbox—the better stories we can tell when we

chosen and executed that you really get to know

meet different characters or enter different worlds.

the people in them. I feel like that’s one definition

We can bring the best tools to bear on a particular

of my job as a filmmaker: If you’re watching my films,

situation. I think the diversity of approach in these

I want you to feel like you’re getting to know some-

films inspires me not to get stuck in a kind of stylistic

body. I want you to be learning what it’s like to walk

rut, to challenge myself to always be aware of how to

in somebody else’s shoes.

do things differently. Each one of these documentaries

While I was curating this slate of incredible films, I also thought that this was a fantastic opportunity to see things that we rarely get to see on the big

is a deeply engaged and engaging example of how to present characters or tell a story. In The Five Obstructions, we come to understand

screen—to dust off some gems. So there’s a sort of

the subjects through their creative challenges and

selfish imperative here, which is that the films I picked

filmmaking work. In Creature Comforts, man-on-the-

were ones that I wanted to see on the big screen.

street interviews have been animated, so what you’re seeing is heavily intermediated. In The Kid Stays in the

One thing that strikes me about the films you’ve

Picture, the filmmakers excerpt passages from Robert

chosen is that each one has a very different approach

Evans’s autobiography and have him read them aloud,

to character. The Arbor employs this very unusual

and they animate still photographs, which are great

technique of having actors lip-synch to documentary

examples of how filmmakers invent techniques to

audio recordings. Portrait of Jason provides very con-

take of advantage of the materials available to them.

structed access: gay hustler Jason Holliday sits in front

In On the Bowery, director Lionel Rogosin creates

of the camera talking for hours straight about his life.

a loose script based on the lives of the men he meets

Hôtel Terminus is primarily made up of interviews

on New York’s Skid Row.

with people who knew Klaus Barbie or whose lives

I wanted to represent these varied approaches—

Barbie had affected. Were you intentionally choosing

I love to see a plethora of different techniques. I love

films that were stylistically different? And do you

documentaries that push the envelope, that try new

think one approach is more revealing than another?

things and expand our stylistic palate as nonfiction filmmakers with regard to how to distill the character of a subject.

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

So why do you think each technique works so well with

Pixote to the lineup as an example of a film featuring

each individual subject? You said it’s important for the

child actors essentially playing themselves. And Martin

filmmaker to know what method will be most effective.

Bell’s Streetwise is an amazing example of a documen-

Why do you think with Portrait of Jason, for example,

tary where the vérité is so convincing that it’s hard

the best way to get Jason Holliday to open up about

to believe that a filmmaker was even present when

himself was to have him talk to the camera rather than

the action was unfolding.

taking a more vérité, fly-on-the-wall approach? Are there any other films that you wish you could have Well, I think you could say that Jason is an articulate

included in this series—if you’d had no limitations on

subject. He’s performative; he’s very conscious of how

time or space?

he constructs himself. Also, shooting vérité scenes of his working life might have been difficult since Jason

There are so many absolutely brilliant films that I

is a sex worker; it seems unlikely that his clients would

wanted to program that we just couldn’t fit in, from

have granted access to filmmakers.

Streetwise to Sick: The Life and Death of Bob Flanagan,

Clearly, there are a lot of practical issues to consider

Supermasochist. In the process of assembling films,

when doing documentary work. Questions of access

it’s pretty notable that there was a whole stack of

become a huge consideration in choosing your weapons

fantastic films that were about remarkable filmmakers,

as a storyteller, and those concerns directly shape the

from Hearts of Darkness: A Filmmaker’s Apocalypse

diversity of approach in this lineup.

to Burden of Dreams. And, were they not already being

All these films raise questions about where fiction

featured in Full Frame’s Tribute Program this year,

ends and nonfiction begins. And there are films that

I definitely would have included Steve James’s films

aren’t included here that would have helped to round

as wonderful examples of how memorable characters

out this inquiry. Around the theme of homelessness,

are realized through a director’s vision and choice of

I also could have added Héctor Babenco’s narrative film

approach.

approaches to character

You seem to have created a sort of subgenre within

shared with me, you know? But I don’t judge, because

this collection of films. You have The Five Obstructions,

I think it’s intriguing. It works to a purpose—it’s part

The Kid Stays in the Picture, and Metallica: Some Kind

of Herzog’s style and power.

of Monster. They’re all films about the artist at work and the artist in crisis.

Herzog’s Land of Silence and Darkness, which I’ve chosen for this series, is somewhat different. The characters are these very memorable deaf-blind

Yes.

individuals, and it’s more of an ensemble film than some of the other individual character work that he’s

Do you think there’s something particularly revealing

done. This film is very dear to my heart—I used it as

about the creative process?

part of my research when I was working on my film

Absolutely. In The Five Obstructions, it’s so interesting to watch these two incredible filmmakers, Lars von Trier and Jørgen Leth, pit their wits against each other. We see how constraints can be a friend, not a foe, of a creative process. The filmmakers’ characters are not only revealed through the way they interact with each other, but also through the short films that they produce as part of the series of challenges that von Trier devised. In Metallica: Some Kind of Monster, you learn a lot about the band members as they work on recording an album together and take part in joint therapy

Blindsight—and it’s lesser known compared with many of Herzog’s other works. So some of these choices are just me luxuriating in the opportunity to share and watch these somewhat forgotten titles. This year, we’ll be showing your film Devil’s Playground and your two new shorts, The Lion’s Mouth Opens and David Hockney IN THE NOW (in six minutes). What role do you think the subject plays in your own work? And how do you know when you’ve found an engaging subject?

sessions. So, yes, I think one way to bring out charac-

Well, I would say that finding an engaging subject is

ters, to find out who they are, is through their artwork,

like falling in love. It’s hard to predict, but once you find

through what they produce.

the right person, you fall in love and you’re hooked. For

It’s really interesting, now that you’ve got me talking

me, wanting to make a film often boils down to being

about it, to look at what means filmmakers choose

seized by the question, “What is life like for this person?”

to reveal their characters. I was at a Q&A once after

When the person’s reality is so far away from mine,

a screening of Werner Herzog’s film Wings of Hope,

and I just can’t imagine what life is like for that person,

which is about the survivor of a plane crash. In that

I really want to find out. It’s a simple idea that seems

film, there’s a dream sequence, and I asked Herzog

to work. My film Countdown to Zero is kind of the odd

a question about the dream because it seemed a little—

man out in my filmography because it’s more of a topic-

I don’t know, there just seemed something contrived

driven film, whereas you could characterize the others

about it. I asked him if that was a re-creation of the

by saying they’re about fascinating people in fascinating,

character’s actual dream. And he said, “Oh, no, no,

sometimes inaccessible worlds who are going through

I made that up. I thought that was the kind of dream

some kind of process that has a beginning, middle, and

the character should have.”

end.

And so Herzog, in his attempt to reveal an interior

Devil’s Playground is about Amish teenagers going

reality, will intervene to the point of ascribing certain

through the journey of rumspringa. It’s an ensemble

dreams to the character.

piece, but there’s one prominent character, Faron,

Wow.

of his arc or journey from the beginning when he

and the film is truly organized around the trajectory

Right? I know. That’s a different choice than many filmmakers would take—and it’s interesting in that it really has the power to spark curiosity about the approaches a filmmaker can take in thinking about character. Herzog does his own kind of narration and is arguably the most prominent character in many of his films. Personally, I wouldn’t tell the audience what a character’s dream was if that wasn’t something that she had

turns sixteen, to getting to experiment and mature, to ultimately having to make a decision about what to do with the rest of his life. My new short, The Lion’s Mouth Opens, is about a courageous young woman named Marianna who’s going through this journey to discover whether or not she has the gene for a fatal disease. There’s a clear narrative arc to that story, as there is in my film Blindsight.

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

in Japan and end with the cherry blossom season. So it’s an actual journey from winter to spring, from loss to hope, from destruction to creation. I’m deeply interested in these moments of grace and courage in people. I find it very intriguing and inspiring when you see people going through tough moments and rising to those challenges. I really gravitate towards those kinds of characters. That aspect of character isn’t necessarily reflected in the Thematic Program. I could have done a different program entirely that was about looking at inspiring characters, but I didn’t take it in that direction. Instead I focused on filmmakers’ different ways into the development of character. You’ve talked about how in many of your films, there’s some kind of obstacle or difficulty, and then there’s a process, a journey. When subjects are unforgettable, David Hockney IN THE NOW (in six minutes) is about

do you think what’s so memorable about them is the

the iconic British artist, and his story takes us through

innate power of their personalities, or do you think

his life from the age of thirty to the age of seventy-

it’s that they have a powerful obstacle to overcome

six. The film actually takes a totally different approach

or a journey to go?

than Lion’s Mouth Opens, because that one is all vérité, and David Hockney is all archival, bookended

Oh, that’s a good question. Is it about the circumstances

by a present-day interview. But, again, it follows

of their lives, or is it about who they are already? Gosh,

a compelling character taking us on this journey.

it’s a combination, isn’t it? I think my films have rooted

You see Hockney as a youthful artist painting—he’s

themselves in the strength of subjects who handle

gay, so he’s painting naked men’s backsides. And it

life’s challenges with grace, courage, and perseverance.

takes us from his exuberant youth to his later years,

In The Crash Reel, for example, there were so many ways

where he’s painting nature and reflecting on nature.

to tell that story—so many places to start, and stop—

So you really see the progression from youth to age

but I found great power in Kevin’s ability, ultimately,

with Hockney, and this progression from before and

to accept his injury and face reality as it is. So that’s a lot

after diagnosis with Marianna.

of how I think about characters—I look for subjects who

My film Waste Land is the presentation of a sort

powerfully move me. Other filmmakers may find other

of art project with a beginning, middle, and end that

qualities in their subjects that are personally meaningful.

is organized very chronologically. The Crash Reel is not

I think people find different attributes that resonate.

chronological; we played with the narrative structure.

What I love about the films I’ve selected for this series

We started in the middle with Kevin’s crash and then

is that each filmmaker finds different access points to his

went back to the beginning of the story—but there’s

or her subjects, and through these techniques, we learn

still an inciting incident in the narrative. This young

something about human beings and how they construct

Olympic hopeful—this all-American golden boy—

their identities. We are able to enter these subjects’ lives.

crashes, and then what’s going to happen to him next?

We learn more about how these people live—in the run-

We don’t know, but the film follows him to find out.

ning time of a film—than we ever could if we met them

So despite us playing with chronology, there’s a begin-

in real life. That’s a simple idea that really attracts me.

ning, middle, and end. There’s a real world, and there’s a real character. The Tsunami and the Cherry Blossom is a little bit different, because it’s very much an ensemble. You meet different people along the way, but again, it follows a strict chronology: We start with the tsunami

approaches to character

The Arbor

Creature Comforts

Instead of making a conventional documentary or adapting Dunbar’s play The Arbor for the screen, director Clio Barnard has crafted a truly unique work that transcends genre and defies categorization. Following two years of conducting audio interviews with Dunbar’s family, friends, and neighbors, Barnard filmed actors lip-synching the interviews, flawlessly interpreting every breath, tick, and nuance. The film focuses in particular on the playwright’s troubled relationship with her daughter Lorraine, who was just ten when her mother died. Barnard reintroduces Lorraine to her mother’s play and private letters, prompting her to reflect on the extraordinary parallels between their lives. Interwoven with these interviews are staged scenes of Dunbar’s play filmed on The Arbor, the street where she lived.

This five-minute animated film by Nick Park (of Wallace & Gromit fame) introduces us to a series of zoo animals being interviewed about their lives in captivity. Wonderfully expressive claymation polar bears, turtles, a gorilla, and others offer their reflections to an off-screen interviewer whose microphone maintains a presence in every frame. The animals have their own views, both positive and negative, on serving life sentences behind bars as opposed to experiencing life in the wild. 1989 / UK / 5 minutes Director : Nick Park Producer: Sara Mullock Assistant Producer: Alan Gardner Editor: William Ennals

2010 / UK / 94 minutes

Cinematographers: Andy MacCormack, Fred Reed, David Alex Riddett, David Sproxton

Director: Clio Barnard

A a rd m a n A nim at i o n s

Producer: Tracy O’Riordan

aardman.com

Executive Producer: Michael Morris Editors: Nick Fenton, Daniel Goddard Cinematographer: Ole Birkeland

Thursday, April 3 — 1:10pm Cinem a 1

S t r a n d Rel e a sin g Nathan Faustyn 6140 West Washington Boulevard Culver City, CA 90232 310.836.7500 nathan@strandreleasing.com

Friday, April 4 — 10:00am Cinem a 4

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

David Hockney IN THE NOW (in six minutes) “I live in the now. That’s my philosophy, really. So the past is something you’ll have to dig up.” In this fast-moving tribute to iconic British artist David Hockney, director Lucy Walker accepts Hockney’s challenge, using a present-day interview to bookend home video, archival footage, and dozens of paintings and photographs. In the span of six minutes, we learn of Hockney’s training at the Royal College of Art in London, his move to New York, the evolution of his paintings, and the development of his interest in photography. The result is a snappy portrait of a man determined to live in the now, an artist still producing work with the same enthusiasm and energy of his youth.

Devil’s Playground On the day of their sixteenth birthdays, all Amish children are given free rein to explore the conveniences and temptations of life in the outside “English” world during a crucial period in their lives known as rumspringa. Devil’s Playground offers an unflinching look at the effects of this culture shock on such previously guileless Amish teens. Once exposed to modern technologies like cars and cable television—along with rock concerts and keg parties—these teenagers’ choice is both simple and profoundly difficult. Do they embrace the constraints of the Amish religion and rejoin the church, or do they turn away from their families and community to live on their own in our “modern” society? 2002 / US / 77 minutes Director: Lucy Walker

2013 / US / 6 minutes

Producer: Steven Cantor

Director: Lucy Walker

Co-Producers: Daniel Laikind, Toby Oppenheimer

Producers: Lucy Walker, Sabrina Doyle, Erin Wright

Associate Producers: Carolyn Cantor, Tanaz Eshaghian, Mandy Stein

Editor: Tyler Temple-Higgins Cinematographer: Nick Higgins S a b rin a D oy l e lucywalkerassistant@gmail.com

Executive Producers: Julie Goldman, Sheila Nevins, Caroline Stevens Supervising Producer: Nancy Abraham Editor: Pax Wassermann Cinematographers: Daniel Kern, Lucy Walker

Friday, April 4 — 8:00pm DAC / P SI Theater

S t i c k F i g u re S t u d i o s Paul Listro 134 Charles Street, First Floor New York, NY 10014 212.600.9288 paul.listro@ora.tv

Saturday, April 5 — 4:00pm DAC / P SI Theater

approaches to character

The Five Obstructions (De fem benspænd)

Hôtel Terminus: The Life and Times of Klaus Barbie

With The Five Obstructions, Lars von Trier enters the world of documentary filmmaking alongside his idol, Danish filmmaker Jørgen Leth. In 1967, Leth made a twelve-minute film called The Perfect Human. In the year 2000, von Trier challenged Jørgen Leth to remake his film five times, each time with a new obstruction to force Leth to rethink the story and characters of the original film. Lars von Trier sets a game in motion that is full of traps and vicious turns, hoping each time Leth will fail—but it turns out to have a surprising outcome.

A brilliant and epic Academy Award–winning examination of the Nazi SS officer Klaus Barbie, the infamous “Butcher of Lyon,” Hôtel Terminus: The Life and Times of Klaus Barbie weaves together 40 years of footage and interviews culled from over 120 hours of discussion with former Nazis, American intelligence officers, South American government officials, victims of Nazi atrocities, and witnesses. Barbie, while Gestapo chief in Lyon, tortured and murdered resistance fighters and Jewish men, women, and children, and had thousands deported to death camps. After the war, he was protected by and worked with the U.S. Army and American intelligence officers, and was then allowed to hide in Bolivia, where he lived peacefully for thirty years as a businessman under the moniker Klaus Altmann. Only in 1987 was he brought to trial in a French courtroom in Lyon for crimes against humanity, thanks to the efforts of Serge and Beate Klarsfeld.

2003 / Denmark / 90 minutes Directors: Jørgen Leth, Lars von Trier Producer: Carsten Holst Executive Producers: Peter Aalbæk Jensen, Vibeke Windeløv Co-Executive Producers: Nicole Mora, Gerald Morin, Marc-Henri Wajnberg Editors: Morten Højbjerg, Camilla Skousen Cinematographer: Dan Holmberg

1988 / Germany, France, US / 267 minutes Director: Marcel Ophüls

Kin o Lo rb e r, In c .

Producer: Marcel Ophüls

333 West 39th Street New York, NY 10018

Associate Producer: Bernard Farrel

212.629.6880 contact@kinolorber.com

Executive Producers: Hamilton Fish, John S. Friedman, Peter Kovler

Sunday, April 6 — 1:30pm

Editors: Albert Jurgenson, Catherine Zins Cinematographer: Reuben Aaronson

Cinem a 1 I c a rus F il m s Livia Bloom 32 Court Street, 21st Floor Brooklyn, NY 11201 718.488.8900 livia@icarusfilms.com

Sunday, April 6 — 4:30pm Cinem a 2

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

The Kid Stays in the Picture Robert Evans lived the life that many only dream of. After a glamorous, but short-lived, career as a movie star, Evans decided to try his hand at producing. Miraculously, at the age of thirty-four, with no producing credits to his name, he landed a job as chief of production at Paramount Pictures. Evans ran the studio from 1966 to 1974 and was responsible for bringing some of the greatest films of the era to the screen. But by the early ’80s, the “Golden Boy” of Hollywood was losing his luster and eventually disappeared into near-obscurity. Only through tremendous will and uncanny luck did he once again rise as “the kid who stays in the picture.” Adapted from Mr. Evans’s tell-all autobiography, this film takes audiences on an intimate journey into the mind of a Hollywood legend.

Land of Silence and Darkness (Land des Schweigens und der Dunkelheit)

Directors: Brett Morgen, Nanette Burstein

Fini Straubinger has been deaf and blind since her teens. After years spent limited to the confines of her bed, she embarks on a quest to find ways to communicate with fellow dwellers in the “land of silence and darkness,” a land we learn is actually filled with color and constant noise. Fini interacts with members of the deaf-blind community through a sign language made up of an elaborate series of taps and strokes on each other’s palms, and she attempts to draw those who were born deaf and blind out of their isolation. On field trips to gardens and petting zoos, on an airplane ride and in the shower, director Werner Herzog explores the loneliness, frustration, and ultimate sense of wonder that Fini and other disabled individuals have, raising questions about communication, knowledge, and existence in a sensory world.

Producers: Nanette Burstein, Brett Morgen, Graydon Carter

1971 / Germany / 85 minutes

2002 / US / 93 minutes

Co-Producers: Chris Garrett, Sara Marks, Kate Driver Associate Producer: Christopher J. Keene

Director: Werner Herzog

Editor: Jun Diaz

Producer: Werner Herzog

Cinematographer: John Bailey

Editor: Beate Mainka-Jellinghaus Cinematographer: Jörg Schmidt-Reitwein

F o c us F e at u res 100 Universal City Plaza Universal City, CA 91608

W e rne r He r zo g F il m G MB H Lucki Stipetic

DomesticDistribution@focusfeatures.com

Spiegelgasse 9 Vienna, Austria 1010 +43 1 512 9444 office@wernerherzog.com

Thursday, April 3 — 10:00am Cinem a 4

Sunday, April 6 — 10:00am DAC / P SI Theater

approaches to character

The Lion’s Mouth Opens This short film begins with people gathered around a table at a warm and inviting dinner party. Marianna Palka has invited her close friends over to share a meal before she discovers what the rest of her life may hold. The following day she is scheduled to receive test results that will reveal whether or not she has the genetic marker for Huntington’s disease. Marianna’s father suffered and eventually died from the ruthless disease, and with grace and self-assuredness, she has bravely decided to find out if she may share his fate. 2014 / US / 15 minutes Director: Lucy Walker Producers: Lucy Walker, Marianna Palka Co-Producers: Sabrina Doyle, Nick Higgins Editor: Joe Peeler Cinematographer: Nick Higgins S a b rin a D oy l e lucywalkerassistant@gmail.com

Saturday, April 5 — 4:00pm DAC / P SI Theater

Metallica: Some Kind of Monster Three years in the making, the 2004 documentary feature Metallica: Some Kind of Monster from acclaimed filmmakers Joe Berlinger and Bruce Sinofsky (Brother’s Keeper, Paradise Lost) provides a fascinating, in-depth portrait of the most successful heavy metal band of all time. In the tradition of such seminal music documentaries as Don’t Look Back and Gimme Shelter, this film transcends the conventions of the “rock ’n’ roll movie” genre, trading rock-star posing for truthful introspection. We follow Metallica as they record their Grammy-winning album St. Anger, their first album in over five years. The filmmakers take us inside both the studio and the pysches of the band as they battle their way through communication breakdowns, addiction, a band member’s defection, fatherhood, domestic chaos, and near-total disintegration during the most turbulent period of their twenty-year history. What begins as the documenting of the making of an album becomes an unexpected voyage into the complexities of human relationships and the power of the creative process to exact emotional tolls and, ultimately, to heal the soul. 2004 / US / 141 minutes Directors: Joe Berlinger, Bruce Sinofsky Producers: Joe Berlinger, Bruce Sinofsky Associate Producers: Michael Bonfiglio, Rachel Dawson Executive Producers: Joe Berlinger, Jon Kamen, Frank Scherma Editors: Doug Abel, M. Watanabe Milmore, David Zieff Cinematographer: Robert Richman S a m B r o a d w in 435 Hudson Street, Sixth Floor New York, NY 10014 212.462.1647 broadwin@radicalmedia.com

Thursday, April 3 — 3:30pm Cinem a 1

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

On the Bowery

Portrait of Jason

This postwar work of docufiction chronicles three days on New York’s Skid Row, the Bowery, a place known for low rents and cheap drinks. We meet Ray, a railroad worker who drifts onto the Bowery after a long bout of laying tracks. Ray enters the Confidence Bar & Grill and falls in with Gorman, an older man who likes to tell stories of his more successful bygone days. Gorman and his band of drunks help Ray spend all his money on muscatel and convince him to sell some of his possessions for cash. With extra money in hand, Ray and Gorman go back to the bar. Surrounded by fellow drinkers in advanced states of alcoholic decay, Ray buys them rounds of drinks. Dead drunk, he stumbles out to the street and blacks out. Gorman helps himself to Ray’s suitcase. Here begins Ray’s descent—and his hopes of escaping the Bowery one day.

For twelve hours over the course of the evening of December 3, 1966, director Shirley Clarke and her friends interviewed Jason Holliday about his life, his loves, his work, and his beliefs. Jason, a thirtythree-year-old hustler dreaming of a career as a nightclub entertainer, dazzles the audience with stories of confrontations with his family, growing up in Trenton, orgies he has attended, and the hustling that has formed the pattern of his life as a black gay man. He recalls his college days before dropping out, his time as a bar hustler and a servile houseboy in San Francisco, and his days on heroin, in jail, and on a hospital mental ward. In Portrait of Jason, Holliday is given the entire screen for nearly two hours, during which time he makes probably as candid a self-revelation as has ever been seen on film or read in books. And yet, how much is true and how much is performance?

1956 / US / 65 minutes Director: Lionel Rogosin

1967 / US / 105 minutes

Producer: Lionel Rogosin

Director: Shirley Clarke

Co-Producers: Richard Bagley, Mark Sufrin

Producer: Shirley Clarke

Editor: Carl Lerner

Editor: Shirley Clarke

Cinematographer: Richard Bagley

Cinematographer: Jeri Sopanen

Mil es t o ne F il m & V id eo Dennis Doros

Mil e s t o ne F il m & V id eo Dennis Doros

P.O. Box 128 Harrington Park, NJ 07640

201.767.3117 milefilms@gmail.com

Thursday, April 3 — 1:10pm

Friday, April 4 — 8:00pm

Cinem a 1

DAC / P SI Theater

new docs

new docs We are honored to present forty-eight titles—thirty-three features and fifteen shorts— as part of our 2014 NEW DOCS program. Twenty-three of these films are premieres: eleven World Premieres, eleven North American Premieres, and one U.S. Premiere. Nearly all of the 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 seventeen-person volunteer committee reviews each entry and meets throughout the winter to suggest final selections. The NEW DOCS program includes work from all over the world. Twenty-nine of the fortyeight films are from the United States. The remaining works come from twenty-one different countries: Australia, Belgium, Canada, Colombia, Egypt, England, Estonia, Finland, Germany, Israel, Italy, Japan, Korea, the Netherlands, Nigeria, Norway, Russia, Scotland, Sweden, Syria, and Ukraine. Many of the filmmakers will be in attendance to present their films. Twenty-minute question-and-answer sessions will follow screenings, where listed. Please note that the schedule times include these Q&As. All NEW DOCS are eligible for the Full Frame Audience Awards. NEW DOCS films are also shortlisted for a variety of additional prizes, listed on pages 56 and 57. The award winners will be announced at the Awards Barbecue on Sunday, April 6. A number of the award-winning films, along with a few other handpicked sellouts, will be rescreened as the Sunday Encore programs that afternoon. Encore screening times and venues will be available online and at the box office early Sunday afternoon following the barbecue.

new docs

Ana Ana *

north americ an premiere

Apollonian Story *

Four young women living in Cairo—Sarah, Nadine, Wafaa, and Sondos—use video cameras to explore their own lives as visual artists, dancers, and writers in this collaborative video-autobiography directed by Corinne van Egeraat and Petr Lom. The astonishing range of the women’s footage, from humorous to tragic, from straight documentary to purely experimental, conveys cogent insights about today’s Egypt. The film includes daring imagery that visually connects sand, skin, and water, along with gritty scenes of relentless Cairo traffic and weary city-dwellers. Ana Ana means “I am me” in Arabic, and the film is at once a timeless, deeply personal narrative and a rich commentary on the post-revolutionary situation in Egypt as well as the complexities of women’s roles in the Arab world. Composer Ryuichi Sakamoto’s evocative soundtrack complements the film’s captivating visual texture. NK 2013 / The Netherlands, Egypt / 75 minutes Directors: Corinne van Egeraat, Petr Lom Producer: Corinne van Egeraat Editor: Petr Lom Cinematographers : Petr Lom, with Wafaa Samir, Nadine Salib, Sondos Shabayek, Sarah Ibrahim C o rinne va n Eg e r a at

north americ an premiere

Filmmaker Q&A following screening 2013 / Israel / 66 minutes Directors : Ilan Moskovitch, Dan Bronfeld Producers: Ilan Moskovitch, Dan Bronfeld Editor: Tanya Shwarts Cinematographer: Dan Bronfeld T re e M P r o d u c t i o n s 6 Malachi Street Ramat-Gan, Israel 5224647 00 972 54 238 1933 treem@orange.net.il

Amsterdam, The Netherlands +31(0)6 24873171 corinne@zindoc.nl

Friday, April 4 — 4:30 pm Cinem a 1

Saturday, April 5 — 1:00 pm DAC - P SI Theater

Nissim Kahlon has spent the last forty years digging a home out of a limestone cliff in Israel. The result is a multi-level residence with winding passageways and mosaic-covered patios overlooking the Mediterranean. But Nissim’s obsession with endless construction, and his prickly personality, has driven away his family. When his eighteen-year-old son Moshe, who spent his early childhood in the cave, comes back to help before he joins the army, the father and son pair must navigate long-standing tensions as they mix cement, expand the caves, and get to know one another again. The careful pacing of the film mirrors Nissim’s reflective and solitary life by the ocean and gives the audience ample space to witness and examine this evolving father-son relationship. NT

new docs

Book of Days *

world premiere

Born to Fly *

Adhemar Ahmad’s life’s work is Hannibal Barca, a gorgeously imaginative illustrated book that is on the verge of getting published. As he waits for its release, Ahmad ekes out a life on New York City’s streets as a bookseller and artist, spending his days rolling a pushcart, playing chess, and talking to passersby. Filmmaker Ian Phillips documents Ahmad in two stages, first in 2006 and then in 2012. As the years go by, Ahmad’s backbreaking daily routine develops a Sisyphean symbolism. Time and hard luck take a toll, but Ahmad’s characteristic patience and bravado persist, leading to our outrage on his behalf against the would-be publisher of his magnum opus. NK

Filmmaker Q&A following screening 2014 / US / 28 minutes Director: Ian Phillips Producer: Ian Phillips Editor: Ian Phillips Cinematographer: Ian Phillips I a n P hil l ip s 375 Riverside Drive New York, NY 10025 917.573.5375 ianfilmsnyc@gmail.com

How can you make a human being fly? “Extreme action architect” Elizabeth Streb and her “lab for action mechanics” want to know. As a young woman in the 1970s, Streb challenged the convention that dance had to be gentle and began an exploration of the limits of the body in space. Using gigantic wheels and whirling steel I-beams to challenge her ensemble, Streb pushes her dancers to the edge of what the human body can do. Her dances are enthralling, inspired by athletics, boxing, rodeo, circus, and Hollywood stunt work. Director Catherine Gund creates a dual portrait: of Streb—obsessive, driving, creative—and of the eclectic team of dancer-cum-athletes who seem able to perform any feat. Starting with rehearsals, the film culminates in a series of mind-boggling public performances staged on city landmarks for the 2012 London Olympics. Streb knows her daring choreography puts her dancers in danger, but thinks that you must risk falling if you want to fly. LB

Filmmaker Q&A following screening 2014 / US / 83 minutes Director: Catherine Gund Producers: Catherine Gund, Tanya Selvaratnam Editor: Alex Meillier Cinematographers: Kirsten Johnson, Albert Maysles, Ian McAlpin Aubin Pi c t u re s , In c . Catherine Gund

Friday, April 4 — 4:30 pm

138 Grand Street, 5EF New York, NY 10013

Cinem a 1

212.274.0551 catherine@aubinpictures.com

Thursday, April 3 — 8:00 pm Cinem a 3

new docs

Bronx Obama In 2008, Louis Ortiz, a middle-aged single father from the Bronx, was struggling to make ends meet. Then he walked into a bar, and everything changed. Someone thrust a newspaper into his hands, and there on the front page of the New York Daily News was a man with big ears—a presidential contender— to whom Ortiz bore an uncanny resemblance. At the urging of the bartender, a business-minded one-time movie extra, Ortiz went home and shaved off his goatee. When he looked in the mirror, he no longer saw an unemployed Puerto Rican man— he saw dollar signs. This story of a Barack Obama impersonator’s dogged attempt to cash in on a “look of a lifetime” is at once hilarious and heartfelt. As his identity and values increasingly come under fire by his hard-pushing manager, Ortiz must decide just how much he’s willing to sacrifice to pursue the American Dream. EM

Filmmaker Q&A following screening 2014 / US / 91 minutes Director: Ryan Murdock Producer: Ryan Murdock Editors: Jeremy Siefer, Craig Rinkerman, Mitra Bonshahi, Ryan Murdock

Buffalo Dreams *

north americ an premiere

Filmmaker Q&A following screening 2013 / Scotland / 16 minutes Director: Maurice O’Brien Producer: David Martin Editor: David Arthur Cinematographer: Fraser Rice S c o t t is h D o c ume n ta ry In s t i t u t e Agata Jagodzinska 78 West Port Edinburgh, UK EH1 2LE +44 01316515761 agata@scottishdocinstitute.com

Cinematographer: Ryan Murdock Rya n Mu rd o c k

Thursday, April 3 — 4:10 pm

300 Union Street Brooklyn, NY 11231

Cinem a 4

847.212.6514 ryan@savingdaylight.net

Saturday, April 5 — 4:20 pm Cinem a 4

On a small farm in Scotland, wedged between the motorway, the railway, and the sea, a young family confronts harsh realities while attempting to raise American bison. Both complex and terse, the film deftly examines interpersonal and human-animal relationships. Buffalo Dreams has the wit and wherewithal to make the viewer contemplate “Whose dream is it anyway?” without posing the question directly. This handsomely made film tells a nuanced story of aspirations not quite dashed but far from fulfilled. More than the survival of the herd is at stake. TBW

new docs

Butterfly Girl

Can’t Stop the Water

Most eighteen-year-olds wish they could leave the protective chrysalis of their parental home to “fly” off on their own and experience the world. This dream, however, is especially problematic for Abbie Evans, who has endured multiple operations since birth because of epidermolysis bullosa, a rare, often fatal, genetic disorder that makes her skin as fragile as butterfly wings. Despite frequent pain, hardships, and life-threatening situations, this beautiful and optimistic “butterfly child” says she is “so ready to be on my own . . . to live to the fullest.” Cary Bell’s riveting portrait of this remarkable young woman is compassionate and deeply moving without a hint of sentimentality. JG

The Native American Cajun community of Isle de Jean Charles, Louisiana, has lived on their four-mile island in the bayous for 170 years. Lately, however, coastal erosion and rising sea levels have contributed to the shrinking of their home. What does this vanishing land mean for their farming and fishing ways of living? As children play around hurricane-devastated former homes, we hear the natives’ pain and uncertainty—to leave or to stay? “The White Man pushed us to the end of the Earth,” writes Chief Albert Naquin. “Now Mother Nature wants to push us back.” DS

Filmmaker Q&A following screening 2013 / US / 33 minutes

Filmmaker Q&A following screening

Directors: Rebecca Ferris, Jason Ferris

2014 / US / 78 minutes

Producers: Rebecca Ferris, Kathleen Ledet

Director: Cary Bell

Cinematographer: Jason Ferris

Editor: Bryan Gunnar Cole Producers: Cary Bell, Jessica Miller, Suz Grossman Editor: Jessica Miller

C o t ta g e F il m s

Cinematographer: Matt Godwin

428 Pine Street Philadelphia, PA 19106 917.622.2726 info@cottagefilms.com

C a ry B el l 1215 Sidney Street Houston, TX 77023 713.502.6123 caryebell@gmail.com

Friday, April 4 — 1:20 pm Cinem a 4

Friday, April 4 — 1:30 pm Cinem a 1

new docs

CAPTIVATED The Trials of Pamela Smart

The Case of the Three Sided Dream

The 1991 murder trial of Pamela Smart, part of the birth of reality television as we know it, was the first trial to be broadcast in its entirety and make celebrities of those involved. Smart, director of a high school media lab in a small New Hampshire town, came home one day to find her house ransacked and her husband murdered. The murderers turned out to be her fifteenyear-old lover and his friends, and Smart was convicted as the mastermind behind the plan. The scandalous student-teacher relationship, along with Smart’s seeming cold-hearted indifference to the killing, ignited a media frenzy. At the center of the hype was a grossly caricatured woman who faced a modern-day Salem witch trial. This film presents a sophisticated dissection of our media culture, which all too easily transforms our myth-making impulses into a self-fueled, ratingsdriven juggernaut that crushes the lives of real people and conceals the nuances of truth. MM

Rahsaan Roland Kirk had a dream about playing two saxophones at once, so he learned. And then he learned to play three. He had a singular devotion to living in a world of sound. Kirk’s multi-instrumentalism was legendary, as was his stage presence, as was his activism. Frustrated by the lack of attention that jazz—“black classical music,” as he called it—was receiving on television, Kirk organized groups to attend live television tapings and interrupt them using instruments and noisemakers. The plan worked, and he secured television appearances for himself and other black musicians. The film is rich in archival performances from the ’60s and ’70s and includes insightful commentary from family, close friends, and fellow musicians. This tribute is everything the expansive and audacious, dexterous and sophisticated, musical genius deserves. TBW

Filmmaker Q&A following screening

2014 / US / 88 minutes

2014 / US, UK / 102 minutes Director: Jeremiah Zagar Producer: Lori Cheatle Executive Producers: John Battsek, Sheila Nevins, Celia Taylor, Nicole Stott, Siobhan Mulholland, Andrew Ruhemann Senior Producer: Lisa Heller Co-Producer: Gabriel Sedgwick

Filmmaker Q&A following screening

Director: Adam Kahan Producer: Adam Kahan Editors: Adam Kahan, Liv Barratier Cinematographer: Alex Baev Adam K ahan 194 18th Street Brooklyn, NY 11215 347.678.2274 info@rahsaanfilm.com

Editor: Keiko Deguchi Cinematographer: Naiti Gámez H a rd W o rkin g M o v ies Gabriel Sedgwick 10 Jay Street Brooklyn, NY 11201 646.383.5971 gabriel@hardworkingmovies.com

Friday, April 4 — 1:40 pm F le t cher Ha ll

Saturday, April 5 — 8:00 pm Cinem a 3

new docs

The Chaperone

The Circle

What would you do if you were supervising a middle school dance and a motorcycle gang crashed the party? In this witty and endearing animated short, two men, Ralph, the chaperone, and Stefan, the DJ, recall the events of an extraordinary night in Montreal in 1973. Their David and Goliath fight with the bikers incorporated chairs, a coke bottle, and a broom as weapons. A creative toolkit of animation styles establish a fantasy pop art setting for violence, mayhem, comeuppance, and victory. NK

Seventeen miles in circumference and five hundred feet below the France-Switzerland border, the Large Hadron Collider is a massive scientific instrument and underground laboratory that uses high-energy particle acceleration to study the origins of the universe. While subterranean physicists simulate the conditions that immediately followed the Big Bang, filmmaker Bram Conjaerts talks with residents of the bucolic villages on the surface. The result is a charming and philosophical mélange of style and substance, where scientific data, animation, and man-on-the-street interviews collide. The Circle moves seamlessly between the aboveand below-ground stories, and Conjaerts captures the villagers’ feelings about the machine beneath their feet and their musings, from eccentric to existential, on man’s quest for knowledge. TM

Filmmaker Q&A following screening 2014 / Canada / 14 minutes Director: Fraser Munden Co-Director: Neil Rathbone Producer: Michael Glasz Co-Producer: Evren Boisjoli editor: Fraser Munden Cinematographer: Fraser Munden

2013 / Belgium / 48 minutes Director: Bram Conjaerts Producers : Hendrik Verthé, Kobe Van Steenberghe

Mi c h a el G l a s z

Editor: Jason Boenne

1-A3462 Parc Avenue Montreal, Quebec, Canada H2X 2H5

Cinematographer: Maarten Bernaerts

514.941.6453 mike@thoroughbread.ca

a t e a m p r o d u c t i o n s Hendrik Verthé Schipstraat 60 Herzele, Belgium 9550

Friday, April 4 — 10:30 pm

+32497464180 hendrik@ateamproductions.be

Cinem a 4

Friday, April 4 — 10:20 am Cinem a 4

new docs

DamNation

Evolution of a Criminal

America has built over seventy-five thousand dams— the equivalent of one per day since the Jefferson administration. This history, the legacy of hydropower, and the impact on thousands of years of life built around fishing wild salmon feature in this beautifully rendered film. DamNation follows the growing and increasingly successful movement to undo the dams and restore long-standing fisheries, by both legal means and guerilla tactics, as it squares off with politicians in the Northwest. Will there be an abrupt halt to the dismantling of the dams? Can the salmon return? The answers are explored amidst a swirl of unfolding protests and reflections. DS

As a teenager, filmmaker Darius Monroe was an honor student, well liked by his teachers and peers. But he was overwhelmed by his family’s money problems; there was constant anxiety about being able to pay the bills and keep afloat. At the age of sixteen, he took matters into his own hands when he and two friends, one of whom was armed, robbed a suburban Houston bank. He was caught and tried as an adult and ultimately accepted a plea deal of five years in prison, of which he served three. Here, he returns home to boldly explore the lead-up to and the aftermath of his dire actions by interviewing family, friends, prosecutors, and amazingly, victims who were in the bank at the time of the robbery. A remarkable reenactment of the day’s events weaves in and out of the commentary, which reveals just how juvenile the plan was. As Monroe continues to peel back the layers, he forces us to confront how little we may know about people we are often quick to define. ST

Filmmaker Q&A following screening 2014 / US / 87 minutes Directors: Ben Knight, Travis Rummel Producers: Matt Stoecker, Travis Rummel Editor: Ben Knight Cinematographers: Ben Knight, Travis Rummel, Matt Stoecker

Filmmaker Q&A following screening 2014 / US / 83 minutes

Pata g o ni a Monika Phaneuf

Director: Darius Clark Monroe

259 W. Santa Clara Street Ventura, CA 93001

Producers: Darius Clark Monroe, Jen Gatien, Spike Lee, Jay Kubassek, Mike Offit

805.643.8616 monika.phaneuf@patagonia.com

Editor: Doug Lenox

Friday, April 4 — 10:40 am F le t cher Ha ll

Cinematographer: Daniel Patterson D a riu s C l a rk M o n r o e 440 Macon Street Brooklyn, NY 11233 281.620.0526 daclamo@gmail.com

Friday, April 4 — 1:10 pm Cinem a 3

new docs

Fairytale of the Three Bears *

north americ an premiere

Set against the monochromatic landscape of the Siberian tundra in winter, three hard-working Russian men recall the tale of the three bears as they muse on the paths their lives and their country have taken. Punctuating the beloved fable are the harmonies of the Municipal Folklore Theatre group. The film was produced as part of Russia’s biennial event, Cinetrain, in which filmmakers from around the world spend a month traversing the country by train, making short films about the people and the lands they encounter. RS 2013 / Russia / 12 minutes Director: Tristan Daws Producers: Guillaume Protsenko, Tanya Petrik Editor: Tristan Daws Cinematographer: Stephan Bookas G uil l aume P r o t senko

Flowers from the Mount of Olives (Õlimäe õied) *

us premiere

In the still of a Russian Orthodox convent on Jerusalem’s Mount of Olives, Mother Ksenya, a headstrong eighty-three-year-old nun, faces her final challenge. Amid dusty relics and rote workaday labors, she seeks to prove herself worthy of her final vow: the vow of silence, known as the “Great Schema.” The film immerses the audience in the considered pace of convent life, which is marked by stately rites, swinging censers, and gorgeous minor-chord harmonies. Ksenya leafs through old photographs and pours out her story of childhood in pre-WWII Estonia. But rather than dwelling on the physical and emotional deprivations she has suffered, she narrates braided threads from her remarkable past with piercing, self-critical reflection, and with a devilish delight in defying expectations. The result is a fully rounded portrait of a most singular woman. MM

Filmmaker Q&A following screening

Bolshoi Afanasevski Pereulok, 31, Kv 3 Moscow, Russia 119019 +79263701773 guillaume@cinetrain.net

2013 / Estonia / 70 minutes Director: Heilika Pikkov Producer: Ülo Pikkov

Saturday, April 5 — 10:20 am Cinem a 4

Editor: Heilika Pikkov Cinematographers: Heilika Pikkov, Astrida Konstante Sil m v ibu rl a ne Heilika Pikkov Ristiku 15-8 Tallinn, Estonia 10612 +372 56 91 20 91 info@silmviburlane.ee

Saturday, April 5 — 10:20 am Cinem a 4

new docs

Foundry Night Shift

The Great Invisible

A single factory in Ohio is responsible for production of the steel frames that support Steinway pianos. There, in the wee hours, when electricity demand is down, two men move through a vast, darkened landscape of burnished metal, blinding sparks, and molten ore. Alone but for each other, they work in tandem, stoking immense furnaces and pouring red-hot liquid into molds that will cool to become the sturdy base. This hypnotic juxtaposition of solid and melted states of matter underscores a primal dance between man and machine. ST

On April 20, 2010, the Deepwater Horizon, an oil rig owned by Transocean and leased by BP, exploded in the Gulf of Mexico, killing eleven workers. Over the next three months, more than four million barrels of oil gushed into the sea, making the spill one of the worst manmade environmental disasters in history. In this thrilling drama, director Margaret Brown takes us into the lives of those who continue to be affected by the accident years after the media have moved on. The Deepwater Horizon’s chief mechanic provides wrenching testimony about the escalating safety breaches and corner cutting that led up to the accident. Survivors of the blast describe their guilt and PTSD while Gulf Coast fishermen lament the loss of jobs caused by the spill. But Brown complicates what could be easy corporate condemnation by zooming back out to examine the binding tie between oil dependency, politics, and American culture. How can we criticize this industrial behemoth when we’re so inextricably entwined with it? EM

Filmmaker Q&A following screening 2014 / US / 5 minutes Director: Steven Bognar Producers: Steven Bognar, Julia Reichert Editor: Steven Bognar Cinematographer: Steven Bognar S t e v en B o g n a r 726 Xenia Avenue Yellow Springs, OH 45387

Filmmaker Q&A following screening

937.369.4669 bognar@donet.com

2014 / US / 92 minutes

Friday, April 4 — 7:20 pm

Producers: Jason Orans, Julie Goldman, Margaret Brown

Director: Margaret Brown

Cinem a 4

Editors: Robin Schwartz, Tyler Hubby Cinematographers: Jeffrey Peixoto, Jody Lee Lipes, Adam Stone Pa r t i cipa n t Me d i a Lauren Isaacson 331 Foothill Road, Third Floor Beverly Hills, CA 90210 310.550.5100 lauren@participantmedia.com

Saturday, April 5 — 1:10 pm Cinem a 3

new docs

Hacked Circuit

The Hand That Feeds

This moody masterpiece from artist, filmmaker, and Full Frame alum Deborah Stratman takes the viewer in and around a Foley stage in Burbank, California, where craftsmen manipulate a cinematic soundscape of surveillance. Tense and multi-layered, the film is comprised of a single suspenseful shot that brings the art of aural illusion to the foreground and reveals that all is not as it seems, or sounds. TM

2014 / US / 15 minutes Director: Deborah Stratman Producer: Deborah Stratman Editor: Deborah Stratman Cinematographer: Norbert Shieh D eb o r a h S t r at m a n 1958 W. Walnut Street Chicago, IL 60612 312.243.1227 delta@pythagorasfilm.com

Thursday, April 3 — 11:00 pm Cinem a 1

world premiere

Will a seemingly powerless group of New York City restaurant workers prevail when they organize in an effort to achieve decent working conditions? The restaurant employees doing the toughest jobs are often undocumented workers who are vulnerable to unsafe environments, low wages without benefits, and job insecurity. At a Hot & Crusty location on Manhattan’s Upper East Side, a handful of workers band together to create a union and secure better pay, benefits, and more respect. When the owners and managers retaliate, the union finds community support from well-heeled pedestrians, tenacious Occupy Wall Street activists, and working people of every stripe. The story suggests that organized labor’s future, in a time of widening economic inequality, might depend on building such coalitions. The film’s suspense rises as the union continues its fight. Memorable characters and unexpected surprises intensify this saga of grit and solidarity. NK

Filmmaker Q&A following screening 2014 / US / 88 minutes Directors: Rachel Lears, Robin Blotnick Producers: Rachel Lears, Robin Blotnick Editors: Robin Blotnick, David Meneses Cinematographer: Rachel Lears J ubil ee F il m s 15 Spencer Place #3 Brooklyn, NY 11216 646.431.5598 rachel@jubileefilms.org

Saturday, April 5 — 10:10 am Cinem a 3

new docs

Happy Valley

The Hip-Hop Fellow

For over three decades, Jerry Sandusky was a mainstay of the Penn State football program. Assistant coach to the revered Joe Paterno and a leader in the community, he founded the Second Mile, a program that provides help for disadvantaged youth and support for their parents. But then, in late 2011, Sandusky was charged with forty counts of child sexual abuse. A legacy came crashing down, and the small town of State College, Pennsylvania, was forced to confront its idea of itself. How much had head coach Joe Paterno known? How had the abuse continued over so many years? Who was really on trial? With access to the Paterno family, as well as students, fans, and incredibly, Sandusky’s own son, director Amir Bar-Lev dissects the violent and opposing reactions to the indictments, bringing nuance and understanding to a sensationalized story. Neither a play-by-play of crimes nor an argument for a particular version of events, the film instead encourages us to face the toll of collective inaction and confront the way we treasure—and often fail to question—those whom we hold up as heroes. ST

world premiere

Winston-Salem–born music producer and turntablist supreme Patrick Douthit (aka 9th Wonder), whose musical collaborators range from Jay-Z and Mary J. Blige to Drake, Kendrick Lamar, and Mac Miller, is leaving North Carolina for Cambridge, Massachusetts, where he’s been given Harvard University’s first Hip-Hop Fellowship, an opportunity to build on the hip-hop scholarship he began in courses taught at Duke and North Carolina Central University. As 9th Wonder makes the leap to join the ranks of Harvard’s W. E. B. Du Bois Institute, home to the national Hiphop Archives, he faces the challenges of developing a deeper yet more presentable understanding of sampling and production in hip-hop. Listen in as he flips the record, places the needle on the vinyl, and delivers the word on what it means to harvest and catalog the richness of R&B break beats from the likes of Al Green and Curtis Mayfield. DS

Filmmaker Q&A following screening 2014 / US / 79 minutes

Filmmaker Q&A following screening Director: Kenneth Price

2014 / US / 98 minutes Director: Amir Bar-Lev Producers: John Battsek, Ken Dornstein, Jonathan Koch, Steve Michaels Editors: Dan Swietlik, David Zieff, Brian Funck Cinematographers: Sean Kirby, Nelson Hume A + E Ne t w o rks Eu-Hua Chua

Producers: Airtype Studio, Jenny Hwa, Phazer Laboratories, Torry Holt Editor: Kenneth Price Cinematographer: Kenneth Price K e nne t h P ri c e 717 West Morgan Street, Suite G Raleigh, NC 27603 910.232.5928 info@thehiphopfellow.com

235 East 45th Street New York, NY 10017 eu-hua.chua@aenetworks.com

Saturday, April 5 — 10:40 am F le t cher Ha ll

Saturday, April 5 — 1:40 pm F le t cher Ha ll

new docs

In Country *

world premiere

The Lab (HaMaabada) *

From behind the barrels of their M16s, a platoon of men in fatigues and combat boots fight communists. But this isn’t a jungle in 1965 Vietnam. We’re in the woods of Oregon, present-day, and these brothers in arms are just pretending. In this ensemble film about a group of men reenacting America’s longest and most controversial war, we meet Doc, a former medic still plagued by nightmares after two tours of duty in Iraq; Sgt. Vinh, who fought for the South Vietnamese Army when he was seventeen; Bummy, a Vietnam vet who discovered the group while searching online for his former war buddies; and Tuna, a self-proclaimed war addict who started reenacting the Vietnam War as a teenager. Blurring the lines between fantasy and reality, In Country is ultimately about what compels these men to recreate the past—and what continues to draw many to war despite the grave consequences of participation. EM

Filmmaker Q&A following screening 2014 / US / 81 minutes Directors: Mike Attie, Meghan O’Hara

north americ an premiere

2013 / Israel / 58 minutes Director: Yotam Feldman Producers: Yoav Roeh, Aurit Zamir

Producers: Mike Attie, Meghan O’Hara

Editors: Ron Goldman, Tal Shefi

Editor: Lindsay Utz

Cinematographer: Phillippe Bellaiche

Cinematographer: Mike Attie

Israel is the fourth largest arms exporter in the world, generating as much as $7 billion in revenue in 2012. Israeli filmmaker Yotam Feldman says that everyone likes to talk about Israel’s economic miracle, its “growth and prosperity despite military conflicts,” but he wonders if the growth isn’t despite the conflicts but because of them. Feldman points a chilling lens at his country’s defense industry, which employs and enriches hundreds of thousands of people and trains military officers, policemen, and private security officers from dozens of countries who come to Israel to buy arms. Israeli military strategists, philosophers, entrepreneurs, trainers, and retired army officers-cum-arms developers candidly turn to the camera and with all candor articulate their positions. “What’s a laboratory? An opportunity to learn.” “The Lab” is the contemporary urban battlefield in the West Bank and Gaza, the favelas of Rio de Janeiro, and perhaps soon, an inner city near you. CRE

Cine phil Philippa Kovarsky

OSCAR ALFA M o PIC Meghan O’Hara

18 Levontin Street Tel Aviv, Israel 6511207

548 Laguna Street San Francisco, CA 94102

+972 3 566 4129 info@cinephil.co.il

413.335.3002 incountryfilm@gmail.com

Thursday, April 3 — 11:00 pm Saturday, April 5 — 4:10 pm Cinem a 3

Cinem a 1

new docs

Light Fly, Fly High *

north americ an premiere

Monk By Blood *

“I was born into this world to be a boxer. I need no other partner in life.” Thulasi Ekanandam fled her home at fourteen to escape an arranged marriage to a much older man and follow her passion for boxing. But as a former Dalit, India’s “untouchable” caste, society demands she remain at the bottom—marry, have children, and obey a husband. Seeing marriage as a “jail life,” Thulasi refuses to compromise, trading in her sari and bangles for boxing gloves and headgear as part of a government program that offers jobs to young athletes. She trusts fighting in the ring will be her means of achieving independence (she ranks third in India in her weight class), but immoral coaches, expected favors, and physical injuries stand in her way—and at twenty-five, she’s about to age out of the program. Directors Beathe Hofseth and Susann Østigaard portray Thulasi’s struggles inside and outside the ring with a serene visual precision charged with sparks of humor and moments of despair that are beautifully reflective of Thulasi’s personality and plight. Inside the ring, she’s in control, but can Thulasi find her way in the world at large? WFM

Filmmaker Q&A following screening 2013 / Norway / 80 minutes

north americ an premiere

At first glance, Scion Sasaki is a normal twenty-oneyear-old. He attends university in Vancouver, deejays parties at night, and aspires to someday become a chef. But Scion has responsibilities that run over twenty generations deep: He is destined to become the next head monk of his family’s Buddhist temple in Kyoto, Japan, and he’ll have to take over the eight-century-old place of worship before he turns thirty. Over winter break, Scion returns to Kyoto and re-immerses himself in temple life, meeting with community members and practicing rituals. But the temple is at a crossroads— the new generation is less interested in tradition than the generation before them. As Sasaki grapples with the pressures of this inherited responsibility and the place he occupies at the intersection of East and West, he must turn, ultimately, to the support of his family. EM

Filmmaker Q&A following screening 2014 / Japan / 25 minutes Director: Ema Ryan Yamazaki Producers: Ema Ryan Yamazaki, Bao Nguyen, Fiona Lawson-Baker Editor: Ema Ryan Yamazaki Cinematographer: Bao Nguyen

Directors: Susann Østigaard, Beathe Hofseth Producers: Fri Film, Helle Faber for Made in Copenhagen

E m a Rya n Ya m a z a ki

Editor: Siv Lamark

1654 Third Avenue, Apt. 4 New York, NY 10128

Cinematographer: Susann Østigaard

917.545.9957 ema.yamazaki@gmail.com

W o men M a k e M o v ies Kristen Fitzpatrick 115 West 29th Street, Suite 1200 New York, NY 10001

Friday, April 4 — 1:00 pm

212.925.0606 x 312 kf@wmm.com

DAC / P SI Theater

Friday, April 4 — 10:10 am Cinem a 3

new docs

Monk With A Camera

The Notorious Mr. Bout

Nicky Vreeland, the grandson of iconic Vogue magazine editor-in-chief Diana Vreeland, lived a rarified life. In his gilded youth, he was a committed dandy, fastidious about his scarves and shoes, with gorgeous girlfriends and undisputed entrée into high society. Though he was not unhappy, he began to feel that the world of pleasure and appearances was untrustworthy. Turning to Buddhism in order to reach beyond the materialism of his glamorous lifestyle, he was granted an audience with the Dalai Lama—he shaved off his blond locks and began to practice meditation, eventually moving to India to study at a prominent Tibetan monastery. Many years later, his long devotion to his adopted religion inspires the Dalai Lama to appoint him abbot of the monastery. Even as he transitions from opulence to asceticism, however, Vreeland finds he cannot renounce his love of photography, despite his ambivalence toward the attachment. LB

Viktor Bout, the “merchant of death” who inspired Nicolas Cage’s performance in Lord of War, was an infamous international arms merchant by the time a U.S.-government sting operation led to his 2008 arrest in Thailand. Belying this supervillain image, however, Bout was also an ebullient family man, fervent homemovie maker, and tireless businessman who embodied the entrepreneurial opportunism of post-communist Russia. Now languishing in an American prison, he continues to insist that he was simply in the business of transporting goods—what they were and what they’d be used for were not his concern. As these political and semantic interpretations develop, a study of contradictions and media mythmaking emerges. The film, directed by Maxim Pozdorovkin (Pussy Riot: A Punk Prayer) and Tony Gerber (Full Battle Rattle) comes alive through its compelling source material, including Bout’s home videos, and spans twenty years, various rogue regimes, and five continents with a skillfully assembled multiplicity of perspectives. TM

Filmmaker Q&A following screening 2013 / US / 90 minutes

Filmmaker Q&A following screening

Directors: Guido Santi, Tina Mascara

2013 / US / 94 minutes

Producers: Vishwanath Alluri, Guido Santi, Tina Mascara Editors: Guido Sante, Tina Mascara

Directors: Tony Gerber, Maxim Pozdorovkin

Cinematographers: Ugo Lo Pinto, Ralph Q. Smith

Producers: Tony Gerber, Maxim Pozdorovkin Co-Producers: Innbo Shim, Pax Wassermann

A s ph a lt S ta r s P r o d u c t i o n s , LLC Tina Mascara

Editors: Arseni Troitski, Pax Wassermann

422 North Hayworth Avenue #7 Los Angeles, CA 90048

Cinematographer: Tony Gerber

323.951.1075 tinamascara@sbcglobal.net M a rk e t R o a d F il m s Francis Cordero 232 Third Street, Studio B401 Brooklyn, NY 11215

Thursday, April 3 — 1:20 pm

718.855.5565 francis@marketroadfilms.com

F le t cher Ha ll

Friday, April 4 — 4:10 pm Cinem a 3

new docs

Olga – To My Friends *

north americ an premiere

The Overnighters *

In Lapland, one thousand miles north of Moscow, a young woman spends the winter days alone. Olga is the sole occupant of a modest supply post where reindeer herders store their supplies until spring. Though she has to deal with bitter temperatures and periodic threats of theft, she is happy on her own, tending to chores, holding down the post, with only a cat to keep her company. Olga grew up in an orphanage, and when she was eventually reunited with her mother, found that she faced even further isolation—she didn’t speak her family’s native language and was ill-equipped to handle their struggles with alcoholism. On the tundra, she wanders freely in her thoughts and moves at her own pace, without the friction she sometimes feels around other people. When word comes that the “reindeer brigade” post may be closed, she grows concerned about what will become of her, and the existence she has carved out for herself. Incredible textures—the crunch of snow underfoot, the rush of running reindeer—complement this endearing portrait of a unique individual and the peaceful place where she’s found home. ST 2013 / Finland, Norway, Sweden / 58 minutes

North Dakota’s ongoing oil boom has attracted a flood of economic refugees, blue-collar workers hit hard by the Great Recession. Jay Reinke, a Lutheran pastor in the town of Williston, ministers to the men streaming in from around the country, many of whom arrive without a place to stay or any lead on a job. He converts his church into a makeshift shelter and invites these newcomers into his congregation and his home. But predictably, the influx of so many desperate men changes the town’s complexion and brings about an increase in crime. Reinke must convince the townsfolk and his own congregation to accept these jobseekers as new arrivals rather than viewing them as an invading army. Full Frame veteran Jesse Moss (Full Battle Rattle, Speedo) explores this tense community standoff, which repeatedly flares and threatens to erupt. How much will Reinke sacrifice in the name of compassion? MM

Filmmaker Q&A following screening 2014 / US / 100 minutes Director: Jesse Moss Producers: Jesse Moss, Amanda McBaine Editor: Jeff Gilbert Cinematographer: Jesse Moss

Director: Paul-Anders Simma

Jesse Moss

Producer: Paul-Anders Simma

28 Sixth Avenue San Francisco, CA 94118

Editor: Anders Teigen

917.208.1545 d.jesse.moss@gmail.com

Cinematographer: Elen Lotman Ta sko v ski F il m s

Friday, April 4 — 7:20 pm

+387 66 405 623 festivals@taskovskifilms.com

Cinem a 4

Thursday, April 3 — 1:00 pm Cinem a 4

new docs

A Park for the City *

world premiere

In the 1890s, the city of Detroit hired famed landscape architect Frederick Law Olmsted (co-designer of New York City’s Central Park) to create a one-of-a-kind park on Belle Isle in the Detroit River. In this film, Detroit resident Nicole Macdonald uses BBC footage and surveillance tapes from motion sensor cameras to take a Night at the Museum look at the flora and fauna that are reclaiming the island’s abandoned zoo. Macdonald provides insightful commentary about her beloved city with this visual field guide in which she labels plants and identifies the wildlife caught on tape. Among them: a pair of foxes living next to an abandoned office chair in the old seal pool and a bear caught wandering on the cracked pavement near the deserted pavilion. RS 2014 / US / 34 minutes Director: Nicole Macdonald Producer: Nicole Macdonald

Private Violence “Why didn’t she just leave?” From its harrowing opening moments, this film unpacks our cultural misperceptions by placing us on the frontlines of domestic abuse advocacy, the work to which Kit Gruelle has dedicated her life. A survivor herself, she’s served as an advocate for battered women for twenty-five years, helping victims find a way out of violent situations, through a complicated justice system, and back to a place of confidence. This powerful document bears witness to the devastating experiences of many women (including Kit’s own), but it’s the circumstances of Deanna, who was kidnapped and brutally attacked by her ex-husband, that crystalize the profound cycle of abuse and dependence and remind us just how difficult it can be to escape. We watch as Kit and her fellow advocates help Deanna and others rebuild their lives. These brave accounts of violent circumstances endured reveal how deeply entangled assault, dependence, fear, and love can become. ST

Filmmaker Q&A following screening

Editor: Nicole Macdonald Cinematographer: Nicole Macdonald Ni c o l e M a c d o n a l d 313.778.2145 nicolexodus@gmail.com

2014 / US / 81 minutes Director: Cynthia Hill Producers: Cynthia Hill, Rex Miller, Malinda Maynor Lowery

Thursday, April 3 — 1:00 pm

Executive Producers: Cindy Waitt, Gloria Steinem, Regina K. Scully, Julie Benello, Wendy Ettinger, Judith Helfand

Cinem a 4

Associate Producers: Jenn Cromling, Un Kyong Ho Editor: Tom Vickers Cinematographer: Rex Miller Composer: Chuck Johnson Special Advisor: Kit Gruelle C y n t hi a Hil l filmworks@docsouth.com

Thursday, April 3 — 4:20 pm F le t cher Ha ll

new docs

Return to Homs (Al Awda Ila Hims) Homs, Syria, is a city under siege. On the frontline of the Syrian Civil War, it is at the epicenter of the defensive insurgency led by the charismatic Abdul Basset, goalkeeper of the national soccer team. Only nineteen years old, he is the voice and spirit of the revolution. Accompanied by friend, journalist, and cameraman Ossama Al Homsi, as well as a wide-eyed and admirable squad of fearless young pacifists-turned-protestors, Basset energizes and epitomizes the movement with astonishing bravery and statesmanship. Shot in an arresting battlefield vérité, the film is similarly astounding, as the madness of modern urban warfare evokes a Shakespearean Agincourt with cellphones as the dauntless Basset leads his band of brothers again and again into the harrowing breach. TM 2013 / Syria, Germany / 90 minutes Director: Talal Derki Producers: Orwa Nyrabia, Hans Robert Eisenhauer

Rich Hill The story of three teenage boys coming of age in a rural Missouri town, Rich Hill was shot over a span of years, and the intimate connection the subjects have with the filmmakers, cousins Tracy Droz Tragos and Andrew Droz Palermo, is discernible. The result is an immersive, moving, and often-unsettling, peek into the lives of kids whose hopes and dreams are continually compromised by isolation, poverty, and instability. Andrew remains steadily optimistic even though his dad’s search for work means that he frequently has to change schools. Harley, who’s living with his grandmother while his mom is in prison, is quick to joke, but he’s sitting on a well of anger that he’s only beginning to apprehend. Appachey, who also struggles with his temper, inhabits one of the film’s most poignant moments as he waits outside juvenile court holding tightly to his mother’s hand with a revealing vulnerability that all three boys share. Though the film is set in one once-vibrant coal-mining community, its stories are both familiar and universal. RS

Filmmaker Q&A following screening

Editor: Anna Fabini Cinematographers: Orwa Nyrabia, Kahtan Hassoun, Ossama Al Homsi, Talal Derki

2014 / US / 92 minutes

O r wa N y r a bi a

Producers: Tracy Droz Tragos, Andrew Droz Palermo

Directors: Tracy Droz Tragos, Andrew Droz Palermo

Alexanderstasse 7, O.G. 10

Editor: Jim Hession

Berlin, Germany 10178

Cinematographer: Andrew Droz Palermo

+49 151 66488722 orwa@proactionfilm.com T r a c y D r oz T r a g o s P.O. Box 56 Pacific Palisades, CA 90272

Saturday, April 5 — 10:30 pm

richhillfilm@gmail.com

Cinem a 4

Saturday, April 5 — 7:20 pm Cinem a 4

new docs

Ronald *

world premiere

Santa Cruz del Islote *

Meet Joe Maggard. From 1995 to 2007, this North Carolina native doubled as the best-recognized fast-food mascot on the planet: Ronald MacDonald. Filmmaker John Dower offers an artful glimpse into the actor’s motley world—after an intense three hours of applying make-up, putting on that familiar costume, and donning a red wig, Maggard becomes the icon. “Like any superhero, he’s ready at a moment’s notice,” Maggard quips. Send in the clowns? Don’t bother, he’s already here. DP

Filmmaker Q&A following screening

world premiere

Fifty miles off the coast of Cartagena, Colombia, is a three-acre plot of land. Albeit small, Santa Cruz del Islote is one of the most densely populated islands in the world. While neighbors there embrace their need to coexist, ways of life are changing. Fishing doesn’t offer the same return it used to—the supply has been over-sourced by boats with bigger motors—and children study without a clear understanding of where their education will lead. Beautifully photographed, director Luke Lorentzen’s film submerges us in the tides of this rare place for which the future is uncharted and unclear. ST

2014 / UK / 8 minutes

Filmmaker Q&A following screening

Director: John Dower

2014 / US, Colombia / 19 minutes

Producers: John Dower Editor: Nick Packer

Director: Luke Lorentzen

Cinematographer: Will Pugh

Producer: Luke Lorentzen

J o hn D o w e r

Cinematographer: Luke Lorentzen

Editor: Luke Lorentzen john@johndower.com Luk e L o re n t z e n 531 Lomita Drive, P.O. Box 12233 Stanford, CA 94309

Saturday, April 5 — 4:20 pm

203.561.1146 lukel@stanford.edu

Cinem a 4

Friday, April 4 — 1:20 pm Cinem a 4

new docs

Seeds of Time

Sex(Ed) The Movie

According to scientist Cary Fowler, humankind is faced with a “perfect storm” of disastrous scenarios: overpopulation, water and energy limitations, rising food prices caused by low stock piles of food, and consequent civil unrest. Our lifeline? Seeds. By halting the extinction of the seeds of some our most common food staples we can attempt to save ourselves before it’s too late. In this beautifully crafted film, director Sandy McLeod takes us around the world, from Peruvian potato fields to an underground vault in Norway, to create a moving portrayal of life on our planet that extends beyond one man’s quest to save seeds. Through a variety of interviews with indigenous people, scientists, and food activists, McLeod shows the importance of Fowler’s project on a global scale. AM

Remember the first time you heard about sex? The shocking basics may have been whispered at a sixth-grade sleepover, but generations of Americans still learn the cold, hard facts in school. Sex(Ed) takes a romp through the archives in a hilarious yet humbling look at our country’s earnest attempts, primarily through film, to encourage “civilized humanity” among our nation’s youth, kicking off in a modern-day fifthgrade classroom in California. The film replays decades of vintage sex ed films and television moments as experts like archivist Rick Prelinger offer insights about the shifting cultural attitudes that dictated the content. Highlights include excerpts from John Ford’s classic Sex Hygiene, required viewing for WWII soldiers; a clip of Reverend Debra Haffner asking Fox News’ Bill O’Reilly if the word “uterus” scares him; and a 1970s gem called Masturbatory Story, which features a bathtub, a fireman’s hat, and a very odd song. This film contains (ahem) explicit footage and rather sophisticated references to sex. RS

Filmmaker Q&A following screening 2013 / US / 77 minutes Director: Sandy McLeod c0-Producers: JD Marlow, Emily Triantaphyllis Executive Producers: Stanley Buchthal, Abigail Disney Supervising Producer: Chiemi Karasawa Editors: JD Marlow, John Walter Cinematographer: Henrik Edelbo

Filmmaker Q&A following screening 2014 / US / 77 minutes Director: Brenda Goodman Producers: Brenda Goodman, Caitlin Krapf

The 2 0 5 0 G r o u p Adam Segal

Editors: Monique Zavistovski, Thomas G. Miller

1230 Avenue of the Americas, #700 New York, NY 10020

Cinematographers: Elizabeth Yarwood, Janine Sides, Pyong Yim

212.618.6358 adam@the2050group.com

B re n d a G o o d m a n

Thursday, April 3 — 4:10 pm Cinem a 4

708 Valita Street Venice, CA 90291 310.450.2149 bgoodmanproductions@yahoo.com

Thursday, April 3 — 4:00 pm Cinem a 3

new docs

The Silly Bastard Next to the Bed *

world premiere

During his presidency, John F. Kennedy recorded more than 260 hours of telephone calls, dictated letters, and conversations in the Oval Office. This persistently pithy, yet inescapably poignant, short film reveals the flip side of a brewing government scandal through two phone recordings made in July 1963. That summer Kennedy was splitting time between his presidential duties in D.C. and family visits to his pregnant wife and their children in Hyannis Port, Massachusetts. As Jacqueline had suffered difficult pregnancies in the past, modest preparations were made so the First Lady could deliver the baby at the only hospital nearby, on Otis Air Force Base. But when a local newspaper covered the story, a simple and tidy hospital ward was converted into a VIP suite decked out in fancy furnishings purchased on the government’s dime. We listen in as Kennedy tries to sort out, using some rather salty language, just what went wrong: What was bought? How much was spent? And who was that silly bastard next to the bed? WFM

Filmmaker Q&A following screening 2014 / US / 9 minutes

Summer 82 When Zappa Came to Sicily *

north americ an premiere

In Summer 82 filmmaker and Zappa fan Salvo Cuccia tells the behind-the-scenes story of Frank Zappa’s star-crossed concert in Palermo, Sicily, the wrap-up to a European tour that ended in public disturbances and police intervention. Cuccia had a ticket to the concert but never made it. Thirty years later, collaborating with Zappa’s children, he re-creates the events through a combination of insider footage; photographs; anecdotes from family, band members, and concertgoers; and insights from Zappa biographer Massimo Bassoli. The story is also a personal one, as Cuccia interweaves the story of Zappa’s trip to Sicily with his own memories from that summer. The film looks at the rise and heyday of Frank Zappa’s career as an innovative composer and libertarian provocateur, and includes such tales as how Moon Unit and her busy father came to collaborate on their hit song “Valley Girl.” While in Sicily for the concert, Zappa visited Partinico, the homeplace of his father and grandfather; in the film’s warm and loving coda, Zappa’s children return to visit their relatives there. NK

Filmmaker Q&A following screening

Director: Scott Calonico Producer: Jeff Radice

2013 / Italy / 80 minutes

Editor: Scott Calonico

Director: Salvo Cuccia

Cinematographer: Nathan McGinty

Producer: Eleonora Cordaro

S c o t t C a l o ni c o 16/5 Chapel Lane Leith, UK EH6 6SG +44 07975807926 scott@scottcalonico.com

Editor: Benni Atria Cinematographer: Clarissa Cappellani Ab r a & C a d a b r a Eleonora Cordaro via Catania 17 Palermo, Italy 90141

Thursday, April 3 — 4:00 pm

+390918431082 abra.cadabra@hotmail.it

Cinem a 3

Friday, April 4 — 7:30 pm Cinem a 1

new docs

The Supreme Price *

world premiere

In 1993 Nigeria elected M.K.O. Abiola as president in a historic vote that promised to end years of military dictatorship. Shortly after the election, however, Abiola was imprisoned as another military regime assumed power, and his wife, Kudirat, took over the leadership of the pro-democracy movement, organizing strikes and marches and winning international attention for the Nigerian struggle. Because of this work, she too became a target and was assassinated in 1996. Director Joanna Lipper elegantly dovetails past and present as she tells this story through the eyes of Hafsat Abiola, who was about to graduate from Harvard when her mother was murdered (her father died in prison two years later). Determined not to let her parents’ ideals die with them, Hafsat has dedicated her adult life to continuing their fight for democracy. Returning to Nigeria after years abroad, she is at the forefront of a progressive movement to empower women and dismantle the patriarchal structure of Nigerian society. The Supreme Price is an unprecedented and personal look at the Abiola story—which is still unfolding. RM

Filmmaker Q&A following screening

Swallow *

north americ an premiere

Filmmaker Q&A following screening 2013 / Scotland / 9 minutes Director: Genevieve Bicknell Producer: Rosie Ellison Editor: Nick Gibbon Cinematographers: Kieran Gosney, Julian Schwanitz S c o t t is h D o c ume n ta ry In s t i t u t e Agata Jagodzinska 78 West Port Edinburgh, UK EH1 2LE +44 01316515761 agata@scottishdocinstitute.com

2014 / US, Nigeria / 75 minutes Director: Joanna Lipper Producer: Joanna Lipper Editors: Geoff Richman, Tina Grapenthin, Ali Muney Cinematographers: Rick Sands, Lisa Rinzler, Joanna Lipper W o men M a k e M o v ies Kristen Fitzpatrick 212.925.0606 x 312 kf@wmm.com Cine phil Philippa Kowarsky +972 3 566 4129 philippa@cinephil.co.il

Friday, April 4 — 4:20 pm Cinem a 4

A transfixing experimental meditation on the various connotations of food, Swallow examines the ways that eating can be translated into joyous memories or disturbing evocations of obsession or disgust. Home movies of a child’s birthday party, recollections of favorite dishes, and recipes give way to more unsettling musings on the meaning of food. An expression of love or a dreaded coercion? A pleasant or unpleasant task? Tasty and bubbling or oozy and disgusting? What will you swallow? LB

Saturday, April 5 — 1:00 pm DAC / P SI Theater

new docs

Tough Love *

world premiere

Both Hannah, in New York City, and Patrick, in Seattle, have lost custody of their children. After Hannah was reported for neglect, her two kids were removed from her home by the Administration for Children’s Services and placed with their paternal grandmother. Patrick lost his daughter to a foster family after a struggle with substance abuse. Both parents love their children deeply and are desperate to get them back. Tough Love takes us through the challenges and victories of Patrick and Hannah’s attempts to be reunited with their kids by proving to the child welfare system that they have learned from their mistakes and deserve a second chance. Through vérité footage, intimate access to sessions at family treatment court, and interviews with foster parents and case workers, we come to understand the tangle of bureaucracy and economic realities that make it so difficult for parents—however reformed and determined—to get their kids back home. EM

Filmmaker Q&A following screening 2014 / US / 85 minutes

Ukraine Is Not A Brothel (Ukraina Ne Bordel) Members of the “sextremist” FEMEN sisterhood shave and color their hair, scrawl messages of protest across their bared breasts, and storm public spaces, risking arrest to draw attention to feminist causes. But the story is more complicated: one member is a stripper, the group’s funding comes largely from male fans, and only beautiful, thin women seem to be taken seriously by the group. And then there’s Victor, a mysterious voice who masterminds FEMEN’s stunts from the shadows. With amazing access to the women’s lives, filmmaker Kitty Green gets us inside this now-famous protest movement in Ukraine and unspools an increasingly complex tale. Facing a government crackdown and the possibility of jail time, the members of FEMEN begin to rethink the group’s power structure, and so a movement within the movement begins. Looming throughout is the inevitable confrontation with Victor. RS 2013 / Ukraine, Australia / 80 minutes Director: Kitty Green

Director: Stephanie Wang-Breal

Producers: Kitty Green, Jonathan auf der Heide, Michael Latham

Producers: Carrie Weprin, Ursula Liang, Stephanie Wang-Breal

Cinematographer: Michael Latham

Editors: Colin Nusbaum, Mary Manhardt Cinematographers: Nadia Hallgren, Nate Miller e y e WAN G Pi c t u res , In c .

Editor: Kitty Green

Cine phil Ori Bader 18 Levontin Street Tel Aviv, Israel 6511207 +972 3 566 4129 info@cinephil.co.il

505 Court Street #3R Brooklyn, NY 11231 646.229.7790 toughlovedoc@gmail.com

Saturday, April 5 — 1:30 pm Cinem a 1

Friday, April 4 — 10:30 pm Cinem a 4

new docs

Watchers of the Sky

Where is My Son?

This is a film about genocide, but don’t let that deter you—it may very well be the most inspiring film you’ll see this year. Rafael Lemkin, a somewhat rumpled Polish lawyer, committed his life to criminalizing mass killing and gave the act the name genocide. Journal entries, which filmmaker Edet Belzberg illustrates with spot-on animation, show us how Lemkin was just a young farm boy when he first began contemplating the causes of genocide—years before Hitler invaded his native land. We are introduced to four extraordinarily courageous people, including U.N. Ambassador Samantha Powers, who embody Lemkin’s vision of using international law to hold killers accountable. Especially memorable is the relentlessly cheerful lawyer Benjamin Ferencz, whose own Lemkin-esque campaign is to make the very act of starting war a crime. In the end, it is Ferencz who provides the meaning of the film’s mysterious title, and gets to the heart of why filmmakers make documentaries. RS

Filmmaker Q&A following screening 2014 / US / 120 minutes Director: Edet Belzberg Producers: Edet Belzberg, Amelia Green-Dove, Kerry Propper

north americ an premiere

Giseon Kwon has lived a very long life—more than nine decades. In her younger years, she raised a family, became a widow, gardened, smoked two packs a week, and wrote poetry. Now, as her memories fade and she has reached the conclusion that “life is too long,” her son JunKyo Lee selflessly returns home from his job in the city to care for her in her final days. As they take walks, survey nature, bicker, and share meals, a loving and rich filial dynamic gracefully unfolds. Director ChaiMin Ahn’s camera catches everything with clarity and ease, underscoring both the beauty and tragedy of lives winding to a close and family stories continuing on. As Giseon’s strength falters, JunKyo remains by her side. Reflecting on her ninety-five years, Giseon remarks, “Human life is tenacious.” So, it seems, is a child’s love. WFM 2013 / Korea / 52 minutes Director: Chai-Min Ahn Producer: Kyu-Hag Song Editors: Jin-Sik Hyun, Hyo-Min Jin Cinematographers: Chai-Min Ahn, Yen-Taek Seo, Tae-Gon Kim

Editors: Jenny Golden, Karen K. H. Sim

C at& D o c s Maëlle Guenegues

Cinematographers: Mai Iskander, Jerry Risius, Nelson Walker III, Sam Cullman, Bob Richman, Martina Radwan, Edet Belzberg

18 rue Quincampoix #133 Paris, France F-75004

Mu si c B o x F il m s 312.241.1320

+33 6 81 77 65 05 maelle@catndocs.com

Friday, April 4 — 1:00 pm DAC / P SI Theater

Saturday, April 5 — 7:50 pm Cinem a 1

new docs

White Earth

Yangtze Drift

White Earth, North Dakota, was once a quiet town. Then everything changed with the oil boom. Thousands of new residents flooded into the area, many of them with no option but to live with their families in RVs and temporary housing units. Rather than focus on the men working the fields, director J. Christian Jensen trains his lens on those who wait patiently at home for loved ones to return. A mother and three children describe the circumstances of their day-to-day lives—with sensitivity, and occasionally humor, each expresses their perceptions of the oil fields, the many sacrifices the work entails, and their hopes for a prosperous future. These quiet reflections reverberate with mesmerizing imagery of the frozen landscape and the immense rigs lining its horizon. ST

world premiere

Filmmaker Q&A following screening

Quietly observational, this film is an updated travelogue of sorts, with views and impressions from along the Yangtze River in China. In structure and form, the film recalls the classics of the city symphony genre, especially Rain by Joris Ivens (1929). But this is a twenty-first-century vision, and as such, presents the inevitable tensions between the natural and man-made worlds. The river flows through a large city and on its shores, canals, and nearby streets, people go about their daily lives—they wash dishes, do laundry, catch fish, play, and sing. This film continually goes off the beaten path, luxuriating in hypnotic imagery. The river itself is the central character, the stage for human activity, and is brought to life here with kinetic abstractions of reflected light. TBW

2013 / US / 20 minutes

Filmmaker Q&A following screening

Director : J. Christian Jensen

2014 / US / 26 minutes

Producer: J. Christian Jensen Editor: J. Christian Jensen Cinematographer: J. Christian Jensen J. Ch ris t i a n J en sen Palo Alto, CA 435.215.6284 jameschristianj@gmail.com

Friday, April 4 — 10:20 am Cinem a 4

Director: John Rash Producers: John Rash, Tong Meng Editor: John Rash Cinematographer: John Rash J o hn R a s h mr.rash@gmail.com

Friday, April 4 — 1:20 pm Cinem a 4

awards & juries

new docs

AWARDS & JURIES

Prizes will be awarded on Sunday, April 6, at the Awards Barbecue. The festival offers the following awards: the reva and david logan grand JURY AWARD $10,000 Sponsored by The Reva and David Logan Foundation Shola Lynch Filmmaker (Free Angela & All Political Prisoners, Chisholm ’72 — Unbought & Unbossed) Curator, Moving Image & Recorded Sound at the Schomburg Center Robb Moss Filmmaker (Secrecy, The Same River Twice) Professor of Visual Arts, Harvard University Christine O’Malley Producer (If You Build It, The Big Uneasy, Wordplay)

FULL FRAME JURY AWARD FOR BEST SHORT $2,000 Provided by Drs. Andrew and Barbra Rothschild Brian McGinn Filmmaker (The Record Breaker, American Teacher, Funny or Die) Rick Prelinger Founder, Prelinger Archives; Filmmaker; Professor, Film & Digital Media Department, UC Santa Cruz Toby Shimin Editor (Buck, Seabiscuit, Three of Hearts)

FULL FRAME AUDIENCE AWARDs The Audience Awards are determined by counting audience ballots filled out during the festival. Audience Award Feature $3,000 Sponsored by Merge Records Audience Award Short $2,500 Sponsored by Vimeo All NEW DOCS, features and shorts respectively, are eligible for this award.

CENTER FOR DOCUMENTARY STUDIES 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: Randy Benson Wesley Hogan Katie Hyde Lynn McKnight Dan Partridge Elena Rue Teka Selman April Walton

awards & juries

THE CHARLES E. GUGGENHEIM EMERGING ARTIST AWARD $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. Zak Piper Producer (The Interrupters, Life Itself, At the Death House Door)

THE KATHLEEN BRYAN EDWARDS AWARD FOR HUMAN RIGHTS $5,000 Sponsored by the Julian Price Family Foundation In memory of Melanie Taylor

Roger Ross Williams Filmmaker (Music by Prudence, God Loves Uganda)

This annual award is presented to a film that addresses

Martha Shane Filmmaker (After Tiller)

By inspiring advocacy, increasing awareness, and

a significant human rights issue in the United States. promoting equity and justice, the winning film will honor the legacy of Kathleen Bryan Edwards’s passion

FULL FRAME INSPIRATION AWARD

and activism for human rights.

$5,000

For the Kathleen Bryan Edwards Family:

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. Sarah Masters Managing Director, Hartley Film Foundation Jason Osder Filmmaker (Let the Fire Burn) Professor, The George Washington University School of Media and Public Affairs Dawn Porter Filmmaker (Gideon’s Army, Spies of Mississippi)

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

FULL FRAME PRESIDENT’S AWARD

imperative to preserve both the natural environment

$5,000 Sponsored by Duke University

define us.

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

that sustains us and the cultural heritages that

For the Nicholas School of the Environment: Lisa Campbell Erin Espelie Cindy Horn Rebecca Patton Tom Rankin

opening night film

112 Weddings *

world premiere

Twenty years ago, documentary filmmaker Doug Block began filming weddings as a way of making a little extra money. Alongside his acclaimed films, such as 51 Birch Street and The Kids Grow Up, Block built another oeuvre—an immense collection of ceremonies. Camera in hand, he was there, embedded in a central moment of other people’s lives, and it was hard not to feel a lingering closeness to the people who had trusted him to be a part of their big day. What had become of these brides and grooms? Was marriage all that they dreamed it would be? Juxtaposing wedding footage with contemporary interviews, Block revisits nine couples to find out how their lives and partnerships have evolved. In their candid assessments of matrimony, both humorous and heartbreaking, they describe becoming parents, facing illness, finding compromise, and for some, accepting divorce. As we flip back through this moving album, we also meet Heather and Sam, a young couple approaching their wedding day, Block’s one hundred and twelfth, over the course of the film. Joyous and emotional—a rollercoaster ride not unlike a wedding itself—this poignant film explores the undertaking of getting, and staying, married. ST Moderated conversation following screening 2014 / US / 96 minutes Director: Doug Block Producers: Lori Cheatle, Doug Block Executive Producers: Sheila Nevins, Nick Fraser, Kate Townsend, Martin Pieper Senior Producer: Lisa Heller Associate Producer: Elizabeth J. Theis Editor: Maeve O’Boyle Cinematographer: Doug Block

112 W e d d in g s , LLC 10 Jay Street, #902 Brooklyn, NY 11201 646.383.5971 info@112weddingsthemovie.com

Thursday, April 3 — 7:30 pm

Sponsored by the American Tobacco Campus

F le t cher Ha ll

and Capitol Broadcasting Company, Inc.

invited program

center frame

invited program Full Frame is proud to showcase a selection of twenty-three 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 Israel and Cambodia. This diverse lineup includes three World Premieres 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 fan favorites from the 2013 festival— Good Ol’ Freda and If You Build It.

Afternoon of a Faun: Tanaquil Le Clercq Tanaquil Le Clercq was still a teenager when George Balanchine made her a principal dancer of the New York City Ballet. She was long and tall when other dancers were short, and her fluid movements possessed an intoxicating quality that inspired audiences and choreographers alike. Jerome Robbins created the duet Afternoon of a Faun for her to dance with Jacques d’Amboise. Though Robbins was in love with her, it was Balanchine she eventually married. Then, in 1956 at the height of her fame, she was stricken with polio and confined to an iron lung. She survived but was paralyzed and never walked or danced again. Through interviews with fellow dancers, glorious archival footage of performances, and intimate Super 8 films shot by friends, Le Clercq’s exceptional allure emanates from the screen. The documentary also beautifully incorporates the letters she exchanged with Robbins, which reveal her innermost longings and a bond complicated by romantic feelings. Ultimately, Nancy Buirski’s Afternoon of a Faun is a window on this unparalleled talent and her mesmerizing story of love, loss, and surprising grace. ST

Moderated conversation following screening 2014 / US / 91 minutes Director: Nancy Buirski Producers: Nancy Buirski, Ric Burns, Krysanne Katsoolis Editor: Damian Rodriquez Cinematographer : Rick Rodgers C a c t u s Th re e 234 West 21st Street New York, NY 10011 917.379.7911 krysanne@cactusthree.com

Friday, April 4 — 4:40 pm F le t cher Ha ll

center frame

The Case Against 8 When California’s Proposition 8 revokes the right for same-sex couples to marry, an unlikely legal “dream team” emerges to challenge it. The two lead attorneys, David Boies and Ted Olson, are well prepared to take the fight against Prop 8 to the U.S. Supreme Court, having argued the Bush v. Gore case in 2000—on opposing sides. The plaintiffs, two men and two women who wish to marry, find themselves the targets of vicious personal attacks at home and nerve-wracking cross-examinations in court. While personalities take the front seat in Ben Cotner and Ryan White’s courtroom saga, the complex legal issues are carefully and lucidly presented. The directors’ amazing access to the legal team’s planning sessions and their sensitive portraits of the two couples show the fight both as a quest for justice on the grandest stage of government and for acceptance, long overdue, on every street in every neighborhood across the country. MM

Moderated conversation following screening

center frame

E-Team In times of international conflict, Human Rights Watch sends specially trained members of their E-Team (Emergencies Team) straight to the frontlines. These intrepid investigators are tasked with documenting human rights abuses that could easily go unreported and sharing their findings with the media. Fred Abrahams, Peter Bouckaert, and married couple Anna Neistat and Ole Solvang are real-life heroes, willing to put their own lives at risk in order to expose dark truths and make change. Anna and Ole smuggle themselves over the Syrian border to investigate abuses by Bashar Al-Assad, calmly conducting interviews amid gunfire and bombings. Peter uses his extensive weapons expertise to uncover the Gaddafi regime’s violations of international law in Libya, while Fred recounts testifying against Yugoslav dictator Slobodan Miloševic´ for crimes against humanity. Balanced against the urgency of these harrowing situations are depictions of the E-Team as regular people, navigating the ordinary dramas of family life, even a pregnancy, as they continue their quest for proof. EM

2014 / US / 112 minutes

Moderated conversation following screening

Directors: Ben Cotner, Ryan White

2014 / US / 89 minutes

Producers: Ben Cotner, Ryan White Editor: Kate Amend

Directors: Katy Chevigny, Ross Kauffman

Cinematographers: Rebekah Fergusson, Ryan White, Ben Cotner, Joe Anderson

Producer: Marilyn Ness

info@thecaseagainst8.com

Editor: David Teague Cinematographers: Rachael Beth Anderson, James Foley, Ross Kauffman Bi g M o u t h P r o d u c t i o n s

Saturday, April 5 — 7:40 pm F le t cher Ha ll

68 Jay Street, Suite 304 Brooklyn, NY 11201 scott@bigmouthproductions.com

Friday, April 4 — 7:40 pm F le t cher Ha ll

center frame

free closing night film

Ivory Tower

The Battered Bastards of Baseball

Between 1980 and 2010, the cost of higher education grew by 1,120 percent—double the rate of inflation. Student loan debt in America recently topped $1 trillion, outstripping our national credit card debt. In this climate of economic uncertainty, director Andrew Rossi questions whether college is worth its price tag and turns a skeptical, journalistic lens on our nation’s universities. Through interviews with professor Andrew Delbanco, writer Anya Kamenetz, Coursera cofounder Daphne Koller, and numerous students, Ivory Tower presents a sweeping, often contradictory picture of the future of higher education. As we journey from the hallowed halls of Harvard to the party scene at Arizona State to “uncollege” hacker schools for aspiring entrepreneurs, Rossi investigates university spending, quality of education, and new educational models. Woven throughout is the unfolding story of New York’s Cooper Union, where students stage a large-scale sit-in to protest a decision by the school’s president to charge tuition for the first time in 150 years. EM

In 1973, the Portland Mavericks joined the minor leagues as the lone single-A team without a majorleague affiliation. The brainchild of Hollywood veteran and irrepressible baseball fanatic Bing Russell, the appropriately named team made history on and off the field with such radical acts as hiring baseball’s first female general manager, holding open tryouts, and fielding a left-handed catcher. Russell’s ragtag roster— including son Kurt Russell, blacklisted Yankee Jim Bouton, and future Academy Award–nominee ball boy Todd Field—defied expectations by winning games and filling seats. In addition to garnering record-breaking crowds, the Mavericks also drew the attention and ire of competitors, which only served to fuel the team’s underdog spirit. A stranger-than-fiction tour-de-force, The Battered Bastards of Baseball celebrates the game and the era with verve. TM

Filmmaker Q&A following screening 2014 / US / 75 minutes

Moderated conversation following screening

Directors: Chapman Way, Maclain Way

2014 / US / 90 minutes

Producer: Juliana Lembi Executive Producer: Nancy Schafer

Director: Andrew Rossi

Editor: Chapman Way

Producers: Andrew Rossi, Josh Braun

Cinematographer: Chapman Way

Co-Producer: Kate Novack Associate Producer: Andrew Coffman

M a c l a in Way

Editors: Chad Beck, Christopher Branca, Andrew Coffman

1283 Coventry Drive Thousand Oaks, CA 91360

Cinematographers: Andrew Rossi, Bryan Sarkinen, Andrew Coffman

805.657.5388 maclainway@gmail.com

J o sh B r aun

Sunday, April 6 — 8:00 pm

197 Grand Street 6W New York, NY 10013

F le t cher Ha ll

212.625.1410 josh@submarine.com

Presented by PNC

Saturday, April 5 — 4:40 pm F le t cher Ha ll

free screenings

Good Ol’ Freda

If You Build It

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

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 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

2013 / US / 86 minutes

Cinematographer: George De Sort

2013 / US / 84 minutes Director: Patrick Creadon Producers: Christine O’Malley, Neal Baer Editors: Nick Andert, Doug Blush

Director: Ryan White

L o n g s h o t Fa c t o ry Erin Owens

Producers: Kathy McCabe, Ryan White, Jessica Lawson

349 Fifth Avenue New York, NY 10016

Editor: Helen Kearns

646.499.6204 erin@longshotfactory.com

Cinematographer: Austin Hargrave M a g n o l i a Pi c t u res

Friday, April 4 — 6:30 pm

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

P ower P l an t / Full F r a me Theater

publicity@magpictures.com

Friday, April 4 — 8:30 pm D urh a m Cen t r a l Pa rk NO TICKET REQ UIRED

Saturday, April 5 — 6:30 pm P ower P l an t / F ull F r a me Theater TICKET REQ UIRED

Presented by PNC

TICKET REQ UIRED

Saturday, April 5 — 8:30 pm D urh a m Cen t r a l Pa rk NO TICKET REQ UIRED

Presented by PNC

invited program

20,000 Days on Earth

Alive Inside

Jane Pollard and Iain Forsyth’s innovative blend of document and daydream, fact and fiction, features the inimitable Nick Cave in a series of revelatory and imaginative vignettes that all take place on his titular twenty-thousandth day. In the world of the Australian musician, songwriter, and occasional film actor, the mundane gives way to the fantastic—and the viewer is transported, alongside a coterie of surprising and engaging passengers, to a variety of locales, each of which offers revealing glimpses into the creative and collaborative processes that comprise Cave’s legendary, enigmatic oeuvre. Sumptuously photographed, with intimate access and an arch sensibility, 20,000 Days on Earth is as inventive, moody, and beguiling as its subject. Mysteries accumulate and momentum grows as the film builds toward a climactic live performance. The masterfully edited coda underscores the sum of Cave’s dynamic parts: The artist is shaman and showman. TM

While volunteering at a nursing home, social worker Dan Cohen makes an amazing discovery: Playing music for elderly people with dementia brings about powerful transformations. Just a few minutes of listening to the music they love “wakes up” Alzheimer’s patients, reconnecting them with their identities, emotions, and past lives. In Michael Rossato-Bennett’s remarkable documentary, we see the results of Cohen’s experiments firsthand, learning how a pair of headphones and an iPod can conjure up feelings of joy and memories that have been dormant for years. Interviews with neurologist Oliver Sacks, musician Bobby McFerrin, and experts on elderly care confirm this revelatory power in music, as well as the necessity of interpersonal connections. This film is a moving piece of advocacy, shedding light on how our brains function as it exposes flaws in our national health system. EM 2014 / US / 73 minutes

2014 / UK / 95 minutes

Director: Michael Rossato-Bennett

Directors: Iain Forsyth, Jane Pollard

Producers: Alex McDougald, Michael Rossato-Bennett

Producers: James Wilson, Dan Bowen Editor: Jonathan Amos

Editors: Mark Demolar, Michael Rossato-Bennett, Manuel Tsingaris

Cinematographer: Erik Wilson

Cinematographer: Shachar Langlev

D r a f t h o u se F il m s Jenny Jacobi

The F il m S a l e s C o m pa n y Erik Goyenechea

Austin, TX 78701

165 Madison Avenue, Suite 601 New York, NY 10016

jenny.jacobi@drafthouse.com

212.481.5020 erikgoyenechea@gmail.com

Saturday, April 5 — 11:00 pm

Sunday, April 6 — 10:10 am

F le t cher Ha ll

Cinem a 3

invited program

Freedom Summer

The Green Prince

In the summer of 1964, half of Mississippi’s residents were black and most of them weren’t registered to vote—voting was considered “messing with white people’s business” and could get you killed. Bob Moses’s Freedom Summer Project sent nearly a thousand predominantly white students into the state to work side-by-side with black Mississippians to register voters and establish Freedom Schools to foster political participation. Director Stanley Nelson, a past Full Frame Tribute honoree, delivers a not-to-be-missed account of that tempestuous summer. But the film is no history lesson. In riveting detail, the former volunteers, including Moses, recall their experiences of those volatile summer months, starting with their intensive training during which the group had to overcome its own issues of mistrust. Archival footage shows the students blending into towns across Mississippi where courageous black families welcomed them into their homes and around their supper tables. The summer culminates with Fannie Lou Hamer’s blistering testimony at the 1964 Democratic Convention, a speech that challenged delegates and rattled President Johnson. At a moment of renewed attention to voting rights, the film serves as a timely reminder of past struggles. RS

Through the dynamic relationship between a Palestinian spy and his Israeli Shin Bet handler, this film unfolds like a great thriller, each twist and turn more shocking than the last. Most astonishing of all, though, is the fact that it’s true. As a young man in Ramallah, Mosab Hassan Yousef greatly admired his father, an influential leader of Hamas. When arrested and imprisoned for smuggling guns at the age of seventeen, Yousef is recruited by the Israeli security agency and ultimately agrees to become a spy for them. For Gonen Ben-Itzhak, Yousef’s handler, this promising young operative, dubbed the “Green Prince,” presents a rare opportunity for the Shin Bet to infiltrate this powerful Palestinian family. However, conflicted by the decision to betray his father, Yousef has his own ideas about how matters should unfold. The charismatic duo’s dramatic story is recounted through each man’s recollections. No outside vantage points intrude on this intricate plot or on their perspectives. Interviewed separately, their riveting versions of events overlap and conflict, as striking reenactments intensify their tale of trust, betrayal, and unlikely friendship. ST

Filmmaker Q&A following screening 2013 / US / 113 minutes Director: Stanley Nelson

2014 / Germany, UK, Israel / 95 minutes Director: Nadav Schirman Producer: Nadav Schirman Editors: Joelle Alexis, Sanjeev Hathiramani Cinematographers: Hans Fromm, Giora Beajch

Producers: Stanley Nelson, Cyndee Readdean

G LO B AL SCREEN G mb H Gisela Wiltschek

Editor: Aljernon Tunsil

Sonnenstraße 21 Munich, Germany 80331

Cinematographer: Antonio Rossi

+49 89 2441295 569 gisela.wiltschek@globalscreen.de

W G B H Vanessa Ezersky One Guest Street Boston, MA 02135 617.300.5953 vanessa_ezersky@wgbh.org

Saturday, April 5 — 1:00 pm Cinem a 4

Thursday, April 3 — 8:10 pm Cinem a 1

invited program

Last Days in Vietnam Through a combination of remarkable archival footage and powerful testimonies, acclaimed filmmaker Rory Kennedy transports us back to the final moments of the U.S. occupation of Saigon. In the wake of Nixon’s resignation as president and Ford’s assumption of office, a cease-fire treaty collapsed in mayhem, confusion, and tragedy. At the end of April 1975, with the Viet Cong approaching, the White House gave orders to evacuate all remaining U.S. diplomats and military personnel from the city. But what would become of the many South Vietnamese who had worked so closely with the now rapidly departing Americans? This is the story of those who responded to moral instinct rather than orders, who broke command to evacuate their allies by air (74 Marine helicopters in 18 hours of nonstop flights), saving tens of thousands of lives. This is also the story of the thousands who were left behind to find a path of survival in a war-torn city. Through these reflections on harrowing times and impossible choices—by those who lived through them—a seemingly familiar history becomes a revelation. ST 2013 / US / 97 minutes Director: Rory Kennedy Producers: Rory Kennedy, Keven McAlester Editor: Don Kleszy Cinematographer: Joan Churchill WGBH Vanessa Ezersky One Guest Street Boston, MA 02135 617.300.5953 vanessa_ezersky@wgbh.org

The Missing Picture (L’image manquante) In 1975, Pol Pot’s communist regime seized Phnom Penh. Under the guise of eliminating class divisions, the Khmer Rouge stripped residents of their belongings and sent communities to work in labor camps. Cambodian filmmaker Rithy Panh was just a boy when the Khmer Rouge ravaged his hometown. He came of age witnessing torture, murder, and abuse, but there are few photographs to validate his memories of the past—most of the documentation that exists was regime propaganda. In this poetic and haunting masterpiece, Panh visualizes this traumatic history through his own powerful recollections. Employing a vast collection of clay figures, he reenacts the scenes his family endured, staging intricate moments of distress, violation, and resilience. Excerpts of archival footage, the little that does exist, bolster these magnificently composed scenes. Recipient of the Prix Un Certain Regard at Cannes and nominated for the 2014 Academy Award for Best Foreign Language Film, this document is both an essential history and a deeply personal meditation on how we best remember. ST 2013 / Cambodia, France / 92 minutes Director: Rithy Panh Producer: Catherine Dussart Editors: Rithy Panh, Marie-Christine Rougerie Cinematographer: Prum Mesa S t r a n d Re l e a sin g Nathan Faustyn 6140 West Washington Boulevard Culver City, CA 90232 310.836.7500 nathan@strandreleasing.com

Thursday, April 3 — 10:20 am F le t cher Ha ll

Sunday, April 6 — 4:40 pm Cinem a 1

invited program

My Prairie Home

No More Road Trips?

Transgender singer-songwriter Rae Spoon (who uses the gender-neutral pronoun “they”) embarks on a tour across Canada. Their genre-defying music, a combination of folk, country, indie rock, and electronica, is as impossible to categorize as their sex. On long Greyhound bus rides and in drab motel rooms, Spoon shares details about their childhood and family—an evangelical upbringing, abuse by a schizophrenic father, first-time love with a girl in high school. Punctuating these musings are director Chelsea McMullan’s quirky, stylized music videos, in which Spoon wields their voice and acoustic guitar at an old-fashioned diner, in a John Hughes–style prom scene, and alongside dinosaurs at a history museum, among others. Surreal, poetic, and entertaining, this impressionistic musical documentary is a simultaneously playful and revealing portrait of a talented, untraditional artist. EM

Throughout the twentieth century, American homemovie makers shot a massive amount of footage, many more times the volume of films made by the movie industry. Taken collectively, this footage offers a vision of our country quite different from that which Hollywood produced. This dream ride is composed of shots taken coast-to-coast by scores of amateurs from the 1920s through the 1970s as they stopped to capture sights both familiar and obscure. This interactive silentfilm mixtape invites the audience to make up its own soundtrack—if you recognize a location, a car, or some other element on the screen, speak up! The question mark in the title leaves the idea of road trips and home movies suspended in air, but there is no doubt that traveling by car was different then. By turns surprising and expected, this exceptional film offers a unique and fascinating view of our collective travels along the American road. TBW

2013 / Canada / 77 minutes

Filmmaker Q&A following screening

Director: Chelsea McMullan

2013 / US / 80 minutes

Producer: Lea Marin Editor: Avril Jacobson

Director: Rick Prelinger

Cinematographers: Maya Bankovic, Derek Howard

Producer: Rick Prelinger Editor: Rick Prelinger

N at i o n a l F il m B o a rd o f C a n a d a

Élise Labbé

3155 Côte-de-Liesse Montreal, Canada H4N 2N4

Ri c k P re l in g e r

514.283.9133 festivals@nfb.ca

P.O. Box 590622 San Francisco, CA 94118 footage@panix.com

Thursday, April 3 — 10:50 pm Cinem a 3

Saturday, April 5 — 5:00 pm Cinem a 2

Saturday, April 5 — 8:10 pm Cinem a 2

invited program

One Cut, One Life *

world premiere

Ed Pincus had left filmmaking to run a flower farm in Vermont, but a chance encounter with Lucia Small brought him back to documentary, and together they made the 2007 film The Axe in the Attic. Over the years since, they had often talked about making a firstperson documentary film from the perspectives of two different people, but it never happened. When Ed is diagnosed with a terminal illness, he and Lucia decide to finally make the movie they’d talked about. With Ed dying and Lucia grieving over the tragic deaths of two close friends, the pair confront their emotions— the fear, grief, and anger that define the experience of loss—and wrestle with others’ requests to put the cameras down, most importantly from Jane, Ed’s wife of fifty years. Remarkably candid and at times openly raw, One Cut, One Life is both upsetting and affirming— as these two people come to terms with mortality, they discover what’s most precious about life. ST

Moderated conversation following screening 2014 / US / 105 minutes

Our Man in Tehran *

us premiere

The 1979 hostage crisis in revolutionary Iran had one remarkably bright moment—when six American diplomats who had eluded capture when the embassy was seized were finally able to get out of Tehran safely. The Canadians who engineered their extraction and safe return were the unsung heroes of the day. This film presents the true story that was the basis for the feature film Argo by combining high-stakes suspense with firsthand insights and a sure sense for storytelling. How did the Canadians in Tehran, including Ambassador Ken Taylor and his wife, Pat, manage to keep the Americans hidden for so long, and what roles did a variety of Canadian officials play in arranging the sensitive machinations that led to the success of the mission? The larger context of Iranian history adds even more heft to this narrative of the covert operation, complete with its own Hollywood cover story. The film’s cloakand-dagger flair has a down-to-earth morality at its core. NK

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

Directors: Lucia Small, Ed Pincus Producers: Lucia Small, Ed Pincus, Mary Kerr

Directors: Drew Taylor, Larry Weinstein

Editor: Lucia Small

Producers: Larry Weinstein, Drew Taylor

Cinematographers: Ed Pincus, Lucia Small

Editor: Steve Weslak Cinematographer: John Minh Tran

Lu ci a Sm a l l 9 Halifax Street Boston, MA 02130

eO ne F il m s In t e rn at i o n a l

917.428.9121 smallangstfilms@gmail.com

175 Bloor Street East, Suite 1400, North Tower Toronto, Ontario, Canada M4W3R8 416.646.2400 festival.requests@gmail.com

Saturday, April 5 — 4:30 pm Cinem a 1

Sunday, April 6 — 11:00 am F le t cher Ha ll

invited program

Soft Vengeance: Albie Sachs and the New South Africa *

world premiere

South Africa’s struggle for freedom and democracy produced many heroes. Soft Vengeance focuses on the incomparable Albie Sachs, a wise and beloved white lawyer who was a leading member of the African National Conference. Through Sachs’s story, we go back to South Africa in 1955 when the People’s Congress defiantly declared that “South Africa belongs to all who live in it.” For the next thirty-five years, Mandela was disappeared to prison, and ANC leaders, including Sachs, were forced into exile, where they continued to be tracked by South African security forces. This film recounts their dangerous journey to abolish apartheid (including graphic footage of Sachs after his car was bombed) and follows the unimaginable task of rebuilding a country so deeply wounded by its past. How they accomplished the establishment of a new South African constitution gets to the heart of what makes people like Sachs different. Compassionate, eloquent, and optimistic, Sachs remains honor bound to moral rightness even when, through the Truth and Reconciliation Commission, he meets the man who tried to have him killed. RS

Filmmaker Q&A following screening 2014 / US / 83 minutes Director: Abby Ginzberg Producers: Abby Ginzberg, Ken Schneider Editor: Ken Schneider Cinematographer: Nic Hofmeyr Gin zb e r g P r o d u c t i o n s

Supermensch Mike Myers’s directorial debut is a witty, soulful tribute to Hollywood legend and mega-manager Shep Gordon. The pair met during production on Wayne’s World, when Myers entered into negotiations with Gordon over the use of an Alice Cooper song. They’ve been friends ever since. In fact, Gordon has become friends with most of his celebrity clients. Along with Cooper, he’s managed the careers of numerous musicians, ranging from Blondie to Teddy Pendergrass, and his own eclectic career includes producing films and jumpstarting the television “celebrity chef” phenomenon, making Emeril Lagasse and other culinary stars household names. While each story in Supermensch is wilder than the last, there’s a whole other story to tell—of Gordon’s decency and generosity, loyalty and compassion. He’s a Jewish Buddhist and a friend of the Dalai Lama. His home on Maui has an open-door policy, and folks from Sylvester Stallone to Tom Arnold to Michael Douglass talk about him like he’s family. This romp through Gordon’s career is much more than a catalogue of impressive achievements; it’s a testament to the steadfast qualities of a man who happens to have a heart that’s as big as his outsized personality. ST 2013 / US / 84 minutes Director: Mike Myers Producers: Mike Myers, Beth Aala Editor: Joseph Krings Cinematographers: Michael Pruitt-Bruun, Andreas von Scheele RAD iUS -T W C 99 Hudson Street, Second Floor New York, NY 10013 212.845.8669 jason.wald@weinsteinco.com

2600 Tenth Street #610 Berkeley, CA 94710 510.367.3499 abbyginzberg@gmail.com

Friday, April 4 — 10:40 pm F le t cher Ha ll

Saturday, April 5 — 10:30 am Cinem a 1

invited program

Through a Lens Darkly: Black Photographers and the Emergence of a People Every negro boy and every negro girl born in this country until this present moment undergoes the agony of trying to find, in the body politic, in the body social, outside himself/herself, some image of himself or herself that is not demeaning.—James Baldwin, 1963 From its inception, photography has been used to construct narratives about black people, from the outside and from within. In this invaluable document in the history of photography, Thomas Allen Harris takes us on a profound and personal journey through the African American family album in the company of some of our most important artists, scholars, and historians— Deborah Willis, Carrie Mae Weems, Richard J. Powell, Robin D.G. Kelley, and Coco Fusco, among others. They reflect on the political, social, and artistic history of black photography; they muse on creation from loss, longing, and unrequited love. They speak of shame, negation, self-invention, and self-affirmation, and they find spirit and community and beauty. Throughout, we are bathed in images, as in a waking dream. CRE

Moderated conversation following screening

Visitors Godfrey Reggio’s latest film is a wordless, sweeping rumination on the force of technology in our increasingly digital world. Visitors marks Reggio’s fourth collaboration with Philip Glass and represents a shift in approach from their previous features, the remarkable Koyaanisqatsi, Powaqqatsi, and Naqoyqatsi trilogy. This new work is composed entirely of black-and-white images and dramatically long takes—the entire 90 minutes consists of only 74 cuts. Arresting cinematography captures a series of surreal and supernatural sights. Faces stare directly into the camera, crowds of people bob and sway as they walk towards us, fingers flicker across the frame, and grand, immovable landscapes— both natural and manmade—hold us in thrall. Attempts to describe the assemblage’s meaning would say more about the viewer than the film itself. Without a single title card or word of dialogue, Visitors defies definition. It is cinema as an experience and one definitely worth having on the big screen. ST 2013 / US / 87 minutes Director: Godfrey Reggio Executive Producers: Dan Noyes, Dean Chenoy Producers: Godfrey Reggio, Jon Kane, Lawrence Taub, Phoebe Greenberg, Penny Mancuso, Mara Campione

2014 / US / 92 minutes

Editors: Chris Besecker, Jon Kane

Director: Thomas Allen Harris

Cinematographers: Trish Govoni, Graham Berry, Tom Lowe

producers: Thomas Allen Harris, Deborah Willis, Ann Bennett, Don Perry Editors: K.A. Miille, Matthew Cohn Cinematographer: Martina Radwan

Cine d i g m Jill Newhouse Calcaterra 2049 Century Park East, Suite 1900 Los Angeles, CA 90067 424.281.5417

D o n P e rry 68 East 131 Street, Suite #600 New York, NY 10037 646.662.8409 don2perry@gmail.com

Sunday, April 6 — 10:30 am Cinem a 1

Sunday, April 6 — 2:00 pm F le t cher Ha ll

invited program

WHITEY: United States of America v. James J. Bulger After sixteen years in hiding, and a lifetime of infamy, legendary Boston gangster James “Whitey” Bulger was finally brought to trial on charges of racketeering, money laundering, extortion, and firearms possession in 2013. No stranger to documenting the courtroom and its divergent versions of events, filmmaker Joe Berlinger strips away the veneer of true-crime mythology and gamely navigates the intersecting webs of law enforcement, prosecutors, defense attorneys, business associates, and victims’ families. Was Bulger an informant? Was he buying information off of law enforcement officials? Bulger’s mysterious role at the center of the intrigue confounds and captivates his accusers and cohorts alike. This comprehensive chronicle of the rise and fall of a South Boston emperor reveals a world ruled by gray, not black and white. TM

Filmmaker Q&A following screening 2014 / US / 130 minutes Director: Joe Berlinger Producers: Joe Berlinger, Caroline Suh Editors: Alex Horwitz, Josh Pearson Cinematographers: Robert Richman, Etienne Sauret S a m B r o a d w in 435 Hudson Street, Sixth Floor New York, NY 10014 212.462.1647 broadwin@radicalmedia.com

Friday, April 4 — 7:10 pm Cinem a 3

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

A& E Ind i e F i lms S p eakeasy Full Frame is proud to present the A&E IndieFilms Speakeasy for the fourth 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 discussions at the Speakeasy are filmed and available 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 4 — 9:30 am

SHORT CUTS Less can, in fact, be more: an examination of short form documentary films.

Friday, April 4 — 12:30 pm

MAKING HISTORY Filmmakers share their approaches to bringing the (sometimes forgotten) past to life.

Friday, April 4 — 3:30 pm

BEHIND THE LENS What happens to the creative process in a film when the director is also the cinematographer?

Saturday, April 5 — 9:30 am

WHAT DO YOU DO, EX ACTLY? Some of the best documentary producers in the field discuss a job title that defies easy definition.

Saturday, April 5 — 12:30 pm

SMALL SCREEN NO MORE Top programming executives discuss how broadcasting companies are changing the landscape of documentary.

Saturday, April 5 — 3:30 pm

SHOW ME THE MONEY Funding specialists open up about how the money flows, from DIY to foundation support— who gets backing, and why.

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

Garrett Scott Documentary Development Grant Only thirty-seven at the time of his death, Garrett Scott made a distinctive mark in the documentary genre during his brief career. Without any formal training, he directed Cul De Sac: A Suburban War Story and went on to make Occupation: Dreamland, co-directed by Ian Olds. Created by family, friends, and colleagues, this grant recognizes first-time filmmakers who, like Garrett, bring a unique vision to the content and style of their documentary films. The recipients are selected based on their works-in-progress and are provided with travel to and accommodations at the festival. Full Frame is honored to host these filmmakers and looks forward to their finished work. Now in its eighth year, the Garrett Scott Documentary Development Grant has honored an impressive collection of filmmakers. Their completed works have gone on to screen at the Sundance Film Festival, the Berlin International Film Festival, SXSW, and numerous other events, including Full Frame. Previous grant recipients include Robin Hessman for My Perestroika, Jason Osder for Let the Fire Burn, Rebecca Richman Cohen for War Don Don, Mai Iskander for Garbage Dreams, and Katherine Fairfax Wright and Malika Zouhali-Worrall for Call Me Kuchu. The 2014 Garrett Scott Documentary Development Grant has been awarded to James Demo for The Peacemaker and RaMell Ross for Hale County. Demo and Ross will present short excerpts from their works-in-progress at 4:10 p.m. on Saturday, April 5, prior to the screening of the World Premiere of 2013 recipients Mike Attie and Meghan O’Hara’s In Country. The Garrett Scott Documentary Development Grant is made possible with generous support from Dr. Brian and Laura Myers Stabler.

Hale County ramell ross Hale County follows Daniel Collins and Quincy Bryant, two African Americans on the cusp of adulthood. Born in Hale County, Alabama, and raised in the rural moonlight of the historic South, they insist on escaping the rooting of social stratification while managing its trappings. Explored through immersive and restlessly meditative segments and montages, the film is a poem privileging the interstices of their lives and surroundings to translate their experience.

The Peacemaker james demo The Peacemaker takes us from the quiet pillar of intellectualism in Cambridge, Massachusetts, to some of the most dangerous crisis zones on Earth—from Northern Ireland to Kosovo, from Nigeria to Iraq—to chronicle, over five years, the journey of Padraig O’Malley as he works a peace model based on his recovery from addiction.

Saturday, April 5 — 4:10 pm cinem a 3

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

SDF: In-the-Works The Southern Documentary Fund (SDF) is proud to present In-the-Works at Full Frame again this year. This program provides audiences with a unique opportunity to watch documentaries in various stages  of production and to participate in the critique process. It also gives filmmakers the opportunity to receive feedback from a dedicated assembly of their peers and serious documentary enthusiasts. This year, In-the-Works will screen excerpts from Old South by Danielle Beverly and Trapped by Dawn Porter. For twelve 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  a hundred projects since 2002. The work of SDF artists has been broadcast nationally and internationally, screened at hundreds of film festivals around the world, and is being used as effective tools for education and community development.

Old South danielle be verly Hope is thirty years old and fighting to save her historic African American neighborhood from encroachment by an elite white fraternity, one known to fly a Confederate flag and hold an annual antebellum parade. Since the post-racial glow of the election of Obama, everyone’s talking about race. But is it really so easy to speak openly and honestly? Or to change? Old South explores two colliding Southern communities as they strive to keep their respective legacies relevant in a changing America.

Trapped dawn porter In the past three years, a record-breaking number of laws aimed at restricting access to abortion have passed in states across the country. Known as TRAP laws, these laws are an effort to systematically eliminate licensed abortion clinics in the United States. Trapped follows physician and abortion provider Dr. Willie Parker, who travels from his home in Chicago, Illinois, to provide services at two of the only remaining clinics in the South: Reproductive Health Services of Montgomery in Alabama and the Jackson Women’s Health Organization in Mississippi. Each state is fighting a TRAP law that would prevent out-of-state physicians from caring for patients. If these laws are successful, both clinics will close.

Sunday, April 6 — 2:30 pm dAC / p si theat re

7:30 – 9:50 8:00 – 9:50 Born to Fly

Opening Night film

112 Weddings

1:00 – 2:45 Monk By Blood l

Where is My Son?

1:30 – 3:15 Butterfly Girl

FILM CATEGORY

inde x by title

112 Weddings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Land of Silence and Darkness . . . . . . . . . . . . . 23, 28

20,000 Days on Earth . . . . . . . . . . . . . . . . . . . . . . . . . 63

Last Days in Vietnam . . . . . . . . . . . . . . . . . . . . . . . . . 65

Afternoon of a Faun: Tanaquil Le Clercq . . . . . . . . 59

Light Fly, Fly High . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Alive Inside . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

The Lion’s Mouth Opens . . . . . . . . . . . . . . . . . . 23, 29

Ana Ana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Metallica: Some Kind of Monster . . . . . . . . . . . 23, 29

Apollonian Story . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

The Missing Picture . . . . . . . . . . . . . . . . . . . . . . . . . . 65

The Arbor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21, 25

Monk By Blood . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

At the Death House Door . . . . . . . . . . . . . . . . . . 10, 16

Monk With A Camera . . . . . . . . . . . . . . . . . . . . . . . . 45

The Battered Bastards of Baseball . . . . . . . . . . . . . . 61

My Prairie Home . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Book of Days . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

No More Road Trips? . . . . . . . . . . . . . . . . . . . . . . . . . 66

Born to Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

The Notorious Mr. Bout . . . . . . . . . . . . . . . . . . . . . . . 45

Bronx Obama . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Old South . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Buffalo Dreams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Olga - To My Friends . . . . . . . . . . . . . . . . . . . . . . . . . 46

Butterfly Girl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

On the Bowery . . . . . . . . . . . . . . . . . . . . . . . . . . . 21, 30

Can’t Stop the Water . . . . . . . . . . . . . . . . . . . . . . . . . 35

One Cut, One Life . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

CAPTIVATED The Trials of Pamela Smart . . . . . . 36

Our Man in Tehran . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

The Case Against 8 . . . . . . . . . . . . . . . . . . . . . . . . . . 60

The Overnighters . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

The Case of the Three Sided Dream . . . . . . . . . . . . 36

A Park for the City . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

The Chaperone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

The Peacemaker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

The Circle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

A Place Called Pluto . . . . . . . . . . . . . . . . . . . . . . 10, 18

Creature Comforts . . . . . . . . . . . . . . . . . . . . . . . . 21, 25

Portrait of Jason . . . . . . . . . . . . . . . . . . . . . . 21, 22, 30

DamNation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Private Violence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

David Hockney IN THE NOW (in six minutes) 23, 26

Reel Paradise . . . . . . . . . . . . . . . . . . . . . . . . . 10, 14, 18

Devil’s Playground . . . . . . . . . . . . . . . . . . . . . . . 23, 26

Return to Homs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

E-Team . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Rich Hill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Evolution of a Criminal . . . . . . . . . . . . . . . . . . . . . . . 38

Ronald . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Fairytale of the Three Bears . . . . . . . . . . . . . . . . . . . 39

Santa Cruz del Islote . . . . . . . . . . . . . . . . . . . . . . . . . 49

The Five Obstructions . . . . . . . . . . . . . . . . . . . . . 21, 27

Seeds of Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Flowers from the Mount of Olives . . . . . . . . . . . . . . 39

Sex(Ed) The Movie . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Foundry Night Shift . . . . . . . . . . . . . . . . . . . . . . . . . . 40

The Silly Bastard Next to the Bed . . . . . . . . . . . . . . 51

Freedom Summer . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Good Ol’ Freda . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Soft Vengeance: Albie Sachs and the New South Africa . . . . . . . . . . 68

The Great Invisible . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Stevie . . . . . . . . . . . . . . . . . . . . . . . . . . . 10–13, 15, 19

The Green Prince . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Summer 82 When Zappa Came to Sicily . . . . . . . . 51

Hacked Circuit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Supermensch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Hale County . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

The Supreme Price . . . . . . . . . . . . . . . . . . . . . . . . . . 52

The Hand That Feeds . . . . . . . . . . . . . . . . . . . . . . . . 41

Swallow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Happy Valley . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Through a Lens Darkly: Black Photographers and the Emergence of a People . . . . . . . . . . . . . . . . 69

The Hip-Hop Fellow . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Hoop Dreams . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10–17 Hôtel Terminus: The Life and Times of Klaus Barbie . . . . . . . . . 21, 27

Tough Love . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Trapped . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Ukraine Is Not A Brothel . . . . . . . . . . . . . . . . . . . . . 53

If You Build It . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Visitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

In Country . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Watchers of the Sky . . . . . . . . . . . . . . . . . . . . . . . . . . 54

The Interrupters . . . . . . . . . . . . . . . . . . . . 10, 14, 15, 17

Where is My Son? . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Ivory Tower . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

White Earth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

The Kid Stays in the Picture . . . . . . . . . . . . . . . 21, 28

WHITEY: United States of America v. James J. Bulger . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

The Lab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Yangtze Drift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

inde x by filmmaker

Aala, Beth . . . . . . . . . . . . . 68

Gerber, Tony . . . . . . . . . . . . 45

McAlester, Keven . . . . . . . . 65

Ahn, Chai-Min . . . . . . . . . . 54

Gilbert, Peter . . . 11, 12, 16, 17

McBaine, Amanda . . . . . . . 46

Reggio, Godfrey . . . . . . . . . 69

Alluri, Vishwanath . . . . . . . . 45

Ginzberg, Abby . . . . . . . . . . 68

McCabe, Kathy . . . . . . . . . . 62

Reichert, Julia . . . . . . . . . . 40

Readdean, Cyndee . . . . . . . 64

Attie, Mike . . . . . . . . . . 43, 72

Glasz, Michael . . . . . . . . . . 37

McDougald, Alex . . . . . . . . 63

Roeh, Yoav . . . . . . . . . . . . . 43

Baer, Neal . . . . . . . . . . . . . 62

Goldman, Julie . . . . . . . 26, 40

McLeod, Sandy . . . . . . . . . 50

Rogosin, Lionel . . . . . . . 21, 30

Bar-Lev, Amir . . . . . . . . . . . 42

Goodman, Brenda . . . . . . . . 50

McMullan, Chelsea . . . . . . . 66

Ross, RaMell . . . . . . . . . . . 72

Barnard, Clio . . . . . . . . . . . 25

Green, Kitty . . . . . . . . . . . . 53

Meng, Tong . . . . . . . . . . . . 55

Rossato-Bennett, Michael . . 63

Battsek, John . . . . . . . 36, 42

Green-Dove, Amelia . . . . . . 54

Michaels, Steve . . . . . . . . . 42

Rossi, Andrew . . . . . . . . . . 61

Bell, Cary . . . . . . . . . . . . . . 35

Greenberg, Phoebe . . . . . . . 69

Miller, Jessica . . . . . . . . . . 35

Rummel, Travis . . . . . . . . . 38

Belzberg, Edet . . . . . . . . . . 54

Grossman, Suz . . . . . . . . . . 35

Miller, Rex . . . . . . . . . . . . . 47

Santi, Guido . . . . . . . . . . . . 45

Bennett, Ann . . . . . . . . . . . 69

Gund, Catherine . . . . . . . . . 33

Monroe, Darius Clark . . . . . 38

Schirman, Nadav . . . . . . . . 64

Berlinger, Joe . . . . . . . . 29, 70

Harris, Thomas Allen . . . . . 69

Morgen, Brett . . . . . . . . . . . 28

Schneider, Ken . . . . . . . . . . 68

Beverly, Danielle . . . . . . . . . 73

Heide, Jonathan auf der . . . 53

Mosier, Scott . . . . . . . . . . . 18

Selvaratnam, Tanya . . . . . . . 33

Bicknell, Genevieve . . . . . . . 52

Herzog, Werner . . . . . . . 23, 28

Moskovitch, Ilan . . . . . . . . . 32

Simma, Paul-Anders . . . . . . 46

Block, Doug . . . . . . . . . . . . 59

Hill, Cynthia . . . . . . . . . . . . 47

Moss, Jesse . . . . . . . . . . . . 46

Singer, Adam . . . . . . 13, 18, 19

Blotnick, Robin . . . . . . . . . . 41

Hofseth, Beathe . . . . . . . . . 44

Mullock, Sara . . . . . . . . . . . 25

Sinofsky, Bruce . . . . . . . . . 29

Bognar, Steven . . . . . . . . . . 40

Holst , Carsten . . . . . . . . . . 27

Munden, Fraser . . . . . . . . . 37

Small, Lucia . . . . . . . . . . . . 67

Bowen, Dan . . . . . . . . . . . . 63

Holt, Torry . . . . . . . . . . . . . 42

Murdock, Ryan . . . . . . . . . . 34

Song, Kyu-Hag . . . . . . . . . . 54

Braun, Josh . . . . . . . . . . . . 61

Hwa, Jenny . . . . . . . . . . . . 42

Myers, Mike . . . . . . . . . . . . 68

Steenberghe, Kobe Van . . . . 37

Bronfeld, Dan . . . . . . . . . . . 32

James, Steve . . . . . . 10–19, 22

Nelson, Stanley . . . . . . . . . 64

Stoecker, Matt . . . . . . . . . . 38

Brown, Margaret . . . . . . . . . 40

Jensen, J. Christian . . . . . . 55

Ness, Marilyn . . . . . . . . . . . 60

Stratman, Deborah . . . . . . . 41

Buirski, Nancy . . . . . . . . . . 59

Kahan, Adam . . . . . . . . . . . 36

Nguyen, Bao . . . . . . . . . . . 44

Suh, Caroline . . . . . . . . . . . 70

Burns, Ric . . . . . . . . . . . . . 59

Kane, Jon . . . . . . . . . . . . . 69

Nyrabia, Orwa . . . . . . . . . . 48

Taub, Lawrence . . . . . . . . . 69

Burstein, Nanette . . . . . . . . 28

Katsoolis, Krysanne . . . . . . 59

O’Brien, Maurice . . . . . . . . 34

Taylor, Drew . . . . . . . . . . . . 67

Calonico, Scott . . . . . . . . . . 51

Kauffman, Ross . . . . . . . . . 60

O’Hara, Meghan . . . . . . 43, 72

Tragos, Tracy Droz . . . . . . . 48

Campione, Mara . . . . . . . . . 69

Kennedy, Rory . . . . . . . . . . 65

O’Malley, Christine . . . . . . . 62

Triantaphyllis, Emily . . . . . . 50

Cantor, Steven . . . . . . . . . . 26

Kerr, Mary . . . . . . . . . . . . . 67

O’Riordan, Tracy . . . . . . . . . 25

Trier , Lars von . . . . . . . . 21, 27

Carter, Graydon . . . . . . . . . 28

Knight, Ben . . . . . . . . . . . . 38

Offit, Mike . . . . . . . . . . . . . 38

Verthé, Hendrik . . . . . . . . . 37

Cheatle, Lori . . . . . . . . 36, 59

Koch, Jonathan . . . . . . . . . 42

Ophüls, Marcel . . . . . . . . . . 27

Walker, Lucy . . 20–24, 26, 29

Chevigny, Katy . . . . . . . . . . 60

Kotlowitz, Alex . . . . . . . . 14, 17

Orans, Jason . . . . . . . . . . . 40

Wang-Breal, Stephanie . . . . 53

Clarke, Shirley . . . . . . . . . . 30

Krapf, Caitlin . . . . . . . . . . . 50

Østigaard, Susann . . . . . . . 44

Way, Chapman . . . . . . . . . . 61

Conjaerts, Bram . . . . . . . . . 37

Kubassek, Jay . . . . . . . . . . 38

Palermo, Andrew Droz . . . . . 48

Way, Maclain . . . . . . . . . . . 61

Cordaro, Eleonora . . . . . . . . 51

Latham, Michael . . . . . . . . . 53

Palka, Marianna . . . . . . . . . 29

Weinstein, Larry . . . . . . . . . 67

Cotner, Ben . . . . . . . . . . . . 60

Lawson, Jessica . . . . . . . . . 62

Panh, Rithy . . . . . . . . . . . . 65

Weprin, Carrie . . . . . . . . . . 53

Creadon, Patrick . . . . . . . . . 62

Lawson-Baker, Fiona . . . . . . 44

Park, Nick . . . . . . . . . . . . . 25

White, Ryan . . . . . . . . . 60, 62

Cuccia, Salvo . . . . . . . . . . . 51

Lears, Rachel . . . . . . . . . . . 41

Perry, Don . . . . . . . . . . . . . 69

Willis, Deborah . . . . . . . . . . 69

Daws, Tristan . . . . . . . . . . . 39

Ledet, Kathleen . . . . . . . . . 35

Petrik, Tanya . . . . . . . . . . . 39

Wilson, James . . . . . . . . . . 63

Demo, James . . . . . . . . . . . 72

Lee, Spike . . . . . . . . . . . . . 38

Phillips, Ian . . . . . . . . . . . . 33

Wright, Erin . . . . . . . . . . . . 26

Derki, Talal . . . . . . . . . . . . 48

Lembi, Juliana . . . . . . . . . . 61

Pikkov, Heilika . . . . . . . . . . 39

Yamazaki, Ema Ryan . . . . . . 44

Dornstein, Ken . . . . . . . . . . 42

Leth, Jørgen . . . . . . . . . 23, 27

Pikkov, Ülo . . . . . . . . . . . . . 39

Zagar, Jeremiah . . . . . . . . . 36

Dower, John . . . . . . . . . . . . 49

Liang, Ursula . . . . . . . . . . . 53

Pincus, Ed . . . . . . . . . . . . . 67

Zamir, Aurit . . . . . . . . . . . . 43

Doyle, Sabrina . . . . . . . . . . 26

Lipper, Joanna . . . . . . . . . . 52

Pollard, Jane . . . . . . . . . . . 63

Dussart, Catherine . . . . . . . 65

Lom, Petr . . . . . . . . . . . . . 32

Porter, Dawn . . . . . . . . . . . 73

Egeraat, Corinne van . . . . . . 32

Lorentzen, Luke . . . . . . . . . 49

Pozdorovkin, Maxim . . . . . . 45

Eisenhauer, Hans Robert . . . 48

Lowery, Malinda Maynor . . . 47

Prelinger, Rick . . . . . . . . . . 66

Ellison, Rosie . . . . . . . . . . . 52

Macdonald, Nicole . . . . . . . 47

Price, Kenneth . . . . . . . . . . 42

Faber, Helle . . . . . . . . . . . . 44

Mancuso, Penny . . . . . . . . . 69

Propper, Kerry . . . . . . . . . . 54

Feldman, Yotam . . . . . . . . . 43

Marin, Lea . . . . . . . . . . . . . 66

Protsenko, Guillaume . . . . . 39

Ferris, Jason . . . . . . . . . . . 35

Marlow, JD . . . . . . . . . . . . . 50

Quinn, Gordon . . . . . . . . 14, 19

Ferris, Rebecca . . . . . . . . . 35

Martin, David . . . . . . . . . . . 34

Radice, Jeff . . . . . . . . . . . . 51

Forsyth, Iain . . . . . . . . . . . . 63

Marx, Frederick . . . . . . . 11, 16

Rash, John . . . . . . . . . . . . . 55

Gatien, Jen . . . . . . . . . . . . 38

Mascara, Tina . . . . . . . . . . 45

Rathbone, Neil . . . . . . . . . . 37

e d u c at i o n a l p r o g r a m s

Teac h th e Teache r s Now entering its fourth year, Teach the Teachers, Full Frame’s enormously successful documentary literacy program, allows six teachers from Durham-area schools to attend the festival free of charge. 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 and Other Nonfiction Texts (National Council of Teachers of English, 2006). Studies show that documentaries are often used in class as a time when teachers disengage from students, rather than as opportunities to teach valuable literacy skills. Each teacher receives educational credit for completed work, and the cost of their substitutes is provided to place as little financial burden on the schools as possible. Many participating teachers utilize these new skills by creating lesson plans for our annual Free Youth Screening in November. We are thrilled at the synergy these two programs provide educators and our local schools. The 2014 Teach the Teachers program is made possible with generous support from Alan Teasley. The November 2013 Youth Screening was supported by the Mary Duke Biddle Foundation.

Scho o l o f D o c Full Frame’s popular School of Doc returns again this summer. Professional filmmakers conduct this free camp for teens who are interested in learning the art of documentary filmmaking. A select group of Durham-area high school students attend the five-week workshop, complete their own short documentary film, and learn real-world applications of the skills they have acquired. In addition to learning basic filmmaking skills, students gain self-esteem from working as a group to tell their own stories. Our 2013 class of young filmmakers will attend Full Frame this year to learn more about the documentary medium and to screen the work they created for the public on Sunday. The 2014 School of Doc is made possible with generous support from the Baskerville Fund at the Triangle Community Foundation, the Fenhagen family and Helen’s Fund, the Mary Duke Biddle Foundation, and individual donors in our community.

fellows & archive

F u l l Fram e Fello ws Pr o gr am 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, Alan Berliner, Julie Goldman, and James Longley, among others. This year, 155 students from 14 different colleges and universities will participate in the Fellows Program. Students from the following schools are visiting Full Frame this year: American University

North Carolina Central University

Duke University

North Carolina State University

Elon University

Stanford University

Florida State University

University of Alabama

George Washington University

University of North Carolina at Chapel Hill

Hollins University

University of North Carolina School of the Arts

New York University

Wright State University

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, and from North Carolina State University.

The Full Fr ame Archive The Full Frame Archive preserves award-winning films of the Full Frame Documentary Film Festival to ensure a lasting legacy for the films and their creators, and for the festival itself. Now in its seventh year, the collection has grown to include nearly one hundred titles and includes the winners from all sixteen festivals since Full Frame’s founding in 1998. A preservation master of each film is archived in a secure, climate-controlled storage facility at Duke University for the benefit of future generations. Part of the Archive of Documentary Arts in the David M. Rubenstein Rare Book & Manuscript Library at Duke University, the Full Frame Archive, established in 2007, is one of the few festival collections in the nation dedicated to preserving documentary films. This collaborative partnership between the Full Frame Documentary Film Festival and Duke University Libraries was reinforced by the festival’s recent return to Duke as a program of the Center for Documentary Studies. The Full Frame Archive is made possible through support from Eastman Kodak; Alpha Cine Labs, Seattle; Duke University Office of the President; Duke University Libraries; and the Andrew W. Mellon Foundation. Non-circulating DVD copies of each preserved film are available for individual research use in the reading room of the Rubenstein Library. Films in the archive have been steadily viewed by researchers and screened by students as part of campus events. For more information, including a link to the Full Frame Archive finding aid, please visit the Archive of Documentary Arts’ website: library.duke.edu/rubenstein/ documentaryarts.

how things work

—

pa s se s

Passes Passes enable you to reserve tickets to any ticketed event before they go on sale to the general public. At the festival, passes also allow you to acquire free tickets at the Box Office and in the Last Minute Line. The number of tickets you can acquire varies depending on the type of pass. With the exception of Full Frame’s Durham Central Park screenings and A&E IndieFilms Speakeasy conversations, all free events require a ticket for admittance. This page explains how to use your pass to get Passholder Tickets and admission to events. How to Get Passholder Tickets

How to Get Into an event

Passholder tickets can be selected online until March 30

All ticketed Full Frame events offer two seating lines

or acquired during the festival at the Box Office and in

(Green Line & Blue Line) that correspond to pass type,

the Last Minute Line at the event venues.

and a third line for filmgoers without tickets (Last Minute 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 is where the following passholders line up: 20+ Pass, Filmmaker Pass, Priority Pass, Patron Pass, and First 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

and Press Pass.

—Limit: 1 ticket per passholder per event

The Last Minute Line seats after the Green and

—Free for passholders until individual pass ticket

Blue lines. Last Minute Line tickets can be purchased

limit is reached

for any 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

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.

how things work

—

tickets

Tickets Tickets can be purchased online or acquired during the festival at the Box Office and in the Last Minute Line at the event venues. Ticketholders use the Blue Line for seating at screening venues. With the exception of Full Frame’s Durham Central Park screenings and A&E IndieFilms Speakeasy conversations, all free events require a ticket for admittance. Tickets are limited, and many shows do sell out. If you are a passholder and looking for Passholder Ticket information, see How Things Work – Passes on the facing page. How to Get Tickets

How to Get Into an event

Tickets can be purchased online or acquired during

All ticketed Full Frame events offer two seating lines

the festival at the Box Office and in the Last Minute Line

(Green Line & Blue Line) that correspond to pass type,

at the event venues.

and a third line for filmgoers without tickets (Last Minute Line).

Online Tickets

The Green Line offers first admittance to programs and

Tickets that are purchased online are Will Call only

is where the following passholders line up: 20+ Pass,

(ID required) and can be picked up during the festival

Filmmaker Pass, Priority Pass, Patron Pass, and First

at the Box Office in the Durham Convention Center:

Team Pass.

Wednesday 12:00 – 8:00 pm Thursday – Sunday 9:00 am – 10:00 pm

Box Office Tickets

The Blue Line seats after the Green Line and is where ticketholders and the following passholders line up: 15 Pass, 10 Pass, Doc Pass, Fellows Pass, Student Pass, and Press Pass.

— $15 all films (no fees) —Limit: 8 tickets per event —Free for passholders until individual pass ticket limit is reached

The Last Minute Line seats after the Green and Blue lines. Last Minute Line tickets can be purchased for any 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 — $15 all films (cash only) — 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

how things work

S c r een i ng V en u es The ater / capacit y Lo cale Fletcher Hall 1,000

Carolina Theatre / 309 W. Morgan St.

Cinema 1

275

Carolina Theatre / 309 W. Morgan St.

Cinema 2

Carolina Theatre / 309 W. Morgan St.

Cinema 3 500

Durham Convention Center / 201 Foster St.

Cinema 4 400

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.

Full Frame Theater

American Tobacco Campus / 320 Blackwell St.

NOTE : Food and drinks are not allowed in the DAC-PSI and Full Frame

—

venues

The Plaza Corner of Foster and Morgan Streets 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’s 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

theaters. The Carolina Theatre, Convention Center, and Central Park venues

Located on the third floor of the Carolina Theatre, the Press

offer concessions.

Lounge is where members of the press pick up passes,

F es t i va l V en u es Box Office

inquire about press availabilities, and contact festival staff.

A&E IndieFilms Speakeasy Durham Convention Center, Meeting Rooms 1 & 2

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. Lost & Found is also located at Pass Pick Up.

The Melanie Taylor Hospitality Suite Carolina Theatre, Connie Moses Ballroom

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 ticket required. Sponsored by A&E IndieFilms.

Merch Durham Convention Center thursday – sunday 10:00 am – 8:00 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.

SERVICES ATM An ATM is located in the Marriott’s main lobby. Last Minute Tickets are cash only.

Map A map of Full Frame venues, participating restaurants, and accommodations can be found in this Program Book and online at fullframefest.org.

Thursday 9:00 am – 4:00 pm

Parking

Friday – Sunday 9:00 am – 7:00 pm

Centre Garage (300 W. Morgan St.)

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.

American Tobacco North Deck (305 W. Pettigrew St.) Bull City Parking Complex (202 N. Corcoran St.) Chapel Hill Garage and Lot (326 E. Chapel Hill St.) Corcoran Street Garage and Lot (101 Corcoran St.)

Information Durham Convention Center thursday – sunday

American Tobacco South Deck (705 Willard St.)

9:00 am – 9:00 pm

Located throughout the Durham Convention Center hallway, our Information volunteers will be on hand to give directions, answer festival questions, and recommend dining options in downtown Durham.

Ground Transportation ABC Taxi Switchboard

919.682.0437

Bull City Connector A free bus in central Durham

919.485.RIDE

Durham Area Transit Authority

919.560.1551

Durham’s Best Cab Company

919.680.3330

events

Thursday, April 3

Saturday, April 5

Champagne Reception

Free Screening

Carolina Theatre, Connie Moses Ballroom

Good Ol’ Freda

6:00 – 7:30 pm Presented by PNC

Full Frame Theater, American Tobacco Campus 6:30 pm

Hosted by Toast, Wine Authorities, and Ponysaurus

Part of The Full Frame Road Show Presented by PNC

Brewing Co.

free and open to the public

by invitation

TICKETS AVAILABLE AT BOX OFFICE (FREE)

Thursday, April 3

Saturday, April 5

Opening Night Party

free Outdoor screening

Durham Armory

If You Build It

10:00 pm – Midnight

Durham Central Park

Presented by PNC Hosted by Café Parizade and Ponysaurus Brewing Co.

8:30 pm Part of The Full Frame Road Show Presented by PNC

Live Music by Art of Cool

The Cookery Food Truck Roundup at 5:30 pm

open to the public

Lawn Seating – chairs and blankets welcome

tickets avail able at box office ($25)

free and open to the public

Friday, April 4

Saturday, April 5

Free Screening

Saturday Night Party

If You Build It

West End Wine Bar

Full Frame Theater, American Tobacco Campus

10:00 pm – Midnight

6:30 pm