The ends of the world - WORLDS END and THIS IS THE END

WORLD'S END
Obnoxious addict Simon Pegg decides  his life is unfulfilled and decides to finish a pub crawl that he tried to do with his buddies back when they got out of school but failed to do. Rounding up the reluctant group of middle aged blokes they head off to relive old days and run smack dab into the middle of an alien invasion.

Good alien invasion tale is hampered by and absolute dick lead character. Simon Pegg's lead is not someone I would want to spend any time with and as a result I couldn't understand why any of his old friends went along with his stupid idea. Yea things pick up after the invasion is discovered but Pegg is still a dick and I had a hard time caring.

Also realized I really don't like Edgar Wright films, never liking one of the films he's directed, so what the hell do I know.

THIS IS THE END
All of Hollywood goes to James Franco's house on the night of the rapture. As all the non-stars are lifted up the remaining actors try to survive as pits to hell open up and demons attack.

Incredibly low brow humor mixes with even baser jokes in a film that was amusing in fits and starts, mostly owing to the cameos of stars going against their perceived personas. I lost interest rather fast as the endless jokes about weed and gay sex simply felt like a broken record. Yea some of it is funny but frankly this is a 20 minute short film stretched to 100 minutes for no good reason.

Riklis’s Spider in the Web

For years, Israel has tried to alert the world to the threat Syria poses to human rights and regional stability. They ought to know, since they have been attacked by Syria in numerous wars (the Arab-Israeli, Six-Day, Yom Kippur, War of Attrition, etc.). However, the world only started to protest when the Assad regime employed chemical weapons against its own people. We were warned—and Adereth, a veteran Israeli spy did a lot of the warning. He hopes to expose a Euro chemical company’s links to the terrorist-sponsoring nation in Eran Riklis’s English language production Spider in the Web, which opens today in Los Angeles.

Admittedly, Adereth is not the best representative of Syria hawks. For years, he has been “sexing up” the meager intel supplied by a formerly high-ranking Syria defector, to justify the continuing stream of payments to him and also to protect his own position. Just as the Mossad launches an internal investigation into his handling of Nader Khadir, his old friend passes along something urgent and actionable: details on the Virobe company’s dealings with the Syrian government.

Facing the likely prospect of prosecution, Adereth scrambles to mount an operation to obtain proof against Virobe. He going under cover as an environmental activist, he seduces Angela Caroni, an executive who might also have a social conscience. Daniel, the son of his late partner will serve as his back-up, but he is also there to keep Adereth in line and make sure he eventually faces the music, if he survives.

In terms of tone, Web is somewhat similar to Fred Schepsi’s The Russia House, in which smoldering seduction and elegiac catharsis trumped the espionage business. Sir Ben Kingsley romancing Monica Bellucci also parallels the Sean Connery-Michelle Pfeiffer sexual dynamic, but in this case, there are probably fewer years separating the lovers.

In fact, it is rather refreshing to see a complex relationship between mature adult lovers on screen, even if it is all undercover play-acting—or is it? Regardless, Kingsley and Bellucci generate a great deal of heat together, but the tension and rapport he shares with Daniel is even more compelling. As Daniel, Itay Tiran is quite the quiet cat, but he expresses a lot. Plus, Itzik Cohen adds some grit and color as the pear-shaped but hard-nosed Mossad boss, Samuel. It is a good thing the inter-personal stuff works so well, because screenwriters Gidon Maron & Emmanuel Naccache’s actual espionage plotting is frustratingly elliptical and excessively complicated.

Nevertheless, it is a treat to watch a somewhat unlikely pairing of two charismatic professionals, like Kingsley and Bellucci. Despite the somewhat le Carré-esque tone, the film also delivers a timely warning regarding Syria’s support for terrorism and its dismal human rights record. It is not quite as stylish and suspenseful as Riklis’s own Shelter, but it is still a solid international thriller. Recommended for fans of spy movies and the prestigious co-leads, Spider in the Web opens today (8/30) in LA, at the Laemmle Music Hall.

Blood on Satan's Claw (1971)

Legendary 1970's horror film was one that all the kids I knew wanted to see in the theater whenever it was rereleased because the TV version was obviously cut. Of course our parents wouldn't take us because the film was rated R but we would dream of the nastiness in the uncut version.

By the time I saw the full uncut film it was several decades since I saw it cut up on local TV on a Saturday afternoon. I was far enough on that I don't really remember what the differences were  or what I was expecting. I think it was more blood and more breasts, probably more scares.

The plot has a farmer plowing a field and unearthing the remains of one some creature. (I always remember the eye). Soon after that people begin to grow strange claws and the children begin to turn evil as if under a demonic force.

One of the spate of witch films that filled the early part of the 1970's (Witchfinder General, the Mark of the Devil films) BLOOD ON SATAN'S CLAW is one of the better of the bunch. More interested in plot than shocks and torture (like Mark of the Devil), the film has a nice oppressive feel about it. We really don't know what is going on and it disturbs us. What we do know is just as bothersome. While I don't think that there are any big scares there is lots of suspense as we wait to see how it will all play out. (And it helps that this was the 70's so things weren't necessarily going to end happy.)

While I know my reaction to the film as a ten year old is different than my being an ancient adult I still find it to me a solid piece of supernatural storytelling. I like the film, though probably not quite as much as I did when I was certain the uncut version was going to contain some unimagined scares. Is it the be all and end all? No, but it is enjoyable and recommended.

Points North Institute announces 2019 Forum and Artist Programs at Camden International Film Festival

August 29, 2019 [Camden, Maine] – The Points North Institute has announced the lineup for its 11th annual Points North Forum, which runs concurrent with the 15th edition of the Camden International Film Festival (CIFF), September 13 - 15, at the historic Camden Opera House in Camden, Maine. PNI has also today revealed the 57 documentary filmmakers selected for its 2019 Artist Programs.

In addition to a full slate of masterclasses and panels on the creative processes and practices of nonfiction filmmaking, this year’s Points North Forum will advance industry-wide conversations about Story & Power-- asking critical questions about how the documentary film and media community reflects existing power structures, including questions of racial equity, access, funding, and which stories are being told, how, for whom, and by whom.

Points North is in a unique position to create a place of convergence for both industry gatekeepers and emerging storytellers, working together to challenge dominant perspectives, propose new vocabularies, aesthetics, and methods for documentary making.

The Forum’s 2019 centerpiece is a series of conversations and panels that explore how stakeholders in the nonfiction community - filmmakers, critics, gatekeepers, and even audiences - can take an active role in building and enjoying a more equitable, inclusive and creative documentary field.

For festival attendees interested in exploring the craft of documentary storytelling, the Forum program will feature two masterclasses with the directors of two of this year’s most critically acclaimed documentaries. Todd Douglas Miller will reveal the creative process behind his all-archival box office hit, APOLLO 11, and Julia Reichert and Steven Bognar will tell the story behind the making of AMERICAN FACTORY, including the deep community relationships they built that made the film possible.

An annual highlight of the Forum program is the standing room only Points North Pitch at Camden Opera House, where 6 filmmaking teams selected for the Points North Fellowship present their documentary features in development to panel of funders and distributors. Audience members will have the opportunity to support each of these films through a live crowdfunding campaign. Two alumni of the Fellowship and Pitch -- MIDNIGHT TRAVELER and MIDNIGHT FAMILY -- will be returning to screen at the festival after receiving support from funders they met through the program.

Points North Institute’s Artist Programs are designed to connect filmmakers with mentors, funders, and potential collaborators, using the Camden International Film Festival as a platform to build a community of support, nurture the careers of diverse nonfiction storytellers, and help them develop a stronger artistic voice.

These programs will bring four cohorts of early-career filmmakers to Maine for a full week of private creative and professional development workshops prior to the festival. They include the Points North Fellowship, the North Star Fellowship, the Shortform Editing Residency, and the 4th World Indigenous Media Lab Fellows, who are attending CIFF for the first time with support from the MacArthur Foundation.

The North Star Fellowship, in its 3rd year, supports five filmmakers from underrepresented backgrounds with weeklong mentorship and seminars, alongside travel and passes to attend CIFF, allowing them to develop a deeper connection with the documentary and nonfiction storytelling community and meaningfully advance their projects and careers. The program was developed in partnership with Kickstarter. Additional support is provided by Maine Media Workshops + College, which offers tuition scholarship to all 2019 North Star filmmakers.

The 4th edition of the Shortform Editing Residency, made possible by the MAE Private Foundation, convenes four filmmakers with short documentaries in post-production for a week of focused editing, workshops, and industry meetings.

As these fellowships and residencies have grown alongside industry attendance at the festival, Points North has developed a 1:1 Meetings program to provide opportunities for filmmakers to develop industry relationships. Sponsored by WORLD Channel | WGBH, the 1:1 Meetings program will connect 28 attending filmmakers with more than 25 industry decision makers, including representatives from NatGeo, CAA, RYOT, Participant Films, Fork Films, TOPIC, Tribeca Film Institute, the Sundance Institute, Cinereach, Sheffield Doc/Fest, ITVS, POV, Nia Tero Foundation, and more. Filmmakers participating in the 1:1 Meetings program include the 2019 BAVC Mediamaker Fellows and LEF Foundation’s LEF/CIFF Fellows, a group of New England based filmmakers attending with feature documentaries in development.

Sponsors of the Points North Forum and the Points North Institute’s Artist Programs include Showtime Documentary Films, National Endowment for the Arts, The Academy of Motion Picture Arts and Sciences, LEF Foundation, WGBH / WORLD Channel, Kickstarter, RYOT Films, Chicago Media Project, NEON, Cohen Gardner LLP, Modulus Studios, Maine Media Workshops + College, School of Visual Arts MFA Social Documentary Film, Vermont College of Fine Arts and Documentary Educational Resources.
 
Full Forum Schedule and Industry Participants athttps://pointsnorthinstitute.org/artist-programs/points-north-forum/ 

Artist Programs selections at 
https://pointsnorthinstitute.org/artist-programs
_____
 

Points North Forum 2019: Story & Power

 

September 13th - 15th, Camden Opera House (Tucker Room, French Room)

 

FRIDAY, SEPTEMBER 13

Audiences & Power: How to Watch a Doc

Shudder: Belzebuth

Mexico is a very Catholic country, but also one that is plagued with violence. There are plenty of fears and anxieties rattling around their national collective subconscious. However, the shocking crimes Det. Emmanuel Ritter will investigate are far worse than anything committed by the cartels. Things get downright satanic in Emilio Portes’s Belzebuth, which premieres today, exclusively on Shudder.

Ritter’s involvement in this whole evil affair began when his family was the victim of an unspeakable atrocity. He is still haunted by the death of new-born infant son, who was mercilessly bludgeoned by a nurse, along with the rest of the maternity ward. Of course, we can guess she was in fact possessed by a demon, because we are watching Belzebuth on Shudder. Five years later, the bitterly widowed Ritter is called to investigate the mass murder-suicide of an elementary school class. Although it seems open and shut, Ivan Franco, a Vatican-trained FBI pathologist soon finds links between the school massacre and the hospital infanticide, as well as a subsequent case of mass murder at a public swimming pool.

Initially, Ritter scoffs at the supernatural, but he soon sees some freaky things he cannot dismiss. He also starts pursuing Father Vasilio Canetti, an excommunicated priest rumored to conduct black masses. Both his spooky facial tattoos and eye witness accounts placing him at the scene of the crimes a few days prior make the defrocked Father a highly suspicious person-of-interest. However, Ritter and Franco will have to contend with genuinely demonic perils when they discover the true purpose of the horrific crimes.

It is hard to believe Portes was previously known primarily as a director of comedies. Even though his debut, Meet the Head of Juan Perez, had some morbid elements, it is still a world removed from the soul-choking tension of Belzebuth. Frankly, this film is terrifying. The public atrocities it depicts might be too much for some viewers, especially in light of real-life tragedies, but the tone is never exploitative. Instead, it considers issues of good and evil with all due seriousness and urgency.

Father Canetti is also one of the most intriguing and unsettling horror movie characters of the decade. Tobin Bell (best known as Jigsaw in the Saw franchise) will make your blood run cold and your head spin before upending all your assumptions with his unforgettable performance. Frankly, his work as Canetti is a prime example of why there is a need for more prominent horror movie awards.

Joaquin Cosio is almost as memorable portraying Ritter, covering a considerable emotional spectrum, under extreme circumstances. He also develops some solid cop-buddy chemistry with his long-suffering partner Demetrio, nicely played by Jose Sefami. Tate Ellington rounds out the strong ensemble, handling all the investigative and religious business quite convincingly as the virtuous Franco.

It is hard to scoff at the term “Satanic Panic” after watching Belzebuth. It is worth repeating: this is a very scary film. Highly recommended for fans of supernatural horror, Belzebuth starts streaming today (8/29), exclusively on Shudder.

Mark of The Devil 2 (1973)

Legendary and infamous film played off and on in special engagements through the 1970's and 80's.  The promise of a film banned in 19 countries and an endless supply of cruelty made people rush to see it.

The film's story is largely the story of a witch finder (played by Reggie Nalder) tormenting the population of a village more or less for the hell of it. While he claims to be searching for the devil he is really simply tormenting everyone to get his kicks. He collides with a noble family as all the good Christians try to stay out of his way.

More a collection of torments than a straight narrative this is a kind of endurance test. How much can you take before breaking? While much less graphic than you would expect the film, like the TEXAS CHAINSAW MASSACRE works because of the mood it creates. While narratively weak the film still packs punch because of the implications. Something in this film is going to bother you.

As a straight narrative I'm not a huge fan of the film. I understand why it kept getting revived, but I also understand why it has fallen out of the mainstream. On the other hand as a pretty little mood machine I like the film. I like that it provokes a reaction and I like that the film forces us to think about what a witch hunt really is.

Worth a look for those interested in the history of horror and exploitation films.

The Golem (aka Man of Stone) (1936)

In Prague the mad emperor escalates his persecution of the Jewish population, torturing everyone he can in the hope of finding the golem which he fears will be used against him. When the torment becomes too much the golem is released to take revenge and free the innocent.

Great looking historical thriller has been a film I've been trying to see for decades. While I  had seen stills from the film I never had managed to run across the film until recently. It was worth the wait, especially since if I had seen this as a kid I would have been disappointed. More sequel to the source story than any other cinematic version of the tale, this film is more talk than action. The golem, while discussed as being hidden doesn't appear on screen until almost an hour in. It doesn't rampage until almost the end. As a kid this would have killed me as I waited for the creature to show up. Now as an adult I can appreciate the drama more.

Dark, moody and compelling this version of The Golem is a wonderful historical tale. It really isn't the horror film that its billed as, except in the horrors that men do to each other.  It is a beautifully acted film where the cast sells the tale more than they would for a Hollywood version of the tale. While it can be a bit slow as we wait for the destruction, THE GOLEM is still a winner and worth searching out.

Humanoid (1979)

Screamingly funny and twice as awful Star Wars influenced Italian science fiction film about an evil overlord who looks like Darth Vader but with straps across his face who makes a deal with an evil scientist to help him make an army of invincible humanoids, the first of which is a top billed Richard Kiel

Where to begin? Good looking film (the Vader bit aside) is a complete mess as we have a gentle giant, evil scientist, the force stolen ship designs and some of the most hysterical dialog you've ever heard. You'll be talking to the screen pretty much from the get go as logic goes out the window and stupidity reigns.

I kept wishing that the Riff Trax guys were watching it with me or else some friends aren't afraid to be vocal about the messes they watch.

One of the worst films you'll see all year- not recommended unless you need laughs and are watching this with really witty friends who know how to pick on bad movies.

CROSSCURRENT 长江图 comes to DVD and Blu-Ray on 8/30/2019

Cinematic love poem to thethe Yangtze river and to China itself CROSSCURRENT is a film that must be seen and seen on the big screen.

The film follows a sailor traveling up the river from where it spills out to where it begins.  Along the way he continually encounters women (or is it just one woman) all named An Lu who all look the same but are all slightly different.

Yang Chao had been working on the film for ten years before finally completing it. This is a film where it is all image. Very little is said and much of that has a mystical bend to it. The story is driven by the images and by the performances of the actors who manage say volumes more than any of the words could. This is a film where the actors act, not just recite words but actually act, whole bodied to create their characters. Its something that may annoy some people who don't want to have to pay strict attention to what is going on, but for those of us who liked to be drawn into a film by more than words it's a godsend. This is what great acting should be- an entire body performing.

As much as one says a film is the work of a director, here the the work of the cinematographer is just as much an author. Mark Lee Ping-Bing DOP on Wong Kar-wai’s IN THE MOOD FOR LOVE won an award in Berlin for his cinematography for CROSSCURRENT and it would be a hard choice to argue since when the film done it is the images that will hang with you. In Ping-Bing's hands the entire world is a character. We are not just traveling up a river but exploring the hidden psyche of the landscape. We feel it shift and change and become a living person as we travel through and upon it. Rarely has the imagery in a film been so vital to a story. If you had someone else shoot the film, or if you changed any of the images the entire film would be radically different or would collapse completely. I can not imagine  this film looking any other way.

I loved the film, however if you want action and explanation you are going to have a tough time. This is a film that requires the viewer to engage with it 100%. You have to give yourself over to it and let it direct you. You can't be passive rather you have to be active. You literally have to buy a ticket and take the ride up the river. If you can't handle a mystical travelogue stay away. It is a film that is going to be best viewed on the big screen in a theater where you are going have few distractions. I'm not going lie and say it will be rapturous from start to finish, it's not but the weight of the images and the mysticism will, I think move you.

Strongly recommended for anyone wanting to go up river and willing to let a film do what it is going to do. (This truly is an art film)

Villiers Diamond (1938)

When a convicted jewel thief gets out of prison he heads to the home of the man who paid him to steal the jewel. Not happy to see him, and not having the money to pay him (he didn't yet sell the titled jewel), the rich man puts the convict on his staff as a butler until he can sell it. Things get complicated when guests arrive for a weekend house party.

Short British mystery it runs a fast 50 minutes is a breezy entertainment. This is everything you would expect from a mystery film of the period  and it does it to near perfection. While the talky middle isn't up to the set up and the conclusion, it entertains enough to make it worth your time.

Flashman

Oddball Italian superhero film has a British noble masquerading as Flashman, a superhero taking on counterfeiters, invisible gangsters and other baddies.

While knowingly silly, the film still manages to be somewhat serious with the performances never going over the top even if the situations occasionally are. There are some good action sequences as well. As good a time as I had watching it I would have had a blast if I had seen it with friends so we could riff it.

Recommended

London Fright Fest - Till Your Last Death Film Review

Miriam Dekalb (Dani Lennon), an activist for P.A.N.A.C (Peace and Non Violence Action Committee, must take on her abusive father, Cyrus, (Ray Wise) owner of Dekalb Industries. He and his accomplice known simply as Gamemaster (Morena Baccarin) are known for putting the lives of humans in jeopardy to satisfy their blood lust. In order to save her siblings, Miriam must outsmart them both and beat them at their own game.

To Your Last Death artist Carl Frank (Magic: The Gathering) uses an impressive combination of both comic book art and 2-D animation which are meant to create a graphic novel appearance. The visuals are spectacular, with the artwork being similar to what you’d find in the adult animated series Archer.

The choice of having William Shatner lend his voice to this project as The Overseer was a brilliant choice that really ties the entire film together. I found myself being enthralled with this story. Although the characters are animated there’s a human type quality to them that makes them relatable.

Gamemaster and Miriam are my favorite characters. They each create a unique balance between good and evil. The action sequences and high powered gore scenes work so well within this medium. If this were a live action film I don’t think the quick paced atmosphere would work nearly as well.

I love a story that keeps you on your toes and this one certainly does. Within the first 25 minutes of the film there are so many surprising twists that I wasn’t prepared for. If you aren’t a fan of slow burn films, and you want something that grabs your attention immediately, this film should definitely be on the top of your must watch list.

I’d recommend To Your Last Death to anyone who is a fan of horror and animation. This is such a strong and unique story that I think it deserves a 10/10 rating. The amount work that went into creating this movie is incredible. There was so much drive and determination by everyone involved. Writers Jim Cirile, Tanya C. Klein and Director Jason Axinn did a fantastic job and I look forwarding to seeing more from them.

The world premiere of To Your Last Death will take place at FrightFest London on Friday, August 23, 2019 at 3:50pm.

COLOSSUS OF THE ARENA (1962)

Maciste is back in action helping a young queen battle the forces who want her throne. The bad guys are a band of gladiators hired for their skills.

One of the more enjoyable Maciste  film has the right balance of action, comedy and intrigue. While we know everything is going to be alright- Maciste is Maciste after all, we can't be certain what is going to happen to him before the final fade out.

The film benefits from a serious production tat keeps the sets reasonable real and doesn't allow the proceedings to drift into the realm of outright silliness. The action is also really well done with the muscle man nonsense never getting out of control.

I really like this film and highly recommend it.

Finale (2019) Scary Movies 12

Two part horror film begins with two girls working at a truck stop being watched by something or someone sinister. The second follows what happens when the girls are kidnapped and tortured in some sort of weird "show".

How you react to this well made film will ultimately be determined by the the switch in the story. For me the creepy first half was lost to a by the numbers torture porn second. I am not a fan of the sub-genre unless there is a really good reason for the nastiness.  Here the reason has something to do with voyeurism and  spectatorship, which would be all well and good if that sort of thing hadn't been done a few dozen times before just this year.

Very well done this is for fans of nastiness only.

Leslie Melville on Demon Squad

Demon Squad tells the story of Nick Moon, a P.I. (Paranormal Investigator). Nick is in charge of dealing with the cities growing demon population. If a Museum offers you an ancient artifact at a ridiculously low price that should probably be your first clue that something just isn’t right.

Nick is hired by Lilah Fontaine to help find her missing father, Professor Fontaine. Together with his assistant Daisy O’Reilly, the trio arrives at Professor Fontaine’s home only to discover that the ancient artifact has been stolen. With no clues as to who stole the artifact of the whereabouts of Lila’s father, Nick and Daisy embark on a quest to find the truth. Not everything is as it seems and some things are worth killing for.

I really enjoyed this film. Some of the acting is a little rough at times but I think that this adds to the movies charm. Demon Squad is funny, has likable characters, and a solid plot. The story builds momentum quickly but is easy to follow. The ending of the film isn’t what I expected but somehow it feels right.

There is one object in the film that reminds me of a contraption Ichabod Crane used in the 1999 film Sleepy Hollow. I’m not sure if that’s what they were going for but I thought it was a great addition.

The character Nick Moon is a very likable guy, and I really enjoyed the performance of actress Erin Lilley who played Daisy O’Reilly. I highly recommend watching Demon Squad if you don’t mind a little cheesiness in your films. This film doesn’t take itself seriously and in this case it works. Overall I give the film a B+. I look forward to seeing more from Director Thomas Smith, and Writers Erin Lilley and Thomas Smith.

Camden International Film Festival 2019: CIFF Announces Film Slate and Storyforms Immersive Lineup for 15th Edition

CIFF celebrates its 15th Edition with an international showcase of films that interrogate Story & Power.

Showtime Documentary Films is the 2019 Headlining Sponsor  

CAMDEN, Maine, August 19, 2019 – The Camden International Film Festival (CIFF) has announced the slate of feature and short films for its 15th edition, which will take place September 12-15, 2019 throughout Camden, Rockport and Rockland, Maine.

A program of the Points North Institute, CIFF is one of the top documentary film festivals in the world. This year the festival will present 38 features, 50 short films, and 16 virtual reality and immersive experiences from over 35 countries. More than half of the feature films are presented as major premieres, including the US Premiere of Alex Gibney’s Citizen K.

The festival’s 2019 edition aims to advance industry-wide conversations about Story & Power -- examining the ways in which power structures deeply embedded in society have continued to shape the documentary field, including which stories are told, by whom and for whom. 

“Our 2019 slate celebrates documentary as a reimagining of the ways we engage with stories from both near and far,” says Ben Fowlie, Executive and Artistic Director of the Points North Institute, and Founder of the Camden International Film Festival. “As programmers, we have been transformed by these films. They take us beyond the headlines and into the hearts of people and their stories, while also engaging us with the creative, political, and ethical decisions that went into these unforgettable films.”

CIFF will present eight World Premieres by award-winning filmmakers, including BAFTA winner Dan Vernon’s Changin’ Times of Ike White, Martha Shane’s Narrowsburg, Vytautas Puidokas’s El Padre Médico, and Michel Negroponte’s My Autonomous Neighbor, all films that set out to tell a story one way, only to uncover countless unexpected turns.

“We’ve been thinking a lot about how power is inherently embedded in the way films are made, in the stories we uphold about ourselves, our values, our places,” says Senior Programmer Samara Chadwick. “As a way of normalising the questioning of that power, we have curated constellations of works within the program that, together, offer varying approaches to common narratives.” For example, a trio of films present very different angles on the interwoven histories of the US and the Philippines. The world premiere of Alexander A. Mora’s The Nightcrawlers offers a harrowing undercover look into the Duterte regime’s brutal war on drugs. Sung-A Yoon’s Overseas, a study of filipina domestic workers training to work abroad, is set in sharp contrast to Lauren Greenfield’s The Kingmaker, which tells the story of Imelda Marcos, exposing her family’s long history of corruption, extravagance, and brutality.

The conflict in Syria will be represented in a kaleidoscope of films, including the US Premiere of Feras Fayyad’s The Cave about a women-led underground hospital, Locarno title Copper Notes of a Dream in which director Reza Farahmand explores the indomitable spirits of children staging a concert in the rubble, and Waad al-Kateab and Edward Watts’s multiple award winning film, For Sama, documenting a journalist mother’s love letter to her war-born daughter.

As a leading showcase of international works, CIFF welcomes the North American premieres of nine films, including the works of several emerging filmmakers, such as The Giverny Document (Single Channel) by Ja'Tovia Gary, Lovemobil by Elke Margarete Lehrenkrauss, Progress In The Valley of the People Who Don’t Know by Florian Kunert, Sankara is not Dead by Lucie Viver, and La Vida en Común by Ezequiel Yanco.

The festival will present new work by documentary luminaries including Agnès Varda, Brett Story, Nikolaus Geyrhalter, Nanfu Wang, Steve Bognar, Julia Reichart, Juan Pablo González, and Ian Cheney. Each of these films, in their own way, finds creative ways of asserting the filmmakers’ role within the story being told. Nearly all screenings will be attended by the filmmakers, with creators from Argentina, Armenia, Belgium, Brazil, Costa Rica, France, Germany, Korea, Lithuania, Mexico, Norway, Peru, the Philippines, South Africa, and Syria, as well as creators from over over a dozen indigenous tribes, all converging on the coast of Maine.

The Festival will also feature two award-winning alumni of the Points North Fellowship program: Midnight Family and Midnight Traveler. The filmmakers selected for this year’s Points North Institute’s Artist Programs at CIFF will be announced in the coming weeks.

A complete list of the program’s selected feature films can be found below.

Storyforms: Remixing Reality is CIFF’s growing exhibition of immersive documentary experiences and installations. This year the program will feature four room-scale VR and AR installations, nine works of 360° cinema, and a series of large-scale projections that explicitly interrogate representations of race in America, including Garrett Bradley’s award-winning America and Whitney Dow’s The Whiteness Project.

“For the 4th edition of our Storyforms exhibition, we’re showcasing how immersive media can create new spaces for reflection and interrogation of the invisible forces that shape our world,” said Program Director Sean Flynn. Highlighted works include the World Premiere of Alex Suber’s virtual reality documentary, Lux Sine, Lisa Jackson’s Biidaaban: First Light, Common Ground by Darren Emerson and Home with América by Alvaro Morales.

The Points North Institute announced that SHOWTIME® Documentary Films will serve as the Presenting Sponsor for the 2019 Points North Fellowship and a Headlining Sponsor for the 2019 Camden International Film Festival.

The Points North Forum’s lineup of masterclasses, roundtables, panels, and industry delegates will be announced in the coming week. The Forum’s centerpiece this year is the Agora: a daylong series of conversations and panels that explore how each facet of the nonfiction community - from filmmakers, to critics, to gatekeepers and even audiences - can take an active role in building and enjoying a more equitable, inclusive field that celebrates the art and craft of documentary filmmaking. The full Forum announcement and schedule will be released in the coming weeks. 

Festival passes and a complete festival lineup can be found on the Points North Institute website www.pointsnorthinstitute.org

The 15th Camden International Film Festival is a program of the Points North Institute. Building on CIFF’s long-established role in the nonfiction film community, the Points North Institute’s filmmaker programs provide a launching pad for the next generation of nonfiction storytellers.

  

2019 Camden International Film Festival Features 

AFTER PARKLAND

Emily Taguchi | USA | 2019 

In the immediate aftermath of the devastating 2018 shooting at Marjory Stoneman Douglas High School, filmmakers embedded with students and parents whose lives were forever changed—from quiet hours of grief and reflection to those of political awakening. 

 

Tigers Are not Afraid (2018) hit theaters Friday

I am at a loss as to how TIGERS ARE NOT AFRAID was  playing smaller festivals such as Boston Underground and even Fantasia but not in the bigger fests like New York or Tribeca or any of the other huge festivals. The fact that films by Guillermo del Toro are lauded there but gems from filmmakers like Issa López, who has made a film that is probably more powerful than most of del Toro's films, is just wrong.

TIGER follows young Estrella whose mother has been carried off by the drug cartels in Mexico. She is left to fend for herself and falls in with a band of boys who have similar stories. They work together to get food and stay safe. They tell each other fairy tales to pass the time. However fate has other plans for the group and they are soon on a collision course with the cartels.

Realistic, but with supernatural overtones, Estrella sees ghosts and a traveling line of blood, this is a real world fairy tale. I should add that this is not a Disney sort of fairy tale but something more akin to the original Grimm's tales where truly bad things happen.

Shocking yet deeply human and moving. TIGERS is a film that is light years above and beyond most other "genre" films out there in that it gets the blend of real and fantastic elements exactly right. Nothing is over done or unbelievable. We buy everything that happens, even the fantastic stuff because we believe in the characters.

At the same time the film is very much a fairy tale with monsters, ghosts, magic, wishes, princes,a princess and any number of fairy tale tropes wandering through the film. However the film is so well done that you'll never think of it as a fairy tale, rather simply as a solid drama.

This film is amazing and get better the more you ponder it. One of the best films of 2018.

Highly recommended.

Extra Ordinary (2019) Scary Movies 12

When the ghost of his deceased wife, a man hires a well known paranormal investigator to exorcise the spirit. Unfortunately for all concerned the investigator has other plans for the girl who maybe a key to opening the door way to hell.

Love it or loath it horror comedy (yea this is a comedy) is either going to thrill you or have you shaking your head. While everything is here in spades, from cast to effects, the comedy is a mix of knowing and over the top which doesn't always blend together. Personally I chuckled a few times but mostly I just groaned, the humor not working its magic on me.

If you like broad knowing comedy give this a shot other wise skip it

Thoughts on Villains (2019) Scary Movies 12

When I finished watching VILLAINS, which played last night at Lincoln Centers Scary Movies 12, I popped on line to see what everyone else thought. Intriguingly I found that most of the reviews were almost identical (to the point they all seem to have been written by the same person) saying that the reviewers liked the mix of comedy and horror. Only a very few were not in love with the film, feeling, as I do, that the film never quite gets the mix of laughs and chills right.

Normally I don’t look at reviews for a film until after I finish a piece, but this time out I wanted to see if other people felt like I did. I shouldn’t have cared but since VILLAINS was the opening film of this year’s Scary Movies I wanted to know if I was missing something. Apparently I didn’t miss anything I just didn’t click with it.

VILLAINS has a couple of sweet kids (Bill Skarsgård and Maika Monroe) robbing their way to Florida where they hope to set up a business selling sea shells. After hitting a gas station they quickly run out of gas in the middle of nowhere. Seeing a nearby house they head off in the hope of wither getting gas or another car. Instead they find themselves in the home of a weird couple (Jeffry Donovan and Kyra Sedgwick) who have a young girl chained in the basement. Humor mixes with growing tension as the couple are found to be not only weird but deadly.

How you react to the film is going to depend on how you react to the humor. A full on comedy that grows darker over time you have to connect with it over the top craziness at the start or you’re going to be locked out of the film. I was amused but thought they were trying too hard to be rib tickling.The trying too hard continued with some of the ghoulish twists and turns which chilled but seemed more forcing the hand then natural. It created a disconnect on my end which made me notice some plot turns which had me wondering why the couple didn’t just walk away when they had the chance.

And while I am not in love with the film, I am in like with it. It does have both laughs and chills, something most recent horror comedies fail to achieve. I like the film enough that I did the rooting around to try and find the answer as to why I wasn’t loving it.

Is it worth seeing? If you like ghoulish confections, absolutely. However at the same time I do warn you that your mileage may vary.

VILLAINS opens in theaters September 20

Buñuel in the Labyrinth of the Turtles, from GKIDS

Luis Buñuel is easily the most important surrealist in cinema history. You could also say he was one of the early pioneers of the true-in-spirit hybrid-documentary. Just like his previous films, the 27-minute Las Hurdes: Tierra Sin Pan or Land Without Bread immediately stirred controversy and was duly banned for years. Truth and artistic license jostle each other while witnessing the depths of Spanish poverty in Salvador Simo Busom’s animated making-of feature, Buñuel in the Labyrinth of the Turtles, which opens today in New York, courtesy of GKIDS.

When Buñuel started developing the documentary that would become Land Without Bread, his reputation as a filmmaker essentially rested on two films, Un Chien Andalou, the short film that commenced his collaboration with Salvador Dali and L’Age d’Or, the hour-long satire that pointedly ended it. Both works generated explosive outrage as well as reverence within avant-garde circles. There are frequent references to Buñuel’s frosty relationship with Dali throughout the film, but the psychological influence of his distant and domineering father will be more significant.

Despite his baggage, Buñuel can be charming, at least at this early stage of his career, but also maddening. Just ask his anarchist friend, Ramón Acín Aquilué, who jokingly promised to fund Buñuel’s proposed documentary exposing the desperate living conditions in the Las Hurdes region—and kept his word when it came to pass. However, Acín was most definitely not made of money, which inevitably led to conflict with the not-so practical auteur.

Although most of the film is animated, Simo periodically inserts archival footage from Land Without Bread, cutting back and forth to show us what was happening on both sides of the camera. The way he and editor Jose Manuel Jimenez marry the two styles of footage together is enormously clever and visually striking.

Clearly, Simo has a great deal of sympathy for Buñuel, but the film is not a starry-eyed exercise in hagiography. Instead, he provides a complete portrait of the artist, including his tendencies to be a bit of a user and a flake. Even though Simo takes us pretty extensively into Buñuel’s head, it is still hard to decide what to make of him. Look, geniuses are complicated.

Regardless, Labyrinth of the Turtles (a reference to Las Hurdes’ tortoise shell-like roofs) is an entertaining and erudite primer on Buñuel’s early development as an artist. Simo’s animation is quite elegant, in a style befitting the 1930s, but he mixes in some wild, Freudian flights of fancy that are quite in keeping with the Buñuelian spirit.

In fact, Simo and co-screenwriter Eligio R. Montero will probably motivate a lot of intrigued viewers to take a deep dive into the Buñuel filmography. Yet, they avoid getting bogged down in problematic politics of the era. Altogether, it is probably the most fitting big-screen treatment of the larger-than-life auteur you could ever hope for. Highly recommended for fans of sophisticated animation, Buñuel in the Labyrinth of the Turtles opens today (8/16) in New York, at the Quad.

Black Circle (2018) Scary Movies 12

Two sisters listen to a record album to help them relax, however it's talk of magnetic hypnosis rips open doorways to other dimensions.

 Scary and disturbing horror film begins by putting us in a weird place from the opening narration and then refusing to let us go until the final fade out. Full of dark disturbing images and ideas this is a film that left me scrambling to find a means of getting it out of my head.

This is a film that puts us into a unique world with unique rules and we can't escape. As the sisters slide from our world to the next we are with them, which means we are just as lost as they are. Reality becomes malleable and the monsters are coming...and we are so much better for it.

What I love about this film is it feels like any number of strange inde  or Euro films that appeared in the late 1970's and early 1980's with stark colors and electronic music. This film is a kind of cousin to the recent  BEYOND THE BLACK RAINBOW. The feel brings me back to all the films I was hunting in the early days of home video.

The best thing I can say about the film is I want to not only see it again I want to inflict it on my friends.

Highly recommended.

BLACK CIRCLE plays August 19 . For more information and tickets go here.

The Divine Fury

No matter how lapsed they think they are, lapsed Catholics are still Catholics. MMA champion Park Yong-hu denies it, but he is a perfect case in point. For years, he claimed he did not believe in God, but he was really just angry over his father’s death. He would still seem like an unlikely candidate to carry the stigmata, but there it is anyway. Despite his skepticism, Park gets pulled into an epic battle of G vs. E in Kim Joo-hwan’s The Divine Fury, the closing film of the 2019 Fantasia International Film Festival, which opens this Friday in New York.

Park’s father was a devout policeman, who was killed by a demonically possessed motorist during a routine traffic stop. Alas, Park’s prayers were not enough to save him. Subsequently, Park turned against God and allowed his heart to harden against the rest of humanity. Then one day, his palm starts bleeding from a wound that refuses to close. Starting with doctors and proceeding to shamans, Park is mysteriously directed to Father Ahn, a grizzled Vatican exorcist.

The good Father has returned to Korea to hunt for the Dark Bishop, a powerful servant of demonic powers. He has been responsible for a wave of frighteningly severe possessions, like the one Park walks in on, saving Father Ahn with the power of his stigmata. Much to his surprise, he does not dislike Father Ahn. In fact, he almost feels compelled to help him, but the forces of evil, led by Ji-sin, the Dark Bishop himself, will be relentless and vicious.

Relentless is indeed the word. Divine Fury has some of the most intense and exhausting exorcism scenes since the mother of all exorcism films, Friedkin’s The Exorcist. Arguably, Jang Jae-hyun’s The Priests is even more frightening, because it leans into the Catholic imagery and demonic archetypes to a greater extent, but Divine is still all kinds of scary and intense.

There is no question veteran thesp Ahn Sung-ki is the rock on which Divine Fury is built. He is absolutely terrific as the weary Father Ahn. We are used to seeing movie exorcists who are either blind believers or mired in a crisis of faith, but Father Ahn is particularly compelling, because he has faith as well as self-doubts, making him acutely human. For the better part of the film, Park Seo-joon is rather standoffish as Park Yong-hu, but he humanizes the fighter when the film really needs him to. In contrast, Woo Do-hwan is never less than coldly, clammily sinister as the Dark Bishop.

This is scary stuff, but the best news is Kim avoids nearly all the clichés we usually get from horror movie conclusions. However, the film flat out promises a spin-off sequel featuring a minor supporting character. Based on the quality of everything proceeding it, that qualifies as good news. Indeed, Divine Fury is definitely A-list K-horror, along with The Priests and The Wailing. Very highly recommended for fans of demonic horror, The Divine Fury opens tomorrow (8/16) in New York, at the AMC Empire.

All the Gods in The Sky (2018) Scary Movies 12

Profoundly disturbing film will have you wondering what pit of hell director Quarxx crawled out of. By turns ugly, shocking , WTF and "you have got to be out of your f-ing mind", ALL THE GODS IN THE SKY will have you talking to the screen early and often.

It begins when a man heads home to take care of his sister. Injured years before in an accident she is bed ridden and has a terrible scar on the side of her face. He seems to be doing the best he can but all is not right. He is on heavy anti-psychotics himself and he is waiting for the coming of some visitors from elsewhere who may be able to help his sister.

All I can say is buy a ticket and take the right- just be prepared to be deeply deeply disturbed.  Full of dream logic and nightmare imagery this is a film you just need to see because this is a cinematic gem. To be certain it's a gem forged in hell, but it's a gem none the less.

I know you want me to actually talk about the film but I'm not going to do that- I had to walk into this haunted forest with outany sort of warning so you should to. I am not going to warn you about the body blows because taking the shots is what this film is all about.

ALL THE GODS IN THE SKY is probably the best film at this year's Scary Movies and as such is highly recommended.

For tickets and more information go here.

Thoughts on Olivia (1951)

Based on a semi-autobiographical novel by Dorothy Bussy OLIVIA is the story of Olivia, a young woman who is sent off to boarding school. There she finds herself in the middle the tensions of the head mistresses Miss Julie, a family friend and Miss Cara. Over time Olivia begins to fall for Miss Julie as the tension between the teachers grows.

You will forgive me if I simply discuss the film as a film and not as lesbian film, which is the selling point the press material and all of the other recent reviews I've read on the film. While the film is historically important as one of the first films to have any sort of lesbian characters on the big screen,  and while I went into the the film out of curiosity about how the film would handle them,  I ultimately stopped caring, nay even thinking about the fact that everyone on screen was a woman about five minutes in.  For me the film is good enough that I simply fell into the  story and was carried along.

Beautifully acted by all concerned, and looking spectacular, OLIVIA is a wonderful drama on it's own terms. It doesn't need to be sold as anything other than that. Frankly if the film wasn't as good as it is and speaking volumes beyond the fact that all of the characters are women this film would not have survived almost 70 years as much more than a footnote in a book. The fact that it has been lovingly restored proves that.

Like  the earlier and similar MADCHEN IN UNIFORM, it really does transcend being pigeon holed and works because the story of human interactions is very real. We care about the characters  and can relate to their feelings regardless of or sexual orientation. Human emotion is the same regardless of who we love.

OLIVIA is a solid drama on on any terms and is recommended.

The film was originally released in a severely cut version in the US entitled THE PIT OF LONELINESS. The film is finally getting a restored release in the US starting Friday where it will play at the Quad Cinemas in New York.

Los Reyes (2019) opens in theaters today

Observational documentary about a skate park in Chile where two dogs wander about and skaters skate.

Focusing more on the dogs than the skaters, we see the skaters as they skate and hang out around the dogs, this is a quiet look at the life of man’s best friend. If you love dogs then you might want to consider seeing this because the two dogs will worm their way into your heart—and then break it since it becomes clear that one of them isn’t long for the world. (bring tissues)

I liked the film, but to be honest if I hadn’t said I’d cover the film I would have walked away. There simply isn’t enough here to really support the films 70 minutes. While the film did break my heart I was kind of left wondering what I got out of it beyond that.

Feral (2019) Scary Movies 12

The story of a priest who finds feral child and decides to raise him, it is told in found footage and new interview footage that tells the story of what happened and how it all went wrong.

One of the best of the recent found footage films I've seen, FERAL does everything exactly right. Using the medium to tell the story rather than to hide the short comings of the story, FERAL plays exactly like any number of documentaries. It is so good at copying the form that you could probably submitted this to a film festival as doc and have it picked up as the genuine article. The sheen of reality adds greatly to the creepiness.

More disturbing and haunting than out right scary FERAL is a real gem. This is a film that quietly gets under your skin and makes you wonder why you are watching this when it is just bothering you so much. Think of it as what would have happened if the Truffaut film WILD CHILD went really wrong.  I was looking at this film late at night and I had to do something to clear it from my head before turning in for the evening.

One of my favorite films  at this year's Scary Movies. Recommended.

FERAL plays Friday at 9:30 PM For tickets and more information go here.

Anonymous (2019) Chain Film Festival

A member of an AA type group is out with his friend and sponsor and lamenting the loss of his girlfriend when they happen upon a another member in trouble...things spiral out in unexpected ways from there.

I am so tempted to tell you what is going on but that would ruin an excellent little thriller. Beautifully told in 16 minutes ANONYMOUS goes off in all sorts of unexpected directions and thus ends up keeping the tension extremely tight. Trust me on this you want to see this film- and you want to go in as blindly as possible.

An absolute gem I expect to storm the festival circuit.

For tickets and ore information go here.

Echoes of You (2019)

I'm not going to say a great deal about ECHOES OF YOU because the film is above and you can just see it for yourself.

The film is the story of a hopeful pianist looking for a break while he works as janitor. Along the way he finds his greatest fulfillment in an unexpected place.

This is a stunning piece of filmmaking. Perfectly timed out for maximum effect this is a film that could nor survive being expanded into a feature, which seems to be the hope of most shorts these days, nor could it work any shorter since the climax comes at a perfectly placed moment to give us maximum effect.

That the film works as well as it does is thanks to Laurence Fuller's stunning performance in the lead. Literally a full bodied performance, the film has very little dialog, Fuller doesn't so much play the lead as have the lead in habit him. Every move, every gesture gives us so much more than words could ever do, with the result that when the ends come we are reaching not just a tissue but a whole box. This is the sort of performance that makes it a sin that Oscar doesn't recognize the work actors and actresses do in short films because Fuller is so good he should be in the running for an Oscar.

Beyond that there is nothing else to say other than WOW.

Highly recommended ECHOES OF YOU is one of the great finds of the year and Laurence Fuller's is one of the best performances in any film of any length I've seen in 2019.

Do yourself a favor and take 20 minutes and watch the film.

Line Walker 2: Invisible Spy

You could say the Line Walker feature films are to deep cover operations what the Overheard films are to surveillance details. They do not share the same characters or a continuing narrative, but they address similar themes and feature the same actors. However, in this case, it is the bad guys who have gone deep undercover in Jazz Boon’s Line Walker 2: Invisible Spy, which opens this Friday in New York.

A shadowy international criminal organization is kidnapping children in the Philippines to be groomed and programmed to act as moles in police forces around the world. Apparently, the Hong Kong police force has been compromised, making it rather difficult to solve the mystery of a rash of suicide attacks plaguing the city. However, there might be a big break in the case when Inspector Ching To saves the wary freelance journalist-hacker Yiu Ho-yee from an assassin. Yet, just as he wins her trust, Cheng Chun-yin from the Security Wing sweeps in, claiming jurisdiction over the case and his witness.

Apparently, Yiu’s partner in Burma downloaded a hard drive full of sensitive intel from the conspiratorial organization, so a team will be dispatched to retrieve it. Rather awkwardly, both Cheng and Ching will be under the operational command of Superintendent Yip Kwok-fan, Ching’s current boss and Cheng’s former mentor. Unfortunately, the mission will go down spectacularly badly, in a way that will cast suspicions on both Ching and Cheng, but in very different ways.

Nick Cheung, Louis Koo, and Francis Ng are all back from the original Line Walker film, even though not all of their characters made it through the first feature alive. Although the first feature maintained some tenuous connections to the Line Walker television series, Boon basically shakes the Etch-a-Sketch clear for the sequel. What he keeps, besides the all-star trio, is an abiding interest in the psychological ramifications of operating undercover with an assumed identity. He also continues to stage some adrenaline-charged action sequences, but this time he goes bigger—way bigger. An unforgettable case in point is the final extended smash-up sequence, involving the running of the bulls in Spain, which Boon and action director Chin Ka-lok make the absolute most of.

Yet, perhaps the biggest surprise is Louis Koo. He has certainly played his share of steely gangsters before, notably in Johnnie To films like Election and Drug War, but as Cheng, he projects existential anguish and inner turmoil truly impressive range. Of course, Cheung continues to be one of the hardest hard-nosed action leads in the business, so Inspector Ching To is totally in his wheelhouse. Ng is also perfectly cast as the upright and conscientious Yip, while Zhang Yichi makes quite a creepy (and athletic) heavy as “Demon,” the henchman who becomes the primary antagonist down the stretch.

Admittedly, some of the over-the-top action will have the audience guffawing in disbelief, but you have to give Boon and company credit for their determination to entertain. In fact, the climatic sequences in Spain even rival the noise and fury of Hobbs & Shaw. Recommended for fans of HK action and the three big name stars, Line Walker 2: Invisible Spy opens this Friday (8/16) in New York, at the AMC Empire.

One of the best films you will see this year-What You Gonna Do When The World's On Fire? -opens Friday

This is slightly modified  repost of the review I ran when this film played last year at the New York Film Festival.  Sadly it did not garner the attention it deserved, largely because the festival did not press screen the film and one had to make an effort to get a screener to see the film.  Forgive me if that sounds snide, it is suppose to because what could be argued was the best and most important film at the festival was shunted to a side bar where the people who should see it, the rich and powerful who fund the festival would never ever see it. (Yes I have a lot of pent up anger concerning this film and NYFF. Forgive me the rich blue hairs need to see this film- as do you.) It was on my Best of 2018 list and I'm going to bet that if you take the time to see it it will be on the your best of 2019 list.

It begins and ends with the preparation for Mardi Gras. We begin and end kind in the same place where some things have changed but not a lot, and little of it for good. And in between we spend a stark year with a group of people trying desperately to not only get by but also stay alive.

One of the opening images is of brothers Ronoldo and Titus in haunted house trying to convince themselves not to be afraid. It is an image of the boys where their masks slip and the make believe horrors over take their ability to remain stoic. It is the sort of image that many will claim is kind of cliche and obvious, and it is, but at the same time there are times when "cliches" are so perfect that you have to use them because they carry a great deal of weight. Here it speaks volumes about what we are going to see.

WHAT YOU GONNA TO DO WHEN THE WORLD IS ON FIRE? is the story of several people in New Orleans trying to not just survive but thrive in a world where people are dying and the system seems/clearly is rigged against them. There are the two teen brothers and their mom who are trying to stay alive in a neighborhood where shootings are regular and as the film starts five people were shot just down the block. There is Judy, who is trying to keep her family afloat and save her bar before it’s snapped up by the creditors who have it in for her. Kevin, who is trying to keep the traditions of the Mardi Gras Indians alive. And there is the local Black Panthers, trying to fight the rampant racism and turn the community around.

Getting better as it goes on, WHAT YOU GONNA TO DO.... is rude wake up call for anyone who isn't living the life depicted...which is going to be the vast majority of the people seeing this film (especially at the New York Film Festival where this film played last year, which had a much too expensive ticket for anyone in the film to see). If you are not person of color living in financially desperate circumstance this film is going to be a jarring because you really don't know what it's like-- no matter how many TV news stories you've watched, New Yorker think pieces you've read or previous documentaries you've seen.

Five minutes in to the film it was clear we are nowhere near any sort of look at race and poverty in America that has come out previously. Yes, there have been other films, some observational, some political,but there have been very few as immersive and as powerful as this. We are in the lives of these people for better and worse. There are no grand triumphs just the endless fight to remain safe.

Truthfully I am beyond words. Partly because of the films power and largely because I don't feel that I have any right to say anything about the film. I am a white male, thus part of the problem. What right do I have to say anything about what is in the film?  Even saying I am a film writer does not give me the sort of credibility to say anything other than "Just see this film".

See this film not just because it is good but because if you are a caring human being you need to know how wrong things really are.

One of the most important films you will see in this or any other year.

WHAT YOU GONNA DO WHEN THE WORLD'S ON FIRE? opens on 8/16 at Film at Lincoln Center, 8/23 at the Maysles Documentary Film Center and 9/6 in LA (Laemmle Glendale) followed by a national release via KimStim