'Columbus' Review: A Distinct, Harmonious Festival Standout
Given the visual style and symmetry that is trademark to visual essay artist Kogonada, it shouldn’t be surprising that his directorial debut, which premiered in the ‘Next’ category at Sundance, plays with equal devotion to the pure harmony of images.
Set in Columbus, Indiana, which turns out to be one of the architectural capitals of the United States, we follow two protagonists who form a sort of intellectual romance as a way to get through their own difficult family times. Jin (John Cho) who is only in town because his father is in a coma, meets Casey (Haley Lu Richardson), a young local who didn’t go to college to help take care of her mother. As two intelligent and thoughtful people both in a challenging limbo period in their lives, despite their age difference, the journey of the film becomes watching them bond and help one another overcome adversity with plenty of conversations and visual symbolism about the meaning of architecture sprinkled along the way.
The cliche ‘location as a character’ is one of my least favorite sayings because it gets overused so much that it means little anymore when used in press and marketing. In most cases, this is a way of saying that a movie has some nice skyline establishing shots sprinkled between scenes. However, when a location truly becomes an integral part of the film, the results become some of my favorite. This is a film fully entangled in its home city. The architectural harmony of Columbus ties into the way the film is photographed: every image is carefully constructed, replacing realism with order and composition in a way that perfectly encapsulates each scenario. This is a bold move for a low-budget film: usually, these films are focused on creating raw authenticity in their images.
"Columbus" aims for a visual poetry that’s unlike anything we’ve seen, but again matches its story to perfection.
"Columbus" aims for a visual poetry that’s unlike anything we’ve seen, but again matches its story to perfection. The protagonists spend much of the film exploring the city, as a tool to express their emotions, which buildings resonate with them and why. Jin disdains architecture because it reminds him of his father, whereas Casey cherishes it because it provides her a way out of her fragile relationship with her mother. All of this symmetry and meaning is so tightly packed together, with pieces that connect so harmoniously, that the whole piece speaks as one distinct voice. Nothing is wasted here, it all ties into the picture.
Two major points of this are the performances by John Cho and Haley Lu Richardson, essential in not making this anti-realist movie completely alienate the viewers. They’re both people easy to fall for and together have some poignant interactions that speak truth to both of their situations. I found myself rooting for the more spirited romance we’re used to seeing in movies because I wanted the two together so badly, but like the rest of the film, it goes for something more poetic in the lack of sexuality. It is again more about the intellectual connection, one that is relatable for any of us who have met people (of both genders) that stimulate these feelings.
In the wake of Sundance, many great films blur together inevitably, and the challenge to find something that truly sticks becomes great. Amidst the greatness, "Columbus" and its distinctive visual style, matched with great leading actors, stands among this crowd. It’s one I’m especially proud to champion given Kogonada’s background as an online video essayist, but in its own right makes a great case for a powerful directorial debut.
'Mudbound' 'Fired the Gun' and 'Rumble'– 3 Movies, 1 Incredible Journey
As a general rule, I typically dislike merged reviews. It’s a disservice to the filmmakers to clump unrelated work together. That being said, my festival experience today inadvertently became a journey of its own, with 3 radically different films all enhancing one another greatly. Rules are meant to be broken, especially in a creative environment like this festival. Let’s begin:
Mudbound
Dee Rees’ second feature film piqued my interest basely solely on her prior work Pariah, which is streamable on Netflix but for the most part, remains underseen. Yet after viewing Mudbound, my hopes are that this movie reaches the largest audience possible.
Based on a book of the same name, Mudbound tells the story of two families, one white and the other black, both struggling to survive as sharecroppers in 1940s Mississippi. The McAllan family is made up of a husband and wife, Henry and Laura (Jason Clarke and Carey Mulligan), and Henry’s father, Pappy (Jonathan Banks), all of whom are new to farming and sharecropping. The other family consists of Hap and Florence Jackson (Rob Morgan and Mary J. Blige) and their young children, who reluctantly find themselves intertwined with the McAllans. Despite their differences, both families each have a son/brother, Jamie McAllan (Garrett Hedlund) andRonsel Jackson (Jason Mitchell) who, after fighting in World War II, come back home to an even shakier family and societal dynamic.
Synopsis out of the way, this is an ensemble film in the best way possible. Every intersecting character relationship amongst the 6 or 7 protagonists is dynamic and realized, hence why it’s worth mentioning them all. Multiple characters have voiceover moments to narrate the story, a technique that, in this case, efficiently gives us an insight into what everyone’s personal struggles are. And through these struggles, we intersect with topics ripe for discussion. It would be obvious to say class and race, but the film doesn’t stop there: one in particular angle is viewing the film as a complex look at the strife of being a veteran, and the PTSD that the world has limited empathy for.
The most exciting part is seeing how Mudbound ties in these themes seamlessly with a wealth of metaphors. Like a magician’s left hand, the craftsmanship and deliberate choices in visuals subconsciously deepen the narrative. The most prominent of which is the use of mud as a recurring theme. Again, an initial glance makes the obvious notion of what it refers to. But in the sharecropper’s world, a filthy one where mud is everywhere, it comes into play in a numerous of enhancing ways. Multiple times the way the characters physically interact with each other also speaks volumes, notably in the tense relationship between the McAllan brothers, but can also be found in nearly all of the individual character connections. The highlight of Dee Rees’s last film was the stunning cinematography of then-unknown DP Bradford Young. Now, Rees collaborates with another indie favorite Rachel Morrison, and the results are spectacular. Intricate details that are brought forth, framing of the characters, and a wealth of individual shots that make a case to be remembered, yet service the story. This is where coming from source material shows its strength: the story allows more room for carefully thought out layers - no detail seems overlooked.
Between its marvelous story and craftsmanship, it’s hard to not feel like this is one film worth shouting about from the rooftops. After its two-hour-plus runtime, I had forgotten I was at Sundance, I had forgotten I was in cold weather in 2017. For the entire runtime, I was immersed in the characters’ journeys. In the year to come, as this film finds its way to audiences, I will do everything I can to recommend it to all.
Did You Wonder Who Fired the Gun?
Mudbound excels as a conventional narrative film, and my next outing would completely contrast this. The Sundance “New Frontier” film category is one that I often regard as the secret menu of the festival. While most people only think of the "New Frontier" as being VR experiences, I’ve found that the films/documentaries categorized here are some of the most invigorating. They’re defined as films that are pushing boundaries on what it even means to be a film. My favorite film of 2016, Cameraperson, premiered in this category.
This next film continues that streak. A ‘live documentary,’ which means that the director, Travis Wilkerson, sits at the front of the room, narrates it like a monologue, and cues the timing of the music and picture as it goes on. This is the type of experiences that is only able to be seen at a film festival, or perhaps an art gallery.
In this case, the medium is perfect given the story. Wilkerson is the descendant of an Alabama family. One of his relatives, his great-grandfather, is a man who was proud of the fact that he had killed a black man and gotten away with it. This is the beginning of a deeply personal, painful look at family and legacy, and Wilkerson’s journey towards understanding the horrific individual whom he shares genealogy with. Few pieces of research have ever been collected on this murder, so the narrative of the film is Wilkerson researching through his home state of Alabama, picking up clues and discovering the depth of this horror. By seeing it live, we feel as personally connected to the spoken word of this storyteller, in his own introspection. It would not have had the same effect had he not been there telling it himself. Interestingly, through the Q&A, he shared that the nervousness of having to sync of the video/music live while telling the story also helps convey the theme of how intense this journey is - brilliant.
Through this deeply personal lens, we also see what it represents about the larger racial picture of the American South. For this reason, there could not have been a better complementary film for me to watch after Mudbound than this one: two films of radically different styles each enhancing an understanding of American history from the last century. In one of the opening lines, Travis narrates, “This is not a white savior story. This is a white nightmare story.” Yet hearing this and understanding these events, it’s impossible not to walk away as a more empathetic person.
I don’t know if this film will ever see a release in LA or New York: Wilkerson shared it’s a performance that gives him much anxiety and he didn’t expect to do it again after Sundance, but another film festival saw it and invited him, so now he feels it may be his duty to continue. With that in mind, normally a review is about recommending a reader if a movie is worth their time to see. In this case, I wanted to share how much more Sundance is than movie stars and parties. When it comes down to it, these are the experiences that have kept me coming back year after year, and as an artist, these are the moments I am most invigorated by. Rather than trying to see this one, I invite anyone reading this to seek out boundary-pushing, unconventional experiences like this one as a way to further enrich one’s life experience. Indeed, it has made my life all the better.
Rumble: The Indians Who Rocked the World
Lastly, I caught a music documentary featuring an all-star cast, diving into a forgotten legacy of modern music and its influence by American Indians. We start with the titular song ‘Rumble,’ which was written by Link Wray, a Shawnee native, and are immediately reminded of his profound influence on the entire expression of music. 'Rumble' largely introduced the “Power Chord” that countless rockers would emulate for years to come, and has such a powerful effect that it is the only instrumental song that has ever been banned from radio play! Its anthem was the epitome of rebellion, pretty amazing a single guitar track could an impact that big.
And this is the beginning of a multi-part dive into the ways American Indians shaped music as we know it today. There are numerous individuals highlighted, but a clear takeaway is that American music in so many forms draws from the soulful connection to the earth and the use of music as essential human expression. It’s a largely forgotten history the film sheds major light on, which continues today.
Tying directly into my previous two film reviews: there is a largely overlooked part of Southern history of American Indians and African-Americans integrating. Because the two were both viewed as practically non-human for multiple generations, and due to some of the forcible movement of their communities, they found themselves mixing and sharing each other's culture. This created a richly complex group of people and transformed into music that would gain worldwide influence. There is even a direct section on sharecropping and its results, furthering this day as an unintentionally perfect compilation of films.
The number of rockers profiled are too many to mention but include many surprises. For example– Who knew that Jimi Hendrix was, in fact, ¼ Cherokee and this culture had plenty of influence on his performance? I hope many people have the chance to see this film and, like other great music docs, discover a newfound way to appreciate great music with more depth. It’s a bit disjointed in its assembly, but the Q&A revealed that with so many stories to tell the hope is to turn this into a miniseries or a multi-part TV series (I believe that would be a better medium than a feature-length film).
Capping off one of the most invigorating days I have ever had at Sundance, together these three films represent the absolute best the festival has to offer. Bravo!
12 Films to Watch Before the 2017 Sundance Film Festival
Cinemacy is excited to be returning to Park City, Utah to cover the 2017 Sundance Film Festival, kicking off a new year in cinema. Realizing that many of the movies seen here won’t get a release until later in the year, here’s a compiled list of related movies from the directors you love that we recommend you watch while you wait.
Pariah
6 years ago, Dee Rees' breakout debut “Pariah” was a sensation at Sundance and continues to find new audiences as a rare portrayal of queer youth. Rees has gone on to direct for TV and segments of anthologies, but her second feature has yet to come out until now. “Mudbound” will be in the premieres section of the festival and looks to have plenty to offer. Before that one makes it to your home, catch up on what got her career off the ground.
Pariah is available to stream on Netflix
The One I Love
Three years ago Charlie McDowell’s directorial debut was a provocative and unmissable entry into the Sundance dramatic competition. It represented a storyteller who could combine high concepts with indie aesthetics and not miss a beat. His second film, "The Discovery," will premiere at Sundance and I have strong hope for the next chapter in his career - be sure to watch "The One I Love" if you haven’t yet!
The One I Love is available to stream on Amazon
An Inconvenient Truth [pictured] & Chasing Ice
It’s a rarity for independent films, especially documentaries, to get sequels, but this year we have two! If this doesn’t show the mass urgency (and lack of needed follow through) on the current worldwide environmental crisis, then I don’t know what does. Before the latest comes out, if you haven’t already, be sure to check out these Oscar-winning and Oscar-nominated documentaries, both of which are essential educations for all.
An Inconvenient Truth is available to rent on Amazon
Chasing Ice is available to rent on Amazon
Kogonada Video Essays
Of all the items on the list, I’m most excited about this entry, as for the first time ever a film director at Sundance started their career as an online video essayist! I’m a huge fan of the medium and new creator myself, but Kogonada is one of the essential creators. You can view his videos online ahead of his new film "Columbus," breaking new ground from online creators crossing into the major leagues.
Lo and Behold: Reveries of the Connected World
Werner Herzog doesn’t have a film at this year’s festival, but he did release 2 documentaries last year so who’s complaining? A Sundance 2015 alumni, “Lo” is a stunning dive into the fringes of the Internet, how it’s affected (and in some cases ruined or reinvigorated) people’s lives, all remaining in Herzog’s signature inquisitive style. From the birth of the Internet, where the first word ever sent was an accident (find out what it is in the doc), to a modern phenomenon that consumes most of our lives, Herzog’s take on this semi-sentient concept comes highly recommended.
“Lo" is available to rent on Netflix
Obvious Child
A Sundance alumni that entered new foray about realistically and comedically depicting abortion in cinema (notably from a female perspective), director Gillian Robespierre is back this year with "Landline", and I wouldn’t be surprised if her new film feels as fresh and unheard as her last.
Obvious Child is available to stream on Amazon
Hello My Name Is Doris
Last year, this indie feature starring Sally Field was one of the few sleeper hits of the limited releases, enough that Field is even a dark horse Oscar contender for her comedic role. The director, Michael Showalter, is best known as one of the writers for "Wet Hot American Summer," but will be premiering at Sundance for the first time with his new film, “The Big Sick.”
Hello My Name Is Doris is available to rent on Amazon
I’ll See You in My Dreams
A Sundance alum returning to the US Dramatic competition is Brett Haley, whose previous film “I’ll See You in My Dreams” debuted very quietly at Sundance 2015, but went on to become a theatrical hit due to its representation of the 60+ demographic (you may be seeing a trend here in terms of which indies make money in theaters). His new film "The Hero" reunites him with Sam Elliott and will debut at the festival this year - catch up on their first collaboration in the meanwhile.
I’ll See You in My Dreams is available to stream on Amazon
Infinitely Polar Bear
Maya Forbes directorial debut, "Infinitely Polar Bear," premiered at Sundance 3 years ago and was a favorite among indie film lovers, even reaching the near top of Jasper’s top 10 released in 2015 (it premiered at Sundance 2014). She’s back with a second feature with "The Polka King," and I’m excited just knowing it’s the same director behind this last film.
Infinitely Polar Bear is available to stream on Starz
The People vs. George Lucas [pictured] & Psycho
Combining original shot interviews and submitted fan videos, "The People vs. George Lucas" is the ultimate requiem for the Star Wars fan still trying to make sense of what the heck happened to their franchise. Since its release, JJ Abrams has taken over from JJ Binks and it may have restored peace in the galaxy. Nonetheless, this is a fascinating look at fandom and how intensely it can be affected by a single franchise. Director Alexandre O. Philippe is back in cinema examination mode with "78/52," looking at less than 2 minutes of movie history, the shower scene in "Psycho" that changed everything. We hope you’ve already seen "Psycho" but if you haven’t, run to the nearest Blockbuster (ha), and check out Philippe’s earlier doc "People vs. George."
The People vs. George Lucas is available to rent on Amazon
Psycho is available to rent on Amazon
Cartel Land
One of my top 10 of 2015 and an absolutely explosive verite documentary, border saga "Cartel Land" established Matthew Heineman as an essential new voice in nonfiction film. He’s back at Sundance with "City of Ghosts", which promises to similarly transport us to a dangerous part of the world we’d otherwise know little about.
“Cartel Land” is available to stream on Netflix
Green Room [pictured] & Blue Ruin
Director Jeremy Saulnier is an indie favorite with two impressive back-to-back thrillers premiering at Sundance, "Blue Ruin" and "Green Room," the latter even appearing on Ryan’s Top 10 of 2016. Both star one of Saulnier’s childhood friends, Macon Blair, who excitingly is stepping behind the camera to direct a film in competition at Sundance this year, "I Don’t Feel at Home in this World Anymore." We love his work as an actor and he’s an essential new voice for independent cinema, so here’s hoping he can continue to find success at the helm. Catch his terrific (and polar opposite) performances in this pair of thrillers in the meantime.
Green Room is available to stream on Amazon
Blue Ruin is available to stream on Amazon
Others:
-The Skeleton Twins (Craig Johnson, "Wilson")
-People Places Things (Jim Strouse, "The Incredible Jessica James")
-Sicario /Hell or High Water (writer Taylor Sheridan, "Wind River")
-Black Panthers / Jonestown (Stanley Nelson, "Tell Them We Are Rising")
-A Bigger Splash (Luca Guadagnino, Call Me by Your Name")
-Ain’t Them Bodies Saints / Pete’s Dragon (David Lowery, "A Ghost Story")
Nelson's Top 10 Films of 2016
I used to start these with a write-up about how the year for movies was compared to other years. I recently read a quote on Indiewire that completely turned that mentality on its head: “If you think it’s been a bad year for movies, you haven’t looked hard enough.”
This year, at the time of writing, I have seen exactly 100 movies from 2016. This is a number I know will increase, as part of this discovery is realizing you can’t keep up with everything and still try to have other endeavors. With that in mind, I want to pay tribute to two movies from 2015 that I didn’t see in time for my top 10 but would’ve been major contenders: "Best of Enemies" and "Mustang." Conveniently, they’re both on Netflix, and regardless of what year they came out, they’re some of the best of what cinema has to offer.
What we consider to be the best of this year represents a combination of the movies that had the greatest emotional impact on us, matched with movies that felt innovative or groundbreaking. Here are the films I consider to be this year’s best:
10. Arrival
While initially viewed as an alien invasion movie, "Arrival" ends up being a much more introspective study of big concepts that we grapple with in our everyday lives, notably our human understanding of language and time. Discussing concepts like this are always invigorating, so seeing a movie that addresses them both with distinction is a treat. The entire outing works largely due to director Denis Villeneuve, who has a distinct ability to play to both the populist crowd and the cinephile crowd in his work. Here he uses every design element, notably the way the aliens interact with the humans, to convey the movie’s nonlinear theme. For most of the runtime, I was simply on board with the journey, centered squarely on Amy Adams as she fills in each piece of the surrounding puzzle. In the end, I took away a message about living life completely even if you have the knowledge that inevitably it won’t always work out as you hoped. Other viewers may have had a different moral walking away. Regardless, it’s hard for me to imagine not leaving the theater in awe after viewing this. Intelligent, conversation-starting blockbusters are something I can always get behind, and "Arrival" quietly stands as one prime example.
9. Nocturnal Animals
Back-to-back Amy Adams movies show not only how impressive an actress she is but also how well she can morph into varied types of roles. "Nocturnal Animals" is an airtight thriller that feels like a modern Hitchcock in how creepily it gets under your skin and gives you the character’s sense of doom. The structure of a film featuring one character reading a book and the book coming to life has been used before but never has it felt so seamless as both the movie and the story within the movie run congruent to one another. Fashion designer turned filmmaker Tom Ford unsurprisingly has an unmatched sense of color, making every sequence gorgeous and deliberate in capturing what matters to the story, also giving the two parts of the film their own distinct palette. When it comes to genre, I love any kind of white-knuckle ride, but in this case, I loved how deeply we got into the inner emotions of the repressed protagonist. It’s also a movie that doesn’t waste a moment of symbolism: the evocative opening title sequence may seem like simple shock value, but ends up being a major metaphor for the lead character’s lack of freedom and inability to truly be comfortable in the cold and emotionless life that she chose. These moments that capture the mood and the themes (often with color as noted above) are what elevates it beyond a simple revenge movie, but instead a movie rich with opinions about life, love, and passion.
8. Manchester By the Sea
What’s rewarding about making a top 10 list is that it’s possible to highlight the whole range of top-notch filmmaking styles that all work based on the vision of what they’re aiming to accomplish. Viewing "Manchester" next to the other Oscar contenders, it is equally a director’s vision, yet with such different intent than its peers. Kenneth Lonergan successfully avoids the conventional structure and the ostentatious flair that many cinephiles (myself included) adore. He aims for a more closely guarded dive into the lives of everyday people and how they respond to tragic life events. Casey Affleck is perfectly cast in his ability to deliver a character that feels unprepared for all that life has thrown at him, and more importantly as the film evolves, unable to shake the past. Every scene we’re shown is compelling because it rings a deep sense of realism for how these established characters would actually act in that situation. It’s the entire spectrum of heartbreaking and comedic because that’s how life unfolds for us, as neither a comedy or a tragedy but a strange mixture of the two. Anytime a film does this, it inevitably makes its way to the top shelf. The ordering of scenes is deliberate and we get information in a crucial order to achieve empathy. But one of the other successes is what we don’t see onscreen. By leaving many characters’ stories with unsaid details, we get the feeling similar to how our protagonist does (and that is true of all life), that it’s impossible to fully know the battles and demons that those around us face, but it’s a safe assumption that every single person is going through their own set of emotional challenges. I’m impressed that such an unassuming film has received such loud clamor, and look forward to revisiting it as a study of top-tier subdued directing in the years to come.
7. Swiss Army Man
At Sundance, "Swiss Army Man" made big headlines for being a movie about a farting dead body. While that is an accurate description, it also happens to be two other triumphs which make it worthy of remembrance. First, it follows through on its promise of being completely bonkers, the one-of-a-kind humor evolves to make each scene feel even funnier than the last. It’s natural evolution from zany to zanier, and unabashed commitment to ludicrosity, make it approachable for viewers because it invites them to join in on the madness by having it grow incrementally. With each step in the story development, we go a little further outside our comfort box until we realize we’re completely outside of it. This is largely aided by the impeccable production design, using a handmade approach and lots of trash/litter to capture one of the primary themes of being thrown away, but also to serve as a way to reinvent one’s self.
On top of all the humor and farting, it’s actually a deeply moving story about insecurity and social acceptance. Despite being a movie with only 2 actors, it touches on the pressures many of us feel from parents or people of the opposite sex, to behave in a certain way or fall into a certain type of boxed identity. This unexpected depiction of insecurity in an unorthodox comedy is the ultimate bait-and-switch and gives it layers much deeper. The directors, who go by ‘Daniels,’ eloquently summarized the film in one sentence: “It starts with a fart joke that makes you laugh, and ends with a fart joke that makes you cry.” If that isn’t the greatest logline for a movie, I don’t know what is.
6. American Honey
A three-hour epic, yet perhaps the most intimate movie on this list, "American Honey" is undeniably a ferocious work of art from start to finish. For a taste of what to expect, I’ll crown the film’s trailer as the best of the year in not only being well made but also capturing the tone and leaving you wanting to see the rest. It is an exploration into the debauchery and counter-cultural journey of Star (Sasha Lane), as she joins a band of misfits you’d assume are thieves but even more interestingly turn out to be traveling salespeople, peddling door-to-door magazines, and therefore represent the absolute bottom of the capitalist hierarchy, living hand-to-mouth, moment-to-moment. I’ve seen many movies about people stealing their way through life, so it’s even more thought-provoking to see people doing technically honest work but at such a low level; this is only one of the many conversations that "American Honey" invites viewers to engage in. Best viewed as an art piece ahead of a narrative story, there are many nuances through the runtime that are each worthy of exploration and revisiting. For me in particular, I was engrossed in director Andrea Arnold’s ability to not paint the entire American Midwest with one broad brush, but instead to capture the detailed differences between each of its subregions, including Missouri and the Dakotas, and the various types of people that inhabit each. So often the vast majority of our country is referred to as a singular entity when in reality it has so many differences. Here she is able to eloquently elaborate on this which is especially impressive considering she is a British director. The lengthy runtime is never wasted and allows for these moments and this variety of location to breathe richly. Few films have such a strong grasp of authenticity and artistry in the same train of thought, and also are able to capture a subculture without demonizing them. It’s a journey to go on, one that may not appeal to everyone, but for those willing to give it a shot, you’ll be left with plenty to discuss after seeing this vision.
5. A Monster Calls
A recent discovery I’ve made is that one of the powerful capabilities a film has is that it can help us verbalize or explain an emotion that we’ve never been able to understand, let alone outwardly express. "A Monster Calls" is such a movie: a young boy whose mother is terminally ill is haunted by a mostly-imaginary 50-foot tree monster (voiced by Liam Neeson) whose stories have a profound message. It’s impossible to express what the emotion and human understanding I gained from watching this was without giving it away. All I can say is that this is a movie that manages to express a sentiment we’ve all had but never knew how to share. On top of that, it’s undeniably the most emotionally wrecking movie of the year, and not because of the obvious reasons you’d expect a movie to be sad, but because of how truthfully it captures the ranges of emotions we all have felt in times of grief. In fact, screenwriter Patrick Ness went out of his way to avoid so many of the emotional tropes that make some people cry (but usually make me cringe for feeling like cliché). I found myself crying not because of the sadness, but because of how real the emotions it had captured were in ways that I had never truly unearthed, and that is as powerful a feeling as you could ever ask for from a piece of cinema. I love this movie from a cinematic point of view but am equally thankful for how much emotional intelligence it provides to all those who view it.
4. Nuts!
I’ve been able to see more documentaries this year than ever before, and it has given me a newly indispensable notion of what criteria makes a documentary into essential cinema. "Nuts!" is the most eccentric movie on this list: it’s a mostly animated, mostly nonfiction story of a quack doctor from the 1920’s who convinced legions of people in middle America he could cure male impotence using goat testicles. This bonkers story as told by director Penny Lane (yes, that’s her real name) is something wholly entertaining from start to finish and simultaneously an allegory for our modern world of powerful people manipulating the masses. What makes it work so well is that its style captures the nature of the protagonist: because he was so charismatic, the documentary allows the viewer to feel what it’s like to buy into this sensation, only to turn the entire thing on its head. This is a great example of using all the untapped potential of cinematic storytelling to capture the essence of a story. On top of all that, it’s one of the most entertaining pieces I’ve seen in ages, so much so that I saw it twice at the same film festival, and then once again! There is something so compelling about how nuts (pun very intended) this story is, and for that reason, I encourage everyone to check it out for themselves (it’s available to rent on iTunes!).
3. Moonlight
This level of dramatic filmmaking is what has kept me invigorated in the medium for nearly all my lifelong love of movies. Barry Jenkins has crafted a story that is carefully detailed in depicting a character unlike any we’ve seen onscreen before, and yet simultaneously has told a universally relatable story with themes that we all can relate to: insecurity in adolescence, strained relationships with parents or paternal figures, trying to express love to someone you care about, and many more. I’ll repeat a quote from director Ang Lee which I love, that great films create “universality in the culturally specific.” More than any other film released this year, I felt like I was the protagonist, because despite having objectively little in common with him, "Moonlight" so perfectly captures the grand emotions I experienced in my own adolescence. I imagine the same will be true for others, and this makes it such an effective film.
All this is regarding the film’s content, how about the film’s singular style? First, the triptych structure is brilliantly executed, in large part due to how each iteration of the protagonist is so different yet is unmistakably the same Chiron we’ve known already. It allows every minute we see to feel essential to the character, skipping over plot points that may seem important but would distract from the core of the character study. DP James Laxton’s use of evocative color and intense camera motion, when needed, adds texture to every scene that I’ll need another viewing to fully investigate. This is a case where every piece of craftsmanship feels like it is serving the story, and this is why it is so effective in being universally relatable. As a cinephile, I am in awe of its effect, and as a filmmaker, I aspire to make a drama that has the same level of complexity and empathy as this film.
2. La La Land
I’m certainly not the first person to have rave reviews for this film, which currently looks like the Oscar frontrunner. In fact, I’ve been even aware it’s gotten some backlash due to its success, with people dismissing it as a ‘happy movie’ or a ‘silly musical.’ Neither is true by any means. "La La Land" is a seamless hybrid of a classical filmmaking style with something timely and culturally relevant. It’s a film about relationships, art, and the sacrifice and compromise both pursuits require. The care that has gone into making an immediately engaging movie that has deeper layering with more scrutiny is on display in every frame.
All of these themes are deftly incorporated because the two protagonists, played marvelously by Stone and Gosling, represent opposing worldviews yet both are pursuing creative careers. I was moved by how well the film captured their chemistry, difference in opinion, and eventual influence on each other's dreams. This is a movie with a lot of questions to ask and themes to explore, and often times we understand the exact sentiments from a simple look. This mixture of showy dance numbers and technical marvels contrasting the quieter moments (another theme in action) enhances this movie as one rich in subtext. Damien Chazelle has a commanding grip on what he’s aiming to say, and just when the movie feels like it’s going to wrap up, it takes a major detour, in the style of "Singin’ in the Rain," to ask the audience even more questions about art and love. I applaud this movie and defend it as worthy of all its acclaim. But I will also add it’s incredibly refreshing to have such an eclectic slate of movies jockeying for Oscars (many on this list), each of which is worthy of receiving awards this year, but more importantly, further revisiting in the years to come.
1. Cameraperson
Can you imagine a film exists that has the emotional range of 20 films combined, the singular fingerprint of one artistic vision, speaks volumes about our current generation, all while pushing the boundaries of what the cinema medium is capable of offering? I speak in grand levels about "Cameraperson" because it is worthy of being recognized as a top-shelf masterpiece. Director Kirsten Johnson has been a cinematographer for 25 years in documentary film and has worked all over the globe on everything from "Citizenfour" to the most obscure indie docs. In "Cameraperson," she compiles footage from her entire career and organizes it as a memoir of her own life experience, both personal and professional. This is an experimental film by nature, but its ability to capture the emotional realities of people throughout her entire journey make it universally relatable. We jump everywhere from Bosnia to Sudan, Brooklyn to Yemen. These images are pulled from the context of other stories, often of mass conflict and sometimes tragedy, but here, Johnson uses them to tell a biographical story of her own journey while miraculously also covering the human condition as a whole. When two outwardly different clips are juxtaposed together, a larger narrative unfolds that is exponentially more effective. Because of the sheer vastness of sources she’s pulling from, as a viewer you can feel that everything we see on screen has been deliberately put in this order to achieve a certain effect. Nothing feels out of place, and the entire runtime feels masterfully compiled. I’ll reiterate I’ve never seen a film like it, and yet for all its boundary-pushing, it’s nonetheless engaging and emotionally enriching from start to finish.
In a year with many excellent entries into the art of cinema, "Cameraperson" remains a shoulder above the next as a groundbreaking, emotionally awe-inspiring work of art that also manages to be universally relatable to anyone willing to give it a chance. Without any hesitation, I stand by this film as the best movie of 2016.
Honorable Mentions (Alphabetical Order)
Captain Fantastic - I have so much love for this movie for two reasons: first, its incorporation of so many pieces of essential reading has encouraged me to seek them all out and aspire to be a ‘philosopher king’ like the characters in this film. Second, I love how it captures the trials of parent-child relationships that are inevitably imperfect despite high hopes for the best. Nearly in my top 10, this remains one not to be missed.
The Founder - In an alternate universe, this would have been Michael Keaton’s vehicle to win the Oscar. I’m not sure why it was unceremoniously dropped as an awards contender, but John Lee Hancock’s telling of the creation of McDonald’s comes as a lighter, "Social Network"-esque billionaire origin story with less artistry but plenty of intrigue and a great starting point for discussing what drives our country as a whole.
Hunt for the Wilderpeople - For a laugh-out-loud experience from start to finish look no further. Taika Waititi has served up a delightful romp that feels fresher than any straight comedy has in ages, while also being unexpectedly heartfelt. I hope this New Zealand movie continues to build fans for years to come, and I am extra curious to see how Waititi directs "Thor 3" next year.
Pete’s Dragon - There is no movie more pure of heart than this quiet, underseen Disney release. Without stooping to lows that most juvenile family movies have resorted to and relying on far less CGI than many of its counterparts, it captures a sense of magic and wonder that can leave a profound and joyous feeling on people of all ages who watch it. You can read my full review to see more details, but the bottom line is it’s a soaring journey with something for everyone to love.
13th - If there were a list to be made for the most educational and informative movies of 2016, it’s fair to say Ava Duvernay’s documentary would be straight at the top. An untold history of the U.S. that intersects every major issue we face: corporate power, politics, justice, and of course race in America. See it to believe it, it’s only a click of a button away on Netflix.
An Extra Honorable Mention
The Babushkas of Chernobyl - One of the absolute best I’ve seen comes from the 2015 LA Film Festival but did not receive any formal distribution after that, despite being able to be purchased online intermittently. Regardless of if it counts as a release, I find it worth my time to share this documentary. Focusing on a group of 80-year-old women who never moved out of the condemned Chernobyl nuclear site in Ukraine, filmmakers Holly Morris and Anne Bogart have captured a rare look into the souls of wise people undeterred by modern chaos. It’s a beautiful film I’ve remembered long since viewing, worth seeking out!
Thank you for reading, and here’s to many more great movies ahead!
'Fences' Review: An Energizing Display in Dialogue Mastery
There’s a reason why the on-stage version of Fences is a Pulitzer Prize and Tony winner, it’s an energizing display in dialogue used at a masterful level.
After an entire year of seeing films taken from either original screenplays or alternative adaptations, there is something invigorating about watching a film adapted directly from a medium entirely driven by the words on the page: the theater. There’s a reason why the on-stage version of Fences is a Pulitzer Prize and Tony winner, it’s an energizing display in dialogue used at a masterful level.
It’s clear for the entire runtime that Fences is centered around fine dialogue, carried by an all-star cast. The film is able to expand on the play's single location while still remaining contained and true to its roots.
These performers, a small yet mighty ensemble, do not disappoint. At the film’s center (and at the helm as director) is Denzel Washington as Troy, whose charisma and masculine presence reminds us what it means to be a movie star. His character, who ebbs and flows through the entire emotional spectrum, is a man trying to assert himself in a world that has done him no favors. He’s conflicted between what he has worked his entire life for and what has been given to him. He wants the absolute best for his family but his opinion of what that is frequently comes with cynicism and a jaded perspective his wife and children don’t share. And despite his patriarchal dominance, he is a character with his own flaws that frequently drives his family to anger. This is as dimensional a character has ever been, and Denzel is up to the task. There will be few performances that reach heights as great as this one, this year.
And what of everyone else who surrounds him? Next in line for the most dynamic work is Viola Davis, who may not be the film’s center, but certainly conveys as much emotional range as her co-star. For all of Troy’s actions– good and bad– Rose (Davis) is the reaction, the counter-weight that keeps him in check. Despite her limitations due to the era, she never loses her control, a formidable presence filled with love and empathy. I am grateful to see Viola Davis get scene-stealing work, of which she owns every minute doing while on screen.
The remaining cast each get individual moments to shine, most often in back-and-forth exchanges with Troy. I am most moved by Mykelti Williamson, most known for his work as Bubba in Forrest Gump, who brings an earnest sadness to the film as Troy’s war veteran brother who Troy is both responsible for and at times dependent upon. It is here in their fragile relationship where, for me, the film reached the height of its emotional arc. However, other relationships depicted– husband and wife, father and son, friend to friend– provide further moments for audiences to resonate with and latch onto.
It’s clear the cinematic elements are here to service these strengths, and with a script and characters like this, that is more than enough.
'Fences' is rated PG-13 for thematic elements, language, and some suggestive references. 138 minutes. Now playing in theaters everywhere.
'I, Daniel Blake' Review: A Devastatingly Raw Look at Love and Compassion
And yet here is a film that almost effortlessly casts emotional depth and compelling social commentary through the lens of its two protagonists.
While many critically acclaimed movies are buoyed by their flashy craftsmanship and ostentatious use of cinematic technique (which I love nonetheless when done right), there is an equally fascinating space for the films who reject these notions. Indeed, unassuming style is a technique in and of itself, and when paired with the right material it can be equally effective. This year’s "Manchester By the Sea" may be a more mainstream example of this. The work of the Dardenne Brothers (most recently "Two Days, One Night") also comes to mind.
Another entry to add now is Ken Loach’s "I, Daniel Blake." In blue-collar England, an aging carpenter recovering from a heart attack is forced back into the job search, which is as foreign as a new language for this elder craftsman. In our first few scenes, we see Dan face countless bureaucratic roadblocks on his road toward any shot of achieving financial security. This is a film that pays tribute to the working-class people, whose lives are the most impacted by government implemented institutions.
Dan is unique in that he’s a relic in two ways. First, he’s a man with a craft. Being a master carpenter has never been a lucrative profession, and in our present world has been essentially lost with the advent of more tech-savvy alternatives. My parent’s generation grew up with woodshop as a staple elective in grade school; now that’s been all but entirely replaced with computer classes. A generation that would rather not let their kids’ hands be worn down in favor of them staring at a screen all day. Soapbox aside, Daniel Blake is an anomaly for this reason and the world doesn’t know what to do with him. His age and profession go hand in hand as he feels lost in a modern world that is more interested in keeping ‘order’ than actually helping people in the system that it is theoretically supposed to be serving.
The film develops a new dimension with the introduction of Hayley Squires, a single mother Dan meets as the two struggle for any kind of governmental aid. United in their desperation, they form a loving friendship where Dan’s craftsmanship and tender affection is actually valued. All throughout his community Dan is someone who brings greatness into every corner, and yet it is all in ways that cannot be monetized, so he can’t escape his financial struggle. In this way, the film demands discussion: its subdued style makes no pandering to tell you what emotions to have, but seeing these characters and their authentic struggles, one begs the question if something needs to be amended here.
Like its protagonist, this is a film likely to get lost amidst other holiday movies in favor of more heavily marketed, big-budget fare, even among the prestige pictures. And yet here is a film that almost effortlessly casts emotional depth and compelling social commentary through the lens of its two protagonists. And at the very least, by the end of the film, you’ll be reminded that the most valuable parts of life cannot be monetized and that there is no shortage of love that can be shared amongst all fellow men and women in this world.
'I, Daniel Blake' is rated R for language. 100 minutes. Now playing at Laemmle's Royal Theatre.
Interview with Elias Matar: an Indie Filmmaker’s Experience at Standing Rock, North Dakota
This past Sunday, incredible news swept the nation that, at least for the time being, drilling on the Dakota Access Pipeline has been halted by the US Army. Prior to hearing the news, I had the opportunity to interview an LA resident who made the trek to Standing Rock over Thanksgiving weekend with his wife and daughter in order to show solidarity with the cause. While the mass media has produced many accounts of what the situation has been like amongst the protestors, this interview provides an opportunity to hear a firsthand account of what the scene was really like. While this may depart from our usual coverage, in a time of mass uncertainty and division, there is no longer time to wait for other people to stand up for what is right: we must ourselves.
About the interviewee:
Elias Matar is an LA-based film director. Earlier this year, he released Ribbons, an indie drama which we reviewed (and you can read about here). In addition, over the past two years, he has directed three documentaries related to the worldwide refugee crisis, filming in Lebanon, Turkey, Greece, and multiple countries in central Europe. Here are some highlights from our conversation revolving around his recent journey to Standing Rock.
Nelson Tracey: So first tell me about the moment you decided, 'I’m gonna hop in the car and go to Standing Rock,' and what it was like.
Elias Matar: My wife said she wanted to go to Standing Rock with a team of people from the Zen Center in LA. My daughter wanted to go too, and so I thought, 'Why don’t all three of us go, on Thanksgiving?'
We took off early in the morning on Tuesday [November 22] and we got there late Wednesday [November 23]. It took us a while, it’s about 24 hours, 1,500 miles from LA. We arrived in the evening, and it gets dark by 5pm, so by the time we were there it was pitch black. We decided to crash somewhere in a hotel [they had 1 room available] and come back the next morning. Early Thanksgiving morning we went back to the camp and there was a line of cars trying to get into to this massive camp. I think it soared on Thanksgiving/Friday to 8,000 people at the camp. But it’s just the most amazing thing you could possibly see– it’s a prayer camp– It’s not anything else.
An elderly Native American woman welcomed us, told us to find a place to park, and then go to the orientation for newcomers. In the orientation [we were told]: no alcohol, no drugs, no weapons, none whatsoever. That’s one rule they were adamant about, this is a peaceful camp. Nothing that remotely promotes violence is allowed because the last thing we want to do is give the police a chance to attack us with a reason.
As we were familiarizing ourselves with where everything was, all of a sudden I hear a woman screaming this Native-style song, “Warriors to the front line. Warriors to the front line.” I saw some commotion happening and all the men were heading out, and the women were shouting, “Women and children to the dome please.” I had no idea what was going on, so I walked with the men. Just to the other side of where we were staying is this fortress, the road/bridge that you’ve seen pictures of on TV, and I saw army vehicles, heavy military, barbed wire, and barricades… these guys were serious.
And then, about 300 men and I, we all stood in a circle and prayed. Non-violent, praying the Native way, not the Western way. A man named David led this amazing prayer, he kept reiterating, “We are peaceful protesters, we are here to protect the water. We are not aggressive. We stand right here. We are not going to raise our arms/fight, we are here to protect this water.”
This is called “direct action.” This is where you put yourself in a prayer but on the front line, and you can be arrested. That’s something you have to understand and they warn you. They go to the mall and create a prayer circle with signs that say “water is life” and stuff. That second day, my daughter got involved with a young group of protestors and decided she didn’t want to risk getting arrested, so stayed back the next time. The group went and 22 people were arrested. They were waiting for us, and that’s the thing: the camp is under surveillance 24/7. Planes flying above, drones, helicopters, very intimidating. We saw first hand the suppression that the Natives are under. People would say, 'I’ve never been treated that way' and the Natives would say ‘We live like this all the time.’
"All of sudden, every single refugee kid that I saw from the last year and a half [while filming] came to me like a meteor. I start bawling..."
And the people arrested, the charge is what? Encroaching on private land?
There were no charges. The story is that they all drove in different cars to the mall where they would reconvene and just pray. The girls went to the bathroom and when they came out, the cops were there and arrested them on the spot without saying anything. Nothing. They were in riot gear and had zip-tie handcuffs. They were ready.
In Bismarck, every time someone would get arrested from the camp, white people, non-Natives would yell ‘Yeah take ‘em away! Go home!’ screaming. Let me remind you, the pipeline was supposed to go through Bismarck. But the town fought it, so they pushed it through a Native land, under a river, putting everything in jeopardy. And these people are ok with it now? It’s so short-sighted. The truth is if they ever build the pipe and oil spills and a disaster happens it’s going to affect everyone.
Can you describe the camp?
These elders hold down an amazing camp, they were showing the community, especially the youth, to peacefully have a voice to protect Mother Earth. They were praying and singing all the time! There was a fire they had set since the beginning and they keep that fire going, it’s the center of the prayer. They have a makeshift stage and these singers would come in and sing all day and night. You can feel the whole place is elevated, like a vortex of something truly amazing. Forget about what you hear on the news– the arrests, the water cannons– all of that is sensationalizing what this message really is. It is a peaceful protest. What the elders are talking about is protecting the water. What the pipeline is doing is drilling for oil under the Wisconsin River. Now pipelines are notorious for leaking, breaking, and polluting the water. This is the same river that feeds into the Mississippi. Millions of people will be affected if any leak happened there, and that’s the thing that blows my mind– the media is not interested [in the real problem].
My daughter had to go to the bathroom, and had taken off her jacket [before she left]. She’s waiting in line and gets a little cold and this elderly lady runs up to her and says “Oh darling, we have clothes for you and then when you’re done you can put it back.” It’s such a utopian mentality. There was always somebody offering food, there were 7 kitchens. Whatever you needed, someone was there offering it. Someone set up a tea place, open 24/7, if you needed hot tea or hot coffee. It was the most beautiful mentality I’ve ever seen.
Saturday finally broke me and my family emotionally. The women wanted to do a ceremony at the Sacred Fire. The women, who we consider to be the connection to Mother Earth, wanted to honor the River. All the women, I’d say around 800 people, walked to the river, singing all kinds of songs, Native, Christian, etc. We [did this ritual where] you take tobacco in your left hand, women first, by the way, offer a prayer, and throw the tobacco. My wife and daughter participated, and they’re crying. I asked why? Then this elder man says to me, 'It’s our turn.' So we all walk into the river. And then something [came over me], I can’t tell you what. I took the tobacco in my left hand and all of sudden I was down on my knees… Middle Easterners, we bow, that means you are completely surrendering yourself to what’s in front of you. I wasn’t planning to do anything but suddenly it’s my turn and I just get on my knees, my head is touching the deck, and I rise up and say ‘I don’t know, I haven’t prepared anything here.’ All of sudden, every single refugee kid that I saw from the last year and a half [while filming] came to me like a meteor. I start bawling, realizing that I had brought all the kids, all the ones who had passed by me, ones I could and couldn’t save, all were there with me at the river. And that for me, was everything.
I understood why I was there. I was there to show solidarity, just be. [Because of my time at Standing Rock], I feel like I’m going on my next trip to Lebanon differently, my relationship with my family is different, I feel like I’m called upon to show up in different places in a new way. I got so much. I used to say I’m going to help, instead of helping, I received a gift, a spiritual gift.
People say 'protestors' - these are not protestors, they’re not shouting and screaming. They’re sitting in the camp in a constant state of prayer. And that’s it.
What percentage of people at the camp are local and what percent are visitors like you?
It felt like the visitors were the majority, at the moment. People were coming and going and with the Thanksgiving holiday there was a lot of college kids that took advantage of the time off, and people who wanted to show a different kind of Thanksgiving instead of shopping on Black Friday. As we were leaving, though, there were still lots of people coming. There’s a lot of people who came from LA, a lot of CA license plates. People from New York, all over the Midwest, I was amazed how many states we saw there, even Alaska! There was not a single state that was not represented it seems to me. It was an amazing pool.
Here’s the thing: I hate when [media] says they’re professional protestors. What is that supposed to mean? These are people like me and you, they’re veterans, business people, every industry people. There was a chef that left his job in San Francisco and set up a tent and turned it into a kitchen. He’s going to be there a while. People say 'protestors' - these are not protestors, they’re not shouting and screaming. They’re sitting in the camp in a constant state of prayer. And that’s it.
Where is the camp in relationship to the reservation and where the pipeline is going to be? I'm not too familiar with the geography of the area.
There is a Native Scenic Highway that goes all the way to Bismarck. The cops closed it, put up a barricade and barbed wire, and a perimeter with military Jeeps. There are these huge spotlights that face the camp, so it’s always lit– if anybody tries to walk toward the police they see it quickly. This land was issued to the Sioux as Standing Rock Sioux Nation, but [the government] never actually gave it to them. It’s contested land. It's the same land that the Army Core of Engineers said belongs to the Federal Government. Between that is a small island called Turtle island, and on the other side is the actual reservation, so it’s very close in proximity. And then there’s Sacred Hill, that’s where people cross in canoes and that’s on the edge of the camp. On the other side of the hill, that’s where they’re drilling.
So it’s really close.
Yeah, it’s right there. On Thanksgiving day, Natives from different tribes all drove to Turtle island, around 3000 people, and everybody is chanting and singing, it was beautiful… as long as you don’t look up the hill. At the top of the hill are about 80 cops, staring at us, pointing their guns at us. Once in a while, they would shout “Hey, don’t be throwing this fire at us” as if someone was throwing a Molotov cocktail. And we all think, what are you talking about? But then it registered– just in case they need to shoot in our direction, they have the excuse that "we started it." All people did was listen to the elders, chant, and sing. That’s all it was. It was the opposite of what the police are saying. We were offering peace to the cops. Those guys were pointing guns at me, my wife and daughter. I’m not cool with that. One of the elders said ‘These guys have a job, they have children, and they also have feelings. They are also humans so we have to include them in our prayers.’ It’s a very tough thing to forgive, but that’s what we were asked to do.
"It’s a very tough thing to forgive, but that’s what we were asked to do."
Wow, that's a lot to take in.
Nothing happened, thank God, we were okay. And everyone walked away when it was done, and so did the cops. But the thing is this constant surveillance. Here’s a crazy thing– They warned us that they have the technology to tap into your phone and turn the speaker on so they can hear what you’re saying. And they also can get into your phone and shut it off. (laughs)
Who is this 'they'?
It seems like some sort of militarized police force. Not quite the army… to me, they looked more like mercenaries than actual cops. [People at camp] said they came from four different neighboring states, like Wisconsin.
One time I was calling my son just to say that I was okay and all of a sudden I hear this crackling noise in my ear, and my phone that was at 80% battery dropped to 2% in a second. I don’t know what technology they’re using to literally spy. When that one group went to the mall, the police knew exactly when they were going, and nobody made that decision until the morning of.
Did this give you a new perspective on Thanksgiving in particular?
Thanksgiving is usually spent overeating, overdrinking, watching football, and rushing on Friday to find a better deal. Instead, I went to my native brothers, and sat with them in a circle, and I did nothing. Friday, I sat with my elders, and we honored nature and what it gives to us. I didn’t spend any money or buy any gifts. That’s how I think we can change. All corporations get their money from us paying them. They make money off us. So don’t give them your money!
It’s frustrating though when the world we live in requires it, like getting in your car you gotta fill the tank...
I hear you. I don’t expect to know the answer but I appreciate re-evaluating what these holidays mean, and what family means, and what we can learn from the elders. That’s tangible change.
"The most important thing is to keep talking about it, don’t let Standing Rock be forgotten."
What else have you grown more aware of since this experience?
The thing is we don’t honor our elders. Somehow, old people became useless in our eyes and we need to put them in nursing homes, and whatever they say doesn’t make any sense. How did we become that generation? We don’t listen to the people who came before us… at least honor them. You can always make your own decision, but at least live knowing they have wisdom. And then, act like an elder, respect your body, your mind, your spirit.
I also want to say something about my heritage. Syria, in the old times, used to be thick wood forest. The desert was very far from the big city. You look at the books and the writings, there were all kinds of animals like lions and gazelles and the desert was not even a third of the territory. During the Ottoman empire, they cut all the forests and built their fleet using the Syrian trees. Basically, they turned Syria into what it is now, two/thirds desert. The rest is sort of greenery. So yes, we, corporate America, can destroy this country. And they will.
I know many people aren’t able to get out to Standing Rock, what’s the best thing you can do to be in support otherwise?
There’s a group out there raising money for the camp, I’ll find the ones I recommend, sending clothing or supplies. There are a lot of websites in support, just make sure they’re legitimate.
The most important thing is to keep talking about it, don’t let Standing Rock be forgotten. Be wary of the media, try to get information from AJ+, Young Turks, Huffington Post, indie/independent news sites, not mainstream. If you can’t go to North Dakota, get involved in something local. It’s time to do something, I don’t know exactly what it means for every person. But stay involved.
What was the experience like from a documentary filmmaker's perspective?
As a filmmaker, I say this: I took my camera, microphone, I was ready. Honestly, there were so many people taking videos, it was important to document everything. One of the elders said something powerful, ‘Take what is yours, and whatever is not yours, leave it behind.’ I began to feel like if I shoot video and start making it into something for my benefit, I am doing the wrong thing. I ran into two people I knew that I didn’t know were going to be there. One of them is Raul Gonzalez: he is a Mexican-American graffiti artist. And I ran into him painting an amazing mural he’s leaving there. And the second person was a guy wearing a Palestinian scarf and I randomly ask him if he’s Palestinian. He says yes then, ‘Oh my god, you’re the filmmaker! Elias! I was at your screening at Fullerton!” How random is this, not only to meet someone you know but somebody else who saw your film somewhere. My daughter said something I think it’s powerful, ‘Conscious people: you will run into them because they all go where they need to go.’
"One of the elders said something powerful, ‘Take what is yours, and whatever is not yours, leave it behind.’ I began to feel like if I shoot video and start making it into something for my benefit, I am doing the wrong thing."
And your daughter, what was her experience at Standing Rock like?
This is something my daughter wrote.
"There are moments in our lives when things come to a certain pinnacle of clarity and remain a constant factor in our lives. These truths become our rock in the storm of uncertainty, when the foundation of our world is shaken and we stand on unsteady ground, we know we can turn to these truths to reaffirm us. This past week in the Oceti Sakowan camp I have learned three things that I know now to be true:
- The power of prayer is awe striking.
- We as people have the power to shape our destiny.
- Water is life.
It is through prayer that this whole resistance exists. People from around the globe have answered the Call of the Standing Rock Sioux. People of every color, creed, tribe, nation, and gender are standing together in prayer. They are saying no to the destruction of sacred land. They are saying no to endangering the water source of millions of Americans. They are saying no to corporate greed. Together. Armed only with song and love. And it is this love that will change the world. This reverence that is held for all living beings and the earth itself is the truth that is at the core of our being; it is something that everyone knows to be true. That we should respect all living things and respect the planet that gives us bounty and haven. If we recognize this truth that is within us and move together to make it a reality then there is no limit to what we can do. And we must protect the water of this planet because IT IS LIFE. We cannot live without it; we are water. That is why this fight is important, because it is not just a fight for us, but for future generations to come. It is up to us to make a change and stand up for what we know to be true. MNI WICONI.
Water Is Life."
What is the hope for a resolution for this? It seems so David against Goliath, people against mass government.
For me, you have to answer the questions: Are you happy with the political situation? Do you feel like the government really represents you as a human being? Are we conscious, are we aware? Do we care about our fellow man in other countries? Do we care about the people who we stole the country from? Do we care about the environment?
Or do we want to just keep going, keeping busy with the media, playing video games, busy with our busy day. Are we going to constantly be busy or make a different choice? To me, the elders’ message that I took away was to live life, every moment, consciously. Conscious of how what I do affects other people.
While drilling is stopping for now, there is much uncertainty in the future of the situation, and it is not a permanent fix. If you would like to support the camp, please check out their website for ways to get involved and/or donate: http://www.ocetisakowincamp.org/
'Jackie' Review: Natalie Portman Transforms into the Stunning and Stoic First Lady
This film was reviewed on November 18th as first seen at this year’s AFI Fest presented by Audi.
Timing plays a massive role into our view of films no matter how much we try to be objective. When employed correctly, though, a movie can strike an exact chord. Perhaps in the wake of the most disheartening election in most of our lifetimes, an intimate look at the Presidency and those closest to it is exactly the type of film we need now.
Of course, 'Jackie' tells the story of the First Lady and specifically, the relationship of that role with the American people and the US President’s closest confidantes. Focusing squarely on the week after JFK’s assassination, Natalie Portman takes on the titular role and breathes necessary life into a character most often seen as just a pretty picture in textbooks. The film undoubtedly belongs to her, she’s in every single scene, and in most shots, the camera stays as close as it possibly can to Portman’s performance. It’s been 6 years since 'Black Swan' topped my list as one of the best of the year, and in the time since, Natalie Portman has been noticeably absent (with a good excuse). In 'Jackie,' we’re reminded how essential she is to movies. Many talented figures feel ageless and take on roles written for the same age demographic of actor/actress, and yet we’ve seen Portman go from being a child star in 'Leon,' to teenager in 'Star Wars,' mid-20’s in 'Swan,' and now play a character in her 30’s, and each one is transformative and yet simultaneously authentic to Portman. If there’s any doubt she had the chops for another Oscar nomination, let those be dismissed: this is Portman firing on all cylinders.
The film’s question/theme is one we ought to be discussing as well: the line between private and public life in the White House. In the aftermath of tragedy, Jackie Kennedy grieved the death of her husband but also was required to make decisions that the entire nation would watch and presumably analyze, and choose how to best represent herself and her husband as national leaders. Much of the film talks about legacy and historical impact: perhaps every President is secretly obsessed with how they will be viewed in the years to come, and because few people know them as real people, they quickly become mythological figures. I recently watched a Criterion Collection film called 'Secret Honor' which is a one-man play starring Philip Baker Hall as Richard Nixon. If any takeaway was to be had, it is that the US Presidents in our pop culture are similar to how Shakespeare utilized the Kings of his era: they become characterized icons that are molded over time based on what we think of them. '
'Jackie' is about the ending of one presidency and the passing on to another, which plays close to home given the magnitude of the next changing of the guard we’re about to have in January. But it’s mostly about this tightrope balance between private life and public life that the First Lady must walk while making decisions. And these questions could not be more relevant today, as we face a President-elect who has essentially branded his way to the top despite it being a proven facade. Great historical films capture an era, yet ring true of the present: here is one such entry.
'Jackie' forgoes conventional biography for capturing the layered emotions a woman under unimaginable circumstances faced. It’s not a tearjerker, but in a way that’s the point: to be a public servant is to be stoic even under the worst circumstances. Instead, it’s an intellectual and emotional look at a flash in history that would never be forgotten, and in today’s world, what can be learned from the past. I certainly hope it generates as much internal discussion for you as it did for me.
'Jackie' is rated R for brief strong violence and some language. 99 minutes. In select theaters December 2nd.