2015 Full Frame Documentary Film Festival - Official Program by Michelle Benham

Full Frame Documentary Film Festival April 9â&#x20AC;&#x201C;12, 2015

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 & Committees

Volunteers

sponsors

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

Presenting

Sustainer

Duke University

95X

Leadership American Tobacco Campus/ Capitol Broadcasting Company, Inc.

The 2050 Group – Public Relations Agency Alizarin Gallery Center for Media & Social Impact – American University Charles E. Guggenheim Family Dos Perros / Juju Durham Arts Council

Supporting

Durham Parks and Recreation

A&E IndieFilms

GlaxoSmithKline

The City of Durham

Greater Durham Chamber of Commerce

Durham Convention Center

HBO Documentary Films

Durham Marriott City Center

Indiewire

North Carolina Arts Council

INDY Week

PNC

The Mary Duke Biddle Foundation

Quince Imaging, Inc.

Merge Records Midtown Magazine

Benefactor 21c Museum Hotel Durham The Carolina Theatre Giorgios Hospitality Group National Endowment for the Arts

Barbra and Andrew Rothschild SundanceNow Doc Club Theo Davis Printing

Associate Fullsteam Brewery

Partner BlueCross BlueShield of North Carolina Counter Culture Coffee Entrepreneurs’ Organization (EO) Raleigh Durham Figure 8 Films Film Studies at North Carolina State University (College of Humanities and Social Sciences) Freudenberg IT LP (FIT) Hartley Film Foundation Julian Price Family Foundation Mad Hatter Bakeshop & Café Mammoth Data Nicholas School of the Environment The Reva and David Logan Foundation Saladelia Trailblazer Studios TROSA, Inc. West End Wine Bar

IBM KONTEK Systems Old North Durham Inn Bed & Breakfast

Friend Beyu Caffe The Boot/Geer Street Garden Catapult Film Fund Durham Central Park Durham Coca-Cola Bottling Company Guglhupf Bakery Horse & Buggy Press Lilly’s Pizza Moe’s Southwest Grill Old Havana Sandwich Shop Piedmont Ponysaurus Brewing Co. Revolution Restaurant Total Production Services, Inc. Wine Authorities

donors

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

Sandra and Peter Jacobi Deborah Jakubs and James Roberts

Ryan Snyder Ananat

Diamond

Stefanie and Doug Kahn

Judy and Curtis Eshelman

$10,000+

Karen and Dan Berman Joan Gillings Mrs. Frank H. Kenan Wyndham Robertson $7,500 – $9,999

Clay Farland in loving memory of Melanie Taylor Alan Teasley and Andrew Wheeler $5,000 – $7,499

Kathi and Steve Eason Cavett and Barker French Julie and Mark Morris Jennifer Parker and Peter Rosenberg

Silver

Emily Kass and Charles Weinraub Christine and Ken Kehrer

$2,500 – $4,999

Cheryl and Scott Gordon Dede Hall Molly Henick Richard Hibbits

Tadeusz Kleindienst

Leah Kaplan

Deborah and Jonathan Kramer

Emily Klein

Amyla Lavric

Platinum

Gold

Nancy Kalow and Daniel Dektar

$100 – $249

Tracy Mancini and Norris Cotton

Carol Klinger William Mann Houck Medford

Lucy and Allen Martindale

James Rose

Jill McCorkle and Tom Rankin

Kris and Scott Selig

Barbara and Michael McNulty

Maura Stokes

Jaye Meyer and Michael Crowell

Edward Terrenoire

Laurie Millar and Robert Bury

David Uglow Clarice and Richard Weinberg

Terri Monk and Craig Weldon

Rebecca Werlin in honor of Lani Simeona

Genese and Paul Newman

Lynn Whitaker

Kim and Phil Phillips Nicole Ranger Ellen and Ken Reckhow Rose and Dean Ritts

$99 and below Deborah Nicole Aronin Lucille Bearon and Alan Huber Sarah Bingham

Caroline and Arthur Rogers

Nils Brubaker

Deirdre and Richard Arnold

Elizabeth and Michael Schoenfeld

James Bryan

Rae Ann and Patrick Baker

Joanna and Michael Selim

Susan Blackwell, John Blackwell, and Jeff Crawford

Cosette Serabjit-Singh and Richard Philpot Chloe Seymore and Harrison Haynes

Rachel Coots Kenneth Daniel

W. Woodrow Burns Jr. Mike Casey Charles Coates

Lisa and Leon Capetanos

Trudy and Stuart Smith

Kerry Dietz and Eva Schocken

Mindy and Guy Solie

Fenhagen Family and Helen’s Fund

Judy and Hugh Tilson

V. Foelix

Marion Jervay and Kenton Cobb

Patti White and John Sander

Louise Goldstein

Kay Jordan and Will Alphin

Julie and Kevin Witte

Marian and Dudley Lacy

Victoria Wright

Olga Grlic

Mia and Scott Doron Pat Easterbrook

Gene Goldstein-Plesser Phyllis Gordon

Nancy Lee and Marie Wilson

Krista and Michael Zarzar

Julie Grundy

Mort O’Sullivan

Joyce and Kenneth Zeitler

Hillel Koren

Michele Pas and Barry Poss

Melissa and Matthew Zemon

Kathy Langfield

David Sontag Laura Myers Stabler and Brian Stabler

Rosilene Ziegler and John Steege

Todd Malkoff

donors

Amy Miller

Londa Weisman Tom Wenger

Bronze

$1,200 – $2,499

Hannah and Pete Andrews Beverly and Robert Atwood Constance and Bob Bonczek Dawn S. Booker

Naomi Lambert

Carol McPherson

$500 – $1,199 Margaretta Belin Diane Britz Lotti and Dieter Von Schau Kathy Carter Elizabeth Conahan and James Oldham in honor of Jo and Newland Oldham Deirdre and Joseph Haj

Diana Monroe and Robert Zandt Josh Parker Kay Pearlstein Leandra Peterson Matthew Ray Joy Reed Julia Reichert Deborah Rosenstein Timothy Ross Matt Rudolf Mark Rutledge

Marjorie and Claude Burton

Thomas S. Kenan III

Meredith and Eugene Clapp

Mary Mountcastle

Vandana Dake and John Warasila

Jo and Newland Oldham

James Squire

Anne and Walter Dellinger

Lao Rubert and Stephen Schewel

Donna and Dallas Stallings

Leslie Digby and Chuck Pell

Brett Sheppard Stephanie Simon

Clarenda Stanley-Anderson Ruth Stanton

Leslie Fischer and Murat Kaptanoglu

$250 – $499

Janice Stroud

Cynthia Frazier and Benjamin Reese

Linda and Philip Carl

Jill Tefft

Amanda and Dan Heath

Hannah and Paul Kirschenfeld

Wesley Hogan and Dirk Philipsen in honor of Camryn and Ernest Smith

Valerie Konczal and Kenneth Wetherington

Angela Vieth and Arthur Goodwin

Russ Lange

Elizabeth Weichel

Karen Jean Hunt

Carol Thomson Maura Tourian

Sam Wilen Dave Wofford

a d v o c at e awa r d

2 0 1 5 F ULL F R A ME A D VO C ATE AWA R D

Josh Braun It is with great pleasure that the Full Frame Documentary Film Festival presents the 2015 Advocate Award to Josh Braun of Submarine Entertainment. There are many unsung heroes in the documentary film world, people in jobs that the public never hears about. The sales agent and the producer are two such heroes, and Josh Braun is both. A one-time musician and rock and roller, with a love for comics and film, Braun started out with no interest in business, or sales, or college for that matter. He loved art and music, but to pay his bills he got a job working for FremantleMedia selling foreign television rights. “I then started working in sales at another company and was given the documentaries, because no one really wanted them,” says Braun. As a sales agent, Braun champions documentaries to distribution companies and negotiates on behalf of filmmakers, and he does it better than most. His reputation in the documentary world is renowned; his taste is as trusted as his character. Take for example, how Braun brought the film Citizenfour to Tom Quinn and Jason Janego of RADiUS-TWC with secret meetings and trips to Berlin to secure the safety of the film and its subjects. Laura Poitras, the film’s director shares, “He was able to navigate our complex distribution plans and keep everything under the radar. We asked him to break many rules, which he did gracefully. He is a great advocate for filmmakers.” Braun’s method seems simple enough. He finds films that he feels passionately about and can enthusiastically represent to the right distribution partners: “I tell the younger guys in our office, the starting point is that you love a film and it excites you. If that is true, then it’s likely that other people will feel the same way. And you have to be excited because it can be hard work. Some films are obvious, you know they will play well, but others . . . you have to go with your instincts.” And he might takes things a step further by producing a film himself—sitting in the edit bay, giving notes and suggestions, and setting a distribution strategy. When Josh Braun started pushing documentaries, they were not the commodities they are now. “People saw them as educational,” Braun says. He believes the market started to shift in 2002 with Spellbound. By 2004 Josh had joined his twin bother, Dan, in running Submarine, one of the companies largely responsible for the golden age that documentary film is currently enjoying. “When distributors were fighting to get a seat to see Super Size Me we knew something had changed,” he says. One has only to look at the films he has developed, represented, and/or produced to understand his huge success: Super Size Me, Control Room, 51 Birch Street, Food, Inc., Man on Wire, Cave of Forgotten Dreams, Page One: Inside the New York Times, Project Nim, How to Survive a Plague, Searching for Sugar Man, The Imposter, Chasing Ice, Our Nixon, and Muscle Shoals, to name just a few. The collective awards these films have won are too numerous to mention. Braun’s experience as an artist drives him to respectfully nurture and advise filmmakers on projects to which they have dedicated their lives, and then he firmly and fairly represents them so that they enjoy success. As he puts it, “Some of these films, anyone could have sold. It’s the films where how we intervened mattered from which I derive the most satisfaction.”

Deirdre Haj

Director, Full Frame Documentary Film Festival

nt eh wa n dk os cs Companies and Offices

Durham Marriott City Center: Pamela Crockett, Woochan Kim, Sue Muhammad

Old Havana Sandwich Shop: Roberto Copa Matos, Elizabeth Turnbull

95x: Alex Beardsley

Entrepreneurs’ Organization (EO) Raleigh Durham: Jeff Cope, Angie Bagley, Matt Zemon

Old North Durham Inn: Debbie Vickery, Jim Vickery

The 2050 Group: Adam Segal

FedEx: Mike Williams

A&E IndieFilms: Robert DeBitetto, Molly Thompson

Figure 8 Films: Bill Hayes, Kami Winningham

PlayMakers Repertory Company: Connie Mahan

Film Society of Lincoln Center: Lesli Klainberg

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

21c Museum Hotel Durham: Amanda Hawkins, Gerry Link

American Tobacco Campus/Capitol Broadcasting Company, Inc.: Valerie Ward

Piedmont: Ben Adams, Crawford Leavoy

Alamo Rent A Car: Tamara Baxter

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

Alizarin Gallery: Cathy Crumpton, Judy May

Frontier Communications: Mike Bartelt

Quince Imaging, Inc.: Ryan Crossley, Scott Williams

Art of Cool: Cicely E. Mitchell, Al Strong

Full Frame Archive, Duke University Libraries: Lisa McCarty, Naomi Nelson

Raleigh-Durham Airport Authority: Terry Blevins, Warren Creech, Patricia Rossi

Beyu Caffe: Dorian Bolden Beery Media: Nic Beery BlueCross BlueShield of North Carolina: Cheryl Parquet The Boot/Geer Street Garden: Andrew Magowan

Fullsteam Brewery: Stuart Shefter, Sean Lilly Wilson Garrett Scott Documentary Development Grant: Ian Olds, Thom Powers, Rachael Rakes

Ponysaurus Brewing Co.: Keil Jansen

Raleigh Music Brokerage: Cooper Cannady The Reva and David Logan Foundation: Peter Handler, Dan Logan Revolution Restaurant: Jim Anile, Jessica Lane

The Carolina Theatre: Pally Hrncirik, Michelle Irvine, Jared McEntire, Regina Mancha, Bob Nocek, Carl Wetter

Gaudio Ltd: Marion Wheeler

Rise: Tom Ferguson, Brian Wiles

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

S&H Transportation: Sami Hanna

Catapult Film Fund: Lisa Chanoff

GlaxoSmithKline: Mary Linda Andrews, Elaine Rothbauer

Center for Media & Social Impact – American University: Patricia Aufderheide, Angelica Das Charles E. Guggenheim Family: Davis Guggenheim The City of Durham: Thomas J. Bonfield, Peter Coyle, Kevin Dick, Joel Reitzer The Cookery and Crews: Becky Hacker, Rochelle Johnson, Chirba Chirba, The Parlour, Pie Pushers Counter Culture Coffee: Nathan Brown, Brian Ludviksen Courtyard Marriott: Carrie Meade The Cupcake Bar: Anna Branly DaisyCakes: Tanya Catolos, Konrad Catolos Dos Perros/Juju: Charlie Deal Duke Tower: Valerie Blettner, Tracey Dissel Duke University: Sally Kornbluth, Scott Lindroth, Ben Reese, Michael Schoenfeld, Scott Selig Duke University Box Office: Chuck Catotti, Marcy Edenfield, Myra Weise Durham Arts Council: Margaret DeMott, Sherry DeVries, Jim Kershaw Durham Central Park: Ann Alexander 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

Greater Durham Chamber of Commerce: Adrian Brown, Casey Steinbacher Guglhupf Bakery: Claudia Cooper Hartley Film Foundation: Sarah Masters HBO Documentary Films: April Torres

Saladelia/Mad Hatter: Fida Ghanem, Robert Ghanem, Tim Gonzales Scratch Bakery: Phoebe Lawless The Sign Shop of the Triangle: Nicole Rowe Southern Exhibition Services: Aimee Uhrig SundanceNow Doc Club: Kate Brokaw Theo Davis Printing: Mike Davis

Horse & Buggy Press: Dave Wofford

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

The Hushpuppies

Toast: Billy Cotter, Kelli Cotter

IBM: Steve Pearson

TOPO Spirits: Esteban McMahan

Hilton Garden Inn Raleigh-Durham/Research Triangle Park: Dennis Edwards

Indiewire: Jason Gonzalez

Total Production Services, Inc.: Rick Bryda

INDY Week: Ruth Gierisch

Trailblazer Studios: Eric Johnson, Tom Waring

Julian Price Family Foundation: Laura Edwards, Clay Farland, Margaret Griffin, Pricey Harrison

TROSA, Inc.: Elisha Gahagan, Kevin McDonald

The King’s Daughters Inn: Colin and Deanna Crossman

USPS: Joyce Brown

KONTEK Systems: Frank Konhaus, Billy Morris Lilly’s Pizza: Jon Garrison Loaf: Ron Graff The Mad Popper: Andrea Ginsberg Madewell: Lauren Marchionni Mammoth Data: Tara Fusco The Mary Duke Biddle Foundation: Mimi O’Brien

UPS: Jimmy Lunsford Velasquez Digital Media: Piper Kessler, Meredith Sause, Monique Velasquez West End Wine Bar: Javon Gaters, Jared Resnick Wine Authorities: Craig Heffley WUNC: Christina Dixon

Individuals Patrick Baker

Measurement, Inc.: Donald Timberlake

Allen Creech

Mellow Mushroom: DJ Davage, Casey Fox

Joan Gillings

Durham Coca-Cola Bottling Company: Robin Clause, Chris Hess

Merge Records: Mac McCaughan, Christina Rentz

Sally Hines and Ron Abramson

Durham Convention Center: Bosh Bajrakta, Derema Blue, Jennifer Noble

Midtown Magazine: Sioux Watson

Mrs. Frank H. Kenan Tracy Mancini and Norris Cotton

Durham Convention & Visitors Bureau: Shelly Green

Moe’s Southwest Grill: Kevin Rutledge Monuts: Rob Gillespie, Lindsay Moriarty

Durham Fire Department: Kenneth Crews Durham Parks and Recreation: Felecia Griffin, Rich Hahn, Laura Nickel, Rhonda Parker Durham Police Department: Cpl. Robert Paffel Jr.

National Endowment for the Arts: Sarah Metz Nicholas School of the Environment: Alan Townsend, Laura Turcotte Ninth Street Bakery: Ari Berenbaum North Carolina Arts Council: Jeff Pettus North Carolina State University: Tony Harrison, Devin Orgeron

Gerry Gurevich

Stephen Nemeth Jeff Polish Wyndham Robertson Barbra Rothschild Jamin Skipper Alan Teasley Molly Thompson Jenny Warburg

full fr ame tribute

2015 Full Frame Tribute

Marshall Curry We are proud to honor Marshall Curry with our 2015 Full Frame Tribute. Over the last decade or so, he has directed four feature films, Street Fight, Racing Dreams, If a Tree Falls: A Story of

the Earth Liberation Front, and Point and Shoot. These films have screened around the world, aired on national television, and won numerous awards, moving critics and audiences alike. In reviews it’s not uncommon to see glowing accolades like “extraordinary,” “filmmaking of the first order,” or “best of the year.” David Denby, in his 2006 review of Street Fight for The New Yorker, even writes that Curry “hit the documentary jackpot” by trailing Newark mayoral candidate Cory Booker—as a one-man crew no less. Curry may have gambled on following a lead, but exceptional filmmaking is no lottery. Story alone doesn’t make for a great documentary. The people Curry has documented, and presented with such gifted vision, have hit the jackpot too. Curry’s careful approach to the individuals he documents shines across these films. He’s a thoughtful interviewer who seems naturally inclined to ask tough questions with poise and patience—not just of his subjects, but also of his audience. These are provocative films that never feel jarring. Curry invites us to reflect and process: He gives us the information we need to wrestle with issues ourselves rather than telling us how to think and feel. The access Curry has gained in these films signals that his subjects are also aware of his willingness to listen, and that they trust his films won’t arrive at simple, or unfair, conclusions. In If a Tree Falls, we hear the points of view of both the proponents and opponents of the Earth Liberation Front. In Racing Dreams, parents of young kart drivers allow him to follow their kids at a vulnerable age. And in Point and Shoot, Matt VanDyke hands over his story and his footage. That people are willing to give Curry such entry, such freedom to share their lives on screen, tells us so much about him. He has been entrusted time and time again with profound moments of hardship and tenderness alike, and he has shared these moments with tremendous sensitivity. We have been fortunate to have Curry at the festival over the years in many roles: moderating panels, serving on juries, or just coming down to see the movies. He’s a filmmaker who is willing to give back to other filmmakers and to festivals like ours that champion the documentary community. We’re proud to applaud his work this year and to have many of his collaborators and subjects here for the celebration. We will screen all four of his feature films, along with Tom Berninger’s Mistaken for Strangers, a film he helped guide and executive produce. In the following interview Marshall Curry talks with Emma Miller, Full Frame’s programming coordinator, about getting started, stylistic choices, and the purposeful complexity of his work.

Sadie Tillery

Director of Programming, Full Frame Documentary Film Festival

marshall curry

EMMA MILLER

That first film, Street Fight, is about then-unknown

You took a circuitous path to filmmaking. Tell us about

Cory Booker’s 2002 campaign for mayor of Newark.

your professional journey.

You worked pretty much as a one-man band on that

marshall curry When I was in college I majored in comparative religion, which in many ways prepared me to make documenta-

project. What lessons did you learn about filmmaking during that time? And how do you think that film might have been different if you’d had a larger crew?

ries. Studying religion is about asking why people think

When I was shooting Street Fight, there were some

what they think and do what they do. It also trains you

days when friends would come shoot with me—espe-

to hold contradictory ideas in your head at the same

cially Catherine Jones, whose humor got me through

time without having to resolve them in a clear blackand-white way. After school I wandered a bit, living in Mexico, teaching government and politics to high schoolers in Washington, D.C., working at a public radio station in Philadelphia. During those years I fell in love with documentaries and moved to New York, looking for a job making them. I got hired by a company that was creating interactive documentaries for museums, and a year or two later—this was the mid 90s—the Internet hit. The company morphed into a web design company,

a lot of dark days. And on election day I had four crews spread out around the city. But most days in Newark I was on my own, shooting, recording sound, driving the car, getting releases, etc. It made it hard to do those jobs well, and sometimes I wince now when I see the camera swinging around in footage. But it also served as a boot camp that taught me how to do all of the different jobs. I would shoot all day and then come home to look at my footage and figure out what I had

and I began doing that—overseeing projects like the first

done wrong. And I learned to edit by sitting alone in

website for the Metropolitan Museum of Art. I liked that

my apartment for a year, trying to figure out how to

work a lot but still harbored a secret dream of making

turn raw footage into a coherent, compelling movie.

documentaries, and when I turned 30 I realized that

There is nothing as instructive as thousands of hours

I couldn’t put it off any longer. I didn’t know if I would

of struggle.

be any good at it, or if I would like it, but I couldn’t bear the idea of looking back on my life from my deathbed

I also think that being a one-man band gave me access to intimate moments that would have been

and saying, “It’s too bad I never even tried. . . .” So I took

impossible to shoot with even a two-person crew. My

a leave of absence from the company, bought a camera,

camera, a PD-150, was so small it almost looked like

and started shooting Street Fight.

a toy to people. And I didn’t use lights or microphone

full fr ame tribute

booms. I could just jump in the backseat of a car or stand in the corner of a meeting, and people didn’t

For Point and Shoot I went back to editing alone, but in the final months Matt came in and brought a fresh

really think much about me. They knew I was shooting,

pair of eyes to it that made a huge difference. When you

but there was nothing intimidating about my presence,

are both the director and sole editor, it is easy to lose

which really helped. Since Street Fight, you’ve often worked with other cinematographers, editors, directors, and producers. What role would you say collaboration has played in your work?

On the spectrum of directors, I think I’m pretty far over on the micromanager side. I like to shoot and edit,

perspective and go down a rabbit hole, so it was invaluable to have him throw me a lifeline. On Point and Shoot, Dan Koehler was also a crucial part of the team. I hired him right out of college as an assistant, but soon discovered that he was a documentary prodigy who could do everything. Right now he’s in Africa on a Fulbright shooting and editing his own film. I care a lot about the music for my films, and it’s not

and I like to get my fingers into every detail of the film.

unusual for me to spend weeks just trying different

That said, I also really enjoy working with other people,

cues and looking for the right fit. The guys in the band

and those collaborations have always made the films

the National are friends of mine, and I used their music

better. My wife, Elizabeth Martin, has worked behind

throughout Racing Dreams, If a Tree Falls, and Point

the scenes on all of my films, helping with producing,

and Shoot. When Tom Berninger, the brother of

giving feedback on cuts, and dispensing psychological

the National’s lead singer, Matt, made Mistaken for

counseling. On Point and Shoot, she stepped into the

Strangers, a documentary about the band—really more

producer role officially for the first time, and it was

about sibling rivalry than the band—I offered to help out

lifesaving to have her there. Racing Dreams was the first time I really worked

as executive producer. The team worked out of my office for a while, and I did some editing, which was a lot

with other cinematographers, and I got incredibly

of fun. I also worked with a composer, James Baxter,

lucky to find a team, including Peter Gordon, Wolfgang

on Street Fight, If a Tree Falls, and Point and Shoot. He’s

Held, Hope Hall, and Alan Jacobsen (who later shot

an amazingly talented and patient person, and his music

the main interview on Point and Shoot). They not only

is probably responsible for 50 percent of the emotional

have amazing artistic and technical skills, but they

impact of my films.

also have temperaments that could tolerate my “just one more hour” style of shooting. My films try to value intimacy over everything else, and those folks are great at making connections with the people they film, and they pay as much attention to story and emotion

Your voice is sometimes present in your films. How do you decide whether or not to include yourself in a story? Do you consider your work to be personal?

I always begin a film with the hope that I won’t be in

as to aesthetics. Sam Cullman, who shot most of If a

it—I find it a little embarrassing to hear myself. But

Tree Falls, was also a terrific partner on every aspect

often something emerges during the edit that requires

of that film.

me to pull back the curtain on the filmmaker.

When I was editing Street Fight, the brilliant and hilarious Mary Manhardt helped me whittle it down

When I was editing Street Fight, for instance, I kept running into moments when the mayor or his police

from 100 minutes to 82 and taught me a ton about

talked to me or roughed me up. I realized that an audi-

editing in the process. She, Matt Hamachek, and I

ence would be frustrated if they didn’t know something

edited Racing Dreams together, and the months cooped

about the person who was holding the camera, so I

up with them created a sort of “in the trenches” bond.

added narration about what I was doing there and how

I now consider both of them to be among my best

I felt about what I was seeing. My voice-over style was

friends. We would pass scenes back and forth, revising

influenced by Sherman’s March and This American Life,

and hammering each other’s work, trying not to be

where the narrator isn’t a professional “voice of god”

precious or defensive, pressure-testing every seam.

but instead sounds like a regular person who’s telling

I worked with Matt on If a Tree Falls immediately after

a story to a friend.

that, and we developed a tight shorthand for critiquing scenes and story structure. Of the people I know, he’s

With If a Tree Falls, the decision to include my voice grew out of the fact that the main character, Daniel,

probably the person who most shares my taste in docs.

was my wife’s employee when he was arrested. At test

It’s very rare that he loves something that I hate or vice

screenings we kept hearing that audiences got dis-

versa (but when it happens it’s not pretty).

tracted by questions about how we got such intimate

marshall curry

access and why we selected Daniel as the focus of

With Street Fight, we see an idealistic mayoral candi-

the film. Giving the background in the opening

date go up against a powerful political machine.

scene allowed audiences to settle in and just watch.

In Racing Dreams, the kids meet barriers on the road

Point and Shoot has a similar line of narration

to becoming NASCAR drivers—and more importantly,

that sets up the film, but after that there’s no more

on the road to becoming adults. With If a Tree Falls,

narration—you only hear my voice a few times in the

an environmentalist faces life in prison for committing

interview, asking questions or pushing back a bit on

acts of arson that he thought would help save for-

something Matt says. My goal, beyond the substance

ests. And in Point and Shoot, a young man sets out on

of the questions, was to make it clear to the audience

a self-described “crash course in manhood” and ends

that there was someone steering the film who was

up in a Libyan prison cell. There is something about

different from the subject and who was the viewers’

these clashes that I find extremely interesting and

advocate. Showing those layers invited the audience

compelling.

to interpret what they were seeing for themselves. So far Racing Dreams is the only film in which I’m

When I’m looking for a new project, I usually look for three things. First, I want charismatic characters.

completely invisible, and I’m very happy with that.

I don’t care whether the audience agrees with them,

I consider all documentaries to be personal, since they

or even likes them, but I want the characters to elicit

reflect a lot about the director—what he or she finds

strong reactions. Second, I look for a built-in narrative

interesting, compelling, funny. But my films are not

arc. There are lots of terrific documentaries that don’t

about me in the same way that, say, Ross McElwee’s

have narrative arcs, but I like telling stories that build

documentaries are about him.

toward some climax—an election or a trial or a racing

So what is it that draws you to a subject, and what do you think connects the films you’ve made? I know you’ve talked about your first three films as an “American Trilogy” of sorts.

series, for example. And third, I want the film to ask difficult questions about a complex topic. I don’t usually make films because I have something I want to say; I make them because I have something I want to explore and learn about. It takes years to make

I am drawn to people with strong passions and am

these films, and so the topic has to be difficult and gray

particularly moved by the moment when those pas-

enough to keep me interested the whole time. How

sions smash up against reality. Those collisions can be

do we define “terrorism”? What does it mean when

infuriating, inspiring, sometimes funny, and witness-

someone says that a person isn’t “really black”? How

ing them can lift us out of the ruts that we slip into.

do we define “manhood”? These are rich veins to mine.

full fr ame tribute

Someone told me that they thought of my first three films as an “American Trilogy”: Everything you need to know about America you can learn by looking at urban politics, NASCAR, and radical environmentalism. I thought that was funny, and maybe with Point and Shoot we should now add Arab wars into the mix. What’s more American than that? So that makes it a tetralogy? Racing Dreams features children taking part in an activity we associate with adults: driving really fast cars. There’s a tension between their experiences as young people and the very grown-up pressures of the

as prosecutors, law enforcement, and arson victims.

sport. Did you approach filming minors in a different

How were you able to get people on opposing sides to

way than you did with the adult subjects of your other

trust you enough to tell you their stories?

films?

Getting access wasn’t easy, and in the beginning,

Racing Dreams pretends to be a film about racing,

pretty much everyone distrusted us. The ELF folks

but really it’s a film about adolescence. We used to

feared I would do what the media always did—sensa-

joke that racing was just the Hitchcockian “MacGuffin”

tionalize the story and brand them as terrorists.

of the film. Of my films it’s the least well known, but

And the law enforcement officials and arson victims

I think it might be the best.

worried that I was going to try to make them look bad.

I shot the kids in Racing Dreams in a similar way

But I spent a lot of time explaining to people that I was

to my other films. I’d hang around with them, watch

honestly interested in what they had to say. The film

them do things, and sometimes ask questions.

wasn’t going to be their point of view, but it would

I edited, though, with an additional sensitivity and

include their point of view. I wanted to let people’s

protectiveness because they were minors. When I edit anything, I think a lot about how the

best arguments bang up against each other—that’s when the most interesting sparks fly—rather than set

people in the film are going to feel when they watch

up straw men to knock down. And ultimately people

it with an audience. I imagine myself sitting next to

took a chance with me.

them; I want to make sure I’m comfortable with the

Daniel was working for my wife at a domestic

decisions I am making. While I don’t airbrush their

violence organization she ran when he was arrested,

flaws away, I try to contextualize those flaws, to elicit

so that gave me my initial access to him. He was able

the audience’s empathy, sense of connection, and

to vouch for me with other activists, and each of those

understanding about what complex and vulnerable

people opened doors to someone else. The same thing

creatures we all are. I want people to laugh in my

happened with the other side. Once we had done one

films but never to sneer.

or two interviews with the police or arson victims,

I apply this principle even more when the film involves kids or people who aren’t very media savvy. If a politician, for instance, says something out of turn, I might feel more of a journalistic requirement

they were able to tell others that it had been a positive experience. In the end I was very happy that they all felt their trust was well placed. The former spokesman for the

to include it. But if a kid says something that I know

ELF did press for the film, saying it was an important

he’s going to regret, I will probably leave it on the cut-

and accurate story. And the detective and prosecutor

ting room floor. I am very glad that no one followed

who had put the ELF members in prison did press as

me around when I was 12 and put everything I said

well, saying the same thing. So that felt good.

and did up on a movie screen for strangers to watch. I kept that in mind when I was editing Racing Dreams.

For your most recent film, Point and Shoot, you were approached by Matt VanDyke, who had hundreds of

In If a Tree Falls, you have incredible access to both

hours of footage from his years of traveling and needed

sides of the argument: Daniel McGowan and other

help telling his story. What convinced you to do the film,

members of the Earth Liberation Front (ELF), as well

and what was that process like?

marshall curry

I didn’t know Matt or anything about his story until

it making sure that the shots are framed properly

I received an email from him. He said he had an amaz-

and focused and the sound is being recorded cleanly.

ing story and footage and thought it would make a

With the ubiquity of cell phone cameras I think that

good documentary. I explained that I only worked on

struggle—on the one hand wanting to capture events

films where I had complete creative independence

and on the other hand wanting to be fully present

and control, and he agreed to that. And soon after

in them—is something that everyone has experienced.

that conversation, he and his girlfriend, Lauren, came

Are we enjoying our vacations or are we looking for

to New York to meet with my wife, Elizabeth, who

photo ops of ourselves enjoying our vacations that

is a producer on the film, and me. They told us their

we can tweet out to our followers? When we photo-

story, and after they left, Elizabeth and I couldn’t stop

graph our experiences and post them on Facebook,

talking about it. It raised so many questions about

are we robbing them of some authenticity? Stealing

war and violence, activism, how we define manhood,

a bit of their souls? Sometimes I think we are.

and how we use cameras to capture and craft our self-images. I love films that explore these kinds of difficult questions, and a few months later I shot the interview that makes up the spine of the film. Matt gave me boxes of tapes that he had shot and hard drives of footage, and folks in my office began digitizing and organizing it all. Then I spent months editing his footage together with the 20-something hours of interviews I had shot. Along the way I showed the film to Matt and Lauren

In Street Fight, the viewer is very conscious that you are the one behind the camera. In If a Tree Falls, on the other hand, Sam Cullman served as the principal cinematographer, and in Point and Shoot, the majority of footage comes from Matt’s own archives. How do you think being behind the camera—and not being behind the camera—affects the way you direct a film?

I like shooting vérité scenes, but when I am talking with a person who is being filmed I find it really dif-

a few times to get their feedback. I listened to their

ficult to shoot at the same time. Keeping an eye on

suggestions and in some cases, when I thought they

framing and focus and light while also being present

were right and the changes would improve the film,

in a conversation is really hard. I muddled through

I incorporated them; in other cases, I didn’t. In Point and Shoot, Matt grapples with the role his camera plays in shaping his lived reality. Is that something you’ve also wrestled with?

One of the things that interested me most while

it with Street Fight, but since then, when I’m having a conversation with the subject, I prefer to record sound and let someone else shoot. Working with footage that I didn’t shoot—and in the case of Point and Shoot, I wasn’t even on site to direct Matt’s shooting—can make editing hard. When

making Point and Shoot was the way that the camera

I’m shooting, I’m constantly thinking about the edit

can affect people’s views of themselves. In the film

and whether I’m getting storylines and the combina-

we watch American soldiers, Libyan rebels, and Matt

tions of wide shots and close ups and reaction shots

try to balance their desire to project an idealized ver-

that I will need later. When I am working with footage

sion of themselves for the camera with their desire

that someone else has shot, it doesn’t always follow

to be authentic participants in world-shaping events.

my vision. But sometimes there are great shots that

There are times when I find filming comfortable

I wouldn’t have thought of. And with Point and Shoot,

and second nature. But there are also times when

I can’t complain too much because I didn’t have to go

I find it hard to be fully human and present in a

to Iraq, Afghanistan, and Libya to shoot it!

moment as I am filming it. It is particularly hard when you are filming something difficult—for instance, someone who is sad or hurting. In Racing Dreams, when Annabeth cries after losing her first race, or

You’ve described both If a Tree Falls and Point and Shoot as “films for people who like to chew their own food.” Can you tell us what you mean by that?

in Street Fight, as election results came in, I wanted

Both of those films raise questions that are intention-

more than anything to put down the camera. But

ally unanswered. They aren’t intended to make

I know that making documentaries requires me to

a clean argument—they are intended to stir the

capture those moments—life is not always happy vic-

pot. When I graduated from college, another religion

tories—and so you have split your brain, with part of

major said to me, “You know, I’m still confused, just at

it feeling for people whom you care about, and part of

a higher level.” And that’s my goal with both of those

full fr ame tribute

films. I didn’t want to create heroes and villains

of fascinating people. My main practical advice would

or offer tidy solutions to complicated problems.

be just to go out and make something. Twenty years

I wanted to stretch audiences and add nuance to the

ago cameras were prohibitively expensive, film stock

way we think about and talk about the world. Most

was expensive, and an Avid system could cost 60,000

issues, I think, are like a pond—the deeper you go,

dollars. Today cameras and editing software are

the muddier the water gets.

so good and so cheap, there’s not nearly as much to

I think some people find these kinds of films frustrating, but other people like to chew on ambiguity and complexity. They like to walk out of the theater and argue with their friends about what they have just seen. I made If a Tree Falls and Point and Shoot for those people. After the premiere of Point and

prevent you from making a film that can be shown in a theater. How do you think your work has evolved over time, and where do you anticipate it going from here? What other projects do you have in the works?

Shoot at the Tribeca Film Festival, I walked across

I don’t think there has been a straight evolution in

the street to have dinner, and in the restaurant,

my work. The production values have gone up since

there were two different tables where I could hear

Street Fight, but my underlying philosophy, to tell

people yelling at each other, arguing about the film.

dramatic stories about interesting people who are

It was music to my ears.

working through personal challenges, is the same.

There’s a movement in documentary film to focus

My films are different in style and subject matter,

on the “measurable impact” that a film will have.

but that’s less a linear evolution than a matter

I understand why an activist funder might want to

of what struck me as interesting at the time, and

consider this—there are a lot of issues in the world

a feeling that different styles were appropriate for

that need attention and action. But too often I think

different stories. Sometimes a story lends itself to

this attitude reduces filmmaking to simply creating

interviews and archival footage. Sometimes it lends

campaign materials. I love some advocacy films, but

itself to vérité shooting; sometimes it lends itself

I also love films whose impact is impossible to mea-

to animation.

sure. How do you measure the impact of Rivers and

I have a couple of new documentary ideas that

Tides, or Spellbound, or To Be and to Have? I admire

I’m developing, but I’m mostly working on a fiction

a lot of films that aren’t intended to pass a bill

project that I’m really excited about.

or stop a particular social ill but instead shed light on the human condition, introduce me to surprising

What films and directors have served as inspiration

characters and worlds, and make me notice details

for you?

about life that I hadn’t noticed before. I love all kinds of documentaries and am not a purist Have you stayed in touch with your subjects over the years?

Yes. When you spend years filming people and sometimes traveling and doing Q&As with them, you often create relationships that are real and lasting. Of course, there are some folks I’m closer to than others, but I know in 20 years I’ll still be friends with the kids from Racing Dreams.

about style. I take ideas from everywhere. I like beautiful impressionistic docs like Koyaanisqatsi, I like vérité docs, historical docs, white-knuckle docs, contemplative docs. Duke Ellington once said, “If it sounds good, it is good,” and I feel the same about movies. I mostly love films that surprise me—ones that zig when I expect them to zag—and I try to do that with my own films. My two favorite fiction films are probably Rushmore and Pulp Fiction, which

Do you have any advice for young filmmakers, or

completely shook up my idea of what movies could

for people looking to make a career change into

do. I am also influenced by novels—I bet The Catcher

filmmaking like you did?

in the Rye and The Brothers Karamazov have had as much influence on my filmmaking as any movie.

I would say that it is really hard work, much harder than it looks from the outside. The hours are long, the money is bad, and there’s very little glory in it. But it is also incredibly satisfying to get to spend time poking around in new worlds and in the lives

m a rnsehw a ldl occu sr r y

If a Tree Falls: A Story of the Earth Liberation Front Daniel McGowan served seven years in federal prison for his involvement with the Oregon cell of the Earth Liberation Front (ELF), an international underground movement dedicated to protecting the environment. For years, the ELF destroyed millions of dollars of property belonging to individuals and corporations that in its view profited from the destruction of the planet. What makes people turn from nonviolent disobedience to more aggressive forms of protest? As the filmmaker notes, “In one night they accomplished what years of letter writing and picketing were unable to do.” By combining astonishing archival footage of clashes between protestors and police and illuminating interviews with participants on both sides, If a Tree Falls raises questions about our definitions of terrorism as it traces the dramatic history of the ELF’s most active American cell and the path of one frustrated activist emboldened to take more extreme measures. RM

Mistaken for Strangers Tom Berninger is a bit adrift. A lover of heavy metal and an amateur horror filmmaker, he’s living at home with his parents in Cincinnati. Meanwhile, his older brother, Matt, is the lead singer of the National, a highly successful band about to embark on an international rock tour. When Tom is invited by his brother to work as a roadie and tour with the band, he accepts the gig with hopes of experiencing the rock star lifestyle and shooting a concert tour documentary along the way. But as Tom struggles with his responsibilities on the road and life in his brother’s shadow, the movie he ends up making isn’t a conventional rock doc but a funny, highly personal story about a fraught relationship between two brothers, and a meta documentary about the equally fraught process of making a film. EM

Filmmaker Q&A following screening 2013 / US / 75 minutes Director: Tom Berninger

Filmmaker Q&A following screening

Producers: Matt Berninger, Carin Besser, Craig Charland

2011 / US / 85 minutes

Executive Producer: Marshall Curry

Director: Marshall Curry

Editors: Tom Berninger, Carin Besser

Co-Director: Sam Cullman

Additional Editors: Marshall Curry, Jeff Seymann Gilbert, Lorena Talpan

Producers: Marshall Curry, Sam Cullman

Cinematographer: Tom Berninger

Executive Producers: Stephen Bannatyne, Simon Kilmurry (POV), Nick Fraser (BBC), Sally Jo Fifer (ITVS)

4437 Ambrose Avenue, Apt. 3 Los Angeles, CA 90027

Editors: Matthew Hamachek, Marshall Curry

215.327.7705 craigcharland@gmail.com

C r a i g Ch a rl a n d

Cinematographer: Sam Cullman O s cil l o s c o p e L a b o r at o rie s Kate McEdwards

Saturday, April 11 — 10:00 pm

212.219.4029 x 29 kate@oscilloscope.net

Cinem a 1

Friday, April 10 — 4:50 pm Cinem a 2

Saturday, April 11 — 7:50 pm Cinem a 2

full fr ame tribute

Point and Shoot

Racing Dreams

Matt VanDyke grew up spoiled and sheltered, an only child with obsessive-compulsive disorder and a penchant for video games and action films. But in 2006, Matt decided it was time for a “crash course in manhood.” He bought a motorcycle and a video camera, then set off on a 35,000-mile trip through northern Africa and the Middle East, filming his self-styled adventures every step of the way. Eventually, Matt’s friendship with a Libyan hippie led him to pick up arms and join in the fight against Muammar Gaddafi. As Matt refashioned himself as a warrior and revolutionary— and was held in solitary confinement for six months by Gaddafi forces—he began to question the role of his camera and his own authenticity. Director Marshall Curry interviews Matt in the present day, back home in his Baltimore living room, artfully interweaving Matt’s reflections with his personal footage. EM

Meet Annabeth, Brandon, and Josh, preteens from different regions and circumstances sharing a common goal: to win a World Karting Championship. The kart circuit, which demands far more time, resources, and nerves than most youthful pursuits, is the proving ground for young racers with their eyes on NASCAR and oval track glory. The film follows the young drivers and their families during a season of twists and turns, on and off the track. Accompanied by an exceptional soundtrack and the suspense of competition, Racing Dreams is an energetic and inspiring ride from start to finish. TM

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

Filmmaker Q&A following screening 2009 / US / 96 minutes Director: Marshall Curry Producers: Marshall Curry, Bristol Baughan Executive Producers: Jack Turner, Dwayne Johnson, Dany Garcia, Ben Goldhirsh Editors: Marshall Curry, Matt Hamachek, Mary Manhardt

Director: Marshall Curry Producers: Marshall Curry, Elizabeth Martin, Matthew VanDyke

Cinematographers: Marshall Curry, Wolfgang Held, Alan Jacobsen, Peter Gordon M a r s h a l l C u rry P r o d u c t i o n s , LLC

Executive ProducerS: Vijay Vaidyanathan, Simon Kilmurry (POV), Sally Jo Fifer (ITVS), Nick Fraser (BBC), Kate Townsend (BBC)

1713 8th Avenue #20 Brooklyn, NY 11215

Editor: Marshall Curry

718.499.6400 hilary@marshallcurry.com

Hilary McHone

Additional Editor: Matthew Hamachek Cinematographers: Alan Jacobsen, Matthew VanDyke

Saturday, April 11 — 1:40 pm The O r c h a rd Matt Landers 646.747.6735 mlanders@theorchard.com

Sunday, April 12 — 1:40 pm Cinem a 1

DAC / P SI The ater

marshall curry

Street Fight Newark, New Jersey, is hotly contested territory in the 2002 battle to be mayor of the city. As young, idealistic Cory Booker, a Rhodes Scholar and Yale Law grad, campaigns against four-term incumbent Sharpe James, he comes up against a deeply entrenched political machine willing to lie, intimidate, and threaten its opponents into submission. Although both candidates are African American, Street Fight brings the politics of race into clear focus when the mayor accuses the highly educated Booker of not being “really black.” Operating as a one-man crew, Marshall Curry chronicles Booker’s run at the city’s top office and the mayor’s machine tactics to reveal an infuriating, suspenseful political drama on Newark’s city streets. EM

Filmmaker Q&A following screening 2005 / US / 83 minutes Director: Marshall Curry Producer: Marshall Curry Executive Producers: Liz Garbus, Rory Kennedy, Cara Mertes (POV), Sally Jo Fifer (ITVS) Editor: Marshall Curry Additional Editors: Mary Manhardt, Rachel Kittner Cinematographer: Marshall Curry M a rsh a l l C u rry P r o d u c t i o n s , LLC Hilary McHone 1713 8th Avenue #20 Brooklyn, NY 11215 718.499.6400 hilary@marshallcurry.com

Thursday, April 9 — 1:10 pm Cinem a 4

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

The True Meaning of Pictures

Jennifer Baichwal Full Frame has a long tradition of inviting a guest curator to program a series of work around a chosen theme. This guest curator has free rein to draw from films that range across styles, span eras, and vary in tone and tenor. When we started thinking about the power of images, how films that are difficult to watch can also be beautiful to look at, and the moral responsibilities implicit in representing challenging subject matter, we found ourselves thinking of Jennifer Baichwal’s films. Indeed, her work favors weighty meditation over easy answers, encouraging the viewer to wade into murky waters of ethics and representation. Baichwal’s films The True Meaning of Pictures and Manufactured Landscapes will screen as part of the series, along with Gates of Heaven, War Photographer, The Queen of Versailles, and The Red Chapel. Each film, in its own way, grapples with how to portray provocative content with accuracy, sensitivity, and cinematic vision. As Baichwal says herself, “There is no overall rule for tackling these issues: each context, each situation, demands its own complex, delicate, honest, ethical approach.” In the following interview Jennifer Baichwal speaks with director of programming Sadie Tillery about her selections.

the true me aning of pictures

sadie Tillery

The question of representation has preoccupied

I want to start by talking about the ideas behind this

me since the very beginning, since I first picked up

series. The initial spark for me came from thinking

a camera, because I understood that in the act of doing

about the intersections of beautiful and disturbing

that there is a power shift—it’s been referred to as

imagery, what it means to witness something harrow-

a triangle: the subject, the viewer, and the filmmaker,

ing and then make aesthetic choices about its presentation. I was excited that you wanted to stretch those ideas further. Can you talk about your approach to the program? jennifer baichwal My background is in philosophy and theology— I have an undergraduate degree in philosophy and a master’s degree in theology from McGill University. I only started making films at the end of that process because I got very disillusioned by the narrowness of inquiry in academic work and by the thought that my thesis might only be read by three people. I realized that I wanted to explore more powerful mediums to ask the kinds of questions I am interested in about identity, meaning, and ethics. With documentary film, I found a way of engaging with those ideas in a much more lateral way, a way that opened things up rather than narrowed them down.

with the subject usually on the bottom of that triangle. How do you express yourself ethically in the world and for what reason? I mean, are people ethical because of some otherworldly beliefs, or are they ethical because they believe in doing the right thing regardless of the consequences? These are the kinds of questions I was studying, and I still think about them in relation to my documentary practice, because without ethical engagement I don’t believe that truth is possible in documentary. I don’t want to set off all kinds of alarm bells about the possibility of objective truth, because anyone who thinks it is possible to achieve “objective truth” is misguided. Even a security camera is pointed in a certain way—it only captures one angle out of a larger context. But there is a kind of truth possible in documentary, and I think in large part it arises from the ethical attitude of the filmmaker. So, the short answer to that question is that I thought about ethics and representation from the beginning.

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

I’m endlessly fascinated by reality—I have no desire

implicit in making creative choices. The decisions

whatsoever to make a narrative film or try to recreate

around how to make the film and how to make the still

reality, because there’s so much going on in the world

images mirror each other, which serves to highlight the

that I find compelling. But I also realize that in repre-

problems the film is trying to address—it’s an endless

senting it, whatever it is, I am always walking into an

regress of representation. The mirrors face each other,

ethical minefield.

and we’re never able to reach a conclusion because the issues just keep bouncing back and forth. The film that

Several of the films in this series are about photog-

we made about Shelby Lee Adams, The True Meaning

raphers. In each of them, a photographer is making

of Pictures, was very much an attempt to wrestle with

choices about how to represent his subjects in still

problems of representation. Adams’s work is controver-

images, and then there is a filmmaker who is making

sial—he’s often been accused of perpetuating stereo-

choices about how to portray that photographer, his

types. And at the same time he’s been making the

photographs, and the subjects in those still images.

same body of work for over 40 years. He has one sub-

There is something unique about films that feature a documentary art form, photography, within another documentary art form, film. What drew you to these films about photographers?

ject, a single community of people in the Appalachian Mountains of Kentucky, and he has long-term relationships with the families in his pictures. I first saw Adams’s photographs at an exhibition here in Toronto. I walked in and immediately had this feeling

I think the layers of representation in films about

of otherness. I couldn’t imagine having a relationship

photography help us to tease out the complications

with any of the people in the photographs. What does

the true me aning of pictures

that mean exactly? You start unpacking your own

which gives new meaning to photographs and translates

reaction and all of the stereotypes that might feed into

them in a different way. In the opening of my film

that reaction. Is it me? Am I bringing my own biases to

Manufactured Landscapes, there are three moments

these photographs? Or are the photographs meant to

when you aren’t really sure what you’re looking at.

refer to those stereotypes in a provocative way? Or is

You see people lining up, you sense that something

the photographer not even aware that he is referencing

is going on; there are people telling people where to

all these stereotypes? Perhaps it is not deliberate, after

stand. Why? Then you see that photographer Edward

all. It was fascinating for me to start to pull apart all

Burtynsky is on a crane taking a picture of the scene,

these threads, and to begin unraveling my own role.

and you realize that people are being directed for his

I knew that if we were going to make a film about

photograph. Then you see the photograph of the scene,

Adams’s body of work, every photograph we showed

and you realize that you’re looking at the framed image

in the film would open up the documentary to exactly

on a gallery wall, and that someone else is standing in

the same arguments leveled against the photographs

front of it looking at it. And if you widened the frame

themselves. In making The True Meaning of Pictures,

of Ed on the crane, you would have seen Peter Mettler

I had to ask myself, “How can we engage ethically with

on another crane beside him, filming the same scene,

this community, and at the same time engage ethically

and Ed photographing it. The viewer is constantly forced

with the photographer, to tell this story? How do we

to ask, “What frame am I looking at here? What is

really look at all the different angles of this problem?”

involved in the frame I am looking at?”

There are a whole bunch of arguments swirling around the film. And there’s no resolution to them. It’s not like

Can you talk more about your collaboration with

some conclusion arrives neatly and says, “This is what

Edward Burtynsky? You’ve made two films with him,

you should think.” As a viewer, you’re left to make up

Manufactured Landscapes and Watermark. To me,

your own mind. Even now, after all these years reflect-

Burtynsky’s photos epitomize that clash between the

ing on this work, I still don’t have a definitive response.

stunning and the terrifying.

Photography films also make me hyperaware of the

One of the things I find most compelling about

creative choices that go into how subjects are repre-

Burtynsky’s work, and the reason that I have followed it

sented, because you can see the photographer making

for so long, is that ambiguity is at the heart of its power.

decisions as the images are being taken and developed.

In Manufactured Landscapes, you are viewing something

For instance, in War Photographer, we see James

that is essentially an incursion—garbage, humanity’s

Nachtwey directing how his images are burned and

negative impact—on the world, but aesthetically it is

dodged in the darkroom; in The True Meaning of

very seductive because of the way he takes the pictures.

Pictures, we see Adams adjusting someone’s stance. There’s also the more extreme example of when Adams purchases a hog for slaughter so that he can photograph the scene.

So there is a confused response to it. When I first saw one of Burtynsky’s photographs, I thought it was an abstract painting. I was across the gallery, and I went closer to take a look. The image was of densified oil filters. I kind of recoiled, and in that moment of

When Shelby buys the hog is one of the key moments

confusion, from appreciation of beauty to recognition

in The True Meaning of Pictures. He bought the hog

of horror, I experienced my own implication in the

and staged the scene because of a memory he had of

image, in those oil filters. I drive a car. I travel on planes.

his grandfather at hog killings when he was young.

The garbage I was looking at was my garbage. That was

The family in the photograph used to kill hogs, but

a really interesting process. I thought, “Wow, how would

they hadn’t in a long time. The photograph was called

you do that in a film? How do you intelligently translate

“The Hog Killing, 1990.” It might have been more

what is happening in these photographs into a time-

accurate for him to title it “Recreation of a memory

based medium?” Ed’s work and our films try to take

I had of my grandfather killing hogs with my friends

you to places you are connected to or responsible for

the Napier family standing in as characters.”

but would never normally see. The biggest aluminum

In photography films, the elements of motion

recycling yard in the world, the interior of the factory

and sound add all sorts of additional layers.

that makes the things we use every day, the tannery

Photography films create an alchemy between the

where our cheap shoes are made. Somehow, witnessing

still image and the time-based motion picture,

these places makes you recognize your own implication, and hopefully leads to a shift in consciousness.

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

Also, Ed’s work is all about scale. We tried to extend

When I first watched Gates of Heaven, I had the same

the dialectic between scale and detail that happens

kind of reaction I had when I saw Shelby Lee Adams’s

in the photographs into film. We tried to follow all of

photographs for the first time. There were moments in

these potential narrative threads, while at the same

Gates of Heaven that were really funny, but then there

time representing the overwhelming size of the sites.

were moments where I was saying to myself, “But I feel

The opening dolly in Manufactured Landscapes was an

uncomfortable.” So, why did I feel like that? What is Errol

example of this attempt to translate scale into time.

Morris doing exactly and what is his relationship to the

When we directed Watermark together, we ended

subjects? Is this a sympathetic relationship, an empa-

up really gravitating toward our own strengths.

thetic relationship? An empathetic relationship doesn’t

Ed loves to engage with technical issues; he has this

necessarily have to be sympathetic.

uncanny ability to know where to stand to get that

In both The Queen of Versailles and Gates of Heaven,

representative shot. That’s his genius in a way. But he’s

I feel like the line of respect is pushed, and I start to

not someone who will spend two days sitting around

wonder whether I am taking part in an inside joke.

with the farmers. He wants to be the person working

I struggle with that feeling. Gates of Heaven was the first

with a remote helicopter to get the big shot. I’m more

film I saw that made me really start reflecting on how

interested in the individual stories that fit into the

complicated questions of representation are in documen-

larger picture. If you just stayed with scale the whole

tary. Of course, the way that Morris frames his inter-

time, it wouldn’t work. You also have to dip down into

views, from below, sort of looming, or out of proportion,

particular stories, into the humanity of things. For me,

contributes to the unease one feels watching the film.

it’s the relationship between the two vantage points

That’s echoed in The True Meaning of Pictures: Shelby

that makes it work.

uses flash and wide lenses, which he says he needs to do

We had a big crew in China for Watermark. We were using remote helicopters outfitted with cameras, so

because he’s in these tiny environments. He’s never going to get everybody on the porch in the frame if he doesn’t

there was a pilot who remotely operated the camera.

use a wide-angle lens. But at the same time, that lens

And then we had translators. Producer and cinema-

creates a kind of distortion, especially at the edges

tographer Nick de Pencier and I would sneak off with

of the frame, and the lighting is very complicated. He

a translator, and have a whole day in the rice paddies.

uses a lot of flash. You get an incredible sense of detail

We found our story that way. Our engagement with

in these environments, but the way that the images

individuals on the ground was a way to convey close-

are lit can evoke a kind of sinister, threatening feeling.

up views that were a counterpoint to the scale that

He’s been criticized for that.

Ed could show.

One of the things that I’ve concluded, through my own work and looking at the work of others, is that there has

The films you’ve picked for the program that are not

to be an authentic exchange of vulnerability between

about photographers raise other questions about

the filmmaker and the subject, or the photographer and

representation. It occurs to me in watching both

the subject, in order for there to be truth in what you see.

Gates of Heaven and The Queen of Versailles that a

When I say authentic exchange, I don’t mean the kind of

film doesn’t necessarily have to criticize or commend.

formulaic thing that you do to get people to tell you their

It can do both. Those two impulses can be held in

deepest feelings. It’s not something that you can fake.

tension with one another. People can be presented as outrageous and at the same time very relatable; some of the responsibility of deciding how to feel about subjects falls on us, as an audience. It does, for sure. But those tensions need to be controlled by the director. I don’t think caricatures serve our understanding. I’m certainly not saying that either Gates of Heaven or The Queen of Versailles rely on caricature—there’s way more going on there—but the choices in presentation can be problematic. It’s interesting to think through what makes it difficult— what is the truth, what are the vulnerable moments.

It has to be real, and it usually takes time. It is about building a relationship in some way. I’m not saying that you have to be friends. Shelby and I were not friends, but there has to be something real, there has to be vulnerability, and there is no question for me that there is an authentic exchange of vulnerability between Shelby and his subjects. And it is something that I know is crucial to my own practice and the way that I interact with subjects. I don’t always see that in other films. In The True Meaning of Pictures, the viewer takes a bit of a journey from voyeurism toward empathy. I went through that journey myself while making the film. We spent a lot of time, particularly with the Childers family, and found that they were just like us in many

the true me aning of pictures

You mentioned this triangle earlier, of the filmmaker, the subject, and the audience. The effect an audience can have on interpreting some of this work is interesting to me. I’ve been fortunate enough to see a number of these films in a theater. It’s almost as if the audience is another character of sorts. A crowd gasping or laughing can sometimes impact my thoughts about the film. This may ultimately say more about the crowd watching the film than it does about the filmmaking, but it does seem like another layer of influence that a filmmaker has to consider. ways. Really that is the key, empathy. It’s a hugely important thing in human relations to find a path to empathy, and it happened with the Childers family just by hanging out with them. I wanted the viewer to experience that same arc. Initially, when you’re watching the film, you are confronted by people with whom you think you have nothing in common, could never have anything in common, and by the end you may come to think that fundamentally you’re pretty alike. I’m interested in how the other films in this series take us on that journey. When a film is complicated, I often appreciate the ways in which a filmmaker addresses those complications, whether by weaving in contradictory opinions or by adding narration about his or her own inner conflicts.

It’s interesting to think about group versus individual reactions, how being in an audience can shift how you respond. For one thing, it’s a way to admit you’re uncomfortable. Laughter can be a way to not engage, like, “This is too complicated, I can’t handle this,” or it can be more like, “I feel really weird, and I need to let it out.” I’m always fascinated by those moments. For example, I watched The Red Chapel with a jury at Sundance, so there were five of us watching it together. One of the jury members didn’t laugh at all and a couple of the others were laughing a lot. I remember my response was sort of mixed. I was laughing a bit, but also reflecting on why I was laughing. It really made me think, and it was gratifying to have the filmmaker’s internal thoughts revealed so that I could bring all of those things together.

I’m curious how this kind of acknowledgment played a

I keep coming back to a quote in War Photographer

role in your selections. For example, in The Red Chapel,

where Nachtwey says, “Do I make a living from other

I appreciated that Mads Brügger worked with collabo-

peoples’ suffering? Has their misfortune been my ladder

rators who were willing to challenge some of his ideas

to success?” Part of the reason that resonates with me

about how the stunt should proceed. And in The True

is because that’s a question I sometimes end up asking

Meaning of Pictures there are a number of critics who

myself as a programmer. What are the ethics of charg-

respond differently to Adams’s photographs.

ing for a ticket to see certain types of work? Are there

That kind of acknowledgment was definitely something I thought about in making my selections. I appreciate how photographer James Nachtwey lets us into his internal struggle in War Photographer. It’s interesting: You feel like you have his inner ongoing monologue, his continual ethical questioning, to guide you through his engagement in a variety of contexts. Similarly, I find The Red Chapel powerful because it is so incredibly provocative from an ethical standpoint, and yet the filmmaker’s self-reflection is very honest. There’s a scene where Mads Brügger is lying in bed and says, “What am I doing?” For me, that level of self-reflection is key to thinking through the ramifications of the whole stunt. If that hadn’t been part of the film, I probably would have found his antics repugnant.

instances where a subject’s potential exploitation is justified in order to expand viewers’ understanding of an issue, or a country, or a person? And as an extension of that, are there ever cases where it’s worth telling a lie to get at a larger truth? Well, that question of whether the ends justify the means can be dizzying. I think in some cases, absolutely not. And then, in some cases, I think, maybe. But I struggle with it. Sometimes when scenes are clearly staged, I can’t watch the movie without feeling like I don’t trust the filmmaker anymore. If you don’t trust the director, you can’t suspend your disbelief. I mean, you are aware that there are cameras, and you know that people act differently when cameras are around. But in documentary there is always

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

some sense of the representation of reality, with all of the

The six films in this program are quite different from

complexities that go along with that. Otherwise, it would

each other. What do you see as the through line?

be fiction, and then we wouldn’t have to worry about it. But it’s not; you are dealing with real people who have

What I find intriguing about The True Meaning of

real lives. They’re not actors saying lines that you or some-

Pictures is that every time I show the film or talk with

body else has written to make a point, right? It gets pretty

someone who has seen it, I get a different response.

tricky when scenes are fabricated.

And they want to keep talking. I think that’s because

I’m not a purist about this, but I rarely ask someone

they aren’t presented with an answer to agree or

to say something again, or ask them to include the ques-

disagree with. There is no right or wrong, yes or no.

tion in their answer because the audience is not going to

The film is meant to invite you into this complex arena

hear my voice. The reason that I don’t do that is because,

of ideas, and you have to figure out your own responses.

for me, it completely hinders the flow of natural conversa-

It’s not cut and dried. It’s not simple.

tion. I would rather wade through hours of footage

All of the films in the Thematic Program do this as

of people talking than try to get them to say something

well in one way or another. My intention with The True

that I want them to say. Because there is nothing that

Meaning of Pictures was to reflect on the ethics of

I need them to say. I want them to say whatever it is

representation in documentary, and my goal with these

they’re going to say. So I choose to interfere very little;

six films is to create awareness and debate around those

I have a lower tolerance for it than many other filmmak-

issues. I’ve learned so much through talking about my

ers. I feel like my interference happens in the editing

own and other people’s films; I know my perspectives

phase when I’m constructing the film, or in where I place

have sometimes shifted as a result. I think that these

the camera, where the lens is. It’s a matter of personal

films, separately and together, provoke questions that

preference, and what you’re able to justify to yourself.

are profoundly interesting and important, and I hope

Even if awareness is achieved by manipulation on the

the audience will feel the same.

filmmaker’s part, I don’t know if it’s worth it. I think you could get into some very sticky ethical situations by claiming that it does.

the true me aning of pictures

Gates of Heaven

Manufactured Landscapes

It was a simple idea, really. There should be a final resting place for beloved animals, a location to visit and pay respect to four-legged family members who have passed on. With this inspiration, California’s Foothill Pet Cemetery was founded. But when financial troubles force the cemetery to close, the animals’ remains must be relocated to the nearby Bubbling Well Pet Memorial Park, sparking reactions of rage and anguish from passionate owners. Their carefully laid to rest companions stand to be uprooted, and their own eased grief upended. In glorious 16mm, Errol Morris interviews an assortment of the eccentric characters involved— cemetery operators, pet owners, and even the manager of a rendering plant, who has no problem getting right to the point about his methods. Their commentary ranges from endearing to absurd, and tumbles from biting humor to deep pangs of sadness. ST 1978 / US / 83 minutes

This film opens with an incredible tracking shot circling the main room of a massive factory, slowly moving closer in toward the action. Rows of people, work stations, conveyer belts, and boxes seem to go on forever; a low mechanical hum hangs heavily in the air. Director Jennifer Baichwal trains her lens on photographer Edward Burtynsky and his series of photographs of “manufactured landscapes.” Following Burtynsky through China, Baichwal captures his process of creating highly detailed large-format images of the effects of industry on our natural world, highlighting the people and places—dams, factories, recycling yards—that bear the burden of our material culture. The film moves through the spaces Burtynsky documents, watching him at work, but also soaking in textures and contexts outside his frame. Key insights from Burtynsky are folded in throughout, yet the film remains largely observational, inviting us to consider our own role in these images as we witness the artist at work. ST

Director: Errol Morris

Filmmaker Q&A following screening

Producer: Errol Morris Editor: Errol Morris Cinematographer: Ned Burgess

2006 / Canada / 90 minutes Director: Jennifer Baichwal Producers: Nick de Pencier, Daniel Iron, Jennifer Baichwal

IFC F il m s Justin DiPietro

Editor: Roland Schlimme

11 Penn Plaza New York, NY 10011

Cinematographer: Peter Mettler

Justin.DiPietro@ifcfilms.com

Z ei t g eis t F il m s Nancy Gerstman

Sunday, April 12 — 10:40 am

247 Centre Street, 2nd Floor New York NY 10013 212.274.1989 nancy@zeitgeistfilms.com

DAC / P SI The ater

Friday, April 10 — 1:40 pm DAC / P SI The ater

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

The Queen of Versailles

The Red Chapel

The Queen of Versailles is a character-driven documentary about a billionaire family’s financial challenges in the wake of the economic crisis. With epic proportions of Shakespearean tragedy, the film follows two unique characters, whose rags-to-riches success stories reveal the innate virtues and flaws of the American Dream. The film begins with the family triumphantly constructing the biggest house in America, a 90,000-square-foot palace. Over the next two years, their sprawling empire, fueled by the real estate bubble and cheap money, falters due to the economic crisis. Major changes in lifestyles and character ensue within this cross-cultural household of family members and domestic staff.

Under the guise of cultural exchange, Danish artist and filmmaker Mads Brügger embarks on a trip to North Korea to mount a variety show. Knowing how much pressure the totalitarian government will impose on his play, he plans to expose injustices of the regime by documenting the process of putting the show together. Two Danish-Korean comedians, Simon Jul and Jacob Nossell, round out his troupe, “The Red Chapel.” Their handler, Mrs. Pak, shuffles them to a series of cultural outings and awkward meetings, while the show’s rehearsals are met with a variety of outrageous criticisms, requests, and ultimately, censorship. The hosts are particularly concerned about Jacob’s role in the performance, as he suffers from cerebral palsy and sometimes uses a wheelchair. But because Jacob’s speech is not easily translated or understood, he’s also free to loudly comment on the circumstances without filter. This reflection, along with Mads’s own dissident narration, ushers the audience through a provocative experiment full of arguments, dark humor, and pushed limits. ST

2012 / US / 100 minutes Director: Lauren Greenfield Producers: Danielle Renfrew Behrens, Lauren Greenfield Executive Producers: Frank Evers, Dan Cogan Editor: Victor Livingston Cinematographer: Tom Hurwitz

2009 / Denmark / 88 minutes Swa nk M o t i o n Pi c t u re s , In c . 800.876.5577

Director: Mads Brügger Producer: Peter Engel

Friday, April 10 — 7:50 pm Cinem a 2

Saturday, April 11 — 4:50 pm Cinem a 2

Executive Producers: Mette Hoffmann Meyer, Peter Aalbæk Jensen Editor: René Johannsen Cinematographer: René Johannsen Kin o Lo rb e r 333 West 39th Street, Suite 503 New York, NY 10018 212.629.6880 contact@kinolorber.com

Thursday, April 9 — 4:10 pm Cinem a 4

the true me aning of pictures

The True Meaning of Pictures: Shelby Lee Adams’ Appalachia Shelby Lee Adams has been photographing the people of Appalachia since the late 70s. Adams was born in the mountains of Kentucky, and his entire body of work is rooted in the desire to document a single community. The images feature hardship, and though he doesn’t seek to romanticize these families’ ways of life, the photographs are also imbued with profound tenderness and beauty. In The True Meaning of Pictures, Jennifer Baichwal introduces Adams, his work, the subjects of his images, and the reviewers of his art, including critics, curators, and fellow photographers. The film deftly incorporates multiple responses to Adams’s photos, which creates a lively discourse that includes praise, criticism, and complicated interpretations, and addresses broader implications about the nature of documentary photography. Does Adams perpetuate negative stereotypes about Appalachia? Does he exploit his subjects? Take artistic license? Or are he and the people in his images engaged in an authentic exchange? ST

War Photographer James Nachtwey recounts that his decision to become a photographer was a decision to become a war photographer—he saw the power of image as indictment and felt compelled to pick up a camera. War Photographer follows Nachtwey around the world and into wars in Kosovo, Indonesia, and Palestine. As we observe, Nachtwey’s internal monologue opens a window to his creative process. He is remarkably forthcoming about the fears and struggles he has as he discusses exchanges of vulnerability—his attempt to approach the people he documents with openness, and his desire to give them a voice through his images. A “microcam” fixed atop Nachtwey’s SLR camera offers the audience an immediate, first-person perspective on the scenes he captures—we’re there with him in the moment as he releases the shutter and creates the frame. Away from the frontlines, we watch Nachtwey as he develops and edits his work for print. Friends and colleagues, like Christiane Amanpour, discuss the impact of Nachtwey’s photographs, and the quiet, thoughtful method responsible for these immensely powerful representations. ST

Filmmaker Q&A following screening

2001 / Switzerland / 97 minutes

2002 / Canada / 75 minutes

Director: Christian Frei

Director: Jennifer Baichwal Producers: Nick de Pencier, Jennifer Baichwal Editor: David Wharnsby Cinematographer: Nick de Pencier Me r c u ry F il m s In c .

Producer: Christian Frei Editor: Christian Frei Cinematographers: Peter Indergand, James Nachtwey F ir s t Run F e at u re s Paul Marchant 630 Ninth Avenue, Suite 1213 New York, NY 10036 212.243.0600 x 22 paul@firstrunfeatures.com

58 Palmerston Gardens Toronto, Ontario, M6G 1V9, Canada info@mercuryfilms.ca

Thursday, April 9 — 1:00 pm Saturday, April 11 — 10:40 am DAC / P SI The ater

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new docs

new docs We are honored to present 49 titles—35 features and 14 shorts—as part of our 2015 NEW DOCS program. Of these films, 26 are premieres: 11 World Premieres, 13 North American Premieres, and two U.S. Premieres. 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 1,300 submissions. Beginning in the fall, this 16-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. Of the 49 selections, 32 films were produced outside of the United States. These works come from 19 different countries: Argentina, Australia, Belgium, Cambodia, Canada, Colombia, Cuba, Denmark, Finland, France, Germany, Italy, Mexico, the Netherlands, Russia, Senegal, Spain, Sweden, and the United Kingdom. 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 12. 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

Abandoned Goods

BaddDDD Sonia Sanchez

In the early 1900s most patients at the Netherne asylum in Surrey, England, had no teeth. Although patient care featured plenty of fresh country air, treatment followed macabre trends of the day, such as the removal of nonessential body parts like tonsils, spleen, and teeth, which was believed to mitigate the symptoms of mental illness. But in 1946, an artist named Edward Adamson arrived with a radical new treatment called “art therapy.” Over time, his patients made more than 100,000 works of art, which were respectfully cataloged and preserved until the hospital closed in 1993, and most were lost. When key pieces of Adamson’s collection were rediscovered, it created a new appreciation for the Netherne patients as outsider artists with a complex understanding of the world. Using a mix of archival film and audio recordings, Abandoned Goods tells the poignant story of the patients’ collective work and its journey from diagnostic to artistic intention. RYS

2014 / UK / 36 minutes

2015 / US / 90 minutes

Directors: Pia Borg, Edward Lawrenson

Directors: Barbara Attie, Janet Goldwater, Sabrina Schmidt Gordon

Producers: Kate Ogborn, Lisa Marie Russo Editor: Philippe Ciompi Cinematographer: Nick Gordon Smith F ly F il m First Floor, 53 Greek Street London, W1D 3DR, UK +44 2072874223 hello@flyfilm.co.uk

world premiere

Hard bop jazz and word dance is in Sister Sonia Sanchez’s poetry and in this film. The epic arc of the Black Arts Movement poet and activist’s life touches us through these intimate projections into her past and present. A vital originator of spoken word poetry, she is an essential element of hip-hop’s vocal expressionism. Her tender, quiet power is a decades-spanning journey of creativity in opposition to sexism, racism, and abuse. We are carefully guided along her trail of truth, understanding, and revelation through the commentary of fellow literary activists Amiri Baraka, Nikki Giovanni, and Haki Madhubuti, as well as those of the hip-hop generation she inspired, including Yasiin Bey (Mos Def), Ursula Rucker, Talib Kweli, and Questlove. Right at the point of pen in hand to paper, the poem continues and you are there. DS

Filmmaker Q&A following screening

Producers: Barbara Attie, Janet Goldwater, Sabrina Schmidt Gordon Editor: Sabrina Schmidt Gordon Cinematographers: Daniel Traub, Peter Brownscombe, Mike Attie, Brian Noreika, Robert Shepard, Eric Hurt, Patrick Sheehan, Mike Dennis, Art Jones At t ie & G o l d wat e r P r o d u c t i o n s

Saturday, April 11 — 12:50 pm

16 Levering Circle Bala Cynwyd, PA 19004 610.664.7316 bkattie@gmail.com

Cinem a 1

Saturday, April 11 — 10:10 am Cinem a 3

new docs

BARGE

Bikes vs Cars

Exquisitely photographed and paced, director and Garrett Scott Grant alumnus Ben Powell’s BARGE is a document of a month-long hitch on a Mississippi towboat bound for New Orleans. Aboard we find a hearty and hard-working crew—each member with a unique backstory and perspective on his role on the team, as well as his role in the vital industry along the United States’ chief shipping artery. Employing long, uninterrupted pans and suffused with magichour light, Powell’s film is a meditative microcosm of America and the American Dream, and provides a winning and winsome account of life atop the mighty Mississippi. Mark Twain once declared that there are two ways to see a river; BARGE makes it three. TM

2015 / US / 71 minutes

Fredrik Gertten, director of Big Boys Gone Bananas!*, returns to Full Frame with another David and Goliath story. Bikes vs Cars depicts the fight over pavement on several continents, as scrappy bikers jostle for space in cities that have catered to private cars at the expense of other forms of transit. In São Paulo, where an explosive rise in car ownership has pushed average daily commute times to nearly three hours, activist blogger Aline Cavalcante presses the city council for bike lanes. In Los Angeles, writer and “urban explorer” Dan Koeppel seeks traces of a boardwalk bicycle freeway from the 1900s, when L.A. boasted the world’s best public transit system. Bolstered by historical footage and surprising facts (e.g., the planet’s complement of cars is projected to rise from one billion in 2012 to two billion in 2020), the film includes lighter moments, as when a taxi driver in Copenhagen offers a contrarian view of a city overrun by anarchic cyclists. MM

Director: Ben Powell

2015 / Sweden / 88 minutes

Filmmaker Q&A following screening

Producers: Ben Powell, Dave Schachter Editor: Ryan Gould Cinematographers: Andrew Alden Miller, Ben Powell D av e S c h a c h t e r

Director: Fredrik Gertten Producers: Margarete Jangård, Elin Kamlert Editor: Benjamin Binderup Cinematographers: Kiki Allegier, Janice D’Avila

781.363.2243 dave@bargefilm.com Ag ne s Nil s s o n Vastergatan 22A 211 21 Malmo¨, Sweden

Friday, April 10 — 4:10 pm

+46 (0)40 23 20 98 agnes@wgfilm.com

Cinem a 4

Friday, April 10 — 10:30 am F le t cher Ha ll

new docs

Cairo in One Breath *

world premiere

The adhan is the Muslim call to prayer, an invitation to sacred space traditionally performed by a muezzin at a mosque five times each day. Cairo has thousands of mosques, and with countless muezzins chanting the call simultaneously there is a holy cacophony that reverberates through the city’s soundscape. Enter the Ministry of Religious Endowments with the concept of a unified adhan, a single call from one muezzin broadcast from a central studio to a network of mosques, each relaying the adhan through its own sound system. This beautiful and timely film is full of rich details of everyday life and maintains a quiet respect for the range of opinions voiced on either side of this somewhat unpopular edict. In a culture still unsettled by recent revolution, the idea of any kind of unification is controversial, and the loss of local traditions and individual voices is deeply felt. TW

Filmmaker Q&A following screening

Cartel Land In this bold film, intrepid director Matthew Heineman moves between two modern-day vigilante movements on either side of the U.S.-Mexico border. They share a common threat, murderous Mexican drug cartels, from whom their governments have failed to keep them safe. In Michoacán, Dr. Jose Mireles, a small-town physician known as “El Doctor,” leads the Autodefensas, a citizen uprising against the violent Knights Templar drug cartel that has wreaked havoc on the region for years. Meanwhile, in Arizona’s Altar Valley—a narrow, 52-mile-long desert corridor known as Cocaine Alley— Tim “Nailer” Foley, an American veteran, heads a small paramilitary group called Arizona Border Recon, whose goal is to stop Mexico’s drug wars from seeping across our border. Heineman achieves astounding access, witnessing events from within, and powerfully captures the motivations and actions at the core of each movement. On the front lines of harrowing violence and dramatic turns of events, Cartel Land navigates thorny, unclear territory. Are these actions inspired and necessary? Or driven by more complex desires? ST

2015 / US / 80 minutes

Filmmaker Q&A following screening Director: Anna Kipervaser Producers: Anna Kipervaser, Rodion Galperin, Scott F. Busch Editor: Scott F. Busch Cinematographers: Anna Kipervaser, David Degner, Meredith Zielke, Rodion Galperin, Dina Hisham O n L o o k F il m s , LLC Anna Kipervaser 847.571.6943 anna@onlookfilms.com

2015 / US, Mexico / 98 minutes Director: Matthew Heineman Producers: Matthew Heineman, Tom Yellin Editors: Matthew Hamachek, Matthew Heineman, Bradley J. Ross, Pax Wassermann Cinematographers: Matthew Heineman, Matt Porwoll The O r c h a rd Kalie Watch 6725 W. Sunset Boulevard, Suite 230

Friday, April 10 — 1:00 pm

Los Angeles, CA 90026 323.540.5490 kwatch@theorchard.com

Cinem a 1

Saturday, April 11 — 4:20 pm Cinem a 3

new docs

Chasing the Wind (Inseguire il vento) *

north americ an premiere

The Circus Dynasty (Cirkusdynastiet) *

An Italian mortician is the subject of Filippo Ticozzi’s austere yet poetic character study. In her days spent preparing corpses and teaching forensic reconstruction, Katrine is contemplative and gifted, and the viewer accompanies her as she traverses the realms of the living and the dead, the ordinary and extraordinary, with humor, aplomb, and grace. After work, repose is still a part of Karine’s life; she exhibits a dignified calmness, much like the film itself, as she ruminates on subjects large and small. Intimate, spellbinding, and unfolding in long takes with a sumptuous palette and cinéma vérité sensibility, Chasing the Wind does not sensationalize Karine’s avocation but instead reveals the subtle virtues of a job well done and a life well lived, even when that life is immersed in death. TM

Filmmaker Q&A following screening 2014 / Italy / 57 minutes

north americ an premiere

Two of Europe’s largest circus families have worked together for decades: the renowned artists and animal trainers of the Casselly family perform astounding acrobatic elephant acts, and the Berdino family runs Circus Arena, Scandinavia’s largest circus. When the beautiful and talented Merrylu Casselly and the heir to Circus Arena, Patrick Berdino, fall in love, their parents rejoice at the prospect of a perfect professional union. Against a backdrop of sequins, stunts, and spectacle, director Anders Riis-Hansen captures a romance unfolding over several seasons and sweeps us behind the scenes of grueling rehearsals, dazzling performances, and the day-to-day life of itinerant artists. But pressure is mounting on Patrick and Merrylu—American circus Ringling Bros. and Barnum & Bailey begins courting the Casselly family, and Patrick is asked to take on increased responsibility in the family business. Will the fickle flames of youthful passion disrupt a fairytale relationship, and what will that mean for the 20-year friendship between two families? EM

Director: Filippo Ticozzi Producer: Filippo Ticozzi Editor: Filippo Ticozzi Cinematographer: Filippo Ticozzi

2014 / Denmark / 90 minutes Director: Anders Riis-Hansen Producer: Malene Flindt Pedersen

F il ipp o T i c ozzi

Editors: Lars Terkelsen, Line Schou Hillerbrand

Via Abbiategrasso 11 27100 Pavia, Italy

Cinematographers: Anders Riis-Hansen, Lars Skree, Anders Løfstedt

+393485181553 filippoticozzi@gmail.com

H a n s en & P e d e rs e n f il m o g fj e rn sy n

Friday, April 10 — 7:40 pm DAC / P SI The ater

Knabrostraede 3 1210 Copenhagen K, Denmark +4527442567 malene@hansenogpedersen.dk

Thursday, April 9 — 8:00 pm Cinem a 3

new docs

Containment *

world premiere

Crooked Candy *

Containment interweaves the stories of the Fukushima nuclear disaster in Japan; the Savannah River Site’s ongoing cleanup in Aiken, South Carolina; and the Waste Isolation Pilot Plant controversial establishment in Carlsbad, New Mexico. The radioactive byproducts of nuclear energy and weaponry pose profound practical and philosophical conundrums for those trying to shield us from toxicity. These three linked chronicles allow for both plainspoken doubts and official bromides, tempered by the wry optimism of professional futurists whose timelines into the future match the half-lives of dangerous particles. How should we protect yet-to-come humans on earth and any possible visitors from outer space? The futurists’ scenarios delight, inform, and add depth to the film in unexpected ways. On the ground, local wisdom, such as thoughts from an Aiken pastor or a Japanese folktale of how a village leader saved his community from a tsunami, resonate far from home. NK

Filmmaker Q&A following screening

Opening a Kinder Surprise egg candy involves a small ritual of sorts. With delicate movements you peel back the foil wrapper and carefully split the seams of the chocolate shell. A satisfying pop reveals a small surprise: a package of tiny parts with instructions for assembling a miniature toy. Considered a choking hazard in the U.S., they are illegal to import, but that hasn’t stopped one man from reconnecting with his beloved childhood treat. Crooked Candy introduces us to this dedicated enthusiast through his colorful collection of some six hundred figurines. ST

Filmmaker Q&A following screening 2014 / US / 6 minutes Director: Andrew Rodgers Producer: Andrew Rodgers Editor: Harvey Robinson Cinematographer: Harvey Robinson A n d re w R o d g e rs andrew.rodgers3@gmail.com

2015 / US / 81 minutes Directors: Peter Galison, Robb Moss

Friday, April 10 — 1:30 pm

Producers: Peter Galison, Robb Moss

F le t cher Ha ll

Co-Producer: Chyld King Editor: Chyld King Cinematographers: Leonard Helmrich, Herve Cohen, Tim Cragg P e t e r G a l is o n 1 Oxford Street, Science Center 371 Cambridge, MA 02138 617.495.3544 galison@fas.harvard.edu

Friday, April 10 — 7:10 pm Cinem a 4

new docs

Curious Worlds: The Art & Imagination of David Beck *

world premiere

In her last film, The Cardboard Bernini, Olympia Stone focused on the creation and deconstruction of a single large work. In her new film, she investigates the complicated, intricate, amazing small-scale creations of David Beck. Beck, a prolific artist who employs sculpting, painting, carving, welding, and the manipulation of mechanical and electrical motors in his work, has had three shows at the Smithsonian, but is, alas, still largely unrecognized. In this film, we see his process in his cluttered studio—how everyday objects become sources of inspiration, and how he became the artist that he is today. Beck’s personal and playful creations are complexly layered. Each work, no matter how tiny, has hidden dimensions that provide additional enjoyment to the viewer when revealed, and the genius of Stone’s film is that she manages to capture the multiple layers of both Beck’s majestic awe-inspiring creations and his unique personality. JG

Filmmaker Q&A following screening 2015 / US / 69 minutes Director: Olympia Stone Producers: Olympia Stone, Matthew Siegel Editor: Olympia Stone Cinematographers: Matthew Siegel, Marie Chao, Michael Anderson F l o at in g S t o ne P r o d u c t i o n s Olympia Stone 404 Hillsborough Street Chapel Hill, NC 27514 919.357.4177 info@floatingstone.com

Friday, April 10 — 1:30 pm F le t cher Ha ll

Devil’s Rope *

north americ an premiere

This film scrutinizes the American West’s legacy of settlers who fenced and tamed the open range. An array of characters inhabits the elegantly filmed landscapes, among them barbed wire enthusiasts whose depth of knowledge both attracts and repels. A relentless American inventiveness improves on classic barbed wire to create increasingly aggressive variants; a razor-wire factory owner, for example, tells us that his product is popular for military, prison, and security uses all over the world. The elliptical and carefully paced story builds inexorably toward taller fences and more painful wire. Horizontal tracking shots suggest the character of the western plains and mimic the trains and roadways that traverse the region, while the ingenious use of natural sound contributes to the themes of fencing and subdividing vast American spaces. Migrants who cross from Mexico to the United States by walking through the desert are among those affected, and we learn about them through an anthropologist’s cataloging of the possessions they carried. NK

Filmmaker Q&A following screening 2014 / Belgium, France / 88 minutes Director: Sophie Bruneau Producer: Marc-Antoine Roudil Editor: Philippe Boucq Cinematographers: Rémon Fromont, Fiona Braillon S o phie B rune au 46 rue d’Écosse 1060 Brussels, Belgium + 32 2 534 93 77 info@alteregofilms.be

Friday, April 10 — 10:00 am Cinem a 1

new docs

The Farewell (La despedida) *

north americ an premiere

The Fish Tamer (El domador de peixos)

Pablo Fabelo lives with his feisty daughter and two young grandsons in a secluded part of the Cuban countryside. Long retired from the local mine, he spends his days quietly sitting in the doorway of his room, smoking cigars, playing cards, and reminiscing. Dichotomies abound in this atmospheric, languidly paced, and lushly photographed film as director Alejandro Alonso plays with shadows and light, silence and sound, youth and age. Ultimately, we experience a simple yet supremely lovely cinematic contemplation of life and time amidst the tensions and similarities of childhood and old age. Thankfully, no overt melancholy or wistfulness resides here. Pablo’s demeanor is fairly matter of fact and every movement is purposeful as he bids farewell to old memories and begins his path anew. WFM

Filmmakers Dani Resines and Roger Gómez cast a magical net with the story of Franciscu and his amazing trained carp, Juanita. Set along the stunning coast of Catalonia, we follow a lone, aging seaman, Isidre, on his journey to fulfill the final wishes of Franciscu, his fellow sailor, who was forced by ill health to abandon the sea he so dearly loved. Along the way, we discover Franciscu’s museum of maritime treasures, collected over the decades—a paean to his reverence for Neptune’s kingdom. His yearning for a life that could never fully be his is beautifully evoked as Isidre carefully carries out his comrade’s last request. This short film is an exquisite reflection on remembrance, loss, impermanence, and a faithful friendship that transcends species. Its final moments are truly glorious. DRP

2014 / Cuba / 25 minutes

2014 / Spain / 23 minutes

Director: Alejandro Alonso

Director: Roger Gómez, Dani Resines

Producer: María Carla del Río

Producer: Cristina Sánchez

Editor: Emmanuel Peña

Editor: El Cangrejo

Cinematographer: Miriam Ortiz

Cinematographer: Roger Gómez

EICTV

E l C a n g re j o Cristina Sánchez

Finca San Tranquilino, Km. 4½ carretera a Vereda Nueva

Carrer de Ramon Turró, 100 5è 8a 08005 Barcelona, Spain

32500 Artemisa, Cuba

0034 93 667 63 16 cris@elcangrejo.tv

+53 47 383152 promocioninternacional@eictv.co.cu

Friday, April 10 — 10:20 am Cinem a 3

Friday, April 10 — 10:10 pm Cinem a 3

new docs

For Floppy Ears Only (Wat konijnen mogen weten) *

north americ an premiere

For Floppy Ears Only is a vérité portrait of a vibrant eight-year-old girl adjusting to life after the recent death of her mother. Lulu is surrounded by family, including her father and two older brothers, but it’s a beloved stuffed rabbit that is best friend, comforter, and keeper of secrets. In their whispered conversations Lulu gives Rabbit the voice of her mother, who asks about her day and provides quiet support and confidence. But real-life talks with her very present and respectful father show that Lulu may have more than one floppy-eared rabbit in her life. Beautifully scored and framed, the film is tender but not overly sentimental as it observes the bright and expressive Lulu, who loves to sing and draw but misses her mother’s cooking. Without being intrusive, the camera gets close enough to Lulu’s world to capture an unusually intimate, mesmerizing portrait of a young girl who is slowly finding her way after life-changing loss. RYS 2013 / The Netherlands / 21 minutes

From This Day Forward *

world premiere

When filmmaker Sharon Shattuck was in middle school, her father came out as a transgender woman and asked to be called Trisha. These changes not only added to Sharon and her sister’s adolescent embarrassment, but also placed a great strain on Sharon’s parents’ relationship. As a straight woman who had fallen in love with a man, could Sharon’s mom, Marcia, adjust to being married to a woman? But Marcia and Trisha stayed together and continued to raise Sharon and her sister as a family. Years later, Sharon returns home in the lead-up to her own wedding, looking to understand her parents’ enduring relationship, the evolution of Trisha, and the emotional impact of her father’s transition. The result is a personal story about love, commitment, family, and the thorny ambiguities of gender and sex. EM

Filmmaker Q&A following screening 2015 / US / 74 minutes Director: Sharon Shattuck Producers: Martha Shane, Sharon Shattuck

Director: Ronja Hijmans

Editor: Frederick Shanahan

Producers: Randy Vermeulen, Anna Beerstra

Cinematographer: Sharon Shattuck

Editor: Jasper ten Hoor Cinematographer: Malcolm Duregger

Sh a r o n Sh at t u c k sharon.shattuck@gmail.com

B a n a n a z Randy Vermeulen Rokin 69 1012 KL Amsterdam, The Netherlands 00316 440 425 56 randy@bnnz.nl

Friday, April 10 — 7:20 pm Cinem a 3

Friday, April 10 — 10:10 am Cinem a 4

new docs

Giovanni and the Water Ballet (Giovanni en het waterballet)

Good Things Await (Så meget godt i vente)

Giovanni is not your typical ten-year-old boy. He isn’t into sports like karate and football. He doesn’t spend his time at the pool roughhousing, speed swimming, or playing Marco Polo with a gang of rowdy guys. Instead, he can be found underwater, swimming upside-down in unison with a sea of girls in sparkly swimsuits. But in order to compete for the Dutch synchronized swimming championship, Giovanni must first pass a test. So he logs hours upon hours in the water, swimming and dancing. When Giovanni does come up for air, his ever-present, sage-like, perky girlfriend Kim enthusiastically cheers him on as she joins him for romps through the forest and many a soulful discussion. WFM

Cinematographers: Diderik Evers, Dirk-Jan Kerkkamp, Sal Kroonenberg

In Denmark, 80-year-old Niels Stokholm and his partner, Rita, run the biodynamic farm Thorshøjgaard. They specialize in fostering Danish Red, a rare breed of cattle, and also grow a variety of fine vegetables. Preferring spiritual practices over contemporary fertilizers and feeders, Stokholm has attracted the attention of chefs who come to him for high-quality ingredients that end up on plates at Copenhagen’s NOMA and other acclaimed restaurants. But not all who visit the farm are fans: his techniques do not meet EU animal welfare regulations and when agricultural inspectors arrive, Stokholm faces ramifications that may break apart his carefully balanced existence. Phie Ambo’s poignant document of this way of life, and the threat to its survival, is infused with richly textured scenes and soundscapes. Dewdrops glimmering on blades of grass or the muffled crunch of cows chewing cud evoke a reverence for methods that rely on the cosmos. A score composed entirely of choral singing amplifies scenes of nature’s interconnections, as one man refuses to change his traditions. ST

Een va n d e j o n g en s

2014 / Denmark / 93 minutes

2014 / The Netherlands / 18 minutes Director: Astrid Bussink Producers: Hasse van Nunen, Renko Douze Editor: Femke Klein Obbink

de Kempenaerstraat 11B 1051 CJ Amsterdam, The Netherlands

Director: Phie Ambo

0031 20 894 3628 jongens@eenvandejongens.nl

Producer: Malene Flindt Pedersen Editor: Theis Schmidt

Friday, April 10 — 10:10 am Cinem a 4

Cinematographers: Phie Ambo, Maggie Olkuska D a nis h F il m In s t i t u t e Anne Marie Kürstein Gothersgade 55 1123 Copenhagen, Denmark +45 40414697 kurstein@dfi.dk

Friday, April 10 — 1:20 pm Cinem a 3

new docs

Graminoids

Here Come the Videofreex

The dynamism and patterned flow of grasses are showcased in mesmerizing detail in this Scottish short, filmed in Edinburgh’s Holyrood Park. Fields of graminoids are left to grow wild—tall and majestic, their upright uniformity interrupted only by changing winds. Sometimes it’s a slight breeze that bends and billows the grasses, creating a lazy, heavy lilt. At other times a fierce current whips across the meadow, seizing and contorting the stalks into frenzied, morphing torrents of chaos. With crisp black-and-white photography and a plangent score, Graminoids transforms an everyday landscape into something otherworldly. Amid the dramatic interplay of light and shadow, a symphony of sound and movement comes to beautiful fruition. RM

2014 / UK / 7 minutes Directors: Demelza Kooij, Lars Koens Producers: Demelza Kooij, Lars Koens Editor: Demelza Kooij

world premiere

This film opens in 1969 in an America experiencing seismic cultural and political shifts, but not on television. When a CBS executive decides to start a pilot program to tell the stories of the counterculture, the Videofreex are born. This collective of men and women takes their then brand-new portable video cameras out into the streets and across the country. They document anti-war, black power, and women’s rights protests, and interview activists like Abbie Hoffman and Fred Hampton. In Here Come the Videofreex we see what happens when CBS executives watch the pilot, and how the radical Videofreex forge their own path, as if taking advice from Hoffman’s Steal This Book. Built from the recently restored archive of Videofreex tapes, the film captures the optimism and energy of the times through the collective’s innovative footage and tells a surprising and inspiring story of the beginnings of independent media—a low-resolution prologue to today’s universal ability to self-broadcast via the web. ST

Cinematographer: Demelza Kooij

Filmmaker Q&A following screening

S c o t t is h D o c umen ta ry In s t i t u t e Demelza Kooij

2015 / US / 75 minutes

78 West Port Edinburgh, EH1 2LE, UK 00447875401897 demelza@scottishdocinstitute.com

Directors: Jon Nealon, Jenny Raskin Producers: Jon Nealon, Jenny Raskin Editor: Jon Nealon

Friday, April 10 — 10:00 am Cinem a 1

Cinematographer: John Foster M o l dy Ta p e s LLC Jon Nealon 1 Jackson Place Brooklyn, NY 11215 646.644.5263 herecomethevideofreex@gmail.com

Friday, April 10 — 7:00 pm Cinem a 1

new docs

How to Dance in Ohio

In the Country (Ute på landet)

“We like to socialize, we just don’t know how.” Talking to a crush, letting someone down nicely, transitioning to college, and taking on a first job are all universally tricky ventures for teens and young adults to navigate, as they demand a certain level of communication skills. Add being on the autism spectrum to the mix, and social situations become even more daunting. Marideth, Caroline, and Jessica face these and many other challenges in this heartrending and heartwarming coming-of age-film as director Alexandra Shiva follows the girls for the 12 weeks leading up to a spring formal hosted by their counseling center at a local dance club. In many ways, the spring formal is a collection of the worst possible set of sensory experiences that people living with autism can face—it will be loud, fast, confusing, and complicated. But with determination, planning, and persistence, each of them will make it to the dance floor. WFM

north americ an premiere

Filmmaker Q&A following screening

Lena and Gunvall Carlsson live a quiet life in the Swedish countryside. Their home is in need of repairs, but they manage to expend very little effort to keep things intact. In the Country breaths in the ebb and flow of their daily lives—cooking dinner, going to town, taking a bath, preparing for bed. The choreography of their cohabitation, patiently captured in stunning black and white, is well worn from years of closeness. We watch as they come together and move apart within their shared space. They speak naturally to the camera about their relationship, yet something seems slightly unsettled, some underlying tightness not quite revealed. Anders Jedenfors portrays their marriage over several seasons, highlighting moments of humor and sadness. Emotional revelations eventually illuminate their story, allowing us to consider the physical toll of grief, the weight it can add to our lives, and the ways it can be weathered. ST

2015 / US / 88 minutes

2014 / Sweden / 58 minutes

Director: Alexandra Shiva Producers: Alexandra Shiva, Bari Pearlman Executive Producer: Jason Blum Editor: Toby Shimin Cinematographer: Laela Kilbourn

Director: Anders Jedenfors Producer: Kalle Wettre Editor: Maja Borg Cinematographer: Anders Jedenfors Sw e d is h F il m In s t i t u t e Sara Rüster

Gid a lya Pi c t u res LLC

Box 271 26 SE-102 52 Stockholm, Sweden

5 East 9th Street, Front Office New York, NY 10003

+46 8 665 11 00 sara@sfi.se

212.358.9620 info@gidalyapictures.com

Saturday, April 11 — 10:30 am F le t cher Ha ll

Saturday, April 11 — 7:00 pm Cinem a 1

new docs

Incorruptible *

work in progress

King Georges *

world premiere

Senegal is one of Africa’s most stable countries, a democracy with no history of civil war where citizens prefer dialogue to confrontation. But in 2012, enraged voters turned Dakar’s streets into a battleground after President Abdoulaye Wade announced he would seek a third term, bulldozing past the Constitution’s clear two-term limit. A long list of candidates challenges him, including eventual winner Macky Sall. But even more pressing is the growing youth movement called Y’en a Marre (We’ve Had Enough), which is determined to prevent its beloved country from falling into the oubliette of failed democracies. As election day approaches, an increasingly out of touch President Wade has money and support from a powerful religious leader, but Y’en a Marre has the people, from farmers to students. Protests soon turn to riots with hurled rocks and tear gas bombs. Handheld footage captures the chaotic frenzy and outrage, which reaches its peak when police launch an unprovoked attack on a mosque during Friday prayers. RYS

Le Bec-Fin is closing its doors. After 33 years, the crown jewel of the Philadelphia restaurant scene, known for its stellar French cuisine, opulent style, and impeccable service, no longer seems in step with current tastes. This film follows fiery owner and head chef Georges Perrier over the last four years of life at the restaurant, granting us ample access inside the belly of the beast. In stark contrast to the orchestrated perfection of its dining room, Le Bec-Fin’s kitchen is a constant circus of sweaty chaos and emotions, with Perrier as ringleader. He screams, he swears, he hovers obsessively over his sauces, tossing in dollops of heavy cream and large nobs of butter whenever backs are turned. But even as the intensity of the job, and its 21-hour workdays, takes its toll, Perrier struggles with his decision to relinquish control. More than just a vivid character study of a dedicated and passionate perfectionist, King Georges is a touching tribute to this master chef who realizes it is time to pass the torch on to the next generation whom he’s mentored so well. RM

Filmmaker Q&A following screening

2015 / Senegal, US / 90 minutes

2015 / US / 76 minutes

Director: E. Chai Vasarhelyi

Director: Erika Frankel

Producers: E. Chai Vasarhelyi, Joslyn Barnes, Edward Tyler Nahem, Hadeel Ibrahim, Steven Hendel

Producer: Erika Frankel

Editor: Jay Freund

Cinematographer: Frederic Tcheng

Editors: Grace Kline, Amanda Larson

Cinematographer: Andrew Berends E rik a F r a nk e l Pat ri c k B r o o ks

Brooklyn, NY

160 Claremont Avenue, Suite A North New York, NY 10027

erika.frankel@gmail.com

212.222.2336 patrickbrooksfilm@gmail.com

Saturday, April 11 — 4:00 pm Cinem a 1

Saturday, April 11 — 7:20 pm Cinem a 3

new docs

Kings of Nowhere (Los reyes del pueblo que no existe)

Kings of the Wind & Electric Queens

How would your town look and sound if suddenly you were the only one who lived in it? When the construction of a dam partially flooded San Marco, Mexico, most residents fled. But a handful of families stayed put, staring down the specter of approaching waters. They now live off the grid—de facto kings of a boardedup, half-sunken community where donkeys and pigs roam the streets and the lack of noise and commerce creates a peaceful, almost monastic, vibe. Kings of Nowhere captures the essence of a place and its people through quiet observation of daily life, but it also features unhurried interviews with residents like Miro, who makes regular tortilla deliveries to a long-eared cow stranded on a newly formed island, and Yoya and Jaimito, a lively older couple who can’t understand why people left but nevertheless tell scary stories by candlelight about bandits who skulk about town after the sun goes down. RYS

“Roll up, Roll up! Our circus has come to you!” With these words, a carnival barker in Sonepur, India, invites us to experience the exotic delights of the town’s annual fair. This hallucinogenic film spirits us through the day’s frenzied preparations: an elephant is scrubbed clean in the river, horses race down dusty roads at breakneck speeds, and a rickety wooden velodrome is constructed. As day turns to night, the primal beat of music hypnotizes. We follow the camera backstage, through a warren of corrugated steel, where young dancers apply makeup and old men worry if their generators can provide enough power. Kings of the Wind & Electric Queens is an expertly helmed menagerie of sensory stimulation. Colors flash, motors rev, dancers beckon, and amid the neon lights and throbbing music, the lines of fantasy and reality are blurred. RM

Filmmaker Q&A following screening

Directors: Cédric Dupire, Gaspard Kuentz

2015 / Mexico / 83 minutes Director: Betzabé García

us premiere

2014 / France / 56 minutes

Producer: Jérôme Aglibert Editor: Charlotte Tourres Cinematographer: Cédric Dupire

Producers: Hugo Espinosa, Betzabé García Editor: Gabriel Herrera

A n d a n a F il m s Grégory Bétend

Cinematographer: Diego Tenorio

25 route de l’Echelette 07170 Lussas, France +33 4 75 94 34 67 contact@andanafilms.com

V en a d o F il m s Avenida Colonia del Valle 03100 Mexico City, Mexico +52 1 5522642042 venadofilms.info@gmail.com

Friday, April 10 — 10:10 pm Cinem a 3

Thursday, April 9 — 4:00 pm Cinem a 1

new docs

The Land *

world premiere

The Lanthanide Series *

It may seem counterintuitive, but children’s playgrounds aren’t much fun unless they’re a bit dangerous. Every kid knows that. Yet overzealous grown-ups who want to prevent accidents have turned many playgrounds into restrained, unimaginative safety zones that thwart broken bones but hinder the important emotional development that happens when kids take risks. The Land features an “adventure playground” in North Wales, a sort of muddy junkyard, where kids are free to use saws, make fires, climb impossibly high trees, and curse with abandon. Professionally trained “play managers” assist but don’t interfere unless necessary, respecting the subtle difference between risk and hazard, growth and safety. Watching these kids manage their own relationship to danger is inspiring but at times surprisingly uncomfortable. Just as fascinating is the proper English landscape architect whose forward-thinking philosophy “better a broken bone than a broken spirit” helped inspire the movement decades ago. RYS

Filmmaker Q&A following screening 2015 / US / 22 minutes Director: Erin Davis Producers: Erin Davis, Steven Bognar, Julia Reichert Editors: Erin Davis, Eric Risher Advising Editor: Jim Klein Cinematographers: Erick Stoll, Liz Cambron, Erin Davis E rin D av is 56 Court Street, #2 Middlebury, VT 05753

north americ an premiere

are the rare earth elements, those with atomic numbers ranging from 57 (lanthanum) to 71 (lutetium). While these 15 elements might not be commonly discussed outside of the classroom, or seem as necessary as oxygen or iron, they are nonetheless essential to modern life. Almost every electronic device in use today—anything with a screen, battery, or microphone—requires lanthanides. In this film, shifting images, sounds, and texts reveal a world reflected and projected inside our own partial and changing comprehension of that world, a complex world of organic split screens, superimpositions, and unreliable horizons. Whether glimpsing inside a mirror factory or contemplating a 16th-century “black mirror” of obsidian, this film presents images that are considerably more complicated than a snapshot understood with a quick glance. This is a science documentary with curiosity and soul, one willing to examine the mystery of life at its most elemental level. TW

Filmmaker Q&A following screening 2014 / US, France, UK / 70 minutes Director: Erin Espelie Producer: Erin Espelie Editor: Erin Espelie Cinematographer: Erin Espelie E rin Es p e l ie erinespelie@gmail.com

773.350.6837 erin@playfreemovie.com

Saturday, April 11 — 10:00 am Friday, April 10 — 4:00 pm Cinem a 1

In the Periodic Table of Elements, the lanthanides

Cinem a 1

new docs

Last Day of Freedom *

world premiere

“When they started bringing back the death penalty back, I embraced it,” Bill Babbitt tells us. “It was okay for someone else’s family members. Then one day it came knocking on my door.” Bill’s younger brother Manny, a decorated Vietnam veteran, suffers from PTSD. When Bill finds evidence that ties Manny to a murder, he agonizes over what to do. Thinking that it is not only the right thing to do, but that it might also be a way to get his brother help, Bill goes to the police. In the ensuing trial, Bill testifies for both the prosecution and the defense, haunted by his recollection of Manny’s last day of freedom. The filmmakers have beautifully animated Bill’s narrative in a variety of styles: simple line drawings for the primary interview, watercolors for flashbacks, and photos of newspaper articles. Sound effects and a spare musical score by Fred Frith lend emotional depth. AT

Filmmaker Q&A following screening

The Last Hour in the Sun (Het laatste uur in de zon) *

north americ an premiere

This aching, short film by director Suzanne Jansen is a portrait of her brother, Emile, who from his earliest years knew he wanted to be a pilot. In home movies, we see him as a toddler clutching a Lego airplane. Though Emile attended aviation school and passed the necessary exams, there are far more pilots than jobs. For years he’s waited to fly, but in spite of passion and talent, there are no openings. Intimate conversations between brother and sister, and with their father, disclose the family’s investment in Emile. They too have to let go of their belief that a job will come. How much does a person have to borrow, from the bank and from his soul, to keep hope alive? And what is left when a lifelong dream is forced to fade away? Beautiful photography full of visual metaphors traces this emotional journey—as a plane dips, soars, and dives, it’s hard not to recognize promise and setbacks, as well as the possibilities that the future can bring. ST

2015 / US / 32 minutes Directors: Dee Hibbert-Jones, Nomi Talisman

2014 / The Netherlands / 23 minutes

Producers: Dee Hibbert-Jones, Nomi Talisman

Director: Suzanne Jansen

Editors: Dee Hibbert-Jones, Nomi Talisman, Robert Arnold, Elizabeth Finlayson

Producers: Randy Vermeulen, Anna Beerstra

Cinematographer: Nomi Talisman L i v in g C o n d i t i o n LLC

Editor: Luuk van Stegeren Cinematographer: Jelle Dijkstra B a n a n a z Randy Vermeulen

Dee Hibbert-Jones & Nomi Talisman

Rokin 69 1012 KL Amsterdam, The Netherlands

San Francisco, CA

00316 440 425 56 randy@bnnz.nl

nomitalisman@gmail.com

Saturday, April 11 — 4:40 pm DAC / P SI The ater

Friday, April 10 — 10:10 am Cinem a 4

new docs

Love Marriage in Kabul

Mavis!

In Western cultures, when two people fall in love they may decide to wed in a “love marriage.” In other societies, it’s not always so simple. Extended families are often involved in arranging weddings in Afghanistan, and exchanges of money and calculations of the value of a bride’s future labor within her husband’s household become crucial issues. In Love Marriage in Kabul, Mahboba Rawi, an energetic and courageous Afghan woman living in Australia, returns home to visit the orphanages and schools she sponsors. An Australian journalist accompanies Rawi and documents her efforts to help the countless widows and orphans left destitute by the legacy of the Taliban. One of Rawi’s first abandoned charges, Abdul, has grown to manhood and wishes to marry Fatemeh, a neighbor girl. But incredibly complex negotiations shadow every effort to unite the couple. With time running out, and a forced dowry marriage for Fatemeh in the offing, can the couple find their happy ending? LB

Mavis Staples was only a teenager when her family group, the Staple Singers, started performing, and it hardly seemed possible that such a soulful voice could emerge from her young frame. Led by their father, “Pops,” Mavis and her siblings moved audiences with their gospel music and helped inspire the civil rights movement through song. When styles shifted, so did their sound, though its spiritual essence was never lost. Featuring intimate stories and a collection of breathtaking performances, both past and present, Mavis! charts the singer’s incredible career and makes space for the music to speak for itself. We witness Mavis’s deep ties to family; though she now performs on her own, her sister Yvonne still travels with her wherever she goes. Artists like Bonnie Raitt and Bob Dylan tip their hat to Mavis’s influence, and collaborator Jeff Tweedy of Wilco reveals the inspiration he’s found in her work. After 60 years of performing, this civil rights icon and pioneering vocalist is making the most vital music of her career, and we need her message of equality now more than ever. ST

Filmmaker Q&A following screening 2014 / Australia / 84 minutes Director: Amin Palangi

Filmmaker Q&A following screening 2015 / US / 81 minutes

Producer: Pat Fiske

Director: Jessica Edwards

Editor: Bill Russo, ASE

Producers: Rachel Mills, Jessica Edwards

Cinematographer: Amin Palangi

Executive Producer: Gary Hustwit Editor: Amy Foote

Pat F isk e

Cinematographer: Keith Walker

Flat 4, 57 Wairoa Avenue Bondi, NSW 2026, Australia +61407813255 pat@bowerbirdfilms.com

F il m F irs t Jessica Edwards 61 Greenpoint Avenue, #505 Brooklyn, NY 11222 917.620.8529 jessica@filmfirstco.com

Friday, April 10 — 4:40 pm DAC / P SI The ater

Saturday, April 11 — 1:30 pm F le t cher Ha ll

new docs

Monte Adentro

Nadeshda

Monte Adentro uses its specialized subject matter (mule driving in the mountains of Colombia) to tell a story full of suspense, reversals, and character. The film begins with a meditative reflection on life in both rural and urban Colombia, with commentary sparsely provided by Blanca, a widow and mother in a muleteer family. Her sons Alonso and Novier personify the contrast between city and country; family history and vérité footage create a dark elegy to a mule-centric past. Hired to carry a household’s fragile furniture through otherwise inaccessible mountains, the brothers load up their mules for a marathon trip. “You are there” mule-driving cinematography makes the wrangling of pack animals and the lashing of household goods into an epic adventure. Observational techniques and natural sound convey the themes of the film cinematically: we’re shown, rather than told, that men, as well as mules, can be treated as beasts of heavy burden. NK

us premiere

Filmmaker Q&A following screening

Tsveti, Misho, and Zorka are three children living in Nadeshda, one of Bulgaria’s largest Roma ghettos. They all aspire to become professional musicians, but the economic conditions and cultural traditions of the ghetto threaten their ability to succeed. Unemployment is rampant, education is limited, and Romani girls like Tsveti and Zorka are at risk of being kidnapped off the streets by the families of young men and forced into marriage. Tsveti wants her father to let her go away to music school to train in classical violin, but he fears the discrimination she’ll face from other Bulgarians. Meanwhile, Misho and Zorka’s parents search for a new family home outside the ghetto but come up against hostility and suspicion because they’re Romani. Achieving their musical dreams and finding better futures may be daunting prospects, but Tsveti, Misho, and Zorka know that nadezhda is also the Bulgarian word for hope. EM

2014 / Colombia, Argentina / 79 minutes

2014 / Germany / 48 minutes

Director: Nicolás Macario Alonso

Directors: Anna Frances Ewert, Falk Müller

Producers: Heike Maria Fischer, Nicolás Macario Alonso

Producer: Isabelle Bertolone

Editor: Felipe Guerrero

Editors: Robert Vakily, Tobias Beul

Cinematographer: Mauricio Vidal

Cinematographer: Pius Neumaier

F l o r d e P r o d u c ci o nes Heike Maria Fischer

Is a b e l l e B e r t o l o ne

Velazco 1536 P.A. 1414 Buenos Aires, Argentina

Bernd-Eichinger-Platz 1 80333 Munich, Germany

+54 11 4858 0258 hmariafischer@flordeproducciones.com

nadeshda@wirfilm.de

Thursday, April 9 — 1:20 pm

Friday, April 10 — 4:00 pm

Cinem a 3

Cinem a 1

new docs

Of Men and War

Overburden

Coming home isn’t what they thought it would be. One soldier sees the eyes of the man he shot every time he tries to sleep; another feels he belongs nowhere; another takes out his rage on his wife. They can’t formulate plans, don’t want to fake being happy, and can’t be who they used to be. They aren’t just angry about Iraq, they’re angry about everything—and they all feel guilty for surviving. For five years, director Laurent Bécue-Renard patiently trained his camera on several men seeking support at the Pathway Home, a transition center for combat veterans in California. We witness their pain and hear their fears as they try to rebuild their lives, and what emerges is an eminently poignant and immensely important film that presents an unflinching look at the walking casualties of war. Pathway’s director, Fred Gusman, does everything in his power to try to prevent further losses for the veterans, their wives, and their children, but will it be enough? WFM

2014 / France / 142 minutes

Filmmaker Q&A following screening

Director: Laurent Bécue-Renard

2015 / US / 66 minutes

Producer: Laurent Bécue-Renard Editors: Isidore Bethel, Sophie Brunet, Charlotte Boigeol Cinematographer: Camille Cottagnoud Isid o re B e t hel 108, rue du Bac 75007 Paris, France +33 1 45 49 96 76 isidore@ofmenandwar.com

world premiere

In West Virginia’s mountains, where coal is the official state rock and mining is synonymous with work, culture, and family, two unlikely heroes take on the region’s largest mining company and its powerful CEO. The film begins in 2007 as Massey Energy prepares to blast more than 6,000 acres of untouched forest on Coal River Mountain in spite of urgent protests to stop the mountaintop removal. Lorelei Scarbro and Betty Harrah are on opposite sides of the tense debate in their fiercely divided community, which has sent men to the mines for generations. But when an explosion in nearby Upper Big Branch kills 29 people and Massey is suspected of unsafe practices, the two women realize they have more in common than they think and join forces to challenge the company. Overburden is the waste material that must be cleared before tapping a coal seam. In this case, it’s more than rocks and dirt—and may prove too tough to push past. RYS

Director: Chad A. Stevens Producers: Catherine Orr, Elena Rue Editors: Catherine Orr, Elena Rue Cinematographer: Chad A. Stevens mil e s f r o mm ay b e P r o d u c t i o n s 26 Rogerson Drive Chapel Hill, NC 27517 740.818.8812 milesfrommaybe@gmail.com

Saturday, April 11 — 7:40 pm DAC / P SI The ater

Friday, April 10 — 10:20 am Cinem a 3

new docs

Peace Officer

The Queen (La Reina)

When William “Dub” Lawrence was the sheriff of a rural Utah county in the 1970s, he established the state’s first SWAT team. Decades later, that same unit kills his son-in-law after an intense and highly controversial standoff. Frustrated by a lack of justice, Lawrence, now retired from the force, embarks on an obsessive quest for closure, assembling a trove of documents, footage, and evidence related to his son-in-law’s case and other local incidents involving shootings of civilians by officers. Peace Officer centers around this charismatic, intelligent, and intensely mission-driven investigator, who bridges the political divide and poses timely questions about the increased militarization of police officers and the effects of the War on Drugs. Ultimately, the film is both suspenseful procedural and topical critique, making real the dangers of law enforcement overreach through the stories of victims of police misconduct. But the film also allows officers to weigh in, speaking to their need to protect themselves at all costs. The question is, just how much force is necessary? EM

Wearing a smile that doesn’t quite reach her eyes as a sea of air-kissing preteen beauty queens sweetly chant her name, we meet Memi as she regally accepts a coveted title spot in the Orfeo troupe to parade at Carnival as the Queen of Chocolate. Manuel Abramovich’s splendidly shot observational short presents Memi’s path to Carnival in a series of poignant scenes. With the camera tightly focused on her face, Memi sits silently, her expressions at once pensive, passive, and bored. Meanwhile, her mom and a cavalcade of other women (perpetually off screen) chatter as they elaborately coif her hair and zip tie a nine-pound, rhinestone-studded headdress atop the hairdo to get her ready to parade. Strategically peppered throughout these preparations are glimpses of Memi’s daily life, which is filled with many other competitions—tennis, swimming, and hockey. Tension builds. Will Memi buckle under the weight of her painful crown and seemingly endless obligation to compete? WFM

Filmmaker Q&A following screening

Director: Manuel Abramovich

2015 / US / 109 minutes

2013 / Argentina / 19 minutes

Producer: Manuel Abramovich Editor: Iara Rodriguez Vilardebó

Directors: Scott Christopherson, Brad Barber

Cinematographers: Juan Renau, Manuel Abramovich

Producers: Scott Christopherson, Brad Barber, Dave Lawrence

M a nue l Ab r a m o v i c h

Editor: Renny McCauley

Humboldt 2433 1425 Buenos Aires, Argentina

Cinematographers: Brad Barber, Scott Christopherson

+54911 5879 5665 abramanuel@gmail.com

S c o t t Ch ris t o phe r s o n 3200 South First Street, Apt. #401 Austin, TX 78704

Friday, April 10 — 10:10 am

608.628.8693 scottchristopherson@gmail.com

Cinem a 4

Saturday, April 11 — 10:00 am Cinem a 4

new docs

R. Enstone *

north americ an premiere

Sad Songs of Happiness *

When Richard Enstone died, he left behind a box containing 89 rolls of Super 8 film from the 1980s. It would be difficult to imagine a more unusual archive of personal documentation. Some of the footage is conventional home movie subject matter handled in unremarkable style: a portrait of his mother, a parade, touristy bits taken on day trips to a variety of locales. But he also shot pages of his journal one frame at a time, as if with a spy camera, and recorded obfuscating sound tracks at different speeds on the second magnetic track available on Super 8 sound film. This short documentary reveals Enstone’s painful private paranoia but carefully balances that sensational material with a levelheaded (but not too probing) effort to understand him as a person. The result is all the more creepy for being fair and respectful. TW

north americ an premiere

2014 / UK / 15 minutes

Three unforgettable Palestinian schoolgirls are the subject of this moving tribute to the power of song in a world of sorrow. Hiba, Rita, and Tamar are studying voice under the tutelage of a dedicated Bavarian teacher at a German school in Jerusalem. When Herr Kronthaler enters them in a prestigious European music competition, Jugend Musiziert (Youth Makes Music), the girls learn valuable lessons about success and failure in the emotionally charged world of classical music performance, and about what it means to be Palestinian in the world at large. As they interact with their families and travel to Istanbul and finally to Germany to compete, we witness some typical adolescent behavior that is made endearing by the girls’ genuine love of music and their difficult situations at home. Sensitively photographed without any narration, Sad Songs of Happiness uses intensely personal stories to address complex political issues in subtle ways. AM

Director: James Varley

Filmmaker Q&A following screening

Producers: Kate Moore, Katie Hefford, Sam Cunningham, Simon Waldron, Emma Greaves

2014 / Germany / 81 minutes

Editor: James Varley

Director: Constanze Knoche

L o nely l e a p Katie Hefford 27 Tarves Way London, SE10 9JU, UK +44 (0) 208 858 7000 katie@lonelyleap.com

Producer: Leis Bagdach Editor: Kai Minierski Cinematographer: Kirsten Weingarten Neu f il m U G

Friday, April 10 — 7:00 pm

Daenenstr. 12 10439 Berlin, Germany +491791189864 lbagdach@neufilm.com

Cinem a 1

Saturday, April 11 — 1:20 pm Cinem a 4

new docs

Saving Mes Aynak In a barren mountainous region just outside of Kabul, Afghanistan, archeologists have discovered the exquisite remains of an ancient Silk Road settlement: worldly treasures of human history including homes, a hundred-acre monastery, and countless Buddha statues. Even more exciting are deeper excavations that have uncovered artifacts dating back 5,000 years to the Bronze Age. Unfortunately, the mountains also cache another kind of treasure: copper. While Afghan archeologist Qadir Temori and his colleagues delicately unearth profound relics that could redefine Buddhist and Afghan history, a Chinese mining company is setting up a sophisticated camp nearby with a multibillion dollar contract to demolish the area in search of this copper. The archeologists are given a year to complete an overwhelming 20-year task in a war zone with little equipment and an untrained, albeit devoted, crew. Saving Mes Aynak is Temori’s heartfelt race against the clock to prevent the destruction of this culturally significant site that could vanish just as it begins to reveal its secrets. RYS

Filmmaker Q&A following screening 2014 / US / 60 minutes Director: Brent E. Huffman Producers: Brent E. Huffman, Xiaoli Zhou, Zak Piper Editor: Brent E. Huffman Cinematographer: Brent E. Huffman K a r t em q uin Tim Horsburgh 1901 W. Wellington Avenue Chicago, IL 60657 773.472.4366 tim@kartemquin.com

The Solitude of Memory (¿Por qué el recuerdo? ) “Excuse me, José, do you remember the last time you saw your son?” “Yes, of course. I was sick that day. We were working on the boss’s ranch. It was two p.m.” Simply beautiful and very poignant, director Juan Pablo González’s short essay strikingly portrays a father who reflects on the unexpected loss of his son Fernando. We hear José relate the story of that day three times during the film and each re-telling is slightly different. Richly composed, thoughtful photography deftly underscores this raw yet deeply respectful remembrance. Anyone who has lost someone will share in José’s pain. Although his countenance is rather stoic, José’s grief is palpable on screen—we see how he spends his days in contemplation and still deeply mourns his loss. His loneliness is all the more pronounced set against a bucolic countryside backdrop of lime groves, pastures, and farmland and accompanied by a haunting Mexican folksong that beckons, “Little goldfinch lend your wings . . . and take this memory from me.” WFM

Filmmaker Q&A following screening 2014 / Mexico, US / 20 minutes Director: Juan Pablo González Producer: Juan Pablo González Editor: Juan Pablo González Cinematographers: Adrián S. Bará, Jim Hickcox, Juan Pablo González J ua n Pa b l o G o n z á l e z 710 W. 34th Street, Apt. 204 Austin, TX 78705 512.289.8386 jpablogg@gmail.com

Saturday, April 11 — 12:50 pm Cinem a 1

Saturday, April 11 — 7:00 pm Cinem a 1

new docs

The Storm Makers *

north americ an premiere

Tell Spring Not to Come This Year *

north americ an premiere

When Aya was 16, she was sold by her mother to a recruitment agency and sent from Cambodia to Malaysia to work as a housekeeper. After two years of exploitation, Aya managed to escape—but returned home pregnant after surviving a rape. Now shunned by the same woman who sold her into slavery, Aya provides devastating testimony about her experiences and the cycles of abuse perpetuated by Cambodia’s widespread system of human trafficking. Director Guillaume Suon also follows two professional “recruiters” who convince the parents of young people to send their children abroad, making false promises about better futures and financial gains. There’s Ming Dy, who sold her own daughter into slavery and now travels to impoverished villages to convince others to do the same, and Pou Houy, a born-again Christian and professional dealer who has guiltlessly recruited and sold more than five hundred Cambodian women. These recruiters are known as “storm makers,” we are told, because “when they arrive in a village, they bring the storm and tears with them.” EM

After international forces pull out of Afghanistan in 2013, the responsibility of maintaining security falls on the shoulders of the newly formed Afghan National Army (ANA). Directors Saeed Taji Farouky and Michael McEvoy, embedded with one inexperienced and ill-equipped unit of the ANA over the course of a year, provide a gripping and poignant narrative of the soldiers who are engaged, often reluctantly, in the perilous and sometimes absurdly challenging struggle to defend Helmand Province against Taliban insurgents. Scenes of their everyday lives in the barracks and moments of sincere off-screen commentary are juxtaposed with immersive and unsanitized footage of battles. Through expert cinematography and sound editing, Tell Spring Not to Come This Year makes clear the human cost of a forgotten war and the realities of continued conflict. While the film depicts chaos and bloodshed, it also presents us with complex Afghan protagonists who exhibit bravery in both their actions and their honesty. AM

2014 / Cambodia, France / 66 minutes

2015 / UK / 84 minutes

Director: Guillaume Suon

Directors: Saeed Taji Farouky, Michael McEvoy

Producers: Rithy Panh, Julien Roumy Editor: Barbara Bossuet

Producers: Saeed Taji Farouky, Michael McEvoy, Elizabeth C Jones

Cinematographer: Guillaume Suon

Editor: Gareth Keogh

Filmmaker Q&A following screening

Cinematographer: Saeed Taji Farouky Jul ien R o um y 23 rue Monte-Cristo 75020 Paris, France

Pie rre W eis b ein

+33 6 45 86 02 69 julien.roumy@tipasaproduction.com

pweisbein@saboteurdigital.com

Saturday, April 11 — 4:40 pm

Friday, April 10 — 1:10 pm

DAC / P SI The ater

Cinem a 4

new docs

The Term (Srok) *

north americ an premiere

(T)ERROR *

Previous Full Frame films like Pussy Riot: A Punk Prayer and Putin’s Kiss have documented the fascistic aspects of Vladimir Putin’s rule in Russia. The Term is another action-packed chronicle of Putin’s opponents at a time when wrestling over politics is something that often happens, quite literally, in the streets. In a breathtaking feat of access, the filmmakers place viewers in the middle of the scrum, to witness cacophonous rallies and marches as well as high-level strategy sessions with the architects of dissent: Ksenia Sobchak, a photogenic TV host, organizer, and government critic; Ilya Yashin, her sometime suitor and leader of an opposition party; Sergei Udaltsov, a stone-faced leftist strongman; and Alexei Navalny, a charismatic blogger, activist, and political aspirant. Russian TV footage of some of Putin’s more absurd exploits is interspersed for ironic counterpoint. Watch this film and become familiar with the names in tomorrow morning’s newspaper. MM

Filmmaker Q&A following screening 2014 / Russia / 83 minutes Directors: Alexei Pivovarov, Pavel Kostomarov, Alexander Rastorguev Producers: Sarkis Orbelyan, Alexei Pivovarov, Pavel Kostomarov, Alexander Rastorguev, Max Tuula, Maria Gavrilova Editors: Pavel Kostomarov, Alexander Rastorguev, Elena Khoreva, Andrei Kiselyov, Irina Shatalova, and others Cinematographers: Pavel Kostomarov, Alexander Rastorguev, Elena Khoreva, Andrei Kiselyov, Irina Shatalova, and others

Filmmakers Lyric R. Cabral and David Felix Sutcliffe give us unprecedented access to a counterterrorism sting, going on the ground with longtime FBI informant Saeed “Shariff” Torres as he attempts to befriend, and seek evidence against, a Muslim target. Torres is a former Black Panther and ex-convict, and a Muslim himself, who became alienated from friends and family after his cover was blown in a sting against a member of his own community. Though he’d rather be baking cupcakes and spending time with his son, the promise of a paycheck convinces Torres to move to Pittsburgh for one last assignment. There, guided by phone calls and text messages from his FBI handler, a pressing presence always felt yet never seen, Torres’s questionable and potentially coercive tactics are on full display. Halfway through the film, however, Cabral and Sutcliffe radically shift focus, a twist that transforms (T)ERROR into a thrilling game of cat and mouse that speaks to the ethical murkiness of America’s war on terror. EM

Filmmaker Q&A following screening 2015 / US / 93 minutes Directors: Lyric R. Cabral, David Felix Sutcliffe Producers: Lyric R. Cabral, David Felix Sutcliffe, Christopher St. John Editors: Laura Minnear, Jean-Philippe Boucicaut Cinematographers: Lyric R. Cabral, David Felix Sutcliffe D av id F e l i x Su t c l if f e 145 Little Avenue of the Americas New York, NY 10013 347.257.9341 davidfelixsutcliffe@gmail.com

M a x T uul a Keemia 19 - 257 10616 Tallinn, Estonia

Saturday, April 11 — 1:00 pm

617.413.3657 max.tuula@marxfilm.com

Cinem a 3

Saturday, April 11 — 10:10 pm Cinem a 4

new docs

Tocando la Luz (Touch the Light) *

world premiere

Tocando la Luz looks at the blind community of Havana, Cuba, to tell the stories of three remarkable women who are navigating their profound desires for independence. Margarita belongs to a blind cinema club. A former revolutionary, she speaks openly about the death of her husband, remembering the time they shared together as she treasures his belongings and aches for his company. Milly is young and in love with a man, also blind, who encourages her to go out in the world. She dreams of having a family of her own but fights with her parents over her lack of autonomy. And Lis is a remarkable singer who performs at shows and competitions. Her exceptional talent brings in needed money for her family, but she still relies on her mother to help her get around. Director Jennifer Redfearn intersects with their lives at a time of potential change and uncertainty. Echoing its title, the film radiates with possibility. These sensorial observations of moments in the women’s daily lives and their poignant conversations with loved ones are not without heartbreak, but their resolve is utterly inspiring. ST

Uyghurs, Prisoners of the Absurd (Ouïghours: Prisonniers de l’absurde) Groups of Uyghurs, China’s Turkic-speaking Muslim minority, fled to Afghanistan in the late 1990s to escape persecution. But after 9/11 and the U.S. invasion of Afghanistan, Pentagon officials decided that a small Uyghur village in a Taliban-controlled area was a terrorist camp and bombed it. Some of the surviving Uyghurs were then “sold” as terrorists to the U.S. forces. Patricio Henríquez’s film follows three Uyghurs who were taken to Guantanamo Bay and held for years, even after it was determined that they were neither terrorists nor guilty of crimes. Through interviews and candid testimonies, Henríquez documents the tense, suspenseful, and altogether frustrating odyssey of these “prisoners of the absurd.” This important, Kafkaesque story has finally been made public in Henríquez’s effective and deeply disturbing film. JG 2014 / Canada / 99 minutes Director: Patricio Henríquez

Filmmaker Q&A following screening

Producers: Patricio Henríquez (Macumba Media II), Colette Loumède (National Film Board of Canada)

2015 / Cuba, US / 72 minutes

Creative Producer: Michelle Shephard

Director: Jennifer Redfearn Producers: Tim Metzger, Jennifer Redfearn

Editor: Andrea Henriquez Cinematographers: Sylvestre Guidi, Patricio Henríquez

Editor: David Teague

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

Cinematographer: Tim Metzger

3155 Côte-de-Liesse Road

J ennif e r Re d f e a rn

Montreal, Quebec, H4N 2N4, Canada 514.283.9806 D.Viau@nfb.ca

385 Ninth Street #1 Brooklyn, NY 11215 646.416.1755 hello@redantelopefilms.com

Thursday, April 9 — 4:20 pm Saturday, April 11 — 4:10 pm Cinem a 4

Cinem a 3

new docs

White Chimney (Savupiippu) Leni Riefenstahl meets David Lynch in this short film by Jani Peltonen. In late 1930s Finland the Hotel Aulanko was a functionalist paradise for the modern man and woman—the place to see and be seen. Just before the outbreak of WWII, Sirkka Sari’s film career was on the rise, and she was one of the hotel’s glitterati. How she met an untimely demise on the roof of the Aulanko is a mystery that has never been completely explained. Her haunting story still draws crowds to climb the steps to the now-infamous “White Chimney,” where Sari met her fate. Peltonen combines footage from newsreels and Sari’s films and juxtaposes images of contemporary tourists with pleasure-seekers from yesteryear as they inhabit the same spaces past and present. He plays with our notions of identity, place, and memory to create, as one local man observes about the Hotel Aulanko itself, “a collection of atmospheres, viewpoints, places, and transitions.” DRP

Filmmaker Q&A following screening 2014 / Finland / 25 minutes Director: Jani Peltonen Producer: Oskar Forstén Editor: Arthur Franck Cinematographer: Jarmo Kiuru 4K RS F il m s Oskar Forstén Vanha Talvitie 2A 12 00580 Helsinki, Finland +358 40 756 32 08 oskar@4krs.com

Friday, April 10 — 7:40 pm DAC / P SI The ater

awards & juries

new docs

AWARDS & JURIES

Prizes will be awarded on Sunday, April 12, 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 Marilyn Ness Producer (1971, E-Team) Sam Pollard Filmmaker & Editor (August Wilson: The Ground on Which I Stand, Slavery by Another Name, 4 Little Girls) Bernardo Ruiz Filmmaker (Kingdom of Shadows, Reportero)

FULL FRAME JURY AWARD FOR BEST SHORT $5,000 Provided by Drs. Andrew and Barbra Rothschild J. Christian Jensen Filmmaker (White Earth, Solitary Plains) Yael Melamede Filmmaker ((Dis)honesty â&#x20AC;&#x201C; The Truth About Lies, Desert Runners, Inocente) Nicole Triche Filmmaker (Taxidermists, Metacarpus) Assistant Professor, School of Communications Elon University

FULL FRAME AUDIENCE AWARDs The Audience Awards are determined by counting audience ballots filled out during the festival. Audience Award Feature $5,000 Sponsored by BlueCross BlueShield of North Carolina Audience Award Short $2,500 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 Centerâ&#x20AC;&#x2122;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 Morgan Capps Wesley Hogan Katie Hyde Lynn McKnight Dan Partridge Teka Selman Brooke Darrah Shuman April Walton

awards & juries

THE CHARLES E. GUGGENHEIM EMERGING ARTIST AWARD $5,000 Provided by the Charles E. Guggenheim Family This 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.

THE KATHLEEN BRYAN EDWARDS AWARD FOR HUMAN RIGHTS

Matthew Hamachek Editor (Cartel Land, If a Tree Falls: A Story of the Earth Liberation Front, Gideon’s Army)

$5,000 Sponsored by the Julian Price Family Foundation

Bari Pearlman Filmmaker (Daughters of Wisdom, Nangchen Shorts, How to Dance in Ohio, Smile ’Til It Hurts)

This award is presented to a film that addresses a significant human rights issue in the United States. By inspiring advocacy, increasing awareness, and promoting equity and justice, the winning film will honor the legacy of Kathleen Bryan Edwards’s passion and activism for human rights.

Maxim Pozdorovkin Filmmaker (The Notorious Mr. Bout, Pussy Riot: A Punk Prayer, Capital)

In memory of Melanie Taylor

For the Kathleen Bryan Edwards Family:

FULL FRAME INSPIRATION AWARD

Anne Arwood

$5,000

Laura Edwards

Sponsored by the Hartley Film Foundation

Clay Farland

This award is presented to the film that best exemplifies the value and relevance of world religions and spirituality.

Pricey Harrison

Ross Kauffman Filmmaker (E-Team, Born Into Brothels, Fire with Fire) Sarah Masters Managing Director, Hartley Film Foundation Ryan White Filmmaker (The Case Against 8, Good Ol’ Freda, Pelada)

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

Margaret Griffin

THE NICHOLAS SCHOOL ENVIRONMENTAL AWARD $5,000 Sponsored by the Nicholas School of the Environment at Duke University This award honors the film that best depicts the conflict between our drive to improve living standards through development and modernization and the imperative to preserve both the natural environment that sustains us and the cultural heritages that define us. Daniel Junge Filmmaker (Being Evel, Fight Church, Saving Face) Sam Cullman Filmmaker & Cinematographer (Art and Craft, The House I Live In, If a Tree Falls: A Story of the Earth Liberation Front) Farihah Zaman Filmmaker (This Time Next Year, Remote Area Medical) Film Critic

invited program

opening night film

invited program Full Frame is proud to showcase a selection of 24 exceptional films screened outside of competition, including one World Premiere and two U.S. Premieres. These documentaries propel, activate, entertain, and inform us. They explore history and the human psyche, take us up mountains and off cliffs, and introduce us to unforgettable subjects from the worlds of food, film, and fashion alike. The Invited Program includes 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: the Closing Night Film on Sunday evening, outdoor screenings at Durham Central Park, and shows in the Full Frame Theater at American Tobacco.

Meru The peak of Meru in the Indian Himalayas is 21,850 feet above sea level. To scale it is the objective of a team of climbers: Conrad Anker, the troupe’s enigmatic leader and a climbing legend; Jimmy Chin, the film’s co-director and heart of the expedition; and Renan Ozturk, the gifted and soulful newcomer. Beginning with the trio’s 2008 attempt to ascend the peak via the unconquered and perilous Shark Fin’s route, the film skillfully weaves together multiple stories, intercutting past and present with personal histories and recollections of friends and family, accompanied by commentary from renowned chronicler of the sport and its sacrifices, Jon Krakauer. True to the mission and each other, the team faces challenge after unbelievable challenge, both on and off the mountain, with tragedy seeming more likely than triumph every treacherous step of the way. Expertly photographed, with breathtaking sights and suspense, MERU is an adventure story like no other, a cinematic study in perseverance of mind, body, and spirit. TM

Moderated conversation following screening 2015 / US / 89 minutes Directors: Jimmy Chin, E. Chai Vasarhelyi Producers : E. Chai Vasarhelyi, Jimmy Chin, Shannon Ethridge Editor: Bob Eisenhardt, ACE Cinematographers: Renan Ozturk, Jimmy Chin Pat ri c k B r o o ks 160 Claremont Avenue, Suite A North New York, NY 10027 212.222.2336 patrickbrooksfilm@gmail.com

Thursday, April 9 — 7:40 pm F le t cher Ha ll

center frame

3½ MINUTES On the day after Thanksgiving 2012, Jordan Davis, an African American teenager, was shot and killed while sitting in a car with three friends at a gas station in Jacksonville, Florida. The assailant, Michael Dunn, a middle-aged white man, had confronted the teens about their loud music. He later claimed he saw a weapon, though none was ever found. 3½ MINUTES details the ensuing court case, which finally resulted in a verdict this past October, during a season of “Black Lives Matter” protests. Tragic American themes of racial prejudice and gun violence loom behind the film’s sensitive portraits of all involved. Davis’s parents are eloquent in their grief, and in their new public roles as agents of change working in their son’s memory. Dunn’s character is fleshed out as well, particularly by a series of revealing jailhouse phone calls to his fiancée, which are part of the public record. His understanding of who is the true “victim” of the encounter is chilling. MM

Moderated conversation following screening 2015 / US / 98 minutes Director: Marc Silver Producers: Minette Nelson, Carolyn Hepburn Editor: Emiliano Battista Cinematographer: Marc Silver

The Black Panthers: Vanguard of the Revolution “Some people say you fight fire best with fire, but we say you put fire out best with water. . . . We’re gonna fight racism with solidarity.”—Fred Hampton, deputy chairman, Illinois Chapter of the Black Panther Party for Self-Defense In 1966, young people on college campuses and in marginalized communities across America were organizing to advocate for themselves and their fellow citizens. They challenged entrenched systems and the status quo in an attempt to transform and reconstruct the country. Here, through the artful use of rich archival material from multiple perspectives, we get what may be the most nuanced story of the Black Panthers to date, from its beginnings as a survival organization, evolution into the vanguard of a revolutionary movement, and eventual dissolution. This story is vibrant, clarifying, and timely. As people take to the streets (and the web) to say (again) that #BLACKLIVESMATTER, this important film invites us to question our ideals. All power to the people; Peace and Freedom to the world. CRE

Moderated conversation following screening 2015 / US / 116 minutes Director: Stanley Nelson

Pa r t i cipa n t Me d i a Lauren Kushner

Producer: Laurens Grant

331 Foothill Road, 3rd Floor Beverly Hills, CA 90210

Editor: Aljernon Tunsil

310.623.4914 lauren@participantmedia.com

Cinematographers: Antonio Rossi, Rick Butler

Friday, April 10 — 7:30 pm

11 Treadwell Avenue Westport, CT 06880

L o n g Sh o t Fa c t o ry Erin Owens

F le t cher Ha ll

917.940.1687 erin@longshotfactory.com

Saturday, April 11 — 7:30 pm F le t cher Ha ll

center frame

Harry & Snowman

free closing night

Sunshine Superman

Moderated conversation following screening

Sunshine Superman traces the story of Carl Boenish, the father of modern BASE jumping. The acronym—Buildings, Antennas, Spans, and Earth—describes a parachuted leap from a stationary object, a building, a bridge, a mountain. This exhilarating film charts Boenish’s beginnings as a skydiver, his first forays into cinematography, and the remarkable ways he photographed his sport: He rigged incredible contraptions from cliffs to capture his friends plunging off of ledges and outfitted himself with cameras and audio equipment to document his own leaps. He built a community around the unconventional sport, and found a soulmate in his wife, Jean, who loved it as much as he did. Recollections from Jean and other jumpers bring past events to life as they describe the rush of falling through the air and the high-stake antics often involved in scaling the places from which they jumped. Amazingly, there’s a trove of films and recordings to bolster their remarkable stories, allowing us to soar through the air with them. Mirroring the sensation of free-falling, this inspiring film moves us through tremendous footage by a man with an outrageous inclination, and memories and anecdotes from people who were willing to take the plunge with him. ST

2015 / US / 84 minutes

Filmmaker Q&A following screening

Director: Ron Davis

2014 / US, Norway, UK / 101 minutes

Producers: Karin Reid Offield, Ron Davis, Paul Winston Blavin, Clay Westervelt, Nancy Knox Talcott

Director: Marah Strauch

world premiere

If you’re convinced about nothing else after this year’s festival, you’ll believe that Harry loved Snowman, and Snowman loved Harry. Harry deLeyer, a natural horseman displaced from post-WWII Holland, is seeking his destiny on the shores of Long Island when he finds it in the shape of a former plow horse headed to the meat and glue factory. He purchases Snowman for $80, rescuing him in the nick of time from the truck carrying him to his doom. Entirely by accident, Harry discovers the horse’s penchant for leaping fences and trains him to be a championship show jumper, one eventually valued at $100,000. In spite of his glory, Snowman is a family pet; he frolics and swims with Harry’s children and is utterly devoted to the man that he loves. Rich with archival footage, both official equestrian reports and home movies, Harry & Snowman is a heartwarming cross-species love story about a gifted trainer and his equine soulmate. LB

Editor: Nancy Kennedy Cinematographer: Clay Westervelt D o c u ta inmen t F il m s 11924 Forest Hill Boulevard, Suite 10A-406 Wellington, FL 33414 561.228.8885 info@docutainmentfilms.com

Saturday, April 11 — 4:30 pm F le t cher Ha ll

Producers: Eric Bruggemann, Marah Strauch Editors: Marah Strauch, Eric Bruggemann, Kevin Mcguinness Cinematographers: Vasco Nunes, Nicolay Poulsen M a g n o l i a Pi c t u re s 49 27th Street, 7th Floor New York, NY 10001 publicity@magpictures.com

Sunday, April 12 — 8:00 pm F le t cher Ha ll TICKET REQUIRED

Presented by PNC

free screenings

Dinosaur 13

Love is All

Paleontologist brothers Neal and Peter Larson built a business, the Black Hills Institute of Geological Research, specializing in collecting, selling, and especially, finding fossils. In 1990, on a field expedition in South Dakota, volunteer Susan Hendrikson was searching on her own when she discovered the tip of a vertebrae protruding from a cliff. The Tyrannosaurus Rex skeleton was over 80 percent complete, a rare and exhilarating find. The excavation of “Sue,” named after the woman who found her, lasted 17 days, at which point the brothers paid the landowner for the skeleton and moved it back to their offices, where a team embarked on reconstruction work expected to take years. In 1992, everything came to a dramatic halt when the FBI came knocking at their door with warrants to seize the remains, alleging that the skeleton had been stolen from federal land. Dinosaur 13 lays out the ensuing lawsuit, bringing key moments to life through the emotional recollections of the people at its center. ST

us premiere

US / 2014 / 100 minutes

This romantic whirl through the British archives captures love and courtship in the 20th century. Compiled from over 75 fiction films, documentaries, home movies, and newsreels, Love is All is a kaleidoscopic montage of clips, set to a brooding score by songwriter Richard Hawley. From first kisses to free love, interracial dating to same-sex marriage, the film winds elliptically through images of romance, lust, heartbreak, and social connection, hinting at both evolving cultural mores and the universality of fundamental human emotions. Scenes from lesserknown British silent movies and more recognizable contemporary works like My Beautiful Laundrette and Brick Lane also converge to provide a lesson in film history and evolving cinematic techniques. Kim Longinotto has plumbed the British Film Institute and Yorkshire Film Archive to create a mostly wordless, altogether delightful, supercut of seduction, rejection, and transgression that will appeal to Anglophiles, cinephiles, and lovers of romance alike. EM

Director: Todd Douglas Miller

2014 / UK / 70 minutes

Producer: Todd Douglas Miller Editor: Todd Douglas Miller Cinematographer: Thomas Petersen Swa nk M o t i o n Pi c t u re s , In c . 800.876.5577

Director: Kim Longinotto Producers: Mark Atkin, Heather Croall, Martin Rosenbaum Editor: Ollie Huddleston D o gw o o f Luke Brawley 19-23 Ironmonger Row London, EC1V 3QN, UK +442072536244 luke@dogwoof.com

Friday, April 10 — 4:30 pm P ow er Pl an t / F ull F r a me T he ater

Friday, April 10 — 8:30 pm

Ticke t Required

D urh a m Cen t r a l Pa rk

Saturday, April 11 — 8:30 pm

No Ticket Required

D urh a m Cen t r a l Pa rk

Saturday, April 11 — 6:30 pm

No Ticket Required

P ow er Pl an t / Full F r a me The ater

Presented by PNC

No Ticket Required

Presented by PNC

invited program

Althea

Being Evel

Before 1950, American title tennis was all white—the shoes, the clothes, the balls, and especially the people. Althea Gibson was a born athlete. She didn’t intend to be a race woman, but she knew she was good enough to play the cream of the crop. On August 29, 1950, Gibson became the first nonwhite person to compete for the U.S. National Championship (now known as the U.S. Open) at the elite Forest Hills Tennis Club. She won the first match and was about to close the second when the skies literally opened up and lightning struck. This is the fascinating story of the unlikely “Jackie Robinson of tennis”—a tough, competitive young woman living in Harlem whose gifts drew people of influence to support her rise as a star on the world stage. But this story doesn’t end with her winning the U.S. Nationals. . . . CRE

In the early 1960s, after serving in the U.S. Army, playing semi-pro hockey, and selling insurance, Robert “Evel” Knievel began jumping motorcycles in a oneman-band daredevil revue. Seeking fame and fortune as much as thrills, Evel’s ambition led to bigger shows and broader notoriety as he toured the country breaking records and bones in equal measure. In 1967 he became a household name when his attempt to jump the Caesar’s Palace casino fountains in Las Vegas failed in spectacular fashion on live television. Undeterred and exhibiting a reckless resilience, Knievel’s fame grew with every stunt, successful or not, as he transfixed an icon-hungry public like a Cold War–era combination of Houdini, John Wayne, and Elvis. Family, as well as a motley assortment of friends, foes, and famous fans, recount Knievel’s story with a gusto befitting the subject, which is also illustrated by a trove of archival televised Americana. From motorcycles to rockets, from hustler to Johnny Carson’s couch, the real triumph of Evel spanned more than 14 Greyhound buses. TM

Filmmaker Q&A following screening 2014 / US / 77 minutes Director: Rex L. Miller Producers: Rex L. Miller, Elisabeth Haviland-James, Nancy Buirski

Filmmaker Q&A following screening 2015 / US / 100 minutes

Editor: Elisabeth Haviland-James Cinematographer: Rex L. Miller

Director: Daniel Junge

Re xpi x Me d i a

Producers: Johnny Knoxville, Jeff Tremaine, Mat Hoffman, Brendan Kiernan, Justin Moore-Lewy, Daniel Junge

303 Watts Street Durham, NC 27701

Editor: Davis Coombe

646.262.9089 rexpixfilm@earthlink.net

Cinematographer: Robert Muratore

Sunday, April 12 — 2:10 pm

BEINGEVELinfo@flyhelo.com

HE¯ L o¯

Cinem a 4

Friday, April 10 — 4:30 pm F le t cher Ha ll

invited program

Best of Enemies

City of Gold

While the 1968 Democratic and Republican conventions are now primarily remembered for the unrest and violence between political adversaries in the streets, a different battle was being waged between intellectual opponents on primetime television. Deployed, one might say, by ABC News in an effort to climb out of the ratings cellar, William F. Buckley and Gore Vidal, representing conservative and liberal ideologies respectively, served as the network’s contentious convention commentators, seizing the opportunity, if not each other’s throats. The rivals dispensed eloquent and escalating bombast, and the debates were a sensation. Directors Morgan Neville (20 Feet From Stardom) and Robert Gordon (Johnny Cash’s America) evoke the era with engrossing archival footage and interviews, bringing this watershed spectacle back to life with nuance and insight, and show that the subjects left their marks not only on television history but also on each other. TM

Jonathan Gold writes about food. He has a weekly column in the Los Angeles Times and contributes to publications like Lucky Peach, describing dishes with a zest that will make you want to eat the page. But really Gold is writing about people: the chefs who serve up tastes of their native countries, the restaurant owners he comes to know over meals. In his beloved L.A. he’s discovered restaurants far off the beaten path. Favoring flavor over flourish, he traverses the city in his green truck, pointing out an unassuming storefront in a shopping center or tracking down a food truck to queue for the daily special. We’re along for a personal tour, following him through these restaurants, but also through struggles with writing, meetings with editors, and time with his family. Colleagues and chefs comment on his influence, and Gold’s incredible writing, read aloud throughout the film, becomes a character in and of itself in this touching portrait of an artist and his city. ST

Filmmaker Q&A following screening 2015 / US / 87 minutes

2015 / US / 91 minutes

Directors: Morgan Neville, Robert Gordon

Director: Laura Gabbert

Producers: Morgan Neville, Robert Gordon

Producers: Laura Gabbert, Holly Becker

Editors: Eileen Meyer, Aaron Wickenden

Editors: Gregory King, William Haugse

Cinematographers: David Leonard, Graham Willoughby, Mark Schwartzbard

Cinematographers: Jerry Henry, Goro Toshima A n d re a L e w is

M a g n o l i a Pi c t u res

2210 Maricopa Drive Los Angeles, CA 90065

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

630.200.7216 rose.lew88@gmail.com

publicity@magpictures.com

Sunday, April 12 — 5:20 pm Thursday, April 9 — 7:00 pm Cinem a 1

Cinem a 3

invited program

Deep Web In his film Downloaded, Alex Winter charted the rise and fall of Napster. Here, he focuses on another virtual paradigm. Silk Road was born out of the anonymity and cryptocurrency made possible by Darknet, a deeper layer of the Internet not indexed by search engines. Conceived as a vehicle for private commerce, the site gave way to a vast “dark market” drug trade. In Deep Web, Silk Road’s success, and demise, is explained by thought leaders and cryptographers behind the deep web’s architecture, as well as vendors and law enforcement officers involved in the site’s criminal investigation. Andy Greenberg, who obtained access to Silk Road’s elusive administrator “Dread Pirate Roberts” for an interview with Wired, is an essential voice of the film. In 2013, the FBI arrested 29-year-old Ross Ulbricht, alleging he was the man behind the alias. With exclusive access to the Ulbricht family, Winter follows the subsequent trial, exposing a gulf between the government’s analysis of events and the opinions of those who were close to the visionary entrepreneur. The consequences of the case reach far beyond Silk Road to question policies regarding electronic search and seizure, and increasing threats to online privacy. ST

Filmmaker Q&A following screening 2015 / US / 90 minutes Director: Alex Winter

(Dis)Honesty – The Truth About Lies *

us premiere

When government officials, news anchors, and sports stars get caught misrepresenting the truth, they’re quickly vilified in a tempest of public opinion. But how many of us have really never told a lie or been dishonest? In this film, Dan Ariely, professor of behavioral economics at Duke University, as well as best-seling author and popular TED Talk speaker, shares his lifelong research into irrational behavior and what compels people to actively make choices they know are unethical. The information he shares is humorous and humbling, revealing dishonesty’s ubiquitous presence across society. Interspersed with footage from Ariely’s fascinating experiments are heartfelt stories from confessed liars, some publicly branded, who describe the moment they veered from the truth and the consequences of their actions. Among them are an NBA official, a Wall Street trader, a professional cyclist, MIT’s former dean of admissions, and a mother who faked her home address to get her kids into a better school. RYS

Filmmaker Q&A following screening 2015 / US / 90 minutes Director: Yael Melamede

Producers: Alex Winter, Marc Schiller, Glen Zipper

Producers: Yael Melamede, Mitch Weitzner, Deborah Camiel, Dan Ariely

Editor: Dan Swletlik, ACE

Editors: Erin Barnett, Chad Beck

Cinematographer: Joe DeSalvo

Cinematographers: Tom Hurwitz, Marco Mastrorilli

B o n d / 3 6 0 Greg Holtzman

42 Bond Street, 3rd Floor New York, NY 10012

212.354.1776 GregH@bondinfluence.com

Saturday, April 11 — 7:10 pm

Thursday, April 9 — 4:30 pm

Cinem a 4

F le t cher Ha ll

invited program

DRUNK STONED BRILLIANT DEAD: The Story of the National Lampoon The National Lampoon, founded in 1969 by Harvard graduates and Harvard Lampoon writers Doug Kenney and Henry Beard, was a monthly humor magazine that trafficked in bawdy irreverence—challenging authority and taste, pushing buttons and boundaries, all the while redefining satire and the American comic landscape. While Saturday Night Live and The Simpsons are often cited as wellsprings of modern provocateur comedy, they are but branches on the National Lampoon family tree. The magazine’s caustic contributors included P.J. O’Rourke, Michael O’Donoghue, Tony Hendra, John Hughes, Al Jean, and Edward Gorey, and when its enterprising reach grew to include radio and live performance, Bill Murray, John Belushi, Gilda Radner, Chevy Chase, Christopher Guest, and Harold Ramis joined the fray. In lively interviews and captivating archival footage, the history of the magazine’s heyday and demise is captured with apt indulgence and wit, revealing the antiheroes of the antiestablishment. TM

Filmmaker Q&A following screening 2015 / US / 94 minutes

Hot Type: 150 Years of The Nation In celebration of its 150 years of left-leaning political and cultural coverage, acclaimed filmmaker Barbara Kopple turns her lens on America’s oldest weekly magazine. This tribute to The Nation captures editorial meetings and intern hirings, rewrites and reporting, as editor and publisher Katrina vanden Heuvel, publisher emeritus Victor Navasky, and a team of contributors and staff think toward the future of an old media icon in a new media landscape. We join reporters in the field—covering Wisconsin’s 2011 recall elections, Occupy Wall Street, post-earthquake recovery in Haiti, and North Carolina’s Moral Monday protests— and watch the impassioned back-and-forth between editor and writer as words are reworked and stories are reshaped. Readings of articles from the archives link past to present and show the enduring nature of The Nation’s progressive mission: to champion issues of social and economic justice and, as vanden Heuvel tells us, to treat “journalism as a public good.” EM

Filmmaker Q&A following screening 2015 / US / 93 minutes Director: Barbara Kopple Producers: Barbara Kopple, Suzanne Mitchell Executive Producer: Hamilton Fish

Director: Douglas Tirola

Co-Producer: Madeleine Akers

Producers: Susan Bedusa, Douglas Tirola, Molly Thompson, John Battsek

Editor: Richard Hankin

Editors: G. Jesse Martinez, Joseph Krings Cinematographer: Sean Price Williams D a niel l e R o sen 27 West 20th Street, Suite 1006 New York, NY 10011 212.974.0082 Danielle@4throwfilms.com

Sunday, April 12 — 2:00 pm F le t cher Ha ll

Assistant Editors: Lucjan Gorczynski, Madeleine Akers Cinematographer: Gary Griffin C a bin C re ek F il m s 270 Lafayette Street, Suite 710 New York, NY 10012 212.343.2545

cabincreekfilms@aol.com

Sunday, April 12 — 10:30 am F le t cher Ha ll

invited program

Iris

Kingdom of Shadows

For nonagenarian interior designer and fashion icon Iris Apfel, assembling an outfit is like playing jazz, an improvisational feat of sartorial mix and match. Oversize glasses, layers of chunky costume jewelry, and brightly colored prints combine to create Apfel’s signature look, a blend of couture and kitschy flea market finds haggled down in price with stubborn tenacity. In Iris, the late, legendary pioneer of cinema vérité, Albert Maysles, follows Apfel as she makes TV appearances, goes on shopping trips, and spends time at home—amidst her vast clothing, accessory, and stuffed animal collections—with her husband of 66 years, Carl. Quick-witted and passionate, Apfel offers up heartfelt advice and clever maxims about hard work, style, and the importance of individuality, while friends and fans in the art and fashion worlds weigh in on her influence. Punctuating the film is lovely banter between Apfel and Maysles, the man behind the camera, who understood the joys of creativity late into life. EM

Twenty-three thousand people have disappeared in Mexico since 2007. The vast majority are people who were never involved in organized crime: They are mothers, daughters, and sisters who go missing, leaving their families without closure. Kingdom of Shadows unpacks this staggering statistic through the powerful stories of three individuals whose lives intersect with the U.S.Mexico “drug war” at various crossroads. In Monterrey, a nun advocates for families of the disappeared. Her words help soothe the anguish involved in not knowing, and propel their stories on to officials who may be able to help. A federal agent describes the harrowing work of infiltrating cartels undercover and tracing illegal importation. His relationship to the border is a complicated one, as his own father crossed into the U.S. illegally many years ago. A Texas rancher and former smuggler recalls his high-stakes trips between the U.S. and Mexico, and recounts how violence escalated when competition within the drug trade increased. Their distinct experiences relate in ways not immediately apparent, exposing dark corners of this current human rights crisis with depth and nuance. ST

2014 / US / 78 minutes Director: Albert Maysles Producers: Laura Coxson, Rebekah Maysles, Jennifer Ash Rudick Editor: Paul Lovelace Cinematographers: Albert Maysles, Nelson Walker III, Sean Price Williams M a g n o l i a Pi c t u res

49 27th Street, 7th Floor New York, NY 10001 publicity@magpictures.com

Filmmaker Q&A following screening 2015 / US / 73 minutes Director: Bernardo Ruiz Producer: Katia Maguire Editor: Carla Gutierrez Cinematographers: Antonio Cisneros, Juan Hernández, Claudio Rocha Pa r t i cipa n t Me d i a Lauren Kushner 331 Foothill Road, 3rd Floor Beverly Hills, CA 90210

Thursday, April 9 — 10:30 am

310.623.4914 lauren@participantmedia.com

F le t cher Ha ll

Friday, April 10 — 4:20 pm Cinem a 3

invited program

Kurt Cobain: Montage of Heck

Listen to Me Marlon

After committing suicide in 1994 at the age of 27, Nirvana frontman Kurt Cobain left behind not only a troubled legacy but also voluminous journals and recordings, unseen and unheard by the countless fans who had to cope with the too-soon departure of the moody poet laureate of grunge. Unseen and unheard until now, that is. Inspired by the title of one of Cobain’s homemade mixtapes, Montage of Heck, appropriately, is itself an evocative and raucous assemblage, adding up to more than the sum of its many parts. Seen together for the first time, authorized accounts of Cobain’s family and bandmates, home movies, behind-the-scenes footage, animated sequences, and television interviews crackle with new meaning when mixed into the film’s multimedia context. Audacious, like its subject, Kurt Cobain: Montage of Heck is an audiovisual collage that illuminates a dark star. TM 2015 / US / 132 minutes

Throughout his life, Marlon Brando recorded his thoughts on audio tape. The tapes, which sometimes serve as a diary, at other times a kind of therapy, reveal the inner life of the man who changed film acting forever. From his nostalgia-laden yet troubled boyhood in Omaha—recreated visually with gorgeous, lyrical imagery—to his Method training and explosive success on Broadway and in Hollywood, to an old age marked by excess, scandal, and family tragedy, Brando’s own words trace the convoluted path of a remarkable American life. An abundance of film clips gives proof to Brando’s philosophy of the art of acting, as he explains how he achieved ferocious performances that could make his costars seem like mannequins. Listen to Me Marlon accomplishes a similarly virtuosic feat, artfully sequencing never-before-heard tapes into a lucid narrative. It’s a strikingly deep portrait of a man whose thoughts and feelings played so vividly across the surface of his face. MM

Director: Brett Morgen

2015 / UK / 97 minutes

Producers: Brett Morgen, Danielle Renfrew Behrens Editors: Joe Beshenkovsky, Brett Morgen

Director: Stevan Riley

Cinematographers: James Whitaker, Eric Edwards, Nicole Hirsch Whitaker

Producers: John Battsek, R.J. Cutler, George Chignell

Animation: Stefan Nadelman, Hisko Hulsing Studio

Cinematographer: Ole Bratt Birkeland

HB O D o c umen ta ry F il m s Barbara Caver

G eo r g e Chi g ne l l

Editor: Stevan Riley

1100 Avenue of the Americas New York, NY 10036

12 – 14 Whitfield Street London, W1T 2RF, UK

212.512.5908 barbara.caver@hbo.com

02073239933 georgec@passion-pictures.com

Thursday, April 9 — 10:00 pm

Sunday, April 12 — 10:00 am

Cinem a 1

invited program

The Look of Silence

Tiger Tiger

In his acclaimed 2012 film The Act of Killing, Joshua Oppenheimer focused on the perpetrators of genocide in 1960s Indonesia to expose a society in which murderers still hold power and rule with impunity. In this arresting companion piece, Oppenheimer shifts his attention to the victims of these murders and follows Adi, a gentle village optometrist whose older brother was brutally killed during the massacre fifty years ago. Adi is unwilling to bury the past, and he does the unthinkable in a society silenced by fear: he confronts the perpetrators directly. As he conducts eye exams on the men who murdered his brother and countless others, he asks hard and patient questions about their involvement in genocide—what they did, what they think of their actions, how they live with themselves. The responses to his queries range from dismissal to excuses to furious threats, showing a willfully myopic vision of the past that the brave eye doctor seeks to diagnose and cure. EM

In the Bay of Bengal, where the Ganges meets the sea, lies the Sundarbans, a lush river delta thick with mangrove trees, tidal waterways, and mudflats. It’s home to deer, otters, saltwater crocs, and countless other creatures, including the elusive Bengal Tiger. Alan Rabinowitz, one of the world’s most respected and articulate wildlife conservationists, journeys deep into this ancient land—which may be the last remaining viable habitat on earth for the endangered tiger. Traveling by boat through a maze of interconnected inlets, hoping to encounter a tiger at every turn, he meets villagers, forest guards, freedom fighters, and fisherman, all of whom share stories that add to the tiger’s lore and magnificence and underscore why Rabinowitz says conservation is a war. Along the way, Rabinowitz shares stories of his own, which reveal why he has spent his life fearlessly venturing into untamed corners to protect endangered animals, and why this particular journey is his most meaningful and urgent yet. RYS

2014 / Indonesia, Denmark, UK / 103 minutes Director: Joshua Oppenheimer Producer: Signe Byrge Sørensen

Filmmaker Q&A following screening 2015 / US / 89 minutes

Editor: Nils Pagh Andersen

Director: George Butler

Cinematographer: Lars Skree

Producers: George Butler, Keero Birla, Caroline Alexander Editor: Mona Davis

D r a f t h o u se F il m s Austin, TX info@drafthousefilms.com

Cinematographer: Tom Hurwitz M at t he w C o o t e 165 E. 80th Street New York, NY 10075

Thursday, April 9 — 10:00 am Cinem a 1

212.249.6508 office@whitemountainfilms.com

Thursday, April 9 — 1:30 pm F le t cher Ha ll

invited program

Western

What Happened, Miss Simone?

Eagle Pass, Texas, and Piedras Negras, Mexico, share a border on the Rio Grande River. The towns also share an uncommon harmony, where community and commerce (and cattle) coexist across countries. But all is not quiet on the western front as the region faces a threat that looms in the distance like an oncoming thunderstorm. Trouble brews in the form of drug cartel violence, as northern Mexico’s epidemic of intimidation and murder creeps into the sister cities’ periphery. At the center of the film are two hardworking throwbacks, the amiable and unflappable mayor of Eagle Pass, Chad Foster, and tireless cattle rancher and father Martin Wall. Their responses to the tumult are captured by brothers Bill and Turner Ross (45365) in a highly textured and thoughtfully observed vérité treatment, featuring a fittingly ruddy and rugged palette. As literal and figurative walls emerge, a foreshadowed yet mysterious tragedy occurs, and the landscape is changed forever. Cleaving is paradoxically defined as acts of bringing together and also of tearing apart, a contradiction much like the effect of fear on these communities that have not previously known it. TM

Growing up in Jim Crow–era North Carolina, young Eunice Waymon trained as a classical pianist and demonstrated a prodigious gift for her instrument. Though she dreamed of taking her classical talents to Carnegie Hall one day, Waymon instead found herself playing jazz and singing in an Atlantic City bar, rechristened with the stage name Nina Simone. But Simone’s singular style—her husky voice and Bach-inspired piano playing, at once both rigorous and deeply improvisational—propelled her to the top of the Billboard charts. In What Happened, Miss Simone?, Liz Garbus traces the soulful and troubled chanteuse’s transformation from working-class country girl to pop star to fierce civil rights activist, from worldwide renown to self-imposed exile and back again. Through captivating performance footage, interviews with Simone’s daughter and exhusband, and intimate excerpts from diary entries, the film shows the darkness and brilliance of a provocative performer who was both propelled and burdened by genius. EM

2014 / US / 93 minutes

Director: Liz Garbus

Directors: Bill Ross, Turner Ross

Producers: Amy Hobby, Liz Garbus, Justin Wilkes, Jayson Jackson

Producer: Michael Gottwald

Editor: Joshua L. Pearson

Executive Producers: Dan Janvey, Josh Penn

Cinematographers: Igor Martinovic, Rachel Morrison

2014 / US / 102 minutes

Editor: Bill Ross Cinematographers: Bill Ross, Turner Ross Mi c h a el G o t t wa l d

Gin s b e r g L ibby P ub l i c Re l at i o n s Lisa Danna 6255 Sunset Boulevard, Suite 1026 Los Angeles, CA 90028 323.645.6800 lisa.danna@ginsberglibby.com

720 Mandeville Street New Orleans, LA 70117 804.317.0918 Michael@court13.com

Sunday, April 12 — 10:20 am Cinem a 3

Sunday, April 12 — 4:40 pm Cinem a 1

invited program

The Wolfpack The six Angulo brothers and their disabled older sister have spent their whole lives in a cramped housing project on Manhattan’s Lower East Side, locked away from the outside world. Homeschooled by their hippie American mother and forbidden from leaving their apartment on all but the rarest of occasions by their Peruvian-born Hare Krishna father, the brothers—nicknamed the Wolfpack—rely on a collection of thousands of movies as an outlet to the outside world. They watch films obsessively and repeatedly, transcribing scripts and creating homemade props and costumes in order to stage elaborate movie reenactments that they then film themselves. Director Crystal Moselle meets the brothers just as they are at a crossroads: one of them, Mukunda, has snuck out of the house in a Michael Myers Halloween mask, paving the way for the other brothers to begin venturing out too. The Wolfpack is a complex, stranger-than-fiction tale of an unusual family, as well as a story of isolation, discovery, and the power of film. EM 2015 / US / 84 minutes Director: Crystal Moselle Producers: Izabella Tzenkova, Crystal Moselle, Hunter Gray, Alex Orlovsky Editor: Enat Sidi Cinematographer: Crystal Moselle The Wolfpack M a g n o l i a Pi c t u res 49 27th Street, 7th Floor New York, NY 10001 publicity@magpictures.com

Friday, April 10 — 10:00 pm Cinem a 1

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

A& E Ind i e F i lms S p e ak e asy Full Frame is proud to present the A&E IndieFilms Speakeasy for the fifth 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 10 — 9:15 am

The Moral Compass When the lines between right and wrong are blurred, how do filmmakers portray provocative content ethically and accurately?

Friday, April 10 — 12:15 pm

Sensitive Story telling Filmmakers discuss building trust, being present for challenging moments, and developing empathy without condescension.

Friday, April 10 — 3:15 pm

Dangerous Docs Following the recent report by the Center for Media & Social Impact, filmmakers and funders discuss best practices for high-risk storytelling.

Saturday, April 11 — 9:15 am

Indie Caucus Independent filmmakers who believe in the mission of public media discuss the future of documentaries on PBS.

Saturday, April 11 — 12:15 pm

Give It to Me Straight What’s the one thing you wish someone had told you about making a film? Seasoned directors share advice and past experiences.

Saturday, April 11 — 3:15 pm

The Festival Circuit How do regional festivals influence a film’s release strategy and commercial success? This conversation examines the circuit’s impact.

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

Garrett Scott Documentary Development Grant Only 37 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 and accommodations at the festival. Full Frame is honored to host these filmmakers and looks forward to their finished work. Now in its ninth 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 venues, including Full Frame. Previous grant recipients include Joanna Hamilton for 1971, Jason Osder for Let the Fire Burn, Robin Hessman for My Perestroika, Mike Attie and Meghan O’Hara for In Country, and Katherine Fairfax Wright and Malika Zouhali-Worrall for Call Me Kuchu. The 2015 Garrett Scott Documentary Development Grant has been awarded to Ted Passon for The Trial of Mumia Abu-Jamal and to Elisa Haradon and Gabriel Miller for Sweetheart Deal. The recipients will present short excerpts from their works-in-progress at 1:00 p.m. on Saturday, April 11, prior to the screening of (T)ERROR, directed by David Felix Sutcliffe and 2013 grant recipient Lyric R. Cabral.

The Garrett Scott Documentary Development Grant is made possible with generous support from Dr. Brian and Laura Myers Stabler.

Sweetheart Deal ELISA HARADON, GABRIEL MILLER In Seattle, three women struggling with heroin addiction find solace, care, and support in the form of one man. His charity, unsurprising to the women but shocking nonetheless, does not come without a heavy price. Shot with intimate access to the women and their families, this vérité film exposes the cruel day-to-day life on the streets and difficulties of finding help for survivors of abuse and addiction.

The Trial of Mumia Abu-Jamal TED PASSON In 1981, a journalist and former Black Panther was found bleeding from a gunshot wound next to the body of a young white Philadelphia police officer. The Trial of Mumia Abu-Jamal brings to life the courtroom drama of the most contested and divisive death row case in modern American history. New discoveries, unearthed footage, and animated court transcript recreations show us the impact that heated emotions, divided across racial lines, have on the criminal justice system. This bold new look at an old story examines how the system is as fallible as we are, and how justice often hangs on the shoulders of complicated human beings seeking simple answers.

Saturday, April 11 — 1:00 pm cinem a 3

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

FRESH DOCS The Center for Documentary Studies and the Southern Documentary Fund are proud to present Fresh Docs at Full Frame. 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. Based in Durham, N.C., the Southern Documentary Fund (SDF) cultivates documentaries made in or about the American South. SDF serves as a leading advocate for powerful southern storytelling, providing filmmakers with professional support, filmmaking grants, and fiscal sponsorship. Since its founding in 2002, SDF has sponsored over a hundred projects that have screened around the world, won critical acclaim, and inspired audiences with authentic stories that matter.

Farmer Veteran (Working Title) ALIX BLAIR, JEREMY LANGE As he holds a hatching bird in his hands, U.S. Army veteran Alex Sutton envisions a life beyond the bounds of his chronic posttraumatic stress disorder, in which he gives life rather than takes it. Though he lacks farming experience, Alex finds a strong sense of purpose in raising animals and begins to reconnect with the young man he was before three combat tours in Iraq changed him forever. But when his new girlfriend, Jessica, becomes pregnant, the thought of fatherhood stirs up old demons and threatens to undo everything they have created together. Over the course of four seasons, Farmer Veteran examines painful truths about the contradictory life of a veteran who aches for a new mission on the other side of war. Producer, Editor: D.L. Anderson Co-Producer: Mikel Barton

Friday, April 10 â&#x20AC;&#x201D; 7:00 pm p ower p l an t / F ull f r a me the ater

Film & E vent Schedule *

Thursday, April 9

10:00 – 11:50 10:30 – 12:15

The Look of Silence

Iris

1:00 – 2:40 1:20 – 3:05 Monte Adentro

1:10 – 3:00 Street Fight

1:30 – 3:25

War Photographer

Tiger Tiger

4:20 – 6:05 Uyghurs, Prisoners of the Absurd

4:00 – 5:50

4:10 – 5:45 The Red Chapel

4:30 – 6:30

Kings of Nowhere

(Dis)Honesty The Truth About Lies

7:00 – 8:55 7:40 – 9:55 8:00 – 9:35 The Circus Dynasty

Best of Enemies

Opening Night film

Meru

10:00 – 12:20 Kurt Cobain: Montage of Heck

Film & E vent Schedule *

Friday, April 10

9:15 – 10:15 The Moral Compass

10:00 – 12:00

10:10 – 11:55 10:20 – 12:20

Giovanni and the Water Ballet

The Farewell

The Queen The Last Hour in the Sun

Overburden

convention center no ticket required

Graminoids

10:30 – 12:05

Devil’s Rope

Bikes vs Cars

For Floppy Ears Only

12:15 – 1:15 Sensitive Storytelling

1:00 – 2:45

1:10 – 3:00 1:20 – 3:00 Good Things Await

Tell Spring Not to Come This Year

1:30 – 3:10

Cairo in

1:40 – 3:35

Crooked Candy Curious Worlds

convention center no ticket required

One Breath

Manufactured Landscapes

3:15 – 4:15 Dangerous Docs

4:00 – 5:35 4:20 – 6:00 4:50 – 6:40

Kingdom of Shadows

4:10 – 5:50 BARGE

4:30 – 6:35 Being Evel

If a Tree Falls

The Land

4:40 – 6:30

Nadeshda

convention center no ticket required

4:30 – 6:15 free screening

Dinosaur 13

Love Marriage in Kabul

full frame theater american tobacco

ticket required

7:20 – 9:00 7:50 – 9:55

From This Day Forward

The Queen of Versailles

7:00 – 8:55

7:10 – 9:00 Containment

R. Enstone

7:30 – 9:45

7:40 – 9:30

CENTER FRAME

White Chimney

3½ MINUTES

Chasing the Wind

Here Come the Videofreex

7:00 – 9:00 free screening

Fresh Docs full frame theater american tobacco

ticket required

8:30 – 9:45 Free screening

Love is All durham central park

no ticket required

10:10 – 11:35 The Fish Tamer Kings of the Wind & Electric Queens

10:00 – 11:50 The Wolfpack

Film & E vent Schedule *

Saturday, April 11

9:15 – 10:15 Indie Caucus

10:10 – 12:05 BaddDDD Sonia Sanchez

10:00 – 11:35

10:00 – 12:15 Peace Officer

10:30 – 12:25 How to Dance in Ohio

10:40 – 12:20

convention center no ticket required

The Lanthanide Series

The True Meaning of Pictures

12:15 – 1:15 Give It to Me Straight

12:50 – 2:50

1:00 – 3:25 Garrett Scott Documentary Development Grant

(T)ERROR

1:20 – 3:10 Sad Songs of Happiness

Abandoned Goods

1:30 – 3:20 Mavis!

convention center no ticket required

1:40 – 3:45 Racing Dreams

Saving Mes Aynak

3:15 – 4:15 The Festival Circuit

4:00 – 5:55

4:10 – 5:50 4:20 – 6:25 4:50 – 6:55

Tocando la Luz

4:30 – 6:30 CENTER FRAME

Cartel Land

Harry & Snowman

The Queen of Versailles

4:40 – 6:45

convention center no ticket required

Incorruptible

Last Day of Freedom The Storm Makers

6:30 – 7:45 free screening

Love is All

7:20 – 9:05 7:50 – 9:40

King Georges

7:00 – 8:45

7:10 – 9:10 Deep Web

7:30 – 10:00 7:40 – 10:30 CENTER FRAME

The Black Panthers: Vanguard of the Revolution

If a Tree Falls

The Solitude of Memory

full frame theater american tobacco

ticket required

In the Country Of Men and War

8:30 – 10:15 Free screening

Dinosaur 13 durham central park

no ticket required

10:10 – 12:00 The Term

10:00 – 11:40 Mistaken for Strangers

Film & E vent Schedule *

Sunday, April 12

10:00 – 12:10 10:20 – 12:00 Western

10:10 Shorts encore

10:30 – 12:30 Hot Type: 150 Years of The Nation

Listen to

10:40 – 12:10

Me Marlon

Gates of Heaven

1:40 – 3:30 2:10 – 3:55 2:20

Althea

2:00 – 4:00 DRUNK STONED BRILLIANT DEAD

2:30 – 3:30

Point and Shoot

School of Doc no ticket required

Sunday encore 1

5:20 – 7:20 City of Gold

FILM CATEGORY

5:10

5:00

4:40 – 6:30 What Happened,

Sunday Sunday

4:50

encore 3

Sunday encore 2

Miss Simone?

encore 4

8:00 – 10:10

7:50

night film

Sunday

Sunshine Superman

encore 6

7:40 Sunday encore 5

inde x by title

3½ MINUTES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

The Lanthanide Series . . . . . . . . . . . . . . . . . . . . . . . 44

Abandoned Goods . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Last Day of Freedom . . . . . . . . . . . . . . . . . . . . . . . . . 45

Althea . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

The Last Hour in the Sun . . . . . . . . . . . . . . . . . . . . . 45

BaddDDD Sonia Sanchez . . . . . . . . . . . . . . . . . . . . . 31

Listen to Me Marlon . . . . . . . . . . . . . . . . . . . . . . . . . . 67

BARGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

The Look of Silence . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Being Evel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Love is All . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Best of Enemies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Love Marriage in Kabul . . . . . . . . . . . . . . . . . . . . . . 46

Bikes vs Cars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Manufactured Landscapes . . . . . . . . . . 20, 23, 24, 27

The Black Panthers: Vanguard of the Revolution . . . . . . . . . . . . . . . . . . . 59

Mavis! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Cairo in One Breath . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Mistaken for Strangers . . . . . . . . . . . . . . . . . . . . 12, 17

MERU . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1, 58

Cartel Land . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Monte Adentro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Chasing the Wind . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Nadeshda . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

The Circus Dynasty . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Of Men and War . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

City of Gold . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Overburden . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Containment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Peace Officer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Crooked Candy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Point and Shoot . . . . . . . . . . . . . . . . . . . 10, 12–16, 18

Curious Worlds: The Art & Imagination of David Beck . . . . . . . . . . . 36

The Queen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Deep Web . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Devil’s Rope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Dinosaur 13 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 (Dis)Honesty – The Truth About Lies . . . . . . . . . . . 64 DRUNK STONED BRILLIANT DEAD: The Story of the National Lampoon . . . . . . . . . . . . . 65 The Farewell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Farmer Veteran (Working Title) . . . . . . . . . . . . . . . . 73 The Fish Tamer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 For Floppy Ears Only . . . . . . . . . . . . . . . . . . . . . . . . . 38 From This Day Forward . . . . . . . . . . . . . . . . . . . . . . . 38 Gates of Heaven . . . . . . . . . . . . . . . . . . . . . . 20, 24, 27 Giovanni and the Water Ballet . . . . . . . . . . . . . . . . . 39 Good Things Await . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Graminoids . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Harry & Snowman . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 Here Come the Videofreex . . . . . . . . . . . . . . . . . . . . 40 Hot Type: 150 Years of The Nation . . . . . . . . . . . . . 65 How to Dance in Ohio . . . . . . . . . . . . . . . . . . . . . . . . 41 If a Tree Falls: A Story of the Earth Liberation Front . . . . . 10, 12–17 In the Country . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Incorruptible . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Iris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 King Georges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Kingdom of Shadows . . . . . . . . . . . . . . . . . . . . . . . . . 66 Kings of Nowhere . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Kings of the Wind & Electric Queens . . . . . . . . . . . 43 Kurt Cobain: Montage of Heck . . . . . . . . . . . . . . . . 67 The Land . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

The Queen of Versailles . . . . . . . . . . . . . . . 20, 24, 28 R. Enstone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 Racing Dreams . . . . . . . . . . . . . . . . . . . . 10, 12–16, 18 The Red Chapel . . . . . . . . . . . . . . . . . . . . . . 20, 25, 28 Sad Songs of Happiness . . . . . . . . . . . . . . . . . . . . . . 50 Saving Mes Aynak . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 The Solitude of Memory . . . . . . . . . . . . . . . . . . . . . . 51 The Storm Makers . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Street Fight . . . . . . . . . . . . . . . . . . . . 10–13, 15, 16, 19 Sunshine Superman . . . . . . . . . . . . . . . . . . . . . . . . . 60 Sweetheart Deal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 Tell Spring Not to Come This Year . . . . . . . . . . . . . 52 The Term . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 (T)ERROR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53, 72 Tiger Tiger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 Tocando la Luz (Touch the Light) . . . . . . . . . . . . . . 54 The Trial of Mumia Abu-Jamal . . . . . . . . . . . . . . . . . 72 The True Meaning of Pictures: Shelby Lee Adams’ Appalachia . . . . . . 20, 22–26, 29 Uyghurs, Prisoners of the Absurd . . . . . . . . . . . . . . 54 War Photographer . . . . . . . . . . . . . . . . . 20, 23, 25, 29 Western . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 What Happened, Miss Simone? . . . . . . . . . . . . . . . . 69 White Chimney . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 The Wolfpack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

inde x by filmmaker

Abramovich, Manuel . . . . . . 49

Douze, Renko . . . . . . . . . . . 39

Kipervaser, Anna . . . . . . . . 33

Rastorguev, Alexander . . . . . 53

Aglibert, Jérôme . . . . . . . . . 43

Dupire, Cédric . . . . . . . . . . 43

Knoche, Constanze . . . . . . . 50

Redfearn, Jennifer . . . . . . . 54

Alexander, Caroline . . . . . . . 68

Edwards, Jessica . . . . . . . . 46

Knoxville, Johnny . . . . . . . . 62

Reichert, Julia . . . . . . . . . . 44

Alonso, Alejandro . . . . . . . . 37

Engel, Peter . . . . . . . . . . . . 28

Koens, Lars . . . . . . . . . . . . 40

Resines, Dani . . . . . . . . . . . 37

Alonso, Nicolás Macario . . . 47

Espelie, Erin . . . . . . . . . . . 44

Kooij, Demelza . . . . . . . . . . 40

Riis-Hansen, Anders . . . . . . 34

Ambo, Phie . . . . . . . . . . . . 39

Espinosa, Hugo . . . . . . . . . 43

Kopple, Barbara . . . . . . . . . 65

Riley, Stevan . . . . . . . . . . . 67

Ariely, Dan . . . . . . . . . . . . . 64

Ethridge, Shannon . . . . . . . 58

Kostomarov, Pavel . . . . . . . 53

Rodgers, Andrew . . . . . . . . 35

Atkin, Mark . . . . . . . . . . . . 61

Ewert, Anna Frances . . . . . . 47

Kuentz, Gaspard . . . . . . . . . 43

Rosenbaum, Martin . . . . . . 61

Attie, Barbara . . . . . . . . . . 31

Farouky, Saeed Taji . . . . . . . 52

Lange, Jeremy . . . . . . . . . . 73

Ross, Bill . . . . . . . . . . . . . . 69

Bagdach, Leis . . . . . . . . . . 50

Fischer, Heike Maria . . . . . . 47

Lawrence, Dave . . . . . . . . . 49

Ross, Turner . . . . . . . . . . . . 69

Baichwal, Jennifer 1, 20–27, 29

Fiske, Pat . . . . . . . . . . . . . 46

Lawrenson, Edward . . . . . . . 31

Roudil, Marc-Antoine . . . . . 36

Barber, Brad . . . . . . . . . . . 49

Forstén, Oskar . . . . . . . . . . 55

Longinotto, Kim . . . . . . . . . 61

Roumy, Julien . . . . . . . . . . . 52

Barnes, Joslyn . . . . . . . . . . 42

Frankel, Erika . . . . . . . . . . . 42

Loumède, Colette . . . . . . . . 54

Rudick, Jennifer Ash . . . . . . 66

Battsek, John . . . . . . . . 65, 67

Frei, Christian . . . . . . . . . . 29

Maguire, Katia . . . . . . . . . . 66

Rue, Elena . . . . . . . . . . . . . 48

Baughan, Bristol . . . . . . . . . 18

Gabbert, Laura . . . . . . . . . . 63

Martin, Elizabeth . . . 12, 15, 18

Ruiz, Bernardo . . . . . . . . . . 66

Becker, Holly . . . . . . . . . . . 63

Galison, Peter . . . . . . . . . . 35

Maysles, Albert . . . . . . . . . 66

Russo, Lisa Marie . . . . . . . . 31

Bécue-Renard, Laurent . . . . 48

Galperin, Rodion . . . . . . . . . 33

Maysles, Rebekah . . . . . . . . 66

Sánchez, Cristina . . . . . . . . 37

Bedusa, Susan . . . . . . . . . . 65

Garbus, Liz . . . . . . . . . . . . 69

McEvoy, Michael . . . . . . . . . 52

Schachter, Dave . . . . . . . . . 32

Beerstra, Anna . . . . . . . 38, 45

García, Betzabé . . . . . . . . . 43

Melamede, Yael . . . . . . . . . 64

Schiller, Marc . . . . . . . . . . . 64

Behrens,

Gavrilova, Maria . . . . . . . . . 53

Metzger, Tim . . . . . . . . . . . 54

Shane, Martha . . . . . . . . . . 38

Danielle Renfrew . . . . . 28, 67

Gertten, Fredrik . . . . . . . . . 32

Miller, Gabriel . . . . . . . . . . 72

Shattuck, Sharon . . . . . . . . 38

Berninger, Matt . . . . . . . 12, 17

Goldwater, Janet . . . . . . . . . 31

Miller, Rex L. . . . . . . . . . . . 62

Shiva, Alexandra . . . . . . . . . 41

Berninger, Tom . . . . . 10, 12, 17

Gómez, Roger . . . . . . . . . . . 37

Miller, Todd Douglas . . . . . . 61

Siegel, Matthew . . . . . . . . . 36 Silver, Marc . . . . . . . . . . . . 59

Bertolone, Isabelle . . . . . . . 47

González, Juan Pablo . . . . . 51

Mills, Rachel . . . . . . . . . . . 46

Besser, Carin . . . . . . . . . . . 17

Gordon, Robert . . . . . . . . . . 63

Mitchell, Suzanne . . . . . . . . 65

Sørensen, Signe Byrge . . . . 68

Birla, Keero . . . . . . . . . . . . 68

Gordon, Sabrina Schmidt . . 31

Moore, Kate . . . . . . . . . . . . 50

St. John, Christopher . . . . . 53

Blair, Alix . . . . . . . . . . . . . . 73

Gottwald, Michael . . . . . . . . 69

Moore-Lewy, Justin . . . . . . . 62

Stevens, Chad A. . . . . . . . . 48

Blavin, Paul Winston . . . . . . 60

Grant, Laurens . . . . . . . . . . 59

Morgen, Brett . . . . . . . . . . . 67

Stone, Olympia . . . . . . . . . . 36

Bognar, Steven . . . . . . . . . . 44

Gray, Hunter . . . . . . . . . . . 70

Morris, Errol . . . . . . . . . 24, 27

Strauch, Marah . . . . . . . . . 60

Borg, Pia . . . . . . . . . . . . . . 31

Greaves, Emma . . . . . . . . . 50

Moselle, Crystal . . . . . . . . . 70

Suon, Guillaume . . . . . . . . . 52

Bruggemann, Eric . . . . . . . . 60

Greenfield, Lauren . . . . . . . 28

Moss, Robb . . . . . . . . . . . . 35

Sutcliffe, David Felix . . . 53, 72

Brügger, Mads . . . . . . . 25, 28

Haradon, Elisa . . . . . . . . . . 72

Müller, Falk . . . . . . . . . . . . 47

Talcott, Nancy Knox . . . . . . 60

Bruneau, Sophie . . . . . . . . . 36

Haviland-James, Elisabeth . . 62

Nahem, Edward Tyler . . . . . 42

Talisman, Nomi . . . . . . . . . 45

Buirski, Nancy . . . . . . . . . . 62

Hefford, Katie . . . . . . . . . . 50

Nealon, Jon . . . . . . . . . . . . 40

Thompson, Molly . . . . . . . . 65

Busch, Scott F. . . . . . . . . . . 33

Heineman, Matthew . . . . . . 33

Nelson, Minette . . . . . . . . . 59

Ticozzi, Filippo . . . . . . . . . . 34

Bussink, Astrid . . . . . . . . . . 39

Hendel, Steven . . . . . . . . . . 42

Nelson, Stanley . . . . . . . . . 59

Tirola, Douglas . . . . . . . . . . 65

Butler, George . . . . . . . . . . 68

Henríquez, Patricio . . . . . . . 54

Neville, Morgan . . . . . . . . . 63

Tremaine, Jeff . . . . . . . . . . 62

Cabral, Lyric R. . . . . . . 53, 72

Hepburn, Carolyn . . . . . . . . 59

Offield, Karin Reid . . . . . . . 60

Tuula, Max . . . . . . . . . . . . . 53

Camiel, Deborah . . . . . . . . . 64

Hibbert-Jones, Dee . . . . . . . 45

Ogborn, Kate . . . . . . . . . . . 31

Tzenkova, Izabella . . . . . . . . 70

Charland, Craig . . . . . . . . . 17

Hijmans, Ronja . . . . . . . . . . 38

Oppenheimer, Joshua . . . . . 68

van Nunen, Hasse . . . . . . . . 39

Chignell, George . . . . . . . . . 67

Hobby, Amy . . . . . . . . . . . . 69

Orbelyan, Sarkis . . . . . . . . . 53

VanDyke, Matthew 10, 13–15, 18

Chin, Jimmy . . . . . . . . . . . . 58

Hoffman, Mat . . . . . . . . . . . 62

Orlovsky, Alex . . . . . . . . . . . 70

Varley, James . . . . . . . . . . . 50

Christopherson, Scott . . . . . 49

Huffman, Brent E. . . . . . . . 51

Orr, Catherine . . . . . . . . . . . 48

Vasarhelyi, E. Chai . . . . 42, 58

Coxson, Laura . . . . . . . . . . 66

Ibrahim, Hadeel . . . . . . . . . 42

Palangi, Amin . . . . . . . . . . . 46

Vermeulen, Randy . . . . . 38, 45

Croall, Heather . . . . . . . . . . 61

Iron, Daniel . . . . . . . . . . . . 27

Panh, Rithy . . . . . . . . . . . . 52

Waldron, Simon . . . . . . . . . 50

Cullman, Sam . . . . . 12, 15, 17

Jackson, Jayson . . . . . . . . . 69

Passon, Ted . . . . . . . . . . . . 72

Weitzner, Mitch . . . . . . . . . 64

Cunningham, Sam . . . . . . . 50

Jangård, Margarete . . . . . . . 32

Pearlman, Bari . . . . . . . . . . 41

Westervelt, Clay . . . . . . . . . 60

Curry, Marshall . . . . . . 1, 10–19

Jansen, Suzanne . . . . . . . . 45

Pedersen, Malene Flindt 34, 39

Wettre, Kalle . . . . . . . . . . . 41

Cutler, R.J. . . . . . . . . . . . . 67

Jedenfors, Anders . . . . . . . . 41

Peltonen, Jani . . . . . . . . . . 55

Wilkes, Justin . . . . . . . . . . . 69

Davis, Erin . . . . . . . . . . . . . 44

Jones, Elizabeth C . . . . . . . 52

Piper, Zak . . . . . . . . . . . . . 51

Winter, Alex . . . . . . . . . . . . 64

Davis, Ron . . . . . . . . . . . . . 60

Junge, Daniel . . . . . . . . . . . 62

Pivovarov, Alexei . . . . . . . . . 53

Yellin, Tom . . . . . . . . . . . . . 33

de Pencier, Nick . . . . 24, 27, 29

Kamlert, Elin . . . . . . . . . . . 32

Powell, Ben . . . . . . . . . . . . 32

Zhou, Xiaoli . . . . . . . . . . . . 51

del Río, María Carla . . . . . . 37

Kiernan, Brendan . . . . . . . . 62

Raskin, Jenny . . . . . . . . . . . 40

Zipper, Glen . . . . . . . . . . . . 64

e d u c at i o n a l p r o g r a m s

Teac h th e T e ac he r s Now entering its fifth 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). Participating teachers receive educational credit for completed work, and the cost of their substitutes is provided to place as little financial burden on the schools as possible. The teachers then utilize these skills as they create lesson plans for films in Full Frame’s Lending Library, housed at the School for Creative Studies, as well as for our Free Youth Screenings. We are thrilled at the synergy these programs provide educators and our local schools. The 2015 Teach the Teachers program is made possible with generous support from GlaxoSmithKline, and Alan Teasley. The November 2014 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 films, and learn real-world applications for the techniques 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 2014 class of young filmmakers will attend Full Frame this year to learn more about the documentary medium and will screen the work they created for the public on Sunday. The 2014 School of Doc was made possible with generous support from the Baskerville Fund at the Triangle Community Foundation, the Fenhagen Family and Helen’s Fund, IBM, and the Mary Duke Biddle Foundation. The 2015 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, and the Mary Duke Biddle Foundation.

fellows & archive

F u l l Fram e Fe llo 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, 165 students from 15 different colleges and universities will participate in the Fellows Program. Students from the following schools are visiting Full Frame this year: American University

New York University

Brigham Young University

North Carolina Central University

Chapman University

North Carolina State University

Duke University

Stanford University

Elon University

University of Alabama

Florida State University

University of North Carolina at Chapel Hill

George Washington University

University of North Carolina School of the Arts

Hollins 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 eighth year, the collection has grown to include nearly one hundred titles and includes winners dating back to 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 return to Duke as a program of the Center for Documentary Studies. 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. 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 April 6,

There are three seating lines for all ticketed film

or redeemed in the Festival Box Office or in the Last

screenings.

Minute Line at the event venue. The number of tickets you can redeem varies depending on the type of pass.

Online Tickets —Tickets that a passholder selects online before the festival will be included with their pass and can be picked up (ID required) in the Durham Convention Center: Wednesday 12:00 – 8:00 pm Thursday – Saturday 9:00 am – 9:00 pm

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. The Blue Line seats after the Green Line and is where ticket holders and the following passholders line up: 15 Pass, 10 Pass, Doc Pass, Fellows Pass, Student Pass, and Press Pass.

Sunday 9:00 am – 12:00 pm

The Last Minute Line seats after the Green and Blue

Box Office Tickets

for any remaining seats; availability is not guaranteed.

—Limit: 1 ticket per passholder per event —Free for passholders until individual pass ticket limit is reached —Available in the Festival Box Office, located in the Durham Convention Center: Wednesday 12:00 – 8:00 pm Thursday – Saturday 9:00 am – 10:00 pm Sunday 9:00 am – 8:00 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 — Ticketholders must be in line 30 minutes before showtime. All unclaimed seats will be filled from the Last Minute Line prior to 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.

lines. Last Minute Line tickets can be purchased Last Minute Line tickets are cash only.

how things work

—

tickets

Tickets Tickets can be purchased online, in the Festival Box Office, or 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, in the Festival Box

There are three seating lines for all ticketed film

Office, or in the Last Minute Line at the event venues.

screenings.

Online Tickets Tickets that are purchased online are Will Call only

The Green Line offers first admittance to programs and is where the following passholders line up: 20+ Pass, Filmmaker Pass, Priority Pass, Patron Pass,

(ID required) and can be picked up in the Festival Box

and First Team Pass.

Office, located in the Durham Convention Center:

The Blue Line seats after the Green Line and is where

Wednesday 12:00 – 8:00 pm

ticket holders and the following passholders line up:

Thursday – Saturday 9:00 am – 10:00 pm

15 Pass, 10 Pass, Doc Pass, Fellows Pass, Student Pass,

Sunday 9:00 am – 8:00 pm

and Press Pass. The Last Minute Line seats after the Green and Blue

Box Office Tickets

lines. Last Minute Line tickets can be purchased

—$16 all films (no fees)

for any remaining seats; availability is not guaranteed.

—Limit: 8 tickets per event

Last Minute Line tickets are cash only.

—Free for passholders until individual pass ticket limit is reached —Available in the Festival Box Office, located in the Durham Convention Center: Wednesday 12:00 – 8:00 pm Thursday – Saturday 9:00 am – 10:00 pm Sunday 9:00 am – 8:00 pm

Last Minute Tickets —$16 all films (cash only) —Limit: 1 ticket per person; first come, first served —Free for passholders —Available in the Last Minute Line of each event’s venue after ticketholders are seated

how things work

S c r e e n i ng V e n u e s

—

venues

The Melanie Taylor Hospitality Suite Carolina Theatre, Connie Moses Ballroom

Theater / capacit y Location

Thursday 9:00 am – 4:00 pm

Fletcher Hall 975

Carolina Theatre / 309 W. Morgan St.

Friday – Sunday 9:00 am – 7:00 pm

Located on the second floor of the Carolina Theatre, the Hospitality Suite provides refreshments and light fare daily to the following passholders: 20+ Pass, Filmmaker Pass, Priority Pass, Patron Pass, First Team Pass, and Press Pass.

Cinema 1

233

Carolina Theatre / 309 W. Morgan St.

Cinema 2

Carolina Theatre / 309 W. Morgan St.

Cinema 3 480

Durham Convention Center / 201 Foster St.

Cinema 4 404

Durham Convention Center / 201 Foster St.

DAC/PSI Theater 185

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

theaters. The Carolina Theatre, Convention Center, and Central Park venues offer concessions.

Press Lounge Carolina Theatre, Donor Lounge thursday – sunday

9:00 am – 7:00 pm

Located on the third floor of the Carolina Theatre, the Press Lounge is where members of the press pick up passes, inquire about press availabilities, and contact festival staff.

A&E IndieFilms Speakeasy Durham Convention Center

F e s t i va l V e n u e s Festival Box Office Durham Convention Center Wednesday 12:00 – 8:00 pm

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.

thursday – saturday 9:00 am – 10:00 pm

Merch

sunday 9:00 am – 8:00 pm

Durham Convention Center

The Festival Box Office provides tickets to purchasers and passholders. Tickets are available 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 Festival Box Office accepts Visa / Mastercard / American Express / Discover and cash. Will Call tickets can also be picked up in the Festival Box Office.

Official Full Frame merchandise is available during the festival in the Durham Convention Center, located between Cinemas 3 and 4, and also in the Festival Box Office during Box Office hours. Visa / Mastercard / American Express / Discover and cash accepted.

Pass Pick Up / Information

thursday – sunday 10:00 am – 8:00 pm

S ERVI C E S

Durham Convention Center

ATM

Wednesday 12:00 – 8:00 pm

An ATM is located in the Marriott’s main lobby and in the Durham Convention Center corridor near the restrooms. Last Minute Tickets are cash only.

Thursday – Saturday 9:00 am – 9:00 pm sunday 9:00 am – 12:00 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 get 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.

A map of Full Frame venues, participating restaurants, and accommodations can be found at the back of this Program Book and online at fullframefest.org.

Parking Centre Garage (300 W. Morgan St.)

The Plaza

American Tobacco North Deck (305 W. Pettigrew St.)

Corner of Foster and Morgan Streets thursday – sunday

Map

9:00 am – 9:00 pm

Located at the heart of the festival between 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. On Sunday afternoon, there will be food trucks and a live music performance by Art of Cool. The Plaza is also home to seating lines for Fletcher Hall performances.

American Tobacco South Deck (705 Willard 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.)

Ground Transportation ABC Cab Company

919.682.0437

Bull City Connector a free bus in central Durham

919.485.RIDE

Durham Area Transit Authority

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events

Thursday, April 9

Saturday, April 11

CHAMPAGNE RECEPTION Carolina Theatre, Connie Moses Ballroom

FREE SCREENING Love is All

6:00 pm

Full Frame Theater, American Tobacco Campus

Presented by PNC

6:30 pm

Hosted by Toast, Wine Authorities, and Ponysaurus Brewing Co.

Part of The Full Frame Road Show Presented by PNC

by invitation

TICKET REQUIRED ( free )

free and open to the public

Thursday, April 9

Saturday, April 11

OPENING NIGHT PARTY

FREE OUTDOOR SCREENING Dinosaur 13

Durham Armory

10:00 pm – Midnight Presented by PNC Hosted by Café Parizade and Ponysaurus Brewing Co. Live Music by Art of Cool open to the public TICKET REQUIRED ($27)

Friday, April 10 FREE SCREENING Dinosaur 13 Full Frame Theater, American Tobacco Campus

4:30 pm Part of The Full Frame Road Show Presented by PNC free and open to the public TICKET REQUIRED ( free )

Friday, April 10 FREE OUTDOOR SCREENING Love is All Durham Central Park

8:30 pm Part of The Full Frame Road Show Presented by PNC Food Truck Roundup at 5:30 pm Lawn Seating – chairs and blankets welcome

Durham Central Park

8:30 pm Part of The Full Frame Road Show Presented by PNC The Cookery Food Truck Roundup at 5:30 pm Lawn Seating – chairs and blankets welcome free and open to the public

Saturday, April 11 SATURDAY NIGHT PARTY West End Wine Bar

10:00 pm – Midnight Sponsored by A&E IndieFilms Hosted by West End Wine Bar by invitation

Sunday, April 12 AWARDS BARBECUE Durham Armory

11:30 am – 1:00 pm Live Music by The Hushpuppies open to the public TICKET REQUIRED ($27)

free and open to the public

Sunday, April 12

Friday, April 10

FREE CLOSING NIGHT FILM Sunshine Superman

FILMMAKER PARTY Fullsteam Brewery

10:00 pm – Midnight Hosted by Fullsteam Brewery, Pie Pushers, Chirba Chirba, and The Parlour Music by DJ Yammy by invitation

Carolina Theatre, Fletcher Hall

8:00 pm Part of The Full Frame Road Show Presented by PNC free and open to the public TICKET REQUIRED ( free )

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