BFF FILM & FESTIVAL BLOG
Celebrating Father Figures in Film & TV
Written by Amanda Lederle
The title of father can be a crown to wear with pride, yet it can weigh heavy on a person’s head. The following examples of father figures are all only humans, trying to do the best they can with what they know and have been taught. We are introduced to grown men who find new ways to take care of their families, make amends, learn what it means to be a leader, and seek to find their personal identities.
Beginners
This film is about Oliver (played by Ewan McGreggor) reflecting on his life after his father’s death, while also trying to define the future of a new relationship. Oliver’s constant need for definition stems from his desire to find purpose and love.
After years of marriage to Oliver’s mother, Hal (Christopher Plummer) is in his 70s when he comes out as gay to his son. We see how Oliver’s relationship with his father changes afterward, up until Hal’s eventual death. This film is a wonderful example of how fathers may not always be who we think they are, and how it’s never too late to reveal one’s truth.
Christopher Plummer received an Academy Award for this role as Best Supporting Actor in 2011.
Morris From America
In the first minute of the film, Morris (Markees Christmas, in his first feature film) and his father Curtis (Craig Robinson) analyze what they think is good hip-hop music.
Right off the top, you see the strong bond between these two. Father and son then go out for ice cream, and we realize that these two African-American males in their matching New York Yankee hats are in Germany, very far from their American norms.
While Morris struggles to fit into the culture and the local adolescent community, he is also in search of his rapping identity. Meanwhile, Curtis finds himself struggling as well. This father figure is trying to deal with his grief after the passing of his wife, at the same time as he is learning to be a single father and trying to find his own way in German society. Seeing Robinson as a father is a refreshing change from the carefree, troublemaking characters he typically plays. Morris in America is a great story about finding your authentic voice and identity in a foreign place, no matter what age you are.
This film won two prizes at the 2016 Sundance Film Festival: the Waldo Salt Screenwriting Award, and for Craig Robinson, the U.S. Dramatic Special Jury Award for Individual Performance.
Whale Rider
Traditions are important to maintaining culture. But how long should we continue to uphold a tradition if it no longer serves its purpose?
This is a story about a Maori tradition of training the first-born grandson of the chiefs to be the next leaders of a tribe. When the first-born grandson in a local Maori tribe dies at birth, his twin sister Pai seems to have the potential to be the future chief but is brushed off as a possible candidate.
However, as a strong female character, Pai does everything in her power to show her grandfather that she is capable of leading their tribe. After several challenges and with the support of other male tribe members, she eventually proves herself worthy of the position. A beautiful tale about how traditional male roles can be upheld by any gender, and that a community needs to support its members for the group to succeed.
Pai is played by thirteen-year-old Keisha Castle-Hughes, who in 2003 became the youngest nominee for the Academy Award for Best Actress.
The Royal Tenenbaums
What’s a list about fathers without Royal Tenenbaum? The father of three struggles to find his way back into his quirky family after years of questionable parenting. This story is about him making amends with his children and, as a result, how they come to terms with themselves.
Anderson’s films famously portray the experience of coming-of-age and people’s relationships with their fathers, and this film about adult children is no different. No matter how old we become, we still look for approval from our loved ones, as a father or as children.
Amanda is a film enthusiast that has dedicated their life to mental health awareness, CreateBeing.com. Amanda has a background in Film Studies and lives with their partner and their chinchilla, Chewbacca in Toronto, Canada. They are also a visual artist, you can find more on Instagram @amandalederle and @createbeing.
9 films and TV shows that shine a spotlight on the LGBTQ+ community, its challenges, and achievements! #IDAHOT
In celebration of International Day Against Homophobia, Transphobia, and Biphobia, here are 9 films and TV shows to watch that shine a spotlight on the LGBTQ+ community, its challenges, and achievements. From dramas to comedies, we truly appreciate every story and its significance. Click the image for trailers. Happy IDAHOT day!
POSE
The category is…jaw dropping, heart warming, get out of your seat and start snapping at the TV goodness. You might start voguing down your halls after watching this pivotal show set in 1987, following the ball culture, like the iconic film Paris Is Burning (Livingston, 1990). The show juxtaposes the lively underground with upper class white executives, who work for Trump.
The show features 5 trans people of color - setting a record in TV history as the first show ever to feature these radiant performers. Showrunner, Ryan Murphy decided to donate his earnings to not-for-profit organizations in the LGBT community (intersex, trans and gender non-conforming) after hearing lived experiences while researching for the show. Season two premieres this June. This show is about connection, respect and love in your adopted community and ultimately being your true self.
MILK
A biopic about LGBT rights politician Harvey Milk’s rise to office. This film gives us a look at his leadership of hope, courage and bravery as the first elected openly gay California politician in 1978. Sean Penn wins an Oscar for Best Actor in this role.
TANGERINE
What do you do when you get out of jail and your bestie tells you that your cheating pimp boyfriend has a new cis-girlfriend? This comedy drama follows transgender sex worker, Sin-Dee’s search to find this woman in question and the many confrontations on her journey to redemption. Underneath that plot is a story truly about two best friends, Sin-Dee and Alexandra, both trans women who are strong, vivacious and have each other’s back. Alexandra even skipped her own phone bill to pay for Sin-Dee’s rent while she was in jail, that is a real friend! Seeing these trans characters as multi faceted, not just two dimensional stereotypes, was refreshing at its time. The film was shot with three iPhone 5S smartphones. This was before films and technology advanced as it has today. This was really a standout film at its time. In fact, one of the iPhones used has now been donated to the Academy of Motion Pictures. Locked in history.
DYKES IN THE STREET
The anticipated Inside Out Film Festival (May 23- June 2)l in Toronto celebrates the vibrant LGBT community. In this year’s festival, a documentary about the Dyke March, a staple during Pride Week, will have its World Premiere. Director, Almerinda Travassos, takes you on a journey from the past marches from 1981, 1991, 1996 and 2016 and shows you how these marches have made an impact in the political and cultural arena in Toronto. Thus asking the big question of what has been accomplished from these marches and what is next?
GAY CHORUS DEEP SOUTH
You may recall this title as we featured it as a must see at this year’s Tribeca Film Festival. Rodrigues features 300 singers on tour in the deep south. Frankly, sounds like a logistic nightmare but I digress. The choir travels to states like North Carolina, Alabama and Tennessee to a series of church performances where they encounter anti-LGBT laws and homophobia. A really powerful example of how sharing stories can change lives of others and the storytellers themselves. This film will have it’s Canadian Premiere at Toronto’s LGBT Film Festival, Inside Out.
WHEN WE RISE
A mini-series drama about LGBT struggle for equality over the last 40 years. It also documents the growth of activists like Cleve Jones and Roma Guy throughout different times in their lives. Each character is played by two actors at different ages, highlighting just how powerful and long they fought for these rights. It was created by the writer of MILK (Van Sant, 2008) and Dustin Lance Black. This moving show stars trans actor, Ivory Aquino, and other notable faces like Whoopi Goldberg, Rosie O’Donnell, Mary-Louise Parker, Guy Pearce and David Hyde Pierce. This timely show debuted in 2017, just as Trump announced roll-back of transgender bathroom protections.
BREAKING FREE
The filmmaker introduces the documentary as a personal project and gives insight to the LGBT experience and laws against homosexuality in India. You quickly recognizes that social injustice, brutality from officials and victimization of individuals is a worldwide issue for all LGBT people. The film does include positive coming out stories, political fights and an empowered future for the next generation. This film was shot from 2007-2014.
WILL & GRACE
There was nothing like it at the time. Originally a side story for another show, the Will and Grace characters shined so brightly, the network wanted creators, Max Mutchnick and David Kohan to develop their storyline. Though this sitcom may not seem like an important pick for LGBTQ+ rights, look again at the wide access of representation on a national network, prime time slot that gives this show a place on this list. It not only has won awards but showcases the first gay kiss on network television! That episode, titled “Acting Out”, was only in their second season. There is no doubt its reboot was brought back to a time where our culture, again, needs to be reminded of the visibility of a gay lead.
FREEDOM TO MARRY
This documentary shares the historical look at the social political climb towards same-sex marriage in the US. This inspiring film follows activist, Evan Wolfson, in his fight for the equal rights of same-sex marriage. His passion for equal rights has empowered this whole movement leading the countdown to the Supreme Court favoring the ruling of same-sex marriage. This film has won 8 Best Documentary awards and has been screened at over 20 film festivals.
This article was written by BFF contributing writer Amanda Lederle. Amanda is a film enthusiast that has dedicated her life to mental health awareness, CreateBeing.com. Amanda has a background in Film Studies and lives with their partner and their chinchilla, Chewbacca in Toronto, Canada.
10 Films and Events We Look Forward to at the 18th Annual Tribeca Film Festival
written by Amanda Lederle
There are so many good films, events, and parts of culture I would want to immerse myself in, so narrowing it down to just 10 was not easy. From seeing influential on and off screen figures speaking about the filmmaking process to their social, political effects on communities, this year’s Tribeca Film Festival ( April 24- May 5) is looking energetic and inspiring!
As a festival goer, I know to not overbook myself so that I don’t rush from one theatre to the next or miss out on meals. With that in mind my chosen 10, generally lined up to be one a day so you can map out your festival week with ease.
So get your pass, map out your nearby restaurants and coffee shops, it’s festival time!
1. SHORTS! We start with Shorts because there are various dates, mostly at the beginning of the festival. In this year’s lineup there are 63 short films. You can choose from Sci Fi, Nature, Comedy (Funhouse), LGBTQ, and even animated shorts curated by Whoopi Goldberg! Gasp. The list goes on and with such variety, you are bound to find one you like. Two really stood out:
THE BOXERS OF BRULE (Jessie Adler, 2018, New York Premiere) directed by Adler, a Human Rights Storyteller, shares journey of a Lakota woman who creates a boxing team to combat youth suicide.
THE DOWNFALL OF SANTA CLAUS (Robert Depuis, 2018, North American Premiere) from Norwegian filmmaker Depuis brings to life in claymation a boy’s faith in St. Nick which is the only reason Santa Claus exists!
2. IN LIVING COLOR (Tribeca TV, Premiere Episode from 1990)
Sound the alarm and cancel all your plans on April 27, this is an event you do not want to miss. If you grew up watching In Living Color, like I did, you are in for a treat! Under the TV category, Tribeca is celebrating the premiere episode to celebrate its debut in 1990. This show set the stage for well-known actors like Jamie Foxx, Jim Carrey, David Alan Grier, Tommy Davidson and obviously, the Wayan brothers. Audience members will have a special experience with a post-screening conversation with creator and star Keenan Ivory Wayans and co-stars Shawn Wayans, Kim Wayans, Tommy Davidson, David Alan Grier, and Rosie Perez. This is surely a not to miss event for fans.
3. SEE YOU YESTERDAY (Stefon Bristol, 2019, World Premiere)
Bristol, a Bushwick Film Festival alum and 2018 Rising Star Award winner, teamed up with Spike Lee to further develop his short, same name, into this feature. A timely cultural commentary, this story is about two friends who make a time machine to go back in time to save her brother from being wrongfully killed by a police officer. This feature film will be released on Netflix this year.
4.TRIXIE MATTEL: MOVING PARTS (Nick Zeig-Owens, 2019, World Premiere)
Calling all RuPaul’s Drag Race fans! Your Drag Race All-Star winner, Trixie Mattel gives you a behind the scenes look at what it’s like to be a folk singer, host your own talk show, relationships that falter and the trials of being on the road after winning Drag Race. A for attending audiences is a performance by Trixie Mattel treat after the screening!
5. LUCKY GRANDMA (Sasie Sealy, 2019, World Premiere)
Tsai Chin, (who has also been in two Bond films, one as a Bond girl) stars as a gambling grandmother who finds herself in trouble between New York gangsters. Directed by Sasie Sealy, a Tribeca alum winner of two film awards is sure to showcase this dark comedy of an immigrant woman with a punch of striking visuals. This film was the winner of the 2018 Untold Stories, a pitch in presented by AT&T and Tribeca Film Institute with a $1 million prize. The film celebrates women of color, on and behind camera.
6. GAY CHORUS DEEP SOUTH (David Charles Rodrigues, 2019, World Premiere)
This documentary chronicles the journey of 300 members of the Gay Men's Chorus of San Francisco traveling in the South. If you want to see a 100-minute film about bravery, friendship, and acceptance you’ve found it here. In Rodrigues’ feature documentary debut, viewers are introduced to members’ stories of being ostracized, relationships with the church and community and the transformation of common humanity. If this film doesn’t open your heart to sing, I don’t know what will!
7. TUCA AND BERTIE (Tribeca TV, 2019, World Premiere)
Get ready to laugh. Tiffany Haddish and Ali Wong voice this animated episodic series about two 30-year-old friends. Did I mention they are also birds? If you like the humor and style of Bojack Horseman, you are in for a treat! Paulie, wanna cracker? (I’m sorry, I had to throw in a pet bird joke #sorrynotsorry). This Netflix show is debuting at the festival and will be available to watch at home on May 3. Stay after the screening for an conversation with Ali Wong, Tiffany Haddish and creator, Lisa Hanawalt.
8. THE REMIX: HIP HOP X FASHION (Lisa Cortes and Farah X, 2019, World Premiere)
Rewind to a time where 80s and 90s hip hop fashion was dominated by men, standout voices like Mary J Blige, Missy Elliot and Lil’Kim expressed themselves through fashion to be heard. This film from two women of color looks at the journey of female hip hop artists and their influence as fashion icons. Cortes is known for her work as producer on MONSTER’S BALL (Marc Forster, 2001) and PRECIOUS (Lee Daniels, 2009). Farah X has worked with high profile brands including Calvin Klein, Coach and music icons like Prince, Mariah Carey, and J.Lo.
9. LOST TRANSMISSIONS (Katharine O’Brien, 2019, World Premiere)
Juno Temple and Simon Pegg star in this commentary about the mental healthcare system and homeless landscape in LA. Pegg plays a music producer who stops taking his schizophrenia medication while Temple’s character gathers her friends to find him to get into treatment. I am looking forward to seeing how Pegg portrays this character alongside the backdrop of this urban cityscape. This is O’Brien’s feature debut.
10. Tribeca Pride
A whole day dedicated to LGBTQ conversations, I am squealing with excitement! From 10 a.m. to 6 p.m. you can enjoy a full day of discussions about activism, representation in politics and Hollywood, being multi-creative and much more. The whole day is a preamble to the evenings World Premiere of the documentary, WIG (Chris Moukarbel, 2019) a film about the drag movement through archival and contemporary footage.
This is going to be a night to remember! Screening also begins with 7 specially selected LBGTQ+ shorts. Following the feature is a drag performance hosted by Lady Bunny including Charlene Incarnate, Bobby Samplsize, Flotilla and many more. The full day will be sprinkled by community members and big screen actors like Neil Patrick Harris and John Cameron Mitchell and community leaders like Alok Vaid Menon and Jacob Tobia.
For Tickets and passes to the 18th Annual Tribeca Film Festival visit: www.tribecafilm.com/festival/tickets
If you are attending and watching any of these films let us know what you think and share a picture of you at the screening. Tag @BushwickFilmFest.
Enjoy the show!
This article was written by BFF contributing writer Amanda Lederle. Amanda is a film enthusiast that has dedicated her life to mental health awareness, CreateBeing.com. Amanda has a background in Film Studies and lives with their partner and chinchilla, Chewbacca in Toronto, Canada.
Jordan Peele's 'US' Feels Like a Cerebral Thriller!
written by Donaldo Prescod
After seeing Jordan Peele’s sophomore film Us (the second in his series of social thrillers, with the promise of three more similarly-themed films to come), you may exit the theater with your head spinning, searching for answers. But I recommend that you allow yourself to sit with those thoughts for a few hours, or days, even. Then try to process this film the way you would while decoding the otherworldly, slightly askew films of Lynch, Kubrick, and Aronofsky, and it starts to feel like a cerebral thriller (a new term I hope I just coined). Think: abstract and not literal, moody, quirky and offbeat, a genre which is great for black filmmakers, as we hopefully graduate more and more to audiences accepting our kind of strange.
Before I dive into my thoughts, theories, and feels, I need to geek out for a moment and mention a different kind of tethering that I noted (as opposed to the kind described in the film). Elizabeth Moss: when I first heard about the plot for Us and saw her in the trailer, immediately I thought, “Wait! She was in a similar film a few years ago! Will the world of Charlie McDowell’s The One I Love, which tackled the same idea of dealing with your doppelgänger, intertwine with the world of Us, like the interconnectedness of a Stephen King novel?” That’s probably wishful thinking for us film nerds. Still, it’s interesting to see Moss in both of these films which address the subject of doubles, though McDowell took a simpler approach to literally facing oneself, whereas Peele expanded on this idea with great depth and integrated the element of horror.
I had a visceral reaction within the first ten minutes of the film. Having grown up in the Santa Cruz area, I could relate to frequent family trips to the boardwalk. I never wanted to get on that rickety-sounding ride The Big Dipper, which always seemed like it was made up of barely-held-together old wood, though it was probably safe. But I do miss the corn dogs, and mastering the art of ski ball like a Kung Fu prodigy. And one can never forget the boardwalk at night. For starters, it’s creepy, just like how it was portrayed in the movie. It is especially eerie when that layer of fog rolls in and coats the beach, creeping onto the lip of the boardwalk, thus beginning the terror soon to befall young Adelaide when she meets her doppelgänger.
This film is wrestling with many themes, but overcoming trauma and PTSD was always at the forefront of Lupita Nyong’os’ performance. All the acting was solid but this film has her mark all over it. At every turn you saw a wave of emotions wash over her face: fear and rage as she tried to suppress a deep, dark secret; trying to maintain her composure as a loving mother and wife while keeping that secret bottled up. Then there was her performance as her other self: creepy, raspy, unforgettable voice combined with the rigid movements of a homicidal maniac. The physical and emotional depth she displayed was layered, and it was exciting to see her pull from a whole basket of acting skills we’ve never seen her demonstrate before.
Now back to the trauma: an incident occurs ten minutes into the film which arrests a child’s development, giving rise to her end goal as an adult, when she and the rest of her ‘tethered’ family and friends surface to kill the undeserving. And as referenced several times in the film, Jeremiah 11:11 says:
Therefore thus saith the Lord, Behold, I will bring evil upon them, which they shall not be able to escape; and though they shall cry unto me, I will not hearken unto them.
After evil was brought upon, the tethered joined hands to complete the Hands Across America mission. Though a bit strange to behold, it represents one of the last, happy moments embedded in young Adelaide’s mind before her traumatic incident. And lastly, I have to give a huge shout out to Peele for taking a 90’s West Coast classic by the Luniz, slowing the beat down and making it creepy as fuck.
Us is definitely that kind of film with replay value, where a new mystery is discovered in each viewing so that as we gradually dissect more and more of it, lets us appreciate the unconventional, weirdo aspect of an instant cult classic.
Donaldo Prescod is an award winning filmmaker from Boston, Mass and currently based in Brooklyn. His film Black People Are Dangerous won Best Narrative Short at the Urban Film Festival and the Honorable Mention Award at the 10th Annual Bushwick Film Festival.
Celebrate Pride Month With These 5 Films!
In celebration of Pride onth, here are the top 5 films you should take the time out to see!
Disobedience / Directed by Sebastián Lelio
Based on the novel by Naomi Alderman, director Sebastián Lelio delves into the lives of two orthodox women whose lifelong status as friends develops into something very intimate.
Disobedience gives a voice to two populations that are underrepresented in film: LGBTQIA+ and Orthodox Jewish women.
Depicting the contented convergence of homosexuality and religion, this film should be prioritized above all other films this summer! Not convinced? How about this: the film stars Rachel Weiz and Rachel McAdams, whose performances have collectively garnered recognition by some of the most prestigious film names in the United States, including The Academy Awards, The Golden Globes, The New York Film Critics Circle, and many more.
Support your local theaters: Now playing at the Brooklyn Academy of Music’s Harvey Theater and the Nitehawk Cinema in Williamsburg!
Duck Butter / Directed by Miguel Arteta
Duck Butter is an experimental comedy that finds two women dissatisfied with relationships who decide to establish intimacy in a smothering kind of way: sex every hour within the span of 24 hours.
This is a film written by a woman that focuses solely on the voices of women, which is exactly what we need in these times: underrepresented voices telling their own stories.
Duck Butter is not currently in theaters but it was picked up by The Orchard at Tribeca and can be rented on Amazon.
Love, Simon (2018) / Directed by Greg Berlanti
You haven’t seen this yet? A 17-year-old teenage boy is harboring a secret: his sexual orientation. When his secret is threatened by a blackmailer, he has no choice but to come to terms with his identity.
The LGBQTIA+’s reluctance to freely express their true identity with the people they love is understandable because it is still a very risky and difficult thing to do. Further representation in media helps make it easier, even if only a little bit. This is the first film by a high profile Hollywood studio to focus on homosexual teen romance.
Love, Simon finished up its theatrical run a few weeks ago, but it is available for purchase on Amazon!
The Miseducation of Cameron Post / Directed by Desiree Akhavan
The film tells the story of a lesbian who is forced to go to a gay conversion center. She meets others who also find the concept of converting one’s sexuality to be ineffective. Miseducation's premise is that gay conversion is futile: homosexuality is innate, and cannot be purged for the sake of heteronormativity.
Support your local theaters: The Miseducation of Cameron Post will be at the William Vale on July 31st!
Call Her Ganda / Directed by PJ Raval
In 2014, a Philippine transgender woman was found murdered in a motel. The public identification of the prime suspect—-a U.S. marine—-ignited a political insurgency against the ubiquitous transphobic attitudes and the post-colonial relationship between the United States and the Philippines.
Violence against the transgender community is more often than not a manifestation of ignorance and the disbelief that gender identity cannot be simply reduced to genitals.
BONUS: Blowin' Up / Directed by Stephanie Wang-Breal
A look into a team of courageous women who advocate against the criminalization of prostitution. The overwhelming majority of women arrested are undocumented Asian immigrants, black, Latina and transgender youth and in this film we meet those fighting for decriminalization, as well as the women, working as prostitutes, who are cruelly represented, all while gaining insight into how our current justice system unjustly handles those who need to do this work to survive. Put aside the romanticized depiction of the privileged Belle de Jour-- the life of the average sex worker is precarious and coercive. Support your local theaters: Blowin’ Up is not in Brooklyn yet, but it will be playing at the Landmark E Street Cinema on June 15th.
Find more info about the film here! https://www.blowinupfilm.com/
New York’s Finest Soccer Film Festival Celebrates its 10th Edition Next Week!
One of New York City’s amazing perks for film lovers is its many specialty film festivals. One of these gems is the Kicking + Screening Soccer Film Festival which will be held from May 22-25 at the Scandinavia House (58 Park Ave). Now in its 10th edition, Kicking + Screening highlights the world’s game in all its facets, showcasing a diverse selection of stories. While all revolve around the beautiful game, they also touch on many broader issues such as women empowerment, LGBTQ discrimination or how to deal with loss.
The opening night film “Football For Better or For Worse” highlights FC Rosengård, one of the world's top women’s clubs with Brazilian star player Marta, and their struggle to survive in a male-dominated industry. It’s followed by “I Love Hooligans”, a short doc about a gay hooligan that is trapped between the love for his club and his sexual identity. Another fantastic feature doc is “Nossa Chape” which celebrated its world premiere at SXSW 2018. Directors Jeff & Michael Zimbalist and co-director, Julian Duque, provide a compelling documentary that follows the Chapecoense club beyond the tragic demise of all but three players in an airplane crash, and how fans, their city, and the club itself are trying to move on.
We have secured a 15% discount for you with code KSNY. To buy tickets and view the full program visit http://www.kickingandscreening.com/ks-ny-2018. This year’s world cup may be without team USA but that doesn’t mean you can’t get your soccer fix this summer!
Written by
Tilo Zingler
Festival Review - Berlinale 2018
The Bushwick Film Festival loves when independent films and filmmakers are put into the spotlight, and few festivals shine it brighter than the Berlinale. The festival offers an intriguing mix of Hollywood glamour, international powerhouses and up-and-coming filmmakers, as well as one of the largest film markets in the world. But what really sets the festival apart, is its accessibility and public acceptance, with audiences lining up venue after venue and independent films drawing crowds of up to 1,000 people. At ten in the morning, mind you. Another aspect filmmakers and audiences can appreciate alike, is the high standard of presentation. While some festivals may seem to think louder is better or simply lack the infrastructure (yes, Bushwick needs a proper movie theatre!), the Berlinale excels with high-end hardware, crisp sound and amazing venues like the Friedrichstadt Palast, Kino International and many more. As Steven Soderbergh pointed out before his world premiere of Unsane at the Berlinale Palast: “This movie may never look as good again as here.” He may be right. Read our take on a few more films we caught, follow the Bushwick Film Festival on Instagram, Twitter and Facebook and don’t forget to submit your film!
Photo Credit: T. Zingler, BFF
'Isle of Dogs' directed by Wes Anderson
The Berlinale’s opening night film comes with a lot of star power and fanfare. In a somewhat dystopian Japan all dogs have been banished to remote Trash Island. A young boy named Atari sets out on a rescue mission for his beloved Spots and crashes on the island. Complicating matters is the fact that Atari is the adopted child of the mastermind behind the K9 exile. The film struts with detail and is another masterpiece of stop-motion style animation. It’s quirky and the story has its moments, letting the viewer temporarily look past the animation onslaught and indulge into the characters, a huge achievement for a film that is visually so different. Still, overall, there aren’t too many surprises and it feels like the film runs out of time at the end, rushing towards a conclusion. Nevertheless, this is a must-see for Wes Anderson fans.
'Black 47' directed by Lance Daly
British Imperialism has been the backdrop for a lot of blockbuster movies from Braveheart to Gandhi, but the English involvement in the Great Famine in Ireland has largely gone unnoticed cinematically, according to the makers of Black 47. An Irish Ranger desserts from British forces and after finding his loved ones deceased and wronged upon his return, goes on a killing spree, working his way up from local henchman to British lord. Not even Hugo Weaving as the good antagonist gone bad and good again, can salvage this very predictable film. While some of the imagery is indeed disturbing and effective in portraying the unfathomable plight of the people, the film does little to transform the viewers disgust into a more meaningful emotion.
'Don’t Worry, He Won’t Get Far on Foot' directed by Gus Van Sant
A Berlinale darling, Gus Van Sant delivers an autobiographical film about John Callahan, a dark humored quadriplegic turned cartoonist. Much like the main character played by Joaquín Phoenix, the film rolls along the lines of humor, disgust, fright and amazement. Phoenix delivers a heartfelt and believable performance without guilting audiences too much for a man that has brought a lot of his misery on himself. After an intoxicated night out with fellow alcoholic Dexter played by Jack Black, John ends up paralyzed and in a wheelchair. Having to finally face his demons, John finds a way back into a meaningful life with the help of a few friends, most notably guru-like Donnie played by Jonah Hill. Van Sant finds a good balance between dramatic and comedic moments and creates a thoroughly entertaining film that matches well with the twisted humor of Callahan.
'Unsane' directed by Steven Soderbergh
This film may be something of an experiment, considering it was shot exclusively on an iPhone 7 Plus. Purist may shudder but the good news for independent filmmakers is: you can make a stylish film with just that! Looking past the gear, the film has an interesting premise — SPOILER ALERT — of a woman accidently checking into a closed mental facility and than more or less legally being held there against her will, as part of an insurance scam. Claire Foy turns in a feisty performance as the female lead, yet it seems that the film can’t decide whether it should take a turn for a John Grisham-esque type of suspense or just plain shock survival flick. For the former, it lacks a feasible antagonist with depth and it’s also at times visually violent. Yet for all the blood spilled, it’s still far far away from the likes of Saw. Nevertheless, a good pick for anyone that likes a suspenseful thriller that doesn’t simply celebrate brute violence.
'Khook' (Pig) directed Mani Haghighi
If you have a chance you should see this film, based alone on offering a glimpse into a country that has been ostracized like few others, yet people barely know about it. But if you’re expecting one of those heavy, food-for-thought, pressing international dramas, you will be in for a surprise. The leading man, Hassan Majooni, constantly wears metal and rock icon t-shirts, smokes like a chimney, destroys tennis rackets with a passion and is in a constant state of crisis. He’s been blacklisted by the government, his muse wants to work with his enemy, and a killer is decapitating everyone in the Iranian film establishment — everyone except for him, the most relevant director of them all! Khook is a dark comedy that is visually loud and lavish, politically incorrect and often reminds viewers of Tarantino’s/Rodriguez’ escapades. The film boldly deviates from what you typically see in the Iran news and media, and for that, we highly recommend a viewing.
'Las Herederas' (The Heiresses) directed by Marcelo Martinessi
Las Herederas is a true gem of independent filmmaking. The story overflows with strong women, each represented in their very own particular way. It centers around an aged lesbian couple (Chiquita and Chela), both from wealthy families that have to start selling off their belongings when funds become scarce. But while not even a stint in prison can quench the outgoing Chiquita’s lust for life, the introvert Chela struggles mightily with their dilemma. Slowly, she starts to accept the challenge of being temporarily on her own and after meeting the young and vibrant Angy, she outright embraces her new situation. The film strikes a pleasant and gentle tone and builds suspense from Chela rediscovering life with all its ups and downs - no artificial plot twists needed. Las Herederas is a beautifully intimate film that goes for the subtle high instead of the dramatic bang and it’s masterfully carried by an extraordinary performance from Ana Brun, which deservedly won her Best Actress at the Berlinale.
'Twarz' (Mug) directed by Malgorzata Szumowska
Twarz is a merciless tally of the Polish status quo. Jacek is a construction worker, lives with his family on a farm and gets ridiculed by his brothers for being a long-haired Metallica fan. But he embraces the rebel role and even gets the pretty girl. However, when he has a severe accident that requires a face transplant his disfigured appearance pushes him outside what’s socially acceptable. Now an outsider not by choice but by physical manifestation, he’s rejected by his love, his family, his church community and even a pastor that’s more interested in sexual confessions than Jacek’s costly rehabilitation. Malgorzata blatantly tears apart everything sacred in Poland and uses the camera to paint an ugly picture of her country; one engrained with racism, alcoholism, sexism and religious furor. The film will probably not win many popularity contests in Poland but it did win the Jury Grand Prix at the Berlinale.
We’re providing live coverage of the 6th Annual Bushwick Collective Block Party w/interviews of Busta Rhymes, Foxy Brown and Cam’ron
Hey Friends!
We have some exciting news to share below. We are partnering with The Bushwick Collective to cover their upcoming Block Party this Saturday June 3rd. We’ll be interviewing headliners Busta Rhymes, Foxy Brown and Cam’ron as well as capturing the excitement of the entire event.
You can read our recent press release with all the details here: http://bit.ly/2rp1EAD
xox
BFFTeam
FESTIVAL REVIEW: 2016 TRIBECA FILM FESTIVAL
The Bushwick Film Festival loves independent film festivals! Especially those, like the Tribeca Film Festival, that take place in our very own city. #Tribeca2016 had its 15th edition last week, and we attended a number of panels, screenings and talks, which we shared with all the indie film lovers out there who follow us on Instagram and Facebook. If you missed the experience on social media, you can read a summary below of the films we liked and didn’t like, along with what inspired us. And remember to follow us on Twitter, Instagram and like us on Facebook so we can stay connected!
Films
Califórnia | Photo by Aline Arruda, courtesy of Tribeca Film Festival
Califórnia
Set in Brazil during the 80s, Califórnia follows a young girl between the time of her first period and her first sexual experience. Estela (Clara Gallo) is desperate to escape her life and embark on a trip with her uncle to California. But she is forced to explore her identity and desires while the looming AIDS epidemic of the era threatens her wishes. Califórnia follows most of the ingredients of a coming-of-age story, except that it is told from the feminine perspective. As director Marina Person noted at a Q&A following the last screening, this is an important difference. It’s hard not to enjoy this movie and even fall for some of the characters. Califórnia proves to be another example of how, no matter the language or setting, humanity has more universal stories than we’d like to admit.
— Moraima Capellán Pichardo
Live Cargo | Photo by Daniella Nowitz, courtesy of the Tribeca Film Festival
Live Cargo
Live Cargo (directed by Logan Sandler) offers up a story I couldn’t invest myself in, and yet, I didn’t want to miss a single frame. Early into the film’s runtime, the opaque nature of its storytelling left my mind wandering, but – even without a plot I could attach my concerns to – it still undoubtedly made an impact. Most of the moviegoing public, myself included, probably hasn’t seen an abundance of digital black & white films. It’s possible some audiences have never even seen a single one. Let’s face it, B&W is not “in” and may never be again. What’s special about Live Cargois that it doesn’t look like the 120-year-old The Arrival of a Train, or even Raging Bull. Its textures vary from those films because new cinema in 2016 looks like the present, not the past.
Anti-digital crusaders like Quentin Tarantino and Christopher Nolan will choose death before going digital, but their renouncement of a new era of films and filmmakers is no different than when your parents told your teenage self to turn down that loud and offensive punk rock record that you were really into. Live Cargo’s creative team embraces modern filmmaking techniques, and in the process delivers something that is different from all of the films your favorite auteurs made, but every bit as gorgeous.
— Joseph Willwerth
The Charro of Toluquilla | Photo by José Villalobos Romero, courtesy of the Tribeca Film Festival
The Charro of Toluquilla
A few minutes before the screening, I was walking behind a man wearing a black sombrero and a plaid button-down. Given that we were in the Tribeca neighborhood, it was easy to recognize him as El Charro de Toluquilla. I had also been keeping up with the documentary ever since reading about it over at IndieWire, when it premiered at the Guadalajara Film Festival.
The Charro of Toluquilla provides a brief but intimate look at Jaime García, who embodies the image of traditional macho Mexican horsemen (charros), while living unapologetically as HIV-positive. In over three years of production, director Jose Villalobos Romero managed to integrate himself into the life of El Charro, who at a Q&A reassured the audience that his personality is authentic, no matter how over-the-top it might seem to be. (Sidenote: To everyone’s delight, he energetically ran up and down the theater aisles, handing over the microphone for questions). El Charro is hard to forget, and he doesn’t disappoint.
The documentary portrays a refreshing and often laugh-out-loud funny take on a father-daughter relationship and the topic of marriage. It is the type of storytelling we need in a time when Mexican men are often portrayed as caricatures for political gain.
— Moraima Capellán Pichardo
Wolves | Photo by Juanmi Azpiroz, courtesy of Tribeca Film Festival
Wolves
Director Bart Freundlich, piled on more drama and surprises in Wolves than this moviegoer could handle. The film includes a degenerate gambler, an alcoholic, a pervert, a struggling author and a bad father – and that’s only Michael Shannon’s character. Newcomer Taylor John Smith excels on the screen as a high school basketball star at odds with his dad (Shannon), and navigating situations that no 18-year-old should have to be prepared for. Freundlich takes every coming-of-age archetype and pushes it to the extreme, throwing subtlety out the window, but by doing so, he fails to give proper care to such serious subject matter.
— Joseph Willwerth
Talks and Panels
Ira Sachs and Andrea Arnold
During a Tribeca Talk, Ira Sachs (Love Is Strange) spoke with director Andrea Arnold (Fish Tank) about her career of filmmaking adventures and her new film, American Honey, set to debut at the 2016 Cannes Film Festival. When Sachs asked what she found most shocking about her time shooting in America, Arnold detailed the horrors of poverty and drugs that the crew witnessed while filming in the South. When he asked her about her fears, she surprised everyone by claiming that she has none. In fact, Arnold seems to thrive on making low-budget independent films and has no qualms about being a woman in an industry dominated by men. Arnold’s secret to achieving her one-of-kind realism on the screen is to make movies like she prepares a meal in the kitchen, “without a recipe.” The auteur consistently challenges her creative self: American Honey was filmed with countless non-actors. who she only gave new pages of the script to just prior to each day of filming. Arnold apparently heeds her own advice to the audience: “Take the reins and go for it.”
Idina Menzel & Marc Platt
A packed audience had the pleasure of catching Idina Menzel (Frozen) in a very different setting during a Tribeca Talk, moderated by producer and friend Marc Platt (Wicked). There wasn’t a person seated who didn’t love hearing about how, when she was younger, the world-renowned singer had actually believed that she would one day be able to star as one of the black leads in Dreamgirls. Ever since her parents brought her to a Broadway show in her pajamas, Menzel has been nothing less than enamored with singing and acting, in all its forms. Though her career is full of successes, she emphasized that there have been just as many lows, just as many rejections, as there were times when she felt acceptance for her work. Through it all, she has appreciated all of the moments in her career and, for the record, would be overjoyed to be CGI’d into the long-in-the-works Wicked movie (if it ever gets made).
Menzel also runs A BroaderWay Foundation, a camp that fosters the creativity of underprivileged young girls and gives them the opportunity to dream big, just like she did when she was their age.
— Joseph Willwerth
Submissions Now Open for the 10th Annual Bushwick Film Festival!
Submissions are open for the 10th Annual Bushwick Film Festival! Filmmakers and web series directors who want the unique opportunity to screen their work in front of Bushwick audiences can now submit their film via Film Freeway through July 15th.
Important dates are as follows:
Early Bird Deadline: February 28
Regular Deadline: March 1 – May 31
Late Deadline: June 1 – July 15
Notification Date: August 15, 2017
Festival Dates: October 12 – 15
This fall, from October 12-15, we will celebrate our milestone 10 year anniversary, marking a decade of bringing independent stories to audiences from all walks of life. The four day weekend will include screenings, panels, workshops, parties, and networking opportunities. To date, the festival has showcased the work of over 300 filmmakers, most of them Brooklyn and New York-based, as well as international films from 30 countries across the globe. In addition to a wide range of genres and topics, we continue to highlight films directed by and starring women, along with stories from underrepresented groups.
Please share this exciting news and help us make this years festival one to remember! If you have any questions about submissions, please feel free to contact us at:programming@bushwickfilmfestival.com
Thanks in advance!
JPMorgan Chase & Co. Women’s History Month Panel
Written by: Kweighbaye Kotee
During Women’s History Month, I had the opportunity to produce and moderate a panel for J.P. Morgan Chase & Co. International Women’s Day event on March 8th. The panel was comprised of the super inspiring and amazingly talented women from the documentary film Dream, Girl. The Bushwick Film Festival had the privilege to screen Dream, Girl last year, a film that is a testament to the powerful and creative forces that women are and have always been.
The energy on stage was particularly electric that afternoon. I had the chance to speak with Erin Bagwell, the director of Dream, Girl, and the subjects she followed in the documentary: Crista Freeman (CEO of Phin & Phebes), Clara Villarosa (co-founder of Villarosa Media) and Annie Wang (co-founder of Senvol).
Erin, Crista, Clara, Annie and I are all entrepreneurs in traditionally male-dominated industries. It’s no secret that starting any business comes with its own challenges but adding misogyny into the mix of paperwork and time management brings some unique hurdles. Historically, women have not been encouraged to seek work or become independent. Women are still underrepresented in most industries,even the ones that are marketed to us specifically (E.G. makeup, fashion, etc). In a world that is run by the sometimes invisible but all too real patriarchy , it is so important to hear and share the stories of our growth and the lessons we learned to get where we are today.
Top 10 Films of 2016 – Selected by Team BFF
With all the hoopla surrounding Oscar season, The Bushwick Film Festival began thinking about the movies from 2016 that moved us, made us laugh, and inspired us to take action. To celebrate the diversity that 2016’s cinematic landscape brought with it, we asked 10 staff and volunteer members at the festival to pick their personal favorite films from last year and tell us why they stood out. Without further ado, we present to you the Bushwick Film Festival’s Top 10 Films of 2016.
Fire At Sea (Directed by Gianfranco Rosi)
Kira Boden-Gologorsky, Programming Intern
In Fire at Sea, innovative storytelling searches for a new route to explore a familiar narrative. Migrants have moved through Lampedusa, an island closer to Tunisia than it is to Sicily, for decades. But in more recent years, the influx has exponentially increased, effecting the lives of not only those seeking refuge but those whose personhood is embedded in the island. Rosi turns to Samuele, a 12 year old boy from Lampedusa, as a vantage point from which the plight of the migrants and the lives of the island’s inhabitants are explored in parallel. Samuele’s connections to the island illustrate the web of people who come in contact with North African migrants. Unlike a traditional documentary, Fire at Sea contains few statistics, which are obviously didactic, instead opting to explore metaphors in Samuele’s life, sweeping visual landscapes, and personal anecdotes to give a new perspective. The documentary lends an inarguably intimate touch to a global crisis, and gives hope that new types of storytelling can and will impact the world for the better.
The Jazz Loft According to W. Eugene Smith (Directed by Sara Fishko)
Tyrone Tanous, Production Consultant
The source material is incredible in scope and quality and is incorporated into the story in engaging design. I love Jazz music and this film serves the music’s history, an artist’s personal story, and other tales of New York City. This film is a multifaceted journey and recommended! Between 1957 and 1965 in New York, dozens of jazz musicians jam night after night in a dilapidated Sixth Avenue loft, not realizing that much of what they play and say to each other is being captured on audio tape and in still pictures by the gentle and unstable genius, former LIFE Magazine photographer W. Eugene Smith, who lives in the loft space next door. Photographer W. Eugene Smith recorded 4000 hours of audio tape and took 40,000 photographs in the Jazz Loft between 1957 and 1965. This is the first film to make use of this archive, now housed at the Center For Creative Photography at the University of Arizona.
Lion (Directed by Garth Davis)
Gonnie Zur, Programming Intern
After getting a glimpse of his craft in Top Of The Lake, it didn’t take much for me to go see Garth Davis’s Lion when it opened at TIFF this past September. In it, Davis brings to the screen the unimaginable life story of Saroo Brierley: a native Bengali man who, due to an unfortunate set of events, is separated from his family at the mere age of five. It might’ve been luck or chance, or fate, that later united Saroo with his adoptive parents: a kind Australian couple that gave him his life back — a better life, some would say. But as he gets older and understands that he’s still holding on to the remnants of his past, Saroo realizes that in spite of the consequences that tore him and his family apart, he’s willing to risk everything to reunite with them. Unsurprisingly, Dev Patel manages to perfectly and honestly deliver Saroo, and Nicole Kidman portrays the archetype of motherhood as Sue. In all honesty, it has been a while since I’ve seen performances with such strength and precision. Every shot, every angle and sound, is infused with pure emotion. After catching my breath and wiping the tears away (yes there were tears), I felt grateful to have witnessed this one of a kind cinematic piece. Moreover, these types of stories, give you perspective and a chance to give in to your emotions. It did for me; as I sat in that darkened Toronto theater, as far as physically possible from Saroo’s Calcutta, I felt as close to him as one can feel.
Fences (Directed by Denzel Washington)
Brian Wendelken, Volunteer
Denzel Washington’s adaptation of August Wilson’s Fences is a film that deals with the themes of corrupted innocence, gender roles in society and within the family, and the harsh realities of life (particularly as a black man in 1950’s Pittsburgh). It is also a story of forgiveness, love and setting your own course. Its Christmas Day release felt appropriate to close out 2016, a year that has seen such chaos and social unrest on a global scale. Denzel Washington’s portrayal of Troy Maxson shows a man whose bravado, charisma and promises keep his family together. Troy watches his son, Cory (Jovan Adepo), becoming a man and fears that Cory will follow in his footsteps. Troy raises Cory tough and is hard on him out of spite or perhaps due to foresight but even at his most loving moments he confides in Cory that he just wants him to get as far away from Troy’s life as he can. He wants Cory to be nothing like himself and pressures him to study and help with chores. When Troy’s infidelities come to light and threaten to tear his family apart, his wife (Viola Davis) is faced with the impossible task of living with Troy, keeping their home together and even raising Troy’s daughter as her own; giving hope and light to the darkest and most harrowing situation imaginable. Fences is a powerful film and I believe it is one of the most important stories told in the history of American theater or cinema.
Zootopia (Directed by Byron Howard & Rich Moore)
Camila Perez, Volunteer
This animated Disney movie features the courageous tale of an innocent, good hearted bunny named Judy Hopps who has dreams of becoming a city cop alongside an intimidating team of tough buffalos and tigers and bears, oh my! The story’s plot is driven with a multitude of different animals (a reference to the diversity of our own human cities). Zootopia fearlessly dives into the corruption of speciesism within the animal society that is embedded deep within the structure of how their law enforcement works. Judy Hopps’ character is a great role model for both kids and adults because she showcases bravery, resilience, and ruthlessness even in a harsh and unfair environment. This is my favorite 2016 film because even though this kids movie is rated PG, there are deeper messages that offer very relevant contexts to think about like racial profiling (or in this case, species profiling), police brutality and corruption. Even with all of these controversial topics intertwined in the film, the brave Judy Hopps is ready to combat anything in the way of the fair and just society she dreams of policing. The movie is inspiring, laugh-out-loud funny, stimulating—an exciting and entertaining combination for audiences of all ages to witness the hopeful bunny successfully land a ‘good cop’ role, one that demonstrates the role we hope all of our own city cops fill.
The Lobster (Directed by Yorgos Lanthimos)
Juan Collado, Intern BFF
The Lobster navigates a future dystopia where single people must fall in love within 45 days or else become an animal of their choice and released into the wild. The film, a commentary on the ways love and relationships are drilled into our minds, explores the extent many will go to in order to fall in love and also how little others will try. I admire Yorgos Lanthimos choices as a filmmaker to use film as a medium to shine a light on our society. I love how untimely the comedic points in the movie are and how one can relate to the character’s predicament and their reasons for not falling in love. As a big Colin Farrell fan, I found myself loving him more in this obscene, abstract, and bizarre environment. The Lobster is much like many other films I love from the other side of the world such as Songs from the Second Floor and Vodka Lemon. This movie is definitely out there as far as content and storytelling goes, but if you’re up to the task, this movie will make you look at death, suicide, love, and systems of oppression differently.
21 Days Under the Sky (Directed by Michael Schmidt)
Karen Cooper, Volunteer
This documentary takes DIY motorcycles and the all-American road trip to another level. We follow four bikers who meet in San Francisco to begin a 3,800-mile coast to coast ride. The film takes in America’s extraordinary landscapes along the way and the final result feels raw, wild and awe-inspiring. I was extraordinarily lucky to see it in the presence of the writer, poet/journalist Kate O’Connor Morris, (yay for women in film!) along with cast and crew. Also, I’m pretty sure having the screening in a Brooklyn gallery/biker bar, with a slew of bikes lined up outside (all of which ROAR’D after the film ended), also impacted my decision to vote this as my favorite film of 2016!
These C*cksucking Tears (Directed by Dan Taberski)
Joseph Vassily Willwerth, Creative Projects Coordinator
The Establishment weighed heavy on this here moviegoer as I rifled thru my mind’s filmic library in search of a title that would not only sum up my sense of taste in 2016, but the emotional fabric shaped by its 365 day runtime. Smoke That Travels (Briët) and Napoleon In Exile (Litwak) were disqualified due to a conflict of interest, as were Gosh (Gavras) and Kenzo World – The New Fragrance (Jonze) because music videos, commercials and short films are not worthy of, and historically speaking, never on Best of Lists. But then I heard a voice. It was a convincing one, and its outlier tone asserted this: “There’s a lot wrong with the establishment . . . . . and f*ck [them]!” The voice behind this influential adage, Patrick Haggerty, is also the hero of a 16 minute documentary called These C*cksucking Tears and it’s the best darn motion picture of 2016.
The fabulously titled film follows a now 72-year-old Haggerty as he plays old folks homes and clubs alike, while recounting his life as the artist who released the first openly gay country album the U.S. of A. ever heard (Lavender Country, 1973). As a young boy raised in 1950s America who was gay but not fully conscious of it, Haggerty struggled with something universal: the fear of rejection felt when one’s behavior does not align with social mores. As he aged, and went on to write songs that put his sexuality front and center (e.g. “Cryin’ These C*cksucking Tears”), Patrick’s inclinations (musical and sexual) cost him fame, fortune — and by his account, acceptance in the conservative country music capital of Nashville — but they did not cost him dear ol’ dad. In a pivotal childhood moment, face covered in glitter, lipstick from ear to ear, a fearful Patrick quickly ducked away to avoid his father as they beelined towards each other in a hallway. Haggerty Sr. later confronted his son and gave him a piece of advice which would fundamentally shape Patrick, who took his father’s loving command, adopted it, and in turn became the expressive, artistically innovative, sex-positive soul that this documentary reveals him to be. It’s advice that oughta be passed down not only from every father to every son, but right here, right now, from me to you: “don’t sneak — or you’ll ruin your immortal soul.”
The Birth of A Nation (Directed by Nate Parker)
Nathalie Thomas, Executive Assistant
This film came to us at a time of great racial upheaval in our country and at the height of the Black Lives Matter protests that took our news media outlets by storm. The Birth Of a Nation is my favorite movie of 2016 because it was the impetus that propelled many uncomfortable but important conversations about race — conversations that are urgent and need to take place. I found this film provocative (and that’s not alluding to the allegations surrounding its director). The film’s true history is one that has been cast in the shadows, hidden and masked by many other narratives. At the helm, Parker manages to reveal a small flicker of the painful reality of an oppressed people with dignity and agency. This, all while making a point out of the title by pushing two cinematic pieces into a conflicting conversation. The timing of this film was crucial and is another reason why it’s so close to my heart. It also pulled many other Oscar nominated films into the overall dialogue of the black experience in America i.e. Hidden Figures, Fences, Moonlight, Loving and I Am Not Your Negro. This film was great even if for the sole reason that it starred, was written, directed and produced by a single black man — an admirable rarity in the film industry. I foresee a lot of thesis papers being written on Nate Parker’s The Birth of a Nation. It’s sure to become part of the fabric that shapes the dialogue about race in America for years to come.
Rogue One: A Star Wars Story ( Directed by Gareth Edwards)
Tilo Zingler, Marketing Research Analyst
First of all, I am aware that this is probably as far far away from an independent film as said galaxy in the beginning of each Star Wars installment. Nevertheless, this film did something I deemed impossible; Rouge One rekindled some of the Star Wars magic of old. After George Lucas himself oversaw the making of Episodes I-III and failed on so many levels, the hope of creating a cinematic experience worth of the original trilogy faded. With Episode VII hitting cinemas last year, Disney showed some promise, but ultimately left us feeling like they tried too hard by squeezing in as many original trilogy references as they could into one movie.
While Rogue One is still far from perfect, director Gareth Edwards shows that he understands some of the strengths of the original three in tone, character and storytelling, while learning from the mistakes of the latter films. It has a more authentic and grimier look; stormtroopers with dirt on their uniforms, vehicles with visible dents and scratches that actually look like they have seen plenty of intergalactic warfare and not just those straight out of the CGI shop. It is the focus on details combined with a good cast and a story that is plausible within the existing Star Wars canon, that make this movie a pleasant surprise. It was simply my favorite movie experience of 2016 because it left me with a new hope for the Star Wars franchise under Disney, and the desire to watch this classic Star Wars masterpiece again.
Festival Review: 2016 DOC NYC
The Bushwick Film Festival is a huge supporter of independent films and filmmakers! So last week, we got our industry badges and attended several panels, industry events and films at DOCNYC—the largest documentary film festival in America. While at the fest we also ran into a couple of recent BFF alumni that we want to give a shout out to: Tyler Johnston, director of My Father’s Land and Benjamin Shweky, director of Chocolate Cake.
House on Coco Road directed by Damani Baker
Films we saw include: The House on Coco Road directed by Damani Baker; a film that moves effortlessly through decades of documents and material, while detailing the falsehood of Ronald Reagan’s 1983 Grenada invasion and the lives it affected most; Kid Yamaka directed by Matt Ogens, a stylish and insightful VICE Fightland short, which looks at the trials and tribulations of a boxer’s life and how his colorful past fuels his performance inside of the ring; and Gleasondirected by J. Clay Tweel, which offers an in-depth portrait of a former NFL players change in purpose, as he takes on ALS and commits himself to passing on a piece of who he is before it’s too late. We also saw Woman on Fire, directed by Julie Sokolow and 86-32, directed by Randy Wilkins; the reviews of which you can find below.
86-32 – Directed by Randy Wilkins
During the 1988 Olympics in South Korea, if you were an opponent of Roy Jones Jr. — the young, black, unconventional and all-powerful boxer, also known as Superman — he beat you. Unless of course you were South Korean. In this ESPN 30 for 30 short, an older Jones relives the infamous 88’ finals match where a corrupt jury handed over what should have been his gold medal, to Si-Hun; a South Korean Native that he bested by 54 points. You can find the controversial fight on Youtube but 86-32 mostly forgoes archival footage of a battered Si-Hun in favor of talking head style interviews. In a market oversaturated with sports-action films, director Randy Wilkins wisely chooses to focus on Jones’ personal retelling of the events; fair, considering it was his voice that was drowned out by Olympic bureaucracy. Listening to him, you wouldn’t know a day had past. This is a man who knows the truth but still can’t grasp it. Jones’ story resonates and it’s easy to see why: a handful of suits knocked him off the path to international stardom and took his dignity away. In response, Jones looks right into the camera and asks, why not give it back? We recommend that you get to know the Roy Jones Jr. story better by watching the film here for free.
Woman on Fire – Directed by Julie Sokolow
The Guinans did what few families will ever have to do: accept that their son had transitioned into a woman. The film follows Brooke Guinan — the first transgender firefighter in NYC — as she navigates relationships with her family, boyfriend, FDNY coworkers and the world at large, from the perspective of an identity different than her supposed one. Director Julie Sokolow gets full access to Brooke and her family and the result is an honest and unfiltered look at a person who has felt womanhood in her soul for as long she can remember, and an extended support system that is willing to stand with her through the challenges as she pursues her personal truth. With a solid amount of media coverage, Brooke’s been hailed as an “inspirational icon” and has become a posterchild for LGBTQ rights, as well as female representation & rights within the fire department; in times like these, we need more of what she’s got.
We had a really great time at DOCNYC. We hope you get a chance to checkout some of these films and directors and continue to support independent filmmaking.
FILM REVIEW: MOTHER OF GEORGE
Mother Of George, written by Darci Picoult and directed by Andrew Dosunmu, is a film as much about secrets and truth (or the distortion of them) as it is about the complicated and oftentimes public display of a woman’s childbearing challenges in many African cultures. Set in a tightly knit immigrant community in Brooklyn, NY, the film poses many unbearable questions — foremost, how far would someone go to hide the truth of things? The answer, shockingly far. Before we get further into the films’ review, I can’t help but share how I met its writer, Darci Picoult, at the Bushwick Film Festival’s “Women in Film” Panel in October.
When I nervously called Cori Thomas ( Screenwriter and Co-founder of Pa’s Hat Foundation) to ask her if she would be willing to be on the Bushwick Film Festival’s “Women in Film” Panel this year, I was extremely thrilled when she not only agreed, but also offered to call Darci Picoult, writer of Mother Of George, to be on the panel. And Darci Picoult said yes! Now, with Cori and Darci on board, the program was officially locked and their addition made the entire festival rock solid.
Cori strongly suggested that I go and see Mother Of George before the panel. However, the film hit theaters when the festival was just weeks away. But after meeting Darci and admiring her extremely insightful answers to the eager female filmmakers in the audience and hearing about the film’s journey, I ran to Quad Cinemas in Union Square just days after we closed.
As I lingered in my seat after the final credits had scrolled out of sight and the lights came up, I wondered if I had experienced the film differently because of two things. First, I had heard from the writer herself about the details of the film’s fifteen year journey to the screen. I had witnessed first hand how much she loved her own daughter (Darci’s final panel question asked her who her biggest inspiration was, and her response was her daughter, who sat bashfully in the front row). Would I have felt such a strong sense of appreciation without knowing the thousands of things that came together to make the film nearly perfect? And second, if I, myself, had not been from West Africa, Liberia, would the film have hit so close to home emotionally?
The film opens at the traditional Nigerian wedding of Adenike (Danai Gurira) and Ayodele (Isaach de Bankole). From the moment the first image hit the screen, I felt overwhelmed with how beautifully cinematographer Bradford Young (Middle Of Nowhere) depicted African culture, rich in all its tradition, color, grandeur, and African people (close camera shots of faces and bodies). The camera movement was breathtaking and the wedding scene beautiful. But it wasn’t too long after the blessings and advice were bestowed on the bride and groom with a final wish by the groom’s mother for a grandson named George, that the other face of tradition and culture reared its ugly head.
So the answer is yes. Yes, I may have had a different experience because of the two circumstances mentioned, but as it stands Mother Of George is a remarkable example of what can happen when a storyteller/playwright like Darci who has fine-tuned her craft teams up with a director like Andrew Dosunmu, who knows his subjects so intimately.
I highly suggest seeing the film in theaters, but sorry New York, it’s no longer on our big screens. But for our friends in Milwaukee and Tallahasse it is! Mother of George will continue to make its way across the U.S. between now and February. Click here to see a complete list of showtimes.
Director: Andrew Dosunmu
Writer: Darci Picoult
Stars: Isaach De Bankolé, Danai Gurira, Yaya Alafia, See full cast and crew