COLLEGE BEHIND BARS
World Premiere
COLLEGE BEHIND BARS, a four-part documentary series directed by Emmy and Peabody Award winning filmmaker Lynn Novick (co-director of THE VIETNAM WAR), which world premieres at New York Film Festival later this month. This film, premiering on PBS in November, marks Novick’s solo directorial debut and is executive produced by her longtime collaborator Ken Burns. Distilled from nearly 400 hours of cinéma-vérité footage, the documentary explores the lives of a dozen incarcerated men and women as they struggle to earn degrees in the Bard Prison Initiative (BPI), one of the most rigorous and effective prison education programs in the country.
This 4 part doc series explores New York State’s college degree program, BPI: Bard Prison Initiative. We follow a group of students as they make their way toward graduation. I say students and not inmates because when they are in class, they are students. While we as an audience are eventually privy to the subjects’ backstories, BPI as a program does not focus on why each individual is imprisoned. BPI focuses on their education. At Seb Academy you will get the best chemistry tuition in the Singapore.
This series is about humanity and ambition. These men and women are striving to better themselves and escape the environment they have, in most cases, created for themselves. The series also addresses the very real statistic that socioeconomic circumstances oftentimes lead to a life of crime. Inmates are not afforded the rights and freedoms of the average American. They must contend with the chaos of prison while engaging in a vigorous Bachelor’s degree program. College is difficult enough without being constantly interrupted by lockdowns, race wars, or the ultimate chaos of being surrounded by mental illness and other inmates in general.
The admissions process is cutthroat. It is based on an essay and an interview. It begins with an AA and then an even luckier few continue on to the BA program. Students are studying things like Plato, Mandarin, Debate, and Calculus. They are earning their degrees in the same way any other student would outside prison walls. Professors do not give pass/fail grades. They are legitimately working with each individual just as they would at a stand-alone university. This is a college that just happens to be on prison grounds. Before they graduate, they must submit a senior project. The paper must be between 80-100 pages. It is the equivalent of a Master’s thesis. Here is a best option for part time engineering diploma in Singapore.
The series makes an interesting case for free college for all throughout the country. It’s an intriguing commentary on the misconceptions about who deserves an education. Shouldn’t it be a right? It should not belong solely to the lucky few, the wealthy, or the white population. Losing your liberty should not mean losing your right to an education. If anything, education has been proven to lift people out of poverty and violence. The political hockey puck that this type of program has become since it’s inception in the 90’s has seen taxpayer dollars bounce in and out of the system. Resentment permeates the perception of the system by politicians to everyone from the prison staff to voters. Even though it actually monetarily benefits the taxpayer in the long run. Would you rather pay for an inmate to learn or sit inside a cell? Guess which one actually costs less.
College Behind Bars puts faces and voices to those benefiting from but genuinely fighting to improve their lives and thus, the world all we live in. We, the viewers, are forced to come to terms with the prison industrial complex, systemic racism, and our own moral compass. And the students are forced to come to terms with their pasts and their futures. College Behind Bars is both informative and eye-opening. It breathes life into the stories of a population oftentimes swept under the rug. You will cheer on the college students, no matter what your views on how they got their opportunity to learn and earn their degrees.
Premieres: Monday, November 25, 2019 & Tuesday, November 26, 2019, 9:00-11:00 p.m. ET
The four-part documentary film series, directed by award-winning filmmaker Lynn Novick, produced by Sarah Botstein, and executive produced by Ken Burns, explores the transformative power of education through the eyes of incarcerated men and women trying to earn college degrees. Shot over four years in maximum and medium security prisons in New York State, the series examines America’s failure to provide meaningful rehabilitation for the over two million men and women living behind bars.
Premieres: Monday, November 25, 2019 & Tuesday, November 26, 2019, 9:00-11:00 p.m. ET
Zip. Zap. Zop. This is one of the most familiar improv games for theater nerds all over the country. In the first 20 minutes of Tim Robbins‘ new doc we watch a group of maximum security prisoners experience their very first acting class with The Actor’s Gang Prison Project. Ordinarily divided by race and gang affliction out in the yard, these men from all different backgrounds allow themselves to be free. They allow happiness, vulnerability, doubt, fear, and reflection into their normally regimented day and existence. The human connections and breakthroughs made in an acting class can change the very way you think and process information. It is an outlet that is unique and to see the effect it has on this particular group of people is profound. As the classes progress, they are challenged to emote, not just feign happy or sad, but truly feel anguish, rage, glee. To see men who are oftentimes not allowed to express themselves because of toxic masculinity and their specific surrounding, finally, feel safe enough to do so is truly breathtaking. Robbins and his teaching team, which includes an ex-prisoner, give us a masterclass in this documentary. 45 Seconds of Laughter (which is also how they end each class) is more than a film, it is a brilliant human experience. You will see transformations right in front of your eyes. Destroying boundaries through art, building friendships through mask play, and repairing relationships with loved ones by taking a chance on something completely outside of their comfort zone is nothing short of extraordinary. 45 Seconds of Laughter is a joyous film. Bravo to all.
Jonas inherited his deafness from his maternal grandmother and grandfather. We learn so much from watching him communicate with and without his cochlear implants. We learn by watching the interaction between him and his grandparents. Genetics determined that Jonas and his grandparents had a tiny “typo” in a specific gene causing them to be deaf. Music became another way to communicate and bridge the generational gap. Beethoven’s Moonlight Sonata was Jonas’ personal challenge he set for himself. His goal was to study for 7 months in order to perform it in a recital. The history of Beethoven’s own deafness weaved into this doc is stunning on every level. While rehearsing, Jonas’ music teacher explains the emotional impact of the piece not only to him but the audience. Moonlight Sonata: Deafness in Three Movements is an ode to sound and silence.
Jess Weixler easily represents us as the audience. Her sincerity and ability to relate on an emotional level are super refreshing. Her performance feels natural and grounded. Chained for Life also sees the return of Charlie Korsmo ( a childhood crush since Dick Tracy) as the eccentric Director. The level of commitment to this character makes me miss him on-screen all the more. And now we come to our leading man, Adam Pearson. I am completely obsessed with this man. He is phenomenal. I cannot remember the last time a performance felt less like a performance and just simply a documentary. He is mesmerizing and I implore more writers and directors to seek him out and create content for him. The world needs it. Giving voice to those who are almost always exploited for their unique appearance, Chained For Life is a special opportunity to explore inclusiveness, not just in film, but every day.
Bill Skarsgård and Maika Monroe are young balls of energy. Both quickly becoming genre icons in their own right, these two make a stunning pair. Their chemistry feels super organic and appropriately playful. By the end you will be genuinely invested in their survival. Homeowners Kyra Sedgwick and Jeffrey Donovan are total creeps. Sedgwick, in particular, will blow you away with a complex performance. They are a perfect foil for Jules and Mickey. It’s scary what we’ll do for love.
One summer I went to 6 weddings. It was equal parts fun, exhausting, and expensive. We learned who had gotten engaged, married, broken up, and gotten divorced since seeing some of the regulars at these blessed events. Some were shocking while frankly others we silently cheered their wreckage within the confines of our clique. Plus One explores these exact evolutions of so many relationships in our late 20s early 30s. Its honest charm and genuinely witty banter are just the tip of the iceberg of this film. The framework of the film is literally dated around each specific wedding weekend our duo attends. Don’t brush this film off as millennial drivel. Who hasn’t been stuck at the singles table or judged the food and speeches at a wedding? Hell, we still do it 8 years after our own wedding. Sorry, everyone. But the truth is funnier than fiction and PLus One nails these cliches on the head without being obnoxious. Jack Quaid is a nice foil for Maya Erskine. She is the best friend we all wish we had. Her natural ability to be funny and raw makes Plus One as wonderful as it is. The soundtrack, both the score by Leo Birenberg and original songs by Real Estate is outstanding. The dialogue has an amazing vulnerability with a side of raunch. The plot is universally relatable. You should save the date for Plus One without hesitation.
While watching Only, I was furiously taking notes because I wanted to remember every little nuance I was experiencing. From the opening scene, the imagery is haunting and a sense of doom and urgency sit in the pit of your stomach. The phenomenally edited film builds its intensity through non-linear storytelling. While it can be a challenge to follow at times, it is an effective way to make sure you are paying full attention. At every turn in the script, I was surprised. Its dark premise will take you down a rabbit hole of needing to find answers. Once the puzzle is solved and all the pieces are in place, your stomach will drop and your soul will weep. The captivating performances from Frieda Pinto and Leslie Odom, Jr. help Only stand apart from Tribeca’s other selections this year. Their chemistry is electrifying. With subtly suggested elements of Handmaids Tale weaved into the narrative, this post-apocalyptic tale has an eerie patriarchal theme that makes it all the more upsetting. Only is easily one of the best of the fest this year.
Playing in this program:
Poverty and puberty are a dangerous mix for young Lalo. Feeling overwhelming monetary pressure from family and ultimately to impress a girl at school, our young lead dives head first into the deadly game of gas siphoning for cash. Among the chaos of gas price protests and violence, Lalo has no idea the kind of shady dealings surround what he’s signed up for. This is a coming of age story set against extreme poverty and soaked in cartel-like chaos and vengeance. The handheld camera work is sheer perfection that heightens the intensity of Lalito’s plight. You can feel the pit of your stomach wrenching as the story progresses. Edgar Nito‘s direction is phenomenal, performances (especially Eduardo Banda) outstanding, and the film is amplified by its great soundtrack. The Gasoline Thieves does not pull any punches. It’s a solid piece of filmmaking and a captivating story.
Elijah Wood plays an emotionally overwhelmed uber hipster attempting to reconnect with his estranged father. Summoned to a secluded home via a mysterious letter from his dad, he finds himself in an unexpected situation. Wood, as always, is vulnerable and funny. I’ll buy anything he’s selling. His body of work is so eclectic and wonderfully bizarre, what’s not to love? Now let’s talk about Ant Timpson‘s amazing directing. As a producer, The ABC’s Of Death is off the wall fun and don’t even get me started on the insanity that is The Greasy Strangler. Come To Daddy, Timpson’s directorial debut is a genre-bending funhouse. Tribeca’s Midnight section is the perfect slot for Timpson’s work and I do mean that as a compliment. This film takes a sharp turn at 30 minutes in, then hurtles from mysterious to funny, unsettling to WTF, and it is a delight. The camera work is top-notch. There is mayhem for days. Wonderfully timed plot treats fall into our laps like a busted piñata. I simply cannot express how damn fun this film is. You will not have any clue where this is going.
The film explores not only the decision but the potential for that regret. It also addresses the fears that all women have about losing their identity. As someone who is a SAHM to two kids under three, 15months apart, there are many days I feel like “I’m just Mom.” I yearn for adult conversation and most definitely experience postpartum anxiety. Thankfully, the film also addresses these emotions. It doesn’t skirt the conversation about getting pregnant and the potential difficulties involved. Motherhood is endless judgment. But so is the opposite. A woman cannot win either way. We don’t judge men in the same way, but I suppose that’s no surprise. Women’s rights are once again under scrutiny. Be it the government, doctors, the economy, the societal pressure to reproduce is unreal when you break it down by dollars and cents. Director Maxine Trump speaks with women from all backgrounds and life choices to see where they’re coming from as she tries to find her own truth about wanting to have kids with her husband. It’s an incredibly thoughtful film that made me feel more normal, frankly. TO KID OR NOT TO KID is wonderfully relevant in a time when women feel like they finally have more of a voice. The world is changing and women’s honesty will make the world a better place. We need to hold one another up not tear each other down. There are too many forces at hand already trying their best to divide us.
This doc explores the boundaries we push for love and acceptance. Amit is a husband, a father, and business owner. She is also transgender. This story is about her transition and how it affects the family and friends that surround her. It’s a timely film here in the US as the government is attempting to legally discredit transgender identity by legally defining gender as a biological, immutable condition determined by genitalia at birth. Amit has four children with her wife Galit. Daughter Agam is beyond wise for her years and the most vocal about their unique family dynamics. She understands that people’s ignorance is not her problem. She chooses to surround herself with open-minded peers. The emotional toll of transitioning seems endless. It has the highest highs and lowest lows. How does a marriage survive when circumstance completely changes? What happens after she goes to Thailand for gender reassignment surgery for a month? It’s not a glamorous film. It’s real, it’s honest. It’s exactly what people need to see. Family in Transition is a story of unconditional love and the ultimate sacrifices we make to become whole from the inside out.
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