Apollo Bakopoulos Dances Through Life With Self-Acceptance
There is so much beauty in the world and within ourselves. And yet, sadly, many people aren't able to, or don't choose to, see that. After struggling to accept himself, dancer, artist, and filmmaker Apollo Bakopoulos bravely overcame crippling feelings around self-shame to begin living a life of self-love, which he then poured into his new film, Aligned (which tells the story of a closeted dancer who struggles to accept his sexuality). The film is a touching gift that audiences will delight in watching.
Read More: 'Aligned' Review: A Gorgeous Meditation on Self-Acceptance
In our exclusive, wide-ranging, and incredibly thoughtful interview, writer and director Apollo Bakopoulos talks about conceiving the story of Aligned from a very personal place, how he uses dance to promote vulnerability and self-acceptance, and his dream of "wanting to hold a safe space for empowerment, deep exploration of identity, sexuality, self-love, and acceptance, particularly with LGBTQ youth."
Cinemacy: Apollo, your new film Aligned depicts the story of a closeted dancer–who struggles to accept his sexuality–beautifully. When did you first conceive of the story? What feelings did you want the film to convey?
Apollo: The genesis of Aligned came at a point in my life when I had a personal and profound experience that opened my eyes to deep truths about myself. I noticed that to feel comfortable and love myself, I was relying on external validation and approval. I mistakenly believed that I lacked something, and I maintained self-judgments around that belief and hesitated to be vulnerable enough to explore the delusion that blocked my happiness. It was a profound realization that was life-changing. This awareness led me to consider the conditions of self-love and acceptance and eventually drove me to write a script about these concepts in a way that would feel relatable.
I embarked on a journey to discover who I would be if my fear of rejection hadn't run my life. Who would I be if I didn’t rely on someone else’s love and approval of me? Who would I be if I followed my heart and lived from my dream? I wanted the audience to experience the sensation of self-acceptance through the character’s dancing, especially how beautiful and natural it can feel to see two men dancing. I wanted these scenes to be playful and innocent and to create a story about intimacy and connection–or the lack thereof–between two people.
How can two people have an emotional bond and be in a partnership that embraces the authentic soul beyond sexual involvement? This question led me to a deeper investigation of the unfolding connection and love between two men, and how the harmony and conflict in this relational unfurling is mirrored in the choreographic gesture of their dance together. I wanted the men to explore and create a new experience around intimacy through dance that came from a place of innocence and playfulness instead of solely sexual gratification, external validation, and the need for approval.
C: The camera moves gracefully, gliding around people performing ballet-like dance sequences. What did you want to communicate in those moments, and did you have any inspirations behind that?
Apollo: I've practiced dancing all my years living in New York to better connect with myself. It’s been a path towards self-love and, particularly, love of my body, embracing and loving all aspects of it; including any perceived imperfections. Dance has helped me express emotions and get mentally unstuck when I'm too much in my head. It gets the energy moving again. It's an intimate moment of physical release I can have with myself. Also, dancing has helped me be more vulnerable. We say so much through dance that cannot be expressed in words. Dance helped me be more of who I am and has made me a better person by practicing the principles it embodies, such as joy, discipline, and freedom, whether I am in the act of dancing or not.
There is performance dancing, which is the practice of dance as an art. But there is also the art of living, which is the dance of life. Can I do both? Also, dance allows me to connect in a non-sexual way to others and to overcome any internalized cultural shame around dancing intimately with other men. The call for me was to overcome those limitations and create a film that inspires others to experience true intimacy, grace, and freedom and to express their love authentically in a natural way. When I felt the call, I watched a video shot at a dance retreat in Costa Rica depicting an intimate, male pas de deux. It was one of the most beautiful things I had ever seen, and I related to the viewing in a kind of joyful neutrality. It just felt right to me. It was this experience that made me ask myself: “Why haven't I seen more of these healthy examples of male intimacy expressed in the media or real life?”
I still don't see men dancing together publicly, except in specific locations for that purpose. I would love to see more inclusiveness instead of the current sequestration. Seeing that intimate Costa Rican dance video inspired me to create a narrative where male dancers would play the primary roles. The feelings that arise in these characters during the film connect them with the audience and allow people to relate to their situation. This situation demands self-acceptance and ultimately the capacity to see the value of being in a society that celebrates inclusivity.
C: The themes you put forward in the film are so profound, exploring guilt and shame over a secret sexual orientation, as well as self-rejection and feeling unworthy of love. How personal were these ideas to you, and what do you feel having completed the movie?
Apollo: The story morphed quite a bit over the last three years. The themes of rejection, self-discovery, and self-love in the characters' journey parallel my journey during this time. I, too, have struggled with stories of never being good enough or feeling unlovable. I believe the core, existential issues presented in the film are universal. I worried I would be rejected if the world knew how broken I felt inside. I feared that no one would ever love me for myself if they could see who I am, so I have hidden parts of myself. I also experienced shame around my sexuality as a gay man who came out.
For many, there is deep-seated trauma associated with coming out, not only to the world but also to oneself. Many people encounter challenges in establishing authentic connections with themselves and cultivating sustainable, meaningful relationships. We live in a society that has taken many years to progress to our current position. Often, societies’ core beliefs–structured by society and passed down through families–have excluded same-sex love and marriage. An examination of these morays reveals how shame leads to feelings of separation and inhibits intimacy due to the fear of rejection.
By removing these elements, we can find real intimacy and self-love, and foster community, closeness, and beautiful relationships. Confronting my fears has been essential for an experience of authenticity. As I adopted certain practices and mindsets, as the characters do in the film, I experienced internal healing and stepped away from living in fear, shame, and low self-esteem and towards living in grace and faith.
C: Can you talk about the pre-production process? After writing the film, what steps did you take until you were ready to shoot?
Apollo: The initial stages of writing and moving into production progressed swiftly. I completed the Greek portion of the script within two months, and within another two months, we were already in production in Greece. It took about four months to commence shooting. This involved bringing together the right individuals, engaging in meaningful conversations, and clarifying the vision.
Additionally, it encompassed casting, scouting locations, and all the necessary preparations for production. However, the most crucial aspect was preparing mentally and spiritually to manage everything effectively. Our inner work constitutes 80% of the process, while the remaining 20% involves taking action.
https://vimeo.com/906511515
C: What challenges did you face making the film? What were your favorite moments while making the film, and editing?
Apollo: The biggest challenge for me was, and still is managing my expectations. Staying engaged in the process and committing to my personal growth, evolving into the person I knew I needed to be, required trust in the possibility of embracing a new version of myself. Maintaining motivation throughout this journey was crucial to completing the task. The primary challenge was staying focused on the context and cultivating an inner experience that aligned with the project's context because I couldn't transmit something I didn't have.
C: Another thing I love about the film is how you list productive self-help steps that can help people stay aligned, such as expressing gratitude and keeping a journal. Do you have any routines that you use?
Apollo: I believe that we are shaped by what we practice and focus on and that we can discipline our minds and thoughts to handle our circumstances more effectively. I value and commit to daily practices such as meditation, writing (gratitude journaling), maintaining a positive mindset, and being part of something bigger than myself.
I also practice breathwork, yoga, dance, and any experiences that help me connect with myself and the divine—a divinity that I often find in my communion with nature. Meditating in nature is my favorite practice. Most importantly, I often check in with my heart, asking the kinds of questions I need to listen to so I lead myself toward peace and fulfillment.
C: What do you hope the film achieves?
Apollo: To create a sense of self-compassion within the audience and inspire individuals to break free from the cycle of self-judgment. To coax the question: “Can I accept myself fully in this moment?” Even when change is inevitable, “can I accept myself as I undergo the process of change”? Learning to love and accept the self in this moment allows for the expression of life’s immediacy and vitality.
The audience should expect some of their values to be challenged as they embark on a journey in Hellas and New York, and I hope that they will fall in love with both places. Perhaps they will question themselves and ask what self-love may mean to them, or consider what they want out of life. To find their bliss, what are they willing to let go of? Additionally, the film aims to inspire the younger generation to consider an example of healthy sexuality, since this sort of representation sometimes seems to be lacking in the popular media.
C: Apollo Bakopoulos, where were you born, where did you grow up, and where do you currently reside?
Apollo: I was born and raised in Hellas, Greece. I grew up there until I embarked on a journey at 20 years old. Since then, I've lived outside Greece, mostly in international areas.
Initially, I spent some time in Paris as a student and later in London, where I began my career in the industry's early years. Eventually, I settled in New York, where I have lived for the last 14 years. New York is my home, although much of the editing was completed in Hawaii.
C: How did you get your start in filmmaking?
Apollo: I started with photography, taking pictures as a child, and then began documenting and making videos at home when we got our first camera. I never thought I wanted to be a filmmaker, but I knew I wanted to be a photographer.
A dear friend of mine who works in production had a conversation with me then, suggesting that I start filmmaking school instead of just pursuing photography. She encouraged me to do that, and I did. Since then, I fell in love with it. Filmmaking has become my life's path.
C: What have you learned about working in indie film, and what did you wish you knew before you began?
Apollo: When I am grounded and connected I am in tune with my intuition and guidance of my higher self. I find by maintaining my practices and living a life of service, I can move through fear and into trust. I also learned that every experience has a lesson, therefore, I can be grateful for the wisdom. It might have been nice to know everything before I started but then I wouldn't have had my journey.
C: Who are your filmmaking heroes and dream collaborators? Next projects?
Apollo: I love Stanley Kubrick and David Lynch. I would also love to collaborate with people who are passionate about taking their work to the next level by empowering people and creating more LGBTQ context.
C: What messages and themes are important to you that you wish to explore in your future work?
Apollo: Holding a safe space for empowerment, deep exploration of identity, sexuality, self-love, and acceptance, particularly with LGBTQ youth. I want to normalize diversity and provide positive role models that foster a healthy self-image and encourage authentic expression.
For more on Apollo Bakopoulos and 'Aligned,' head to https://alignedmovie.com/.
Erik Osterholm Reflects On The Bones of Our Mortality
Filmmaker Erik Osterholm has quite an impressive resume. A multi-Emmy award-winning executive producer and director, he's worked on such award-winning unscripted series as CNN's Anthony Bourdain: Parts Unknown and HBO's VICE, which took him to all seven continents and some of the world's most remote corners. However, the most incredible journey he takes, captured in a new short documentary that he co-directed, might just be his most unbelievable yet.
Related: 'My Dead Dad': Honoring a Loved One with a Unique Sendoff
In the new short documentary My Dead Dad, a young woman brings the exhumed skeleton of her recently deceased father on a road trip, to honor his final request. Co-directed by Osterholm and Abby Ellis, the film is mind-blowing, and moving to watch. A jaw-dropping adventure that must be seen to be believed, the film is as much a meditation on mortality as it is a celebration of life. In our exclusive interview, Erik talks about getting involved with the project, the first time he saw the skeleton, and how the film shaped his thoughts on life.
Cinemacy: My Dead Dad is a short documentary (25 minutes) that follows a young woman honoring the final request of her recently deceased father: to bring his exhumed skeleton on one last road trip across the country, to eventually be put on permanent display in his former high school. Forgive me, but can you please confirm once more for the record: that this is all real??
Erik: Haha, yes, it is. No one can be totally sure of Christopher Gray’s original intentions (nor were instructions left for his family), but this was his request and one his daughter committed to uphold.
C: I have never seen anything like this story before. It’s all quite jaw-droppingly shocking! What was your reaction when you first learned of this story?
Erik: The story is fantastic, and I immediately wanted to know more. I loved that it was a journey. And that a family was trying to fulfill an (avant-garde) dying wish.
C: You are listed as one of the film's co-directors, alongside Abby Ellis. How did you meet and what was your creative starting point together?
Erik: We met working together on a VICE documentary series for HBO, and we stayed in touch over the years after both going our separate ways from that show. But I originally connected with Olivia (Christopher Gray's daughter and the film's subject) and her story. I knew I wanted to work alongside a talented director/editor who knew how to craft a story and structure, and immediately thought of Abby. I was delighted when she responded as positively to the story as I had, and we rolled up our sleeves and dove in.
C: Do you remember seeing Christopher Gray's skeleton in person for the first time? What was it like shooting the scene where the forensic scientist brings it into the room for his daughter Olivia to see for the first time?
Erik: Yes, I remember seeing the skeleton for the first time when we went to film with Dr. Hunt. This was before Olivia had seen it as he was still working on rearticulating Mr. Gray’s skeleton. It was shocking… there is a subtle but tangible feeling that this is real; it's not a fake plastic skeleton, but this is real bone, and this was inside a real human being.
The build-up to Olivia's first seeing her father’s skeleton was palpable. She was awash with emotions ahead of it but as you see in the film, she quickly moves from astonishment to recognizing her father.
C: We eventually learn about the man himself, Christopher Gray, an architectural historian who covered the Streetscapes section for the New York Times while alive. What lessons do you feel the film communicates about appreciating the history of something from a time that’s passed?
Erik: No one knows Christopher Gray’s original motivations, but it's hard not to make the parallels between the skeletal structure of a building–which sees many lives and histories pass through it over the years–as well as the skeletal structure of a human, and the years, lives and histories that it similarly lives.
C: What challenges did you face while making the film?
Erik: Logistically, we were right there with Olivia and her family as they tried to sort out moving Mr. Gray’s skeleton. Needless to say, that proved to be, quite challenging.
And then you add the emotional aspect of this journey and story, and you have the makings of a great film. It requires a thoughtfulness that other projects sometimes don’t. But that is a good thing. It's what makes this project so special.
C: The film has such a cathartic, life-affirming tone, but also such a lightheartedly comic one. In particular, I'm thinking of the scene in which Olivia's young family members see Christopher's skeleton during the Christmas holiday together. Did you have an idea of what you wanted the film's overall tone to be beforehand? Did it change while shooting, or in post-production?
Erik: We always thought this should be lighthearted and warm because that was how both Christopher Gray and his family approached life.
With that said, the story itself is the meaning of the journey. Its commentary on life and death shows how we celebrate the ones we love after they pass. It's deep and serious and we never wanted the film to veer too wacky or comedic and lose that emotional weightiness.
C: One of the messages in the film is to “Let that freak flag fly, and be whoever you want to be.” Can you talk about what this message means to you, having now made this film?
Erik: Olivia shares that quote in the film, and it's something her Dad reminded her of often. Like any good journey, it's not the destination that is the point, but how the trip changes you that matters. In this way, I think Olivia reflected on how much her Dad told her to follow her path and ignore any idea that said what she did, liked, or desired could be considered weird or strange, and to just be yourself.
Sometimes the wisdom and messages we receive in life don't land immediately, but take years to sink in. I think being on this posthumous journey with her father reminded her of one of the core messages he kept reminding her to hold.
What has the reaction to the film been like so far?
Erik: Very positive! This is a wacky, heartwarming, and beautiful story that we hoped would inspire questions about how we treat death and loss. And it appears to be landing.
C: I’m curious to hear your thoughts on mortality before making this film. What do you think happens when we die? Did that change after going through this experience?
Erik: I have produced several stories around the world including in conflict zones and the aftermath of disasters where mortality and the finite nature of life are very present. It makes you think about how much you need to cherish the time you have, and I think this film helps reinforce that.
As Olivia and her family try to fulfill their father's last wish, they also spend more time with him, doing the things he loved and always asked them to do with him.
C: Do you have any newfound advice for people who lose a loved one?
Erik: Olivia would be best positioned to advise on the loss of a loved one, but I think what I have taken away from this is how important spending time with the ones we love is. And that when loss eventually comes, there is room to laugh, to cry, and most importantly, to celebrate the lives those people lived while mourning their absence.
C: What is the future of this film, and do you have any future creative projects?
Erik: I have always imagined this story to have a second life as a scripted feature, which is a format that would allow you to dive into who Christopher Gray was as a New York Times writer, and build out the backgrounds of his family and characters and to lean even further into the questions of life, death and how to connect with the people we have lost. More updates on the scripted film adaptation, coming soon!
To follow Erik Osterholm, visit https://www.eosterholm.com/
'Trust' Shows a Fraught Family Fraying in 'Succession' Style
Take the cringe-inducing stress brought on by a family member's funeral from Shiva Baby and combine it with a Succession-style squabble for children's inheritance, and you'll have the new film Trust. Trust tells the story of a contentious family that struggles to stay together after a shocking twist in the matriarch's inheritance instructions that leaves a father and siblings' bond fractured. Heartfelt, humorous, and emotionally cathartic, Trust bravely reflects the messiness of real life and how we struggle to move ahead through overwhelming times.
With her blazer, blouse, and serious demeanor, youngest daughter Kate (Jennifer Levinson) practices a debate speech in a mirror, until she receives a phone call that levels her: "Kate, Mom's dead." Dazed, Kate returns home to reunite with Josh (Heston Horwin), her middle brother whom she's closest with. A data analyst with a level head, Josh keeps his emotions (and drinking) at bay, organizing the funeral with the rabbi (Adam El-Sharkawi) while Kate sneaks cigarettes and swigs of booze. Something beyond her mother's passing clearly unsettles her: could it be something to do with their absent father, who they've noticeably cut out of the funeral planning process?
In comforting (and comically portrayed) fashion, a flurry of family and friends from the Jewish community arrive with food and condolences. The funeral is a solemn affair, leading Kate to remark how their mother would roll over in her casket if she saw it, to which Josh informs her: "Kate, Mom was cremated." This classic lapse in family communication boils over when the eldest daughter Trini (Kate Spare) arrives, storming in with her shock of blonde hair, and immediately heads to the podium to express her heartbreak through cringeworthy, off-key singing.
As the family precedes to sit shiva (where cinematographer Sten Olson's impressively staged one-shot ties many people and backstories together), Trini, Kate, and Josh reconnect with their estranged father (Linden Ashby), whose arrival throws the night into further chaos. While he's obviously remorseful, Kate is left seething by her father's presence, revealing a grave betrayal he's made against them.
All of which leads to the reading of their late mother's trust. While the kids are ready to receive their share of the inheritance, they are met with the surprising news that their parents didn't finish signing those divorce papers years ago, leaving all of the assets to Dad, who's now choosing to withhold all of the money from them. Their financial security suspended and world upended, and the family fractures.
https://www.youtube.com/watch?v=UPy2EQACqWc
Beyond starring in the film, Jennifer Levinson's emotionally brave screenplay fearlessly tackles such topics as fraught family dynamics, infidelity, suicide, and substance abuse head-on. What's even more impressive is how Levinson writes a wide variety of well-developed characters with rich backstories we can sympathize with, who otherwise could have been one-dimensional stand-ins.
Much like families themselves, Trust offers a wide range of emotions. Director Almog Avidan Antonir balances cringe-inducing humor and highly dramatic moments, frontloading the film early on with quick-paced screwball antics when things are at their dizziest. Eventually, however, the pace slows and they are forced to sit with the uncomfortable drama they eventually find they cannot escape. As we sit through their growing discomfort, we understand that things can't be laughed off so easily and that pain needs to be accepted so one can move on.
Bringing the film to life are terrific and authentic performances. In the lead role of Kate, Jennifer Levinson brings a fresh realness and vulnerability that should put audiences on notice. As Josh, Heston Horwin is a true force, bringing a commanding presence and strength that gives way to the insecurities he later explores. As Trini, Kate Spare provides the right level of comic relief that also reveals a sympathetic and well-rounded character.
Trust is a rich drama and exploration into how messy family dynamics can be, and how we try to move on in the face of that reality. Exploring themes of grief and forgiveness makes for a real catharsis that will move audiences. Trust won both the Audience Award and the New Visions Award at the Cinequest Film Festival.
‘Orion and the Dark’: Family-Friendly Fun About Overcoming Fears
Have you ever been afraid of the dark? Or how about, anything at all? If so, then the new animated film Orion and the Dark is for you. Based on the book by Emma Yarlett, Orion and the Dark (now playing on Netflix) tells the story of a boy with an active imagination who faces his fears on an unforgettable journey through the night with his new friend: a giant, smiling creature named Dark.
The main character, Orion (Jacob Tremblay), is a smart, shy, fifth grader who's a typical kid with the exception that he is scared of absolutely everything: heights, bees, giving the wrong answer in class, losing a basketball game, and of course, the class bully, Richie Panichi (Jack Fisher), whose presence adds to the list of things that Orion worries could humiliate him at any turn.
Wildly imagining the worst possible outcomes in his head, Orion obsesses over what could go wrong by sketching these catastrophes in a notebook. One imminent looming fear is the upcoming class field trip to the planetarium – especially since his crush, Sally (Shino Nakamichi), tells him she's looking forward to sitting next to him on the bus.
Arriving home after another fear-filled day, Orion returns to the thing he's most afraid of: the dark. After his parents say goodnight, leaving his door slightly ajar...a little more...a liiittle more – perfect!), a towering shadow of a giant intrudes, by the name of Dark (Paul Walter Hauser). He has a towering, shadowy frame, but his wide eyes and huge smile don't scare him. And this is exactly the reason Dark visits Orion. He knows that he is Orion's biggest fear, and wants to fix that. Dark offers to bring Orion along with him on his nightly journey to make people fall asleep. Against his better judgment, Orion decides to join, and a fun-filled, supernatural adventure ensues.
https://www.youtube.com/watch?v=cScAQ2O26Y4
Orion and the Dark is a fun family film that offers laughs and life lessons. I enjoyed the animation, which reminded me of Pixar's Monster's Inc., in that it's also about secret worlds that make a huge impact on our daily lives, yet humans don't know they exist. The characters, such as Dark's friends, also reminded me of Inside Out, except instead of embodying emotions like "Happy" and "Sad," we have characters like "Light" and "Dark."
After joining Dark on his journey, Orion meets the rest of the creatures that positively and negatively affect people's sleep each night. There's Insomnia (Nat Faxon), Unexplained Noises (Golda Rosheuvel), Sleep, (Natasia Demetriou) Quiet (Aparna Nancherla), and Sweet Dreams (Angela Bassett). Orion also meets Dark's nemesis, Light (Ike Barinholtz), who everyone naturally loves, except for jealous, hurt Dark.
While the movie follows a pretty simple story, there are also a few unexpected layers to it. As his adventure is about to begin, we see an older Orion (Colin Hanks) telling the story of his adventure with Dark to his daughter, to help her fall asleep. It's a clever way that screenwriter Charlie Kaufman (Eternal Sunshine of the Spotless Mind) links people together.
There are several other smart and sophisticated parts to the film that make it more than just a simple kid's movie. Orion's message is one of authenticity. He says parents love simple stories, "but real life is complicated. The only stories that really help are the true ones." By relaying mature, real messages to the audience, we can relate to it more.
There are also big lessons here – some that adults can benefit from too: after wondering why Dark would be needed at all, if everyone loves Light so much, he soon finds that reason: Dark is needed because there is beauty in the contrast of life. What is "light," except for the opposite of "dark"? Dark is what makes light possible. There is a balance and relationship between all things in life, showing that everything in life is necessary. It's a very wise observation that young viewers would benefit from.
In the end, Orion and the Dark is a family-friendly movie that shows how taking risks is the only way to overcome your fears. If you're afraid of the dark, or anything at all, just know you're not alone, and someday, you may look back and share the story of how you overcame your biggest fears.
1h 33m. 'Orion and the Dark' is rated TV-Y7.
Alex Lykos Dares to Disconnect From It All
The next time you're out in public, look around. What do you see? It will likely predominantly be people on their smartphones, living in their own worlds. However, one person you won't see doing that is Alex Lykos.
With his new documentary Disconnect Me, director Alex Lykos does a 30-day digital detox in which he stops using his smartphone to become present with the world. In our exclusive interview, Alex talks about the reason for ditching his smartphone, and his outlook on phones: "Let's talk about our relationship with technology in a pragmatic, mature manner, not in a preachy manner because kids will switch off if we do."
Related: 'Disconnect Me' Attempts a 30-Day Digital Detox
What prompted you to take this 30-day smartphone detox, and when did you decide to make a documentary about it?
I started noticing how all-consuming my habits had become. I was looking at my phone over dinner instead of talking to my wife. I wasn’t in the present with my family, enjoying family time. Instead, I was mind-numbingly scrolling through my socials. But I was feeling worse after doing it, causing you to drop into the rabbit hole of comparing your life to those you see on social media. And I was like, "Hold on a second, where is the return on investment here? I’m spending an hour doing something and feeling worse after doing it."
I decided it was time for a circuit breaker, and to hold myself to account, I had a camera follow me. And it just grew from there into this film which expanded into covering a lot more than just my journey.
What were the first steps you took to begin this documentary?
I wrote a list of some of the things I would like to do during the experiment, one of which was to spend more time outdoors. I did lots more exercise and took up golf again, which I hadn’t played in a while.
One of the most unique elements of the film is audience participation, such as when you ask people to raise their hands if they use their phones in the restroom, as well as asking them to vote with their smartphones using a QR code on the screen. How did you decide to include these moments?
You know how at the beginning of the movie, we get that announcement asking us to turn our phones off? No one ever does. So we thought, "You know what, with this film being about that device in their pockets, let's get them to use it."
And if I may add, from the screenings we have had so far, this is a film best watched in the cinema with an audience, because it is a communal experience. There is a very unique energy in the cinema with the film being about a device that everyone is holding. Some are using it throughout the film, some aren’t. There is a very unique energy in the room.
https://www.youtube.com/watch?v=zXvV5vcxMWQ&ab_channel=LykosEntertainment
A particularly moving moment comes after you reveal to people how their smartphones are made by child laborers, to which they reply it's simply a “necessary evil." How did you feel hearing these responses?
I think the answers highlight just how dependent we are on smartphones, and how hard it would be for anyone who is addicted to their phone to part with it.
What unexpected challenges did you face while making the film?
The challenges of trying to communicate with the crew, dealing with logistics issues, communicating with family, and coordinating daily routines were the biggest.
What were your favorite moments in the film?
After listening to the student Angelina talk about her struggles with social media, we hear this extraordinary voice. It moves me every time I watch and is a stark reminder of the potential negative impacts of social media. At our Australian premiere, she came out after the film.
What do you hope the film achieves?
If the film can instigate a discussion between parents and their children, or between partners or friends, then that is all we are hoping to achieve. Let's talk about our relationship with technology in a pragmatic, mature manner, not in a preachy manner because kids will switch off if we do.
Alex Lykos, where are you from?
Sydney, Australia.
Can you talk about what drew you to pursue theater and the arts?
I used to play tennis, and when I stopped playing, I felt lost. Writing allowed me to express what I was feeling, and it just grew from there. The first story I wrote was about the reunion of two best friends: one a professional tennis player, one a professional drug dealer.
How did you get your start in filmmaking?
I started in the theatre in 2006 and made several shows until about 2013 when I adapted Alex & Eve, our most popular stageplay, for the screen. Alex & Eve's film was completed in 2015.
What have you learned about working in indie film? What did you wish you knew before you began?
It is a grind, a real grind. If you don’t love telling stories, it can be very disheartening. You have to love it to make an independent film. That and sound is the most important element of any film.
Any next projects we should know about?
I am working on a feature film titled The Lady Echindas, another documentary, and a television series titled Jawbone.
What messages and themes are important to you that you wish to explore in your future work?
Generally, I like to explore themes relating to the challenges we all face in trying to navigate life, trying to explore the purpose of it all.
Louise Woehrle Shines a Light On Our Integral True Stories
The adage goes that the first step to solving any problem is recognizing there is one. This can be quite challenging to do, as acknowledging problems oftentimes comes with needing to face our fears, insecurities, and shame head-on. That is why we need brave filmmakers like Louise Woehrle, whose new documentary A Binding Truth shines a light on a vital story of two friends who learned of their shared family ancestry through their ancestor's slaveholding roots.
Related: 'A Binding Truth' Uncovers a Complicated Familial History
In our exclusive interview, Louise Woehrle discusses how by confronting our nation's dark past of racism and slavery, we can all heal and grow stronger together. She also discusses the behind-the-scenes work of bringing the story to the screen, her production company Whirlygig Productions, and her message for her future film work: "I believe we need more stories that help us see each other with more compassion, understanding, and acceptance."
https://vimeo.com/842917169
C: How did you first learn about the incredible life story of Jimmie Lee Kirkpatrick, the main subject in your documentary, A Binding Truth?
Louise: I first learned about Jimmie and his story when I was in New York screening my previous documentary Stalag Luft III - One Man’s Story. My cousins Ellen and Katie Holliday attended the screening. Katie is married to De Kirkpatrick, the other central subject in our film.
C: In 1965, Jimmie integrated from his all-Black high school into an affluent white high school in Charlotte. One of his classmates, De Kirkpatrick, shared the same last name. Almost fifty years later, a shocking discovery was made that De's ancestors were slaveholders who owned Jimmie's ancestors. What was it like for you to learn of that moment, and how did you want to handle that in the film?
Louise: It took my breath away because I knew what a shock this was to De. I wanted to tell this part of the story with the truth and in an authentic way. De was more than willing to stay open and honest in pursuing the truth of his slaveholding roots. There were no rose-colored glasses.
C: What were the first steps you took to begin this project?
Louise: My executive producer, Jay Strommen, and I flew to Charlotte to meet with Jimmie and De. We talked in depth. We listened to them and shared our interest in doing a documentary about their story and why it was so important. They agreed it was a good idea and a good fit - we were off and running!
After that, I knew I needed fundraising tools, starting with a sizzle reel. Thankfully, Jay provided our start-up capital. Next, I went to FilmNorth, located in the Twin Cities of Minneapolis/St. Paul to get our fiscal sponsorship set up through them. They are a 501c3 that has served as a fiscal sponsor on several of my films, thereby allowing contributors to donate to our project as a charitable contribution.
I next contacted Gary Schwab, a journalist for the Charlotte Observer who had written a 3-part series with David Scott about Jimmie in 2013 and subsequently a story in 2014 about Jimmie and De reconnecting decades after high school. Gary was a wealth of knowledge. Next, cinematographer Chip Johnson, a longtime friend and colleague, and I filmed interviews with Jimmie Lee and De and shot some broll of them in the Sardis Slave Cemetery.
I gathered photos from both men, and Chip worked with me to edit a 13-minute sizzle reel. Next, a friend of De’s, Jock Tonissen, organized a fundraiser luncheon held at Myers Park Presbyterian Church in Charlotte, where I met our lead fundraiser Chuck Hood. Chuck got out there and raised most of the funds with Lauren Batten of Vandever Batten.
C: There are several deeply emotional, delicate moments shared between Jimmie and De that you portray sensitively in the documentary. What were those moments like for you to edit?
Louise: Jimmie is a very sensitive person who can share his emotions. Delving into his past was very emotional for him. He says in the film, “When you do this kind of work, your emotional tank needs to be full.” De is sensitive, too, but is more analytical. I mean, he is a forensic psychologist, so that makes sense.
When we were editing the film, it was my goal to show both men in their true light. Thank you for saying that those moments were handled with sensitivity.
C: You contextualize their story by also showing parts of our nation's larger, problematic history with racism and slavery, using incredible archival footage. In particular, I was so moved to hear the voice recording of the former enslaved Fountain Hughes. How did you go about finding all of this footage?
Louise: The research never stopped from pre-production through post-production. It takes a lot of time and due diligence. We found incredible images and footage. When I heard the Fountain Hughes recording from the 1930s, I knew he was our link to help connect the past to the present. What he says is so powerful as a former enslaved person.
Most of the images were found through various archives in Charlotte libraries and museums, while others were found in the National archives. I had dedicated researchers on the project, so it wasn’t only me digging for gold.
C; What challenges did you face while making the film? What were your favorite moments in the film?
Louise: I would say telling the story of Jimmie and De when they first met nine years ago was challenging, but I think we figured it out. One of the biggest challenges was letting go of some great stories that did not make it into the film. My goal was to keep the length at 90 minutes. It was so tough.
One of my favorite moments in the film is when we are surprised by Emma, age 92, with her uncanny ability to read people, her humor, and her honesty in talking about her own family’s history as slaveholders. Another moment is when Jimmie takes us back to his past with his son JJ, and De’s time in the cemetery with Jimmie, with a voiceover of De reading prose he wrote titled White Bones.
C: While your documentary uncovers a lot about the past, the film also looks towards the future, with the message about how we must acknowledge our atrocities and have difficult conversations with each other to learn and grow. What do you hope people take away from the film?
Louise: I hope that people will see themselves somewhere in the film and relate to the stories - be touched in some way. I believe that when we are awakened by the truth, it allows us to see things through a new lens. The truth is what I hope is conveyed through Jimmie and De’s stories. How people react to the film will be theirs to share, hopefully in positive ways.
We have already witnessed that the film sets the table for personal conversations about race and the Truth of America’s Slave history and how that ties to racism today. I know that Jimmie and De show us a way forward.
C: Louise Woehrle, where are you from?
Louise: I grew up and live in Minneapolis, Minnesota.
C: How did you get your start in filmmaking?
Louise: I was previously an actress in theater and on-camera, doing commercials and voiceover work. My first job as a producer was at a small production company. The owner had seen a Birthday video I was working on for my dad and his twin brother. I was still married at the time. The co-owner of the production company asked how long I had been a producer, and I told her that I wasn’t a producer. She said, “Yes, you are,” and told me that if I ever wanted a job, she would hire me.
So, when I got divorced, my two boys were 5 and 8 years old, and I needed a job - I took that lovely woman up on her offer. That’s where I learned to be a filmmaker and all the various aspects that are involved. It was like getting paid while going to school.
C: Can you tell us more about Whirlygig Productions, the production company you founded in 2002?
Louise: After working at that small production company for 3.5 years, it was time for me to fly on my own. So in 2002, I committed to telling stories that mattered. I started my company Whirlygig Productions as an independent filmmaker. There was no studio, only me.
I created a mission statement for Whirlygig: “Telling stories that help us see ourselves and others in new ways, promote healing, and connect us as human beings.” I have stuck with that mission and love that I get to serve as a conduit for stories that matter. For me, that means shedding light on important stories that need to be told that can serve as catalysts for change.
C: What have you learned about working in indie film, and what did you wish you knew before you began?
Louise: I have learned so much about myself and what matters to me by telling stories about so many different people, places, cultures, and causes. I realize the power of storytelling and how much we can learn from each other. I also feel it's a privilege to shine a light on stories that can positively affect lives and how important trust and integrity are in being able to do that.
C: Who are your filmmaking heroes and dream collaborators?
Louise: I have many film heroes, but in the documentary world, I would say Ken Burns and Waad Al-Kateab.
C: What messages are important to you that you wish to explore in your future work?
Louise: I’ve always been interested in mental health and being there for young people. We need to shed more light on trans young people and their stories. There are far too many deaths by suicide, and I believe we need more stories that help us see each other with more compassion, understanding, and acceptance.
Elan Golod Preserves History Through Our Elders' Unheard Stories
With his large eyeglasses, thick suspenders, and slumped posture, Nathan Hilu may appear at first glance to be just an elderly man on a couch. But by looking closer, intentionally listening, and putting a camera in front of him, we learn that he's a man not only rich in stories but with an abundance of artwork that illustrates pivotal moments in world history. And bringing this man's life and stories to the screen is Elan Golod, director of the new documentary, Nathan-ism.
Nathan-ism tells the life story of Nathan Hilu, a Jewish veteran who guarded the worst criminals responsible for the Holocaust following WWII. But as the documentary reveals more about the expressive Nathan through seeing him sketch his quickly drawn cartoons–capturing monumental life moments relying on memory alone–we also learn that there may be some questions as to the authenticity of the stories as Nathan remembers them.
Related: 'Nathan-ism' Explores Truth and Narrative Through This Cartoonist
In our exclusive interview, Elan Golod shares the process and challenges of making Nathan-ism, the film's upcoming screening at the Nuremberg Memorial ("It’s incredibly gratifying that Nathan will have his story shared in the very room where many details about the Holocaust were brought to light"), and the biggest takeaway after making the film and working in independent filmmaking.
How did you first learn about Nathan Hilu, the subject of your documentary and directorial debut, Nathan-ism?
I was going down the internet rabbit hole searching for potential documentary-worthy stories and I came across an article in a small Jewish magazine about Nathan Hilu and an exhibition he had had at the Hebrew Union College Museum. I was immediately struck by the dramatic circumstances of his Nuremberg experiences.
I was also intrigued by the cognitive dissonance of this heavy subject matter treated in these vibrant Crayola colors, unlike much of the existing canon of Holocaust-related art. That felt inherently cinematic and worthy of deeper exploration of the person behind these visual memoirs.
At the beginning of your film, Nathan shares that there are many art “isms”: Futurism, Impressionism, and now, “Nathan-ism.” How would you describe the “Nathan-ism” art style to audiences?
If "Nathan-ism" were featured in art history books it would probably be defined something like this: Rooted in the expressive storytelling of individuals like Nathan Hilu, this distinctive approach involves the skillful translation of personal narrative into a vibrant visual language, creating a unique fusion of storytelling and artistic expression that immerses viewers in the intimate and vivid landscapes of individual memories.
At first glance, Nathan’s art might appear amateurish and childlike to viewers, made with markers and crayons. But they are deceptively deep once you see that the cartoons are his life’s memories, specifically of being a Jewish prison officer guarding the highest-profile criminals of the Holocaust during the Nuremberg trials. What do you find striking about the juxtaposition between his playful cartoons and their grave historical subject matter?
To me, Nathan’s drawings offered a unique opportunity to convey a narrative linked to the Holocaust from a fresh perspective, diverging from the conventional portrayal often seen in previous Holocaust films. So much of the visual documentation of the Holocaust is in black and white which leaves the viewer somewhat removed. In stark contrast, Nathan’s artwork feels like it is bouncing off the page and screaming at you with the same urgency as Nathan’s storytelling style.
What were the first steps you took to begin this project?
After reading about Nathan Hilu online, I reached out to Laura Kruger, the curator of the Hebrew Union College Museum. She provided me with Nathan’s contact info but warned me that he was “quite the character” and that he wasn’t the easiest to deal with.
I cold-called Nathan and explained my interest in documenting his story. Initially, it took some time to gain Nathan’s trust and get him on board with the project. I visited him over several months without any camera or recording equipment, just sitting and listening to his stories over coffee. Nathan was very excited to have a willing audience for his stories and eventually felt comfortable enough to start sharing his stories on film.
What was the process like to bring Nathan's artwork to life using animation?
From the outset, I felt that harnessing Nathan's vibrant artwork with the right animation treatment could authentically immerse viewers in his deeply subjective perspective. During the conceptualization phase, I stumbled upon the work of Héloïse Dorsan Rachet, a Paris-based animator who had done beautiful animation sequences for Michelle Steinberg's documentary "A Place to Breathe." Rachet's animation style, with its childlike and innocent quality, left me convinced she could effectively replicate Nathan Hilu's unique artistic flair.
To ensure the animations stayed true to Nathan’s original work, we embarked on an extensive series of animation tests, prioritizing authenticity above all. Nathan's abundant drawings, featuring key figures from the trial and pivotal scenes within the narrative, served as an invaluable visual foundation guiding our meticulous animation process.
https://vimeo.com/815880849
What challenges did you face while making the film?
My relationship with Nathan was not the traditional filmmaker-subject relationship. While Nathan's personality added a captivating layer to the narrative, it also posed occasional challenges during the filmmaking process. Each time we filmed with Nathan, it was like a “show-and-tell” session in which Nathan shared the stories behind his last batch of drawings. Nathan was very much intent on crafting his narrative, leaving little room for interjecting questions. Here and there, by curating the drawings I had him talk about, I was able to steer the conversation towards the topics I wanted to cover.
For the research about Nathan’s military service, I was unsure what our digging would unearth. At times it was a struggle to wait patiently while our archival research attempted to shed more light on Nathan’s time in Nuremberg. But as viewers will see in the film, the patience paid off.
As you just touched upon, the film takes an unexpected turn when it’s brought into question whether or not Nathan actually lived each of these experiences as he says he witnessed. This being a documentary, and you being so close with Nathan as a person, what was it like for you to include this part in the film?
This is an aspect I discussed extensively with my therapist. Navigating the intricate relationship between my roles as both a filmmaker and Nathan's friend demanded a delicate balance. I intended to thoroughly delve into Nathan's life story and delve into the depths of his psyche while avoiding the risk of putting his memory on trial in the process.
This required a nuanced approach, where our friendship served as a foundation for trust, allowing the exploration of his narrative with sensitivity and respect. I’m thankful to say that despite some tense moments featured in the film, I managed to maintain my friendship with Nathan until the very end.
Nathan-ism will have a special screening at the Nuremberg Memorial on February 13th. What does having this screening at such a sacred site mean for you?
I am truly humbled by this honor and I’m beyond excited that Nathan’s legacy and this film will have such a full-circle moment. It’s incredibly gratifying that Nathan will have his story shared in the very room where many details about the Holocaust were brought to light. In 1945, the four allied powers behind the Nuremberg trials had hoped that the trials would deter future aggression by establishing a precedent of holding war criminals accountable in international court. So it is very unusual and timely to showcase this film as conflicts persist in the Middle East and Ukraine
What would you say is the biggest thing you learned from Nathan, and what do you hope people take away from the film?
The most actionable lesson I learned from my time with Nathan is taking the time to listen. There are so many elders like Nathan, who have an abundance of remarkable stories waiting to be unraveled. Taking the time to truly listen not only honors their wealth of wisdom but also forges meaningful connections that transcend generational boundaries. In a world bustling with noise, dedicating moments to absorb and cherish the narratives of our elders becomes a powerful act, unlocking a treasure trove of experiences that might otherwise be lost to time.
Let’s get to know you better! Elan, where are you from, and how did you get your start in filmmaking?
Raised in Israel to an American mother and Israeli father, my journey unfolded with an unexpected twist as I found myself creating training videos as part of my mandatory service in the Israeli army. Post-army, I pursued a deeper understanding of filmmaking at New York University and went on to work as a film editor on both scripted and documentary films. This collaborative learning experience has significantly shaped my directorial approach.
What have you learned about working in indie film, and what did you wish you knew before you began?
Unfortunately, I've become increasingly aware of the challenges facing the documentary filmmaking landscape, with market trends narrowing the range of documentaries able to secure distribution. Nevertheless, I maintain a hopeful outlook for the emergence of fresh opportunities for daring documentary content, and I am determined to actively contribute to this essential transformation.
What messages and themes are important to you that you wish to explore in your future work?
I am currently deeply intrigued by the concept of legacy and the imprint we leave on the world long after we're gone. At the moment I’m starting to explore a story related to this idea from within my own extended family.
For updates and more information on 'Nathan-ism,' head to the film's website.
Sundance: 'A Real Pain': A Heartfelt Trip Through the Hurt We Feel
Among the films I saw at this year's Sundance Film Festival was the second feature film written and directed by Jesse Eisenberg. Humorous, heartfelt, emotionally honest and altogether moving, it was the best film I saw at the fest. It's called A Real Pain, which stars Eisenberg and newly-awarded Emmy winner Kieran Culkin as a pair of cousins who, following the death of their grandmother, travel to Poland to join a Holocaust tour. Seeing the historical sites of their family's history, they are given the chance to reconnect to their ancestry as well as with each other after time spent apart.
With eyeglasses and a general nervousness, David (Jesse Eisenberg) is introverted, anxious, and altogether cut off from his emotions. He's less than comfortable leaving his wife, child, and job behind to vacation with his free-spirited cousin Benji (Kieran Culkin), whose pajama pants and tousled hair reveal the responsibility-free life he lives.
After reconnecting at the airport, the cousins touch down at their first hotel in Poland (where Benji has already pre-shipped his large package of pot, which he consumes in small doses along the way. They join the rest of their travel group, along with their guide (excellently played by Will Sharp). Although the trip and stops along the way are all pre-planned, what is not as predictable are Benji's emotions, which David is surprised to see fluctuate wildly, from delightful to distraught.
Benji is reeling hard from his grandmother's passing, she being the "only one who understood him," as he shares with David. The group's daily activities visiting memorial sites and gravestones begin to bother Benji, ultimately pushing him past the brink where David and Benji are forced to acknowledge a troubling truth that lies between them, as well as confront the emotional distress they feel within themselves.
In part, A Real Pain is just a wonderfully made tour movie and will delight anyone looking to take a lovely-looking trip through the beautiful historic Polish city and countryside. The film is warmly shot, and montages set to Chopin's classical piano music (a smart inclusion, he being a Polish composer) create a calm, intimate peacefulness over this sacred ground.
On a deeper level, the film is an emotive exploration into the personal pain we all may experience, and the different ways we choose to feel, or not feel it. Eisenberg's directorial debut, 2022's When You Finish Saving the World, was a smart, sharply observed suburban comedy about a disconnected mother and son. But where that film was less inclined to dig deep into emotionally painful terrain, here, Eisenberg (a neurotic overthinker) bravely confronts emotions head-on. By portraying David (essentially an Eisenberg stand-in) as someone repressing emotion through medication and denial, along with Benji as the uninhibited but volatile opposite, we see the film's biggest statement: that choosing to address and express one's internal pain is necessary, however uncomfortable it may be.
Bringing these themes to life is the singular Kieran Culkin; the "mercurial sprite" who gives the film its magical ingredient. Culkin's charisma is so singular and spontaneous, making for scenes that are as hilarious as they are heartfelt. A scene in which the group tour stops for a photo in front of a set of WWII statues becomes an exercise in improvisational acting, in which Benji directs them to pose as each of the different military members, bringing an unexpectedly life-affirming moment to the group. Similarly, the fearlessly frenetic Kieran Culkin breathes life into a story that is made even better with his presence.
A Real Pain proves that Jesse Eisenberg should continue to not only make films but confront emotions head-on. Searchlight acquired it for $10 million (one of the higher buys from the fest), so audiences will be able to see this emotionally stirring life-affirming film, giving us the opportunity to process our own pain as well.
1h 30m.