Tag: filmmaking

The 10 Most Powerful Documentaries of 2017

Posted on by robbie

To say the year in politics has been a whirlwind would be an understatement. Expensive natural disasters ravaged great swaths of the country, immigration and tax reform provoked wicked political attacks from both the right and the left, and stark revelations from women exposed a culture of sexual assault that touches almost every industry. And that’s just been the last four months.
In film, though, it was a year of fantastic documentaries that moved, inspired and challenged us. Here, our top perspective-changing films of 2017.

“Chasing Coral”

Years of overfishing and boating have caused coral reefs around the world to vanish, as they transform from once-vibrant homes for a diverse array of wildlife to colorless rock devoid of life. “Chasing Coral” follows a team of scientists, photographers and divers as they try to answer the question: Why are the world’s coral reefs are disappearing, and what we can do about slowing their untimely death?

“The Death and Life of Marsha P. Johnson”

The rise of the LGBTQ movement is often talked about through the lens of gays and lesbians, but very little ink has been given to how the drag and transgender communities played an equally significant role. One of the most prominent names in the fight for equality was Marsha P. Johnson, a transwoman and activist who was well known in New York City’s gay scene for decades, beginning with her role in the Stonewall Inn riots of 1969. But her mysterious death in 1992 has been debated for years. Was it an inside job by the mob? The NYPD? Or was it all just a tragic accident?

“Heroin(e)”

In Huntington, W. Va., the opioid epidemic is killing people at a rapid pace. The small city’s fire department fields dozens of calls a day relating to overdoses, but it has few resources to help everyone who needs it. This short documentary follows three local women as they battle the crisis in the city known as the “overdose capital of America”: the fire chief who dispenses life-saving drugs, the church leader who helps get women off the streets, and the judge who keeps addicts out of jail and with their families.

“I Am Evidence”

Mariska Hargitay, best known for her role as Detective Olivia Benson on “Law & Order: SVU,” has been one of the most vocal activists for getting rape kits tested and prosecutions made across the nation. Her film, “I Am Evidence,” explores the widespread problem of untested, backlogged rape kits, and the thousands of women each year who don’t get to see justice because of it.

“I Am Not Your Negro”

This Rotten Tomatoes certified-fresh movie is wholly inspired by the unfinished work of writer and social critic James Baldwin, an openly gay black man and civil rights activist famously known for his debate in Cambridge against William F. Buckley in 1965. The movie, narrated by Samuel L. Jackson, is an intensely sobering look at race in America, and how far we haven’t come in mending racial wounds.

“Nobody Speak”

We all had our love/hate relationship with Gawker, the now-defunct website known for its dogged, and sometimes unapologetic, journalism covering (and skewering) anything celebrity- and media-related. But the company’s brash take on free speech was challenged in a lawsuit brought by Terry Gene Bollea, aka Hulk Hogan, after Gawker published a sex tape starring the former wrestler. The court case was a mix of jaw-dropping legal tap-dancing and dark money that traced back to Peter Thiel, one of President Trump’s earliest endorsers in Silicon Valley that had some major beef of his own with the website.

“Quest”

Filmed over the course of 10 years, “Quest” looks at the life of one family in North Philadelphia and juxtaposes the question of what it means to be a typical American family when gun violence and danger lurk everywhere in the neighborhood you call home.

“Rat Film”

Like it or not, rats are very similar to humans. Beyond genetics, we are just as filthy and opportunistic as the rodents that ravage our cities. In Baltimore, there’s not just a rat problem, “there’s a people problem,” as one of the film’s subjects points out. The documentary examines the rodent infestation in one small area of Baltimore — a city plagued by poverty and high crime rates — and how the issue speaks more to the divide in quality of life between white and black communities than adequate pest control.

“Strong Island”

In 1992, Yance Ford’s brother, William Ford Jr., was shot and killed in New York. Ford Jr. was black, the shooter white, and the jury refused to indict. Decades later, Ford has channeled his frustrations into a true crime documentary that questions the investigation into whether his brother’s death was a murder or an act of self defense.

“The Work”

Imagine being put into a prison for four days with hardened criminals. What would you learn about them? About yourself? “The Work” profiles three men from the outside who join a days-long group therapy event at California’s Folsom State Prison. The men get an inside glimpse into what it really means to be incarcerated in America, and the challenges inherent with rehabilitating oneself.

 

5 Virtual Reality Projects That Will Change How You View the World

Posted on by robbie

In 1915, two decades after the first commercial film premiered, American audiences packed cinemas to see “The Birth of a Nation,” a three-hour, silent epic directed by D.W. Griffith. The story of racial tensions during Reconstruction demonized intermarriage and championed the Ku Klux Klan as guardians of white women’s chastity. The nation’s first blockbuster, the movie gained popularity for reflecting contemporary fears of racial inclusivity; it possibly even exacerbated prejudices.

If one of the first major experiments in the new medium of film ended up with such a retrograde product, what should we expect from this century’s emerging medium, virtual reality? By immersing viewers in another world, as opposed to the passive experience of watching a movie, virtual reality’s storytelling has the potential to change our moral point of view. If Griffith’s century-old film mythologized men in white sheets, could VR help us see beyond our skin color?

That, essentially, is the goal. But as with most mediums, especially one that removes us from our surroundings, there’s always the danger of escapism in to fantasy. NationSwell examined five recent works (sometimes called “sims” or “experiences”) to see if filmmakers have found a new way to generate empathy.

A still from Nonny de la Peña’s “Project Syria Demo,” a VR sim about the life of refugees.

1. Embracing Our Differences

Nonny de la Peña is sometimes referred to as the “godmother of virtual reality.” At Emblematic Group, the VR company she founded a decade ago in Santa Monica, Calif., de la Peña brought the genre of “immersive journalism” (often pairing real sound with low-budget digital animations) to the mainstream with her short project “Hunger in Los Angeles,” which recreated the experience of waiting on line at a Skid Row food bank. Later films took viewers to a Syrian refugee camp and the Mexican border. This year, at the Sundance Film Festival, she debuted her most recent, “Out of Exile: Daniel’s Story,” about an LGBT youth coming out to his disapproving family. De la Peña, a former Newsweek correspondent, believes that VR can make viewers feel in a way no other artistic medium can. “If you feel like you’re there, then you feel like it could happen to you, too,” she recently told Los Angeles Magazine.

The “Perspective” series includes a story about sexual assault at a college party.

2. Adopting Another Perspective

For the last two years, Specular Theory’s “Perspective” series, which premiered at Sundance in 2015, has been showing how social cues can be misinterpreted very quickly. Playing two sides back-to-back, the narratives by Rose Troche and Morris May show varying perspectives on a crime. In the first chapter, “The Party,” about sexual assault, a man and woman meet at an alcohol-soaked college kegger. Gina, the girl, passes out, too intoxicated; Brian, the boy, has sex with her anyway. This year, “The Misdemeanor” doubled the number of perspectives around a fictional officer-involved shooting in Brooklyn to four: a teenager who’s shot, his brother and two cops. “Who will approach the piece and only watch one thing and think that they have the story?” Troche said to Wired. “That’s pretty much what we have in real life. The piece demonstrates the fact that just because you’re there, doesn’t mean you see everything. Through the four strings, you get to see the full picture.”

Director Janicza Bravo was inspired from events in her own life when making “Hard World For Small Things.”

3. Contemplating the Bigger Picture

The Wevr-produced film “Hard World for Small Things,” which premiered at the Tribeca Film Festival in 2016, likewise tackles police brutality. In the five-minute story, director Janicza Bravo, a black woman, retells a deeply personal story from her own life. In 1999, while on vacation from her native Panama, a cousin had been killed in Brooklyn while holding a bag of coke. After looking up the event, all Bravo could find were short write-ups in local newspapers. Bravo’s film goes beyond that brevity to capture a whole life, leading up to its final moments. “What if their lives were more than a couple of paragraphs; what if it was their friends, where they were going, what they had read, what they had desired, etc. I wanted to make a short piece that was emotionally longer than a paragraph, and that you got a slice of his life before he died. So when he died, it’s not about the event and what he did to have died; it becomes about who he was, his humor, his laugh,” Bravo has said. For her new sim, she transposed the story to a mini-mart in South Los Angeles, where police mistake someone’s identity and fire at him with questionable cause.

A Stanford University VR project puts a chainsaw in the hands of the viewer.

4. Respecting Animals and Nature

Stanford’s Virtual Human Interaction Lab is bringing the rigors of academia to VR. At the university’s campus in Palo Alto, Calif., professor Jeremy Bailenson, the lab’s director, tests whether virtual reality can improve all life by making viewers more empathetic, more aware of the need for environmental conservation and more communicative. Essentially, he wonders, can visualizing the effects of our behavior change our actions? In one sim, a headset-equipped viewer grabs a chainsaw and cuts down a tree in a forest. In another film, after a person gets down on all fours and straps on the VR goggles, they become a cow grazing in a pasture before being driven to a slaughterhouse. It might just be enough for you to think twice about loading paper into a printer or ordering beef for dinner.

“It Can Wait” shows the dangers of texting while driving.

5. Putting Personal Responsibility in the Driver’s Seat

Even the lowly PSA is going virtual, too. Reel FX and AT&T’s recent commercial simulates the consequences of distracted driving. In “It Can Wait,” a person places her hand on a wheel before the simulation starts. She motors around a neighborhood while texting, barely avoiding bikers, swerving cars and schoolchildren in the crosswalk. As you can guess, the experience ends in tragedy. “Although people admit that such behavior is terrible and that they do it, they don’t necessarily see themselves as part of the problem. What people are doing is rationalizing that there is a safe way to do it,” Michelle Kuckelman, executive director of brand management at AT&T, told USA Today. By experiencing the film, participants get to see the danger from afar, while still catching a glimpse of disaster up close.

Continue reading “5 Virtual Reality Projects That Will Change How You View the World”

This Filmmaker Uses Her Lens to Put the Focus on Social Issues

Posted on by robbie

In the 2001 documentary film “LaLee’s Kin: The Legacy of Cotton,” Laura Lee, a 62-year-old woman in the impoverished Mississippi Delta, struggles to take care of her 10 children, 38 grandchildren and 15 great-grandchildren. We catch a glimpse of how the education system and the criminal justice system have both failed the family, a century and a half after slavery was abolished. Yet the movie stays grounded in one woman’s experience, providing a human view of large institutions. NationSwell Council member Xan Parker, who was an associate producer on the Academy Award–nominated film and has also helped spotlight the problem of hunger in America as a consulting producer on 2012’s “A Place at the Table,” spoke with us about unearthing the stories that resonate with viewers long after the credits roll.
How did you get interested in filmmaking?
I grew up without a television, but my parents took my sisters and me out to see a lot of independent films and documentaries. If there was something good playing in New York, my mother would sometimes drive us up from our home in Baltimore for the day. In college, I was introduced to cinema verité by an experimental filmmaker who taught contemporary art history. The films that really piqued my interest were the Maysles’s films: “Salesman,” “Gimme Shelter,”  “Grey Gardens,” the films about [environmental artists] Christo and his wife, Jeanne-Claude. I quickly realized that, although I was an English major, storytelling in film was a more natural fit for me than writing.
What attracted you to documentaries specifically?
All cinema is like magic to me. You’re transported and taken on a journey. You feel really close to characters that you never would have met in normal life. I remember seeing “Brother’s Keeper” in a movie theater in Baltimore right after I graduated from college and thinking, “How did they do that?” It seemed impossible what the directors, Joe Berlinger and Bruce Sinofsky, were doing — this idea that you could take real life and present it as a feature narrative film, that it would function in scenes, cut back and forth for reaction shots, and pass over so much time. But the world does not function like it does in a film. That amazed me and intrigued me. Driven by my curiosity and my empathy, I let those guide me.
Where did you learn your approach to filmmaking?
When I came to New York City after college, I headed for the Maysles Films studio on West 54th Street, like so many aspiring documentary filmmakers before me had done. That was my film school, really. The filmmakers who were there in the 1990s taught me most of what I know. That’s when the richness and immediacy of film really captivated me, with its ability to deliver the most authentic, immediate experience of the human condition.
The Maysles were famous for their fly-on-the-wall method. I’ve heard their approach described as getting to know one’s neighbors. How would you define it?
I love getting to know people and getting to experience a bit of their lives. Albert Maysles told me that he and his brother David just wanted to show the dignity of the working man when they made “Salesman,” a seminal film in direct cinema. They really looked up to their father, who had been a postman, and they wanted to show how his life and his work had dignity. Even the vocation that some people might cast aspersions on — that ironic career of selling the Bible —included people whose lives deserve consideration. And that has always stayed in my mind when I am filming people: “This person has dignity. This person is entrusting me and my crew with that. And we are going to do right by them.”
[ph]
What has your production work taught you about what defines leadership?
I believe strongly that filmmaking is a team sport. I learned from my mentor, the director Susan Froemke, to listen to everyone around you, to hear what they have to say about the story. The more you do that — and the more everyone on the team feels responsible for the final film — the stronger it’s going to be.
Journalists are sometimes accused of fitting stories into a preconceived notion. How do you avoid that as a documentarian?
You want to tell the truth, of course. You don’t want people to lie to you. But documentary is different from journalism. In a documentary film, the truth you are telling can be the fact of someone’s emotional state, or the truth of someone’s character. You are chronicling both what happened and what it felt like. I’m less interested in making documentaries that feel like lectures, that try to teach you too much. I want to follow a journey that’s happening or get to know the characters in front of me.
How do you choose what stories to tell? In other words, what narrative qualities do you like to see before you sign on to a project?
A compelling, inviting, magnetic character is the heart of every good documentary. If you have someone who speaks with a bit of poetry, you’re in good hands. And I learned a long time ago from the Maysles brothers’ filmmaking team that you are indeed in someone else’s hands when you are making a verité documentary.
As for subjects, I do have a certain attraction to stories about work — what people do, why they do it, what its greater meaning is. Producing Ivy Meeropol’s nonfiction series “The Hill” was a chance to give audiences a peek into the under-the-radar, but very high stakes, work of the passionate young legislative aides on Capitol Hill.
Tough one: What are your favorite movies?
The documentaries I love are the ones that got into my soul: “Chronicle of a Summer,” “Gimme Shelter,” “Salesman,” “Hoop Dreams,” “Grizzly Man,” “Manda Bala,” “Harlan County, USA,” “Brother’s Keeper,” “Two Towns of Jasper,” “Fog of War,” “Bowling for Columbine.” Every single one of them has some indelible moment that will never leave me. If I can pick one I worked on: “LaLee’s Kin.” And right now two films that I am thinking about a lot are Kirsten Johnson’s touching and personal “Cameraperson,” as well as the incredibly timely “13th” by Ava DuVernay.
How do you create those indelible moments?
Trust in providence. It’s something that comes and goes, but when making a film, life provides. David Maysles said frequently, “Don’t worry if you didn’t catch that key moment on camera. Just wait and it will happen again. Or something like it will.” It’s the incredible thing about documentary film: You never get writer’s block.
What are you most proud of having accomplished?
There are so many points of manipulation in film. You choose the story you want to tell, then you “cast” by choosing who’s going to be at the heart of that story. You choose when you’re going to film them and what questions you’re going to ask, then you choose what footage you’re going to use and evoke a mood through editing, music or graphics. Hands down, the greatest moment in making a film is when you show it to the subject and they say, “That’s it. You got it. You got everything right.”

The Art of Using Film to Transform the Lives of Formerly-Incarcerated Youth

Posted on by robbie

Comics, with their rowdy action boxed within firm, familiar lines and violence reduced to harmless bams, thwacks and kapows, give Mario Rivera the ability to escape from reality. “When you’re reading the comic book, you’re no longer thinking about your problems,” says Rivera, a 24-year-old New Yorker who served time in prison for a violent crime he committed at age 15. The same goes for Rivera’s younger brother Shawn King, 21, who lived in 37 foster homes between the ages of 7 and 18 and was jailed for a few months earlier this year. Comics gave him a “way of keeping in touch with my brother and my dad…[a feeling] like they were there next to me,” he says.
The two brothers — lanky guys with the same curly, orangish hair and dozens of tattoos between them — barely saw each other during their formative years, but they recently reunited at the Community Producers program at New York City’s Maysles Documentary Center (MDC) and discovered their shared interest in not only comics, but filmmaking as well. At MDC, the siblings, along with two dozen court-involved youth, created documentary shorts about their lives. After six months of production (all at no cost to participants), the films capture day-to-day life of someone who came into contact with the law and compel audience members to change the way they view these adolescents: not as convicts, but as creatives.
[ph]
“If you hear from a young person who’s been incarcerated and listen to his story, you’ll leave different somehow, based on what you learned,” says Christine Peng, MDC’s education director who founded and oversees Community Producers. “Serving the communities and neighborhoods of the tri-state region is important to NBC 4 New York and Telemundo 47,” says John Durso, Jr., vice president of community and communications for NBC 4 New York and Telemundo 47.  “Maysles Documentary Center provides an important service to the community in which it’s located and through 21st Century Solutions, our stations work together to support new programs and initiatives, generating positive change within our region.
APPLY: Maysles Documentary Center is an NBCUniversal Foundation 21st Century Solutions grant winner. Apply to the 2016 program today.
MDC founder Albert Maysles and his brother, David, were revered documentarians known for “direct cinema,” an approach where the cameraman simply observes without intrusion and edits the clips together without narration. By letting characters in films such as “Grey Gardens” and “Salesman” speak for themselves, the brothers (now both deceased) believed, “you really get to know the world, not the philosophy or point-of-view of the narrator.” Albert’s creed was that “you can listen to someone else’s story and truly hear them out, without jumping to assumptions,” Peng explains.
Similarly, Community Producers gives participants (all racial minorities with a criminal history) the opportunity to share their real-life experiences of growing up — a chance many haven’t been afforded by the social service bureaucracy or criminal justice system. After just a few minutes onscreen, the filmmakers break through misconceptions and reveal their vulnerabilities to moviegoers. For instance, a viewer will discover that the roughly 46 tattoos crowding King and Rivera’s arms aren’t the typical jailhouse variety: they’re actually Pokémon and X-Men cartoons.
The process of breaking down stereotypes starts with the filmmakers themselves, as the adolescent New Yorkers, ever protective of their own turf and judgmental about other neighborhoods, had to learn to trust their peers at MDC. When the program first began in March, King was silent, and Rivera would only pipe up if spoken to one-on-one. They didn’t discuss life at home. “Is this a safe space for me? Are these people going to judge me?” Peng says the kids wondered. “Part of what eventually built that trust was either realizing you were totally wrong about somebody or realizing that you shared a lot in common, as people who lost parents or siblings or who had traumatic experiences growing up.”
Emulating the Maysles brothers by working in a pair, Rivera and King kept the cameras rolling nonstop, finding details from their lives that would resonate with an audience. As they debated artistic vision, their collaboration forced them to learn more about each other. While the brothers describe the experience as “fun,” Peng says she witnessed them learn “to be accountable to each other, emotionally and physically.” Often, the siblings pointed the lens toward their own family members, including a sister with whom they’d lost contact, and sometimes themselves. “The process of making the film gave them an excuse to be around people,” she noticed. “They could be involved and also be a little outside,” retreating behind the viewfinder. One afternoon, on MDC’s rooftop, Rivera and King asked each other about their relationship with their dad, the first time they’d ever discussed him together.
[ph]
When NationSwell visited MDC in late June, King had been temporarily kicked out of the MDC space. Despite his brother’s absence, Rivera said he planned to finish the film, even if he was doing it alone. “I’ve already started it, and I’m not the type who’s into starting something and not finishing it,” he told his peers after previewing a two-minute rough cut. King returned after a brief hiatus, and together, the siblings put together “Back to Reality,” a film that shows the their tangible love for each other and, as Rivera puts it, their “daily escapades.” The short movie also tackles weightier issues: learning how to parent while coping with their mother’s recent death and grappling with the lifelong appreciation of comic books their dad instilled in them even though they now hate the man for skipping out on their childhood.
Unlike most arts programs that tout the cathartic value of transforming one’s life into art, the Maysles Documentary Center Community Producers program impacts youth through alternative means. King and Rivera received something that had largely been missing from their childhood: a new way to connect with their family members and each other. With a camera in hand, they could rekindle any relationship and ask questions that previously might have been awkward. After filming her, King and Rivera’s sister arrived at the showcase to watch their finished movie. Sitting together in the back row of MDC’s theater, the siblings once again looked like a family. After years of separation, spent reading comic books alone, this reunion looked better than any caped crusader’s rescue.
Maysles Documentary Center is a recipient of last year’s 21st Century Solutions grant powered by the NBCUniversal Foundation, in partnership with the NBCUniversal Owned Television Stations. The grant celebrates nonprofits that are embracing innovative solutions to advance community-based programs in the areas of civic engagement, education, environment, jobs and economic empowerment, media, and technology for good. Apply here for a chance to be one of the 2016 winners!