Meet the Makers - SBIFF

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THE FUND FOR SANTA BARBARA

IN PARTNERSHIP WITH THE SANTA BARBARA INTERNATIONAL FILM FESTIVAL

PRESENTS

THE 15 TH ANNUAL

SociaL

JUStice

aWard For docUmentarY FiLm

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meet tHe makerS INTeRVIeWS WITH THe NOMINeeS iSSUE #1 • JAnUARy 30, 2014

WITH THE NOMINEES Join us for a reception celebrating this year’s nominees:

Friday, January 31st 5:00 p.m. to 7:00 p.m.

Sullivan Goss – An American Gallery / Arts & Letters Café 7 East Anapamu Street, Santa Barbara, CA 93101 Suggested donation: $25

Space is limited • Reservations requested • Platinum Pass holders will be admitted free.

For reservations & information please contact the Fund office at (805) 962-9164 or jmoreno@ fundforsantabarbara.org

ABOUT THE AWARD BEGIN your collection HERE Hanne Brenken Colin Campbell Cooper

The Fund for Santa Barbara Social Justice Award for Documentary Film is awarded annually to a film Harry Carmean Edward Deakin that makes a particularly contribution to advancing social justice. The 2014 award winner will Anvaluable exhibition of SMALL WORKS Ann Diener be announced on Sunday, February 9th. The creator

by GREAT ARTISTS Michael Druryof the winning film will receive a $2,500 cash prize.

Jon Francis Eight provocative films have been nominated. We hope you will have an opportunity to view them.

Gunther Gerszo Join us...

Mary Heebner

Lutz Artist's & Author's Reception Thank you to the 2014Dan Social Justice Award Jury: R. Kenton Nelson Satuday, December 7th

Channing Arts Peake & Lectures • Andrew Davis – Film Director 2-4pm Roman Baratiak – from Associate Director of UCSB Hank Pitcher Jack Smith – Film Consultant • Vicki Riskin – Writer / Producer release Featuring the publication Margaret Lazarus – Filmmaker • Phyllis de Picciotto and author signing of: Sally Storch Sarah Vedder Dr. Janet Walker – Professor of Film & Media Studies at UCSB A Pool of Silver Minnows: A Fable for All Ages Dr.byCharles Wolfe – byProfessor Julia Emerson with illustrations Susan Manchester of Film & Media Studies at UCSB Available for $24.95

Thank you to our partners in this effort:

100 Years of Santa Barbara City Parks Catalog of the City Parks Centennial Exhibition curated by Ginny Brush Available for $12.95

Sullivan Goss, Ltd. Seven East Anapamu Street Santa Barbara, CA 93101 805.730.1460

http://www.sullivangoss.com/exhibits

And finally, thank you to all of the filmmakers who dedicate their time, talent, resources, and vision in order to address these important issues so that we may all live in a more just and humane world.

– The Board, Staff and Volunteers of The Fund for Santa Barbara For more information or to purchase tickets:

www.fundforsantabarbara.org or www.sbiff.org independent.com presents

Meet The Makers

independent.com presents

meet tHe makerS INTeRVIeWS WITH THe NOMINeeS

US pREmiERE WORLD pREmiERE

SHADOW in BAGHDAD Duki Dror

BOTTLED Up: THE BATTLE OvER DUBLin DR. pEppER Don merritt

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n 1891, a Dublin, Texas, company became the fi rst to bottle Dr. Pepper, and the tradition — including the use of pure cane sugar, when the rest of the bottlers turned to high fructose corn syrup — continued until 2012, when the Dr. Pepper-Snapple corporation sued to shut them down.

That nearly killed the town of Dublin and offended the whole Lone Star State, whose ongoing rage over soda pop is served up in this compelling fi lm.

WERE yOU SURpRiSED HOW mUCH EmOTiOn WAS WRAppED AROUnD A SODA? To the level that a person assaulted our cameraman during fi lming? Yes, I am surprised. But anything that takes you back to your nostalgic past, particularly one that you can smell and taste like a Dublin Dr. Pepper, then I’m not surprised at all. Especially when you tell those people they can never have it again.

WAS THERE Any CULpABiLiTy On THE DUBLin BOTTLERS, OR WAS THAT JUST CORpORATE Spin?

I’m particularly proud that Bottled Up does a good job of staying unbiased and presents both sides, warts and all.

Public opinion was heavily slanted in the favor of Dublin Bottling Works. But one of our key interviews actually takes place in Santa Barbara with Tom Pirko of BEVMARK, a highly regarded beverage industry consultant. He presents an unpopular yet practical view as to why this issue came to a head. Neither side is without fault in this story.

HOW mUCH BETTER DiD DUBLin DR. pEppER TASTE THAn THE CORpORATE BLEnD? The director/editor, Drew Rist, wanted to fi lm a taste-test type of challenge to be included in the documentary, but we were never able to put that together — mostly because none of us wanted to surrender our remaining stash of Dublin Dr. Peppers! It’s that good. There is a reason the Texas Monthly wrote an article with a list of things to do before you die, and Dublin Dr. Pepper is in the top 10 on that list.

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his high-stakes journey through the Middle East to discover the fate of a Jewish woman’s long-lost Iraqi father simultaneously chronicles the all but vanished and forgotten though once vibrant Iraqi-Jewish community.

DESCRiBE THE DiFFiCULTiES/RiSkS in mAkinG A FiLm LikE THiS? I had a limited access to the sources of information, and the story took place in places where I have no access to or very limited access. When I traveled with Linda (the fi lm’s protagonist) to fi lm her voting for the Iraqi Parliament in Jordan, we were held in custody by the Iraqi authorities at the ballot for a whole day until the Jordanian general security intervened and got us out. Also, just before we completed the fi lm, there were some threats that put some people who participated in the fi lm in danger.

WHAT WAS iT LikE TO CHASE DOWn BOTH A LOST LiFE AnD A LOST WAy OF LiFE in A WAR-RAvAGED COUnTRy? It was like trying to find a needle in a haystack and then stumbling upon a much bigger treasure, the story of a lost history.

DO yOU THink A JEWiSH pOpULATiOn WiLL EvER AGAin THRivE in iRAQ? Presently, there are only four Jews left in Iraq, and it’s hard to imagine that Jews will resettle in Iraq in the near future. The real question is: Will the Iraqis acknowledge the existence of a community that represents an integral part of their heritage? And, concurrently, will the Jewish world acknowledge that its history is interwoven with that of the Arab world and its culture?

—Ethan Stewart THU 2/6–4PM & FRi 2/7–4pm, SB mUSEUm OF ART

—Matt Kettmann SAT 2/1–4pm, mETRO 4 & mOn 2/3–1pm, SB mUSEUm OF ART

For film festival coverage and schedule changes, visit independent.com/SBiFF

Hue Vic Sarin

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eeply personal, often disturbing, and constantly thought-provoking, this film takes you around the world in a cinematic exploration of race, cultural identity, and the often destructive phenomenon of “colourism.”

What motivated you to make Hue? I have lived with this consciousness all of my life but what I needed was the maturity within myself to discuss this issue openly. Now was the time.

world premiere

INvitation to Dance Christian von Tippelskirch

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elebrating disability in an art form is not a strange concept to anyone who grew up here with Rod Lathim’s magical Access Theatre productions. But this documentary about the life of activist and performer Simi Linton gives Santa Barbarians a glance at the rest of the world witnessing how dramatically social conceptions of handicap can change.

Did you begin this film as a profile or as a film about the politics of disability?

We knew from the beginning that we wanted to make an intimate and compelling portrait of Simi Linton’s life as an activist and a disabled woman. As the film evolved, that portrait became the point of entry into the larger political narrative: the emergence of the disability rights and disability arts movements over the last 40 years. Our motto: “Equality, justice, and a place on the dance floor!”

Did your minds change about anything during the filmmaking?

Our commitments to and beliefs about disability politics spurred us to make the film. We based it, in part, on Simi’s memoir, My Body Politic. Though we originally thought we would adapt the book and make a narrative feature, it soon became apparent that the real people in Simi’s world offered richer and more interesting possibilities.

What was the biggest surprise you encountered during production?

Women are far more subjected to this preference but at the same time far more open to discuss it.

For the uninitiated, summArize the difference between racism and colourism.

The preference of lighter color of skin within the same race of people.

Do you think the typical “white” person has any notion of the depth and breadth of colourism?

No, though in the last decade or two, through our immigration and travels, the white people are somewhat aware of this issue, but not to the extent to know how deep this issue affects their lives beyond the world of cosmetics.

In what ways, if any, did making Hue transform you as an individual?

The process helped me to break through the hypocritical nature of this subject among non-white people. It is now in the open in an honest way. It is gratifying as I value honesty.

What has been your family’s take on the movie?

My children were all born in the West. They have no consciousness of this subject, and I have never subjected them to this issue. For me now, a big burden has been lifted.

—Ethan Stewart WED 2/5–10AM­­­ & THU 2/6–7PM, SB MUSEUM OF ART

Tell us about the acrobatic wheelchair dancer who steals the show.

Alice Sheppard is an amazingly talented, forceful dancer, whether on stage or at a party. [After being dared by disabled dancer Homer Avila to take a class], she did, and shortly gave up her position as a professor of medieval studies. She has been dancing ever since. Alice says about her work: “I dance in pieces that explicitly question what we think we know about disability, dance, and the body.”

—D.J. Palladino US premiere FRI 1/31–1PM, SB MUSEUM OF ART & SUN 2/2–7PM, LOBERO

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Roaming WIld Silva Johnson

F

or the past decade, the feds have spent more than $80 million rounding up the West’s wild horses, and yet cattle ranches are still overgrazed, the remaining horses only seem to breed more, and much of America watches in horror as more iconic animals are put into stables under the threat of eventual death. This documentary tales an even-handed look at the issue.

world premiere

The Last one Nadine Lacostie

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egun amid a rising sense of helplessness, The AIDS Memorial Quilt project came to symbolize the united front of dismay Americans felt toward their government’s lack of interest in helping its own people battle an epidemic.

Since then, it’s become a moving symbol of hope, even as the disease has changed the lives of millions in every country, affecting folks of all ages, sex, and sexual preference. This documentary chronicles the quilt from its origins to its current relevance.

Was there a personal reason you began this film?

I have always been drawn to stories that resonate globally, socially, and personally. The AIDS Memorial Quilt is the ultimate subject to explore because it cuts across all of these areas and offers an opportunity to dive into a story of historic dimension. I knew it would be a powerful and beautiful story to tell.

Was the experience of making the film as moving and fascinating as it was to watch?

I had a remarkable opportunity to talk very intimately with people who were personally affected by the greatest pandemic in human history. People that saw firsthand how politics, science, and culture intersect. Making this film was fulfilling on an artistic level, of course, but on a personal level, it was emotional, cathartic, and inspiring.

How did you get involved in portraying this battle over an American icon?

I have always loved horses, and spent my teenage years riding and working on a ranch in Colorado. In 2009, I was invited by a friend to go to a BLM wild horse round-up in Wyoming and was completely blown away by what I saw.

It was both one of the most spectacularly beautiful things I’d ever seen and also incredibly tragic. The more I talked to people, the more I realized that the issue was a lot more shades of gray than it was black-and-white.

Was it hard to present both sides of this issue?

Most of the wild-horse films I have seen are very onesided, but the reality is much more nuanced and speaks to increasing pressures for development on arid Western lands.

I worked hard to find characters that were interested in solutions, and the more time I spent with each of them, the more I felt like each side really has its valid points and so much could be gained from looking for innovative solutions and a middle ground rather than an “us versus them” mentality.

Will Americans ever recognize that horseS can be eaten?

Wild horses symbolize much of the ideals that this nation stands for: freedom, independence, grace. Throughout the history of this country, they have been our companions, partners, and workers, and the relationship between horse and man is in many ways considered sacred. I think the American public will continue to reject the idea of eating an animal that symbolizes so much and is so closely tied to our history and experience.

—Matt Kettmann FRI 1/31–7PM, SB MUSEUM OF ART­­­ & SAT 2/1–2PM, METRO 4

What should viewers take away?

I hope people will see how politics, media, and social stratification intersect, and they will understand how a movement can grow. Through the film, our audience can bear witness to the loss of so many and yet, I hope, they will also feel motivated to advance the issues of social justice and activism.

What has audience reaction been like?

Some people, especially those who were part of the journey of the 1980s and 1990s, are moved by the memories that the film conjures up and are also struck by the current relevancy of the issues the film raises. Younger audiences are impressed by the fight and fury exhibited by the earlier generation and I hope are moved to continue the fight for their own generation here in the U.S. and around the world.

—D.J. Palladino

world premiere

SAT 2/1–10AM­­­ & SUN 2/2–4PM, SB MUSEUM OF ART

For film festival coverage and schedule changes, visit independent.com/SBIFF

THROUGH A LENS DARKLY Thomas Allen Harris

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hotographs have been shaping public opinion about African-American culture and life ever since the technology was invented, most often to fuel the fire of racism. Yet, as this documentary reveals, blacks have always been producing the same proud portraits and family albums as whites, and many civil rights leaders even used the camera as a tool to uplift their people.

west coast premiere

The Passage Alexander Douglas

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he Panama Canal is about to double in size, and the implications are just beginning to dawn on the small but crucial country. This documentary lingers over the waterway, the country, and the changing world, breathtaking and slow as a passage from sea to sea.

Were you tempted to make the film a photographic essay without much spoken commentary?

I feel the film is broken into three parts: one, as cinematic portraiture; two, as character study; and three, as an academic round-table platform. I felt that, without any of these elements, the film would ultimately be leaving out the critical voices to an important subject and would, in the end, be discredited. After my first trip down to Panama, when a lot of the portraitures were done, I felt I owed too much to the people I met along the way to not have their stories be a crucial part of the film.

What were some hurdles to making the film?

There were a lot of very colorful hostels stayed at, near-death robberies that we found ourselves the subject of, and being an international film, countless bureaucratic holdups and red tape. One of my more memorable experiences was, of course, the dengue fever. My assistant director and I were both hospitalized, and told that if we got the same strand of dengue again, we could die.

What prompted you to explore this issue as a documentary?

In 2003, Deborah Willis approached me about making a film interpretation of her groundbreaking book, Reflections in Black: Black Photographers from 1840 to the Present.

And for over 20 years, I have been mining my family and extended family archives in my films, so I was eager to delve into this project. What I did not know was this project would take me on a personal journey to understand why it was so important for black photographers, both professional and vernacular, to make photographs — that it was a form of activism and a strategy for survival in America.

Why did civil rights leaders find photography important?

They knew that the battle of civil rights was a battle for representation, not only in terms of one person one vote but also the ability to control one’s image in popular culture.

They knew that if a minority is represented or portrayed as other than human, it justifies inhumane treatment by the majority, e.g. slavery in the 19th century and incarceration in the 20th and 21st centuries. Their efforts continue to inspire the next generation.

How would you gauge the image of African Americans today?

There has been some change in the way African Americans are perceived outside of the celebrities and superstars. But unfortunately not much. Many African American males are commonly perceived and portrayed as criminals, thugs, problems. Unfortunately, the repetition of these images has caused many African Americans themselves to internalize this as truth. It is my hope that when people screen our film they will begin to think about shooting another with a camera as opposed to a gun.

—Matt Kettmann WED 2/5–1PM­­­ & SAT 2/8–1PM, SB MUSEUM OF ART

Do you have much hope that things will improve in Panama after the new canal opens?

To me, life can feel like a dream a lot of times. We have moments where we “wake up,” when we blow out birthday candles every couple of years, and say to ourselves, wow, time really doesn’t wait for me. I feel globalization works in the same kind of way. It won’t wait for you. It’s moving full steam ahead, and while the benefits of development can’t be argued with, in some ways its process and the speed at which it moves can be reckless.

—D.J. Palladino

west coast premiere

FRI 1/31–4PM, SB MUSEUM OF ART­­­ & SAT 2/1–8AM, METRO 4

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SOCIAL JUSTICE DOCUMENTARY SHORTS SUN 2/2–1PM­­­ & MON 2/3–4PM, SB MUSEUM OF ART

Life on the Line Sally Rubin world premiere

Why did you decide to reveal the internal part of this incident on film?

What drew me to this story was the paradox of fire. I was fascinated that the act of self-immolation could say so much in terms of the experience of being gay in the context of spirituality.

Symbolically, it was at once a coming out, a communion with God, an expression of passion and rage, a self-extinguishing, and a beacon of hope. The expression “flaming fag” is a curious and cynical reminder of this ambiguity.

Has Italian culture changed in the 15 years since this incident? Is it more accepting of gays now?

Italian culture has changed significantly in the past 15 years and, in other ways, not at all. Had Alfredo’s “fire” happened today, it would have been more difficult to quell the flames, so to speak.

W

hile the divisive issue of immigration gets batted about by politicians and ideologues from 10,000 feet high, millions are left dealing with the resulting policies on the ground. As this short doc shows, no one feels that more than the transfronterizos, those who live, work, and learn on different sides of the U.S.Mexican border every day.

How did you get involved in telling this story?

As educators and filmmakers who live in predominantly Latino neighborhoods, we were interested in the stories of people who live right on the border — the line that divides one country and culture from another. In any population, it is often the teenagers who most vividly express the complexities and issues therein, so we searched specifically for youth who were growing up on the border, curious about how such an experience might affect the development of one’s identity. This led us to border schools and, shortly, to the film’s protagonist, Kimberly Torrez.

Does Afredo remain an icon for gays in Italy and beyond?

No. Even though it was Alfredo’s action that prompted the firstever protest against a Pope by the Italian gay community, as well as the catalyst for the first World Pride event (in Rome), Alfredo has essentially been forgotten. Some Italian gay leaders believe that his self-immolation was the spark of the “Italian Stonewall”, but this is disputed by others. His action is likely destined to become a footnote in Italian LGBT history.

Not Anymore: A Story of Revolution Matthew Van Dyke

Is there an estimate on how many “transfronterizos” there are?

We have had a difficult time finding any reliable number. All estimates are somewhere in the thousands. Just how many is difficult to say, because this is a “hidden, silent population.”

Was it hard to get the family to open up?

Of all of our subjects, only Vanessa, Kimberly’s mother, found it difficult to open up. Vanessa lived undocumented in the United States for 15 years and, used to a “hidden” and silent life, was wary of sharing too much about her story.

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atthew Van Dyke made headlines when he was captured in Libya during the Arab Spring, freed when others claimed he was a journalist, and then quickly went back to freedom fighting for the cause. In this short documentary, he picks up a camera instead of a gun to give a human face to the Syrian revolution.

Alfredo’s Fire Andy Abrahams Wilson

How did you find the two subjects of your film?

Mowya’s unit was guarding the building I was staying in, and we became friends and occasionally roommates. Nour was initially helping me with the film as a fixer (taking me places and translating for me), but I soon realized that she was a star and began to film her. world premiere

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hen gay Sicilian writer Alfredo Ormando set himself ablaze outside of the Vatican in Rome, he put the issue of how Italy and the Catholic Church treat homosexuals onto the world’s stage. This film shows that, while many used him as a simple symbol to further their own causes or beliefs, Alfredo’s struggles were much more complicated.

Do you now consider yourself a journalist?

I am still a revolutionary and freedom fighter. This film is part of the war, but strategically using other means than a gun.

The Syrian Revolution desperately needs the support of the international community, from both governments and private donors. I made this film to help change public opinion around the world and increase international support for the revolution.

—Matt Kettmann

For film festival coverage and schedule changes, visit independent.com/SBIFF

THE FUND FOR SANTA BARBARA is a nonprofi t community foundation that supports organizations working for social, economic, environmental, and political change in Santa Barbara County. The Fund raises money through donations of all sizes in order to provide grants, training, and advising to local grassroots efforts. The Fund supports community-based projects employing a variety of strategies including community organizing, education, direct action, issue advocacy, and the arts. For thirty-four years, the Fund has been at the forefront of responsive and progressive philanthropy in our community, distributing over $ 5 million to more than 900 grassroots projects.

THE FUND FOR SANTA BARBARA 26 West Anapamu Street, Santa Barbara, CA 93101 120 East Jones Street, Suite 120, Santa maria, CA 93454 Tel: (805) 962-9164 • FAx: (805) 965-0217 Website: www.fundforsantabarbara.org Board of Directors Geoff Slaff, President Kate Adams • Ignacio Alarcón • Ralph Armbruster-Sandoval • Jo Ann Bell Sheila Davidson • Anna DiStefano • Cheryl Hermann • Tania Israel Vijaya Jammalamadaka • Margaret Lazarus • Kara Powis • Ted Rhodes Mahil Senathirajah • Craig Wood Grant-making Committee Erika Lindemann, Co-Chair • Wendy Sims-Moten, Co-Chair Kate Adams • Neel Anantani • Jeremy Bloom • Vijaya Jammalamadaka • Gloria Liggett Dondra Lopez • Joann Marmolejo • Joel Marshall • Eddie Mendoza • Jade Moreno Nayra Pacheco • Elsa Velasco • Renner Wunderlich Honorary Board Nancy Alexander, Founder Susan Bower • Carnzu Clark • Sevren Coon • Nancy Franco Susan Jørgensen • Don Olson • David Peri • Susan Rose Katy Peake (in Memoriam) • Selma Rubin (in Memoriam) Naomi Schwartz (in Memoriam) • Sarah Shoresman (in Memoriam) Herman Warsh (in Memoriam) Staff Geoff Green, Executive Director • Nancy Weiss, Associate Director Cristina González, Regional Program Manager Gary Clark, Technical Assistance Program Manager Elena Richardson, Grants Program Manager Javier Moreno, Administrative Coordinator Interns: Kayla Picciuto, Katie Rendon, Stanley Tzankov, Ryunhee Kim

pAST SOCiAL JUSTiCE AWARD RECipiEnTS 2000 – Good Kurds Bad Kurds, Directed by Kevin McKiernan 2001 – Botín de Guerra (Spoils of War), Directed by David Blaustein 2002 – The Making of the Revolution, Directed by Katarina Rejger & Eric van den Broek 2003 – Sadaa E Zan (Voices of Women), Directed by Renée Bergan 2004 – Home of the Brave, Directed by Paola di Florio 2005 – Homeland: Four Portraits of Native Action, Directed by Roberta Grossman 2006 – Sisters in Law, Directed by Kim Longinotto 2007 – Crude Impact, Directed by James Wood • The Ground Truth, Directed by Patricia Foulkrod 2008 – Después de la Neblina (When Clouds Clear), Directed by Anne Slick & Danielle Bernstein 2009 – Yes, Madam Sir, Directed by Megan Doneman 2010 – Enemies of the People, Directed by Rob Lemkin & Thet Sambath 2011 – When I Rise, Directed by Mat Hames • Nostalgia de la Luz, Directed by Patricio Guzmán 2012 – Dirty Energy, Directed by Bryan Hopkins 2013 – Revolution, Directed by Rob Stewart