‘MERCHANTS OF JOY’ (DOCNYC 2025) The holiday hustle.

Docnyc logoMERCHANTS OF JOY

The Merchants of Joy - Prime Video - [press.amazonmgmstudios.com] Celia Aniskovich‘s DOCNYC film, MERCHANTS OF JOY, brings audiences behind the scenes of an annual venture most of us take for granted. For the five families that dominate the Christmas Tree market in NYC, the Holiday Season is a business of mayhem and memories. Dive into the underworld of a tradition where vendors battle it out for prime positions and quality product in hopes of making each year better than the last.

merchants of joy interviewsThe film is a collection of personalities all jockeying to outdo each other. Greg looks like Santa and is happy to dress as such for the local kids. His son, Little Greg, is poised to take over the family business as his father battles cancer. Brooklynite George (who used to work for Greg) hopes to find love this season and brings bravado to the group. Heather is nine years sober. You will find her supporting those struggling on a similar path. Ciree takes the reins from her parents after 30 years. All of them find themselves under the thumb of the mysterious Kevin Hammer. Think of him as the Christmas Tree Mafia Boss.

merchants of joyThe film is a countdown to Christmas, tracking the complicated and expensive logistics of purchasing trees, trucking them sometimes across the country, bidding on street corner permits, setting up shop, all while navigating weather, workforce, and the economy. It’s a risky business that can be rewarding in the end. The job is physically taxing and emotionally exhausting, but its impact on building family traditions is worth its weight in gold.

merchantsofjoy mainb598Aniskovich intersperses sit-down interviews with action on the ground. The pièce de résistance are the scenes mimicking the stop-motion animation in Christmas classics like Rudolph the Red-Nosed Reindeer (1964), Santa Claus Is Comin’ to Town (1970), and The Year Without a Santa Claus (1974). In fact, Kevin Hammer only appears as an incognito character with phone interview audio. It is a perfect touch, wrapping MERCHANTS OF JOY with a nostalgia bow.

It is a film that will touch your heart. It is a delightful, warm hug, a movie about human connection, and a perfect segway for the holiday spirit.

MERCHANTS OF JOY – Coming to Prime Video Dec 1st!

 

WORLD PREMIERE- MERCHANTS OF JOY

Directed by Celia Aniskovich (Burn It Down!Call Me Miss Cleo), the film captures the cast of characters behind the city’s Christmas tree stands– small business owners who bring holiday cheer to the streets each season, along with a healthy dose of friendly (and sometimes not-so-friendly) competition with each other.

A lifelong Christmas lover, Aniskovich first discovered the story after reading Epic Magazine and NY Mag’s article “Secrets of the Christmas Tree Trade” and immediately knew this was a story she wanted to tell. Drawn to the community, pride, and hidden labor, she started filming within days of meeting “Big Greg,” – one of the film’s central figures – and eventually Amazon MGM Studios and Artists Equity came aboard the project as well. What began as a portrait of holiday hustle evolved into a story about faith, family, and resilience as she continued following the families. Merchants of Joy

https://www.dialtonefilms.com/merchantsofjoy

Director: Celia Aniskovich
Producer: Celia Aniskovich, Zoe Vock, Arthur Spector, Joshua Davis, Joshuah Bearman
Executive Producer: Todd Lubin, Ivan Schneeberg, David Fortier, Douglas Banker, Gillian Brown, Ben Affleck, Dani Bernfeld
Cinematographer: Carrie Cheek
Editor: Brett Banks, Samuel Kun
Composer: Jackson Greenberg
Language: English
Year: 2025
Accessibility: Sound-Amplification Headphones upon request
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FOF JOY

 

‘ARREST THE MIDWIFE ‘ (DOCNYC 2025) A powerful look at another reproductive right being mandated by ignorance.

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ARREST THE MIDWIFE

arrest-the-midwife

Filmmaker Elaine Epstein follows the case of Elizabeth Catlin, a midwife charged with 95 felony counts after the death of one baby. However, Liz is not the first or last midwife to find themselves in court.

The Mennonite community uses midwives as per tradition. Liz is part of a tight group of women that serve these mothers and their families. Suddenly, Yates County begins targeting one midwife after another, putting further stress on the health and safety of women.

The state of NY has increased the requirements of education to maintain accreditation. Liz and her fellow care providers are CPMs (Certified Professional Midwives), each assisting in 100s of births, but according to NY State, that isn’t enough to exist legally.

We don’t get the details of Liz’s specific case until halfway through. When you hear them, your jaw will drop. No one in their right legal mind would ever bring charges against Liz. Going against their tradition of staying within their community, the Mennonite women come to court, write letters, and travel down state in drives to support advancing legislative change. Women supporting other women move the needle.

As a mother who had two births in Manhattan, I envy the homebirth experience 9 years after my first birth. At 35, the term geriatric pregnancy was insulting enough. After numerous ultrasounds and tests, when my son was in crisis during my 16 labor, all that science went out the window, leading to an emergency c-section. Birth trauma is real.

The film is a beautifully structured freight train of activism. Our rights are under attack. This is another example that most of us weren’t even aware of. ARREST THE MIDWIFE is a prime example of how a state’s rights governance hurts its population. Whether it’s midwifery or abortion, this causes care deserts, leading to a high likelihood of deaths. You cannot watch this film and tell me this isn’t a story about body autonomy. ARREST THE MIDWIFE is a fierce feminist film about choice in the face of another oppressive patriarchal and capitalist structure. Let women choose.

Director: Elaine Epstein

Producers: Elaine Epstein & Robin Hessman

Running Time: 82 minutes

 

Caught between the law and the well-being of the Amish and Mennonite families they serve, midwives in upstate New York operate in a healthcare desert—risking jail time simply for providing critical care. As their midwives are arrested, the women from these insular communities break from their traditions to become unexpected activists, fighting for systemic change.

With exceptionally rare and intimate access, director Elaine Epstein crafts a powerful David-and-Goliath story of resilience and resistance. Set against the backdrop of America’s maternal health crisis and the erosion of reproductive rights, ARREST THE MIDWIFE is both a poignant portrait of a community in crisis and an urgent call to protect every woman’s right to choose how she brings the next generation into the world.

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ARREST THE MIDWIFE

‘PHOTOGRAPHIC JUSTICE: THE CORKY LEE STORY’ (2024) Essential viewing in this moment.

ALL IS WELL PICTURES

IN ASSOCIATION WITH FORD FOUNDATION, AND SCANDOBEAN PRODUCTIONS

PRESENT

photographic justice the corky lee story

PHOTOGRAPHIC JUSTICE: THE CORKY LEE STORY

Chinese American photographer Corky Lee focused entirely on his community, the Asian population. Their contributions have been notoriously erased from US history. An accidental activist since picking up his first camera, Lee’s instincts guided him to protect and encourage fellow Asian Americans in NYC to stand up for themselves. He was on the front lines at every political rally and every march. “I take pictures that I think matter.”

POLICE BRUTALITY PROTEST 1975 (Credit_ Corky Lee)Director Jennifer Takaki includes sweet animation sporadically playing under Corky’s narration. The film mixes personal footage and stills from Corky, the camera always in hand on the streets of Chinatown, old news interviews, and scenes of his relentless kindness towards the younger generation of aspiring photographers.

HATE IS A VIRUS 2020 (Credit_ Corky Lee).JPG - www.dropbox.comPHOTOGRAPHIC JUSTICE: THE CORKY LEE STORY comes at a time in American history when Asian hate crime continues its uptick. Logging the cyclical violence and ignorance of the general population is vital to understanding the importance of the film.

Corky Lee

After heading out to the scene of a young Asian woman’s attack in 2021, Corky contracted COVID-19, leading to his shocking passing. The outpouring of support from Chinatown’s locals to national news broadcasters said it all. Corky Lee changed the landscape for his community, single-handedly creating Asian American history pages with each photograph and story. PHOTOGRAPHIC JUSTICE: THE CORKY LEE STORY is a lesson in resilience and passion.

PHOTOGRAPHIC JUSTICE: THE CORKY LEE STORY will be released theatrically in New York (DCTV’s Firehouse Cinema) on April 19 and in Los Angeles (Laemmle Glendale) on April 26 with a regional expansion to follow.


Director: Jennifer Takaki

Executive Producers:  George and Hillary Hirose, Lily M. Fan

Producers: Jennifer Takaki, Linda Lew Woo

Co-Producers: David Koh, Nicole DiMiceli

Editor: Linda Hattendorf

For 50 years, Chinese American photographer Corky Lee documented the celebrations, struggles, and daily lives of Asian American Pacific Islanders with epic focus. Determined to push mainstream media to include AAPI culture in the visual record of American history, Lee produced an astonishing archive of nearly a million compelling photographs. His work takes on new urgency with the alarming rise in anti-Asian attacks during the Covid pandemic. Jennifer Takaki’s intimate portrait reveals the triumphs and tragedies of the man behind the lens.

Corky Lee was born in 1947 in New York to Chinese immigrants who owned a laundry in Queens. He majored in history at Queens College and became a community organizer in Manhattan’s Chinatown in the 1970s. Over the next five decades he photographed countless protests and cultural events in the Asian American Pacific Islander community. Lee’s photographs documented the birth and growth of the Asian American movement for social justice and he became known as “The Undisputed, Unofficial, Asian American Photographer Laureate.”   His death in 2021 at the age of 73 due to Covid was mourned in the press worldwide.

Filmmaker Jennifer Takaki  is a fourth generation Japanese American from Colorado. She began her career in journalism at a Denver TV station and later moved to Hong Kong to work with Encore International. In Hong Kong she produced English-based news programming broadcast in China, India, and the Middle East via Rupert Murdoch’s STAR-TV.  In New York, she produced and directed “Photographic Justice: The Corky Lee Story” which premiered at DOC NYC and was supported by the Ford Foundation and The Center for Asian American Media (CAAM). She was awarded the prestigious Better Angels Lavine Fellowship in 2023.

Running Time: 87 minutes / Language: English / Not Rated / Documentary Feature (USA)

OFFICIAL SELECTION: DOC NYC, CAAMFest, Los Angeles Asian Pacific Film Festival (LAAPFF), Asian American International Film Festival (AAIFF) and many more.


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Review: Now available on HBO and MAX, ‘TIME BOMB Y2K’ recalls hysteria and provides a warning.

TIME BOMB Y2K

Time Bomb Y2K poster features a desktop being crushed by the times square new years eve ball drop

Synopsis: As the clock counts down to the dawn of the 21st century, the world faces the largest potential technological disaster to ever threaten humanity. The problem is comically simple yet incredibly complex – a bug that could cause computers to misinterpret the year 2000 as 1900, sowing chaos throughout the world as electronic systems failed. Crafted entirely through archival footage, TIME BOMB Y2K is a prescient and often humorous tale about the power and vulnerabilities of technology. By re-appraising both the cooperative efforts and mass hysteria surrounding this millennial milestone, TIME BOMB Y2K explores how modern life has been dramatically transformed by the digital revolution.


HBO’s TIME BOMB Y2K

The most hyped fearmongering moment of the end of the 20th century began in the few years before the ball dropped on Dec 31st, 1999. I was a freshman in college when Y2K was all the craze. The media had us believing we were on the brink of global collapse and that anything housing a computer chip would cease to work. In reality, nothing happened. But the concept of Y2K feels much more apocalyptic today.

TIME BOMB Y2K consists entirely of archival footage. Interviews with experts and talking heads at the time give the audience a perfect insight into how fringe groups thrive today. The pure wonder of new technology on the faces of those featured is fantastic nostalgia for those of us who lived through those few years. Anyone born after Y2K might find the doc either shocking or terrifying. Putting things into perspective as we enter into 2024, if the global internet went down, there would be genuine chaos. What would keyboard warriors do without the ability to share their BS and vitriol? In all seriousness, we exist in a capitalist economy that leans heavily on wifi and online presence. What would younger generations do without practical skills? How would it affect our ability to access money? Would modern vehicles start? Entertainment outside of live theatre would disappear.

TIME BOMB Y2K makes terrific points about the effects of technology on human interaction. The film delves into how certain groups of people reacted during the unknown. Some folks became preppers, while others cried “Hoax” from the beginning. It’s a perfect metaphor for the power of disinformation, closely mirroring how a particular subsection of alt-right people think a homegrown militia uprising is coming. I had no idea this existed in preparation for Y2K. We have to take into consideration how the world reacted during COVID. The potential for violence equals the potential for peace. It is a fine line.

If anything, TIME BOMB Y2K reminds us of the delicate balance of power. It introduces very fundamental questions about humanity’s ability to survive without technology. It’s a dizzying dichotomy of ideas, perhaps proving nothing has changed, and it’s only gotten worse. It’s a sobering conversation starter.


The HBO Original documentary TIME BOMB Y2K, directed by Brian Becker and Marley McDonald, and executive produced by award-winning filmmaker Penny Lane (HBO’s “Listening to Kenny G”), debuts SATURDAY, DECEMBER 30 at 10:00 p.m. ET/PT on HBO and will be available to stream on Max.
 

Review: ‘THE JOB OF SONGS’ brings light and legacy to adiences.

THE JOB OF SONGS

Tourists flock to the west coast of Ireland to take in the breathtaking Cliffs of Moher, but the real treasure lies in the soulful, acoustic sounds wafting out of pubs and living rooms of Doolin, County Clare. The denizens of this unspoiled coastal village of tight-knit neighbors and unlocked doors revel in the passion and history of their traditional folk songs, using music as a thread through generations to create community, connection, and joy.

Lila Schmitz brings audiences the magic of West Ireland through the melodies of the locals and the emotional pull of a tune. THE JOB OF SONGS is a toe-tapping, viscerally joyous film.

In Doolin, County Clare, Ireland, music is their heartbeat, their life breath. Ingrained in their blood and history, the musicians pass along tradition and history in their songs. It’s a personal look at the folks who bring their love of music to the community, thus creating one of their own. As any brand of artist, visual or performance, understands, sharing their gift with the world is survival of the soul. It is a cathartic experience of belonging and euphoria.

THE JOB OF SONGS explores the idea that songs convey truth, political messages, past lives, love, and lessons. It is a breezy celebration for music lovers and history buffs alike.


Gravitas Ventures will release the film on digital platforms on November 21, 2023.  The film has a running time of 74 minutes and will not be rated by the MPAA.

 

THE JOB OF SONGS was made by a crew of three women, who are first time feature filmmakers: LILA SCHMITZ (director, producer, editor), ANIKA KAN GREVSTAD (director of photography, producer), and FENGYI XU (producer).  The film was made with the support of acclaimed documentarians double Oscar-winning writer-producer-director Bill Guttentag and Emmy and Grammy Award winning documentarian Doug Pray.   The film has screened at numerous prestigious International Film Festivals including DOC NYC, Galway Film Fleadh, Newport Beach Film Festival, Rocky Mountain Women’s Film Festival, Milwaukee Film Festival, and many others.  It won Best International Documentary at the Galway Film Fleadh.


 

 

DOC NYC 2023 review: Henya Brodeker’s ‘THE THREE OF US’ perfectly captures the complexities of advocating for a special needs child

THE THREE OF US

In a society governed by tradition, a young Orthodox couple defies norms to integrate their autistic son. As they risk everything, their journey explores the delicate balance between love, faith, and self-discovery. Through their struggle, they challenge preconceived notions, embracing parenthood and searching for their place in the world.


Filmmaker Henya Brodbeker turns the camera on her, her husband, and their young autistic son, Ari. Through years of filming, we witness the evolution of relationships in her Orthodox community, her marriage, and with herself. This is one family’s story about belonging. 

THE THREE OF US is one of the most authentic depictions of what it feels like to parent an autistic child. Your unconditional love exists simultaneously with anger, despair, hope, and fear. Henya pulls no punches. Her unfiltered conversations with her husband hit hard. Their raw emotions and vulnerability allow us to sit in their shoes from the beginning. The insulting treatment Henya and Arale receive from their ultra-Orthodox community is infuriating. Arale and Henya invite us to their exhaustive fight for Ari’s integration into a neurotypical classroom setting. The often dismissive responses from community school administrations are outrageous. 

Anyone who follows my career as a film journalist knows I’m a Mom of a young autistic son. I talk about his diagnosis and navigating the complexities of existing in a primarily neurotypical environment. We are lucky in the grand scheme of ASD possibilities. Our son’s cognitive abilities are off the charts. He is loving, funny, friendly, and would not hurt a fly. Dealing with public meltdowns, particularly if those around you do not know or understand, can be a crushing, demoralizing, tear-filled experience. Nothing is easy. It’s undeniably isolating. It’s the outside world we fear most. THE THREE OF US is irrefutable proof of how equal opportunity changes the lives of families. 

The reality exposed in the film may take some viewers off guard. Arale and Henya’s bravery deserves applause and respect. To turn a camera on your lived-in chaos? Wow. I only write about it. THE THREE OF US triumphs in its unfettered honesty and in challenging any preconceived notions of raising a child on the spectrum. Disability representation in film is vital. As an advocate for my child, I thank Henya for making this film. I hope it changes some hearts and minds.


International Premiere of
‘The Three of Us’ at DOC NYC

Thursday, November 9 at 6:45 pm
Village East by Angelika
Director Henya Brodbeker in-person for premiere!
Plus online dates: November 10-26
https://www.docnyc.net/film/the-three-of-us/


 

About the Filmmakers

Henya Brodbeker, Director & Cinematographer
Israeli writer-director and pioneering filmmaker from the ultra-Orthodox community. Her first short film OUR SON (2022) screened at the Cinequest film festival, won the best film award at the Jerusalem Jewish Film Festival, and participate in other festivals around the world. Her documentary THE THREE OF US (2023) won the Diamond Award for Best Documentary, Best Director & Best Editing at the Jerusalem Film Festival. The film will be broadcasted by IPBC in 2023. She is currently working on BODILY ENCOUNTERS, a feature film in development with the support of the Israel Film Fund.

Avigail Sperber Producer
Avigail Sperber is a documentary director, producer, and cinematographer originally from Jerusalem. After graduating from Ma’aleh Film School, Avigail has gone on to create award-winning films that have screened at prestigious festivals around the world. Her 2010 film THE HANGMAN received Special Mention at IDFA and went on to screen at Full Frame, Visions du Reel, and more. PROBATION TIME (2014) won the Best Israeli Film Award at Docaviv and screened afterwards at True/False and Krakow Film Festival, among others. In recent years, through her production company Pardes Productions, she has produced and shot several documentary films and series, including THE THREE OF US (Jerusalem FF 2023), Wedding Night (Docaviv 2023), IT’S A WRAP (Haifa FF 2022), COVERED UP (Docaviv 2018), and more.


 

DOC NYC 2022 world premiere review: ‘1946: THE MISTRANSLATION THAT SHIFTED CULTURE’ ponders the global impact of a single mistake.

1946: THE MISTRANSLATION THAT SHIFTED CULTURE

In 8th grade, I stood on a chair and declared I was “done with religion.” Eight years in Catholic school, my teacher had just told me that if I went to my mother and told her I was gay, it would be the equivalent of me telling her that I had murdered someone. It was quite the sight in my classroom of 18 students. I was appalled. My conflict with religion has been fraught with pushback ever since. Then I saw a film that took my breath away. Sharon “Rocky” Roggio‘s urgent and eye-opening documentary 1946: THE MISTRANSLATION THAT SHIFTED CULTURE features the philosophical battle between the biblical text and sexual orientation as a distortion of language. The film explores the linguistic integrity and worldwide implications of the word “homosexual.” 1946 is nothing short of captivating.

Roggio’s father is a pastor with stringent beliefs. In his view, The Bible is the word of God. Sharon knew she was gay early on and understood the familial implications immediately. Following a breach of trust leading to Sharon leaving her childhood home, she and her father, Sal, have a public battle in the early 2000s. Thus beginning her path of advocacy. Enter Kathy Baldock, stage left. 

Baldock was about as Christian as one person could be until her impending divorce led her to take up hiking. After learning fellow walker Netto is a lesbian and coming to terms with the fact that her religion would ostracise her new friend, Kathy refuses to accept this is what God teaches. She began her lifelong path to understanding why the word “homosexual” did not appear in biblical text until 1946. How did it get there?

Ed Oxford (now MDiv) was a finance guy, a Christian, and a gay man. But, because the church told him his existence was an “abomination,” his suicidal ideations began as a child. He began collecting every biblical text he could get his hands on, and after meeting Kathy, the two formed an unstoppable team. Together, they travel down the rabbit hole of linguistics to unlock the original meaning of the biblical text, and Sharon “Rocky’ Roggio captures it all. 

Yale University’s meticulous record-keeping in the Sterling library proves invaluable. After scanning 60, 000 pages in the microform media room, the aha moment appears; a 1959 letter between Dr. Luther Allan Weigle, one of the translation committee members, and a mysterious seminary student offering his knowledge of New Testament Greek. That discovery changes everything we think we know about the term “homosexual” and its translation in theologic history. This avalanche of miscommunication has disrupted millions of lives. When religion meets politics in the Reagan era, all hell breaks loose. Gay people are a propagandist prop for the Republican party. It has only gotten worse with the rise of social media.

Pencil-drawn animation and timeline graphics mixed with video clips of influential religious leaders and sit-down interviews with theologists comprise the visual and fact-finding journey in 1946. Historical scholars break down weaponized verses or “clobber passages” used to target the LGBTQ+ community. Kathy and Ed buckle down, never wavering in their search for the truth. Simultaneously, Sharon tries to share the ever-evolving findings with her dad. Roggio’s patience is incomprehensible. Witnessing her composure with her father as they engage in debate is exemplary. The fact that her father, while vehemently fixed in his beliefs, still wants to connect and support his daughter is, for lack of a better word, a miracle. 

To think of the impact that one mistake has made on the world, especially as the LGBTQ+ community struggles to survive the vitriolic rhetoric and now physical threats, is shocking and disheartening. This single word and an abhorrent culture have put innumerable lives at risk. If 1946: THE MISTRANSLATION THAT SHIFTED CULTURE proves anything, it is this: we do better by respecting one another and by educating ourselves. I hope audiences go in with an open mind because the film deserves your full attention.


https://youtu.be/sjL_1TX71yo

1946: THE MISTRANSLATION THAT SHIFTED CULTURE — Directed by Sharon “Rocky” Roggio

World Premiere — US Competition — Acquisition

Produced by Sharon “Rocky” Roggio, Jena Serbu

Executive Produced by Daniel Karslake, Teresa and Todd Silver, Sabrina Merage Niam

Original Music by Mary Lambert

Featuring Kathy Baldock and Ed Oxford

Synopsis: 1946:The Mistranslation That Shifted Culture is thrilled to announce its World Premiere at DOC NYC 2022. Produced and Directed by Sharon ‘Rocky’ Roggio, 1946 is a feature documentary that follows the story of tireless researchers who trace the origins of the anti-gay movement among Christians to a grave mistranslation of the Bible in 1946. It chronicles the discovery of never-before-seen archives at Yale University which unveil astonishing new revelations, and casts significant doubt on any biblical basis for LGBTQIA+ prejudice. Featuring Commentary from prominent scholars as well as opposing pastors, including the personal stories of the film’s creators, and original music by Grammy winning artist Mary Lambert, 1946 is at once challenging, enlightening, and inspiring.

www.1946themovie.com

Instagram: @1946themovie

TikTok @1946themovie

Twitter @1946themovie


 

Grand Jury Prize/ Int’l competition WINNER @ DOC NYC: ‘HOW TO SAVE A DEAD FRIEND’ is a final love letter spread across 12 years of filming.

HOW TO SAVE A DEAD FRIEND

The monster that is depression roars silently because, in Russia, depression is not allowed to have a voice. Putin has seen to that. In HOW TO SAVE A DEAD FRIEND, filmmaker Marusya Syroechkovskaya chronicles over a decade of her emotional roller coaster in life, love, and deep-seated despair.

Kimi was a history major with a brilliant mind, a great sense of humor, and a penchant for drug use. Marusya’s childhood was a bit more idyllic, but that didn’t stop her suicidal ideation. The two bonded over music, beliefs, and self-destructive ideas. They also filmed every waking moment.

Kimi’s traumatic childhood and Russia’s national political upheaval created the perfect ticking time bomb of existence. He and Marusya needed each other to stay alive, but unresolved trauma is a killer lying in wait. Through marriage, rehab, divorce, and Kimi on a headlong downward spiral, Marusya must find other ways to dull the inner chaos. She had to decide, make a plan to live, or join her innumerable friends in suicide.

Marusya Syroechkovskaya’s dedication and fearless openness make it easy to understand why this film won Grand Jury Prize/ Int’l competition at DOC NYC 2022. HOW TO SAVE A DEAD FRIEND is an intimate and unfiltered look at addiction, love, and attempts to survive one more day. It is a must-see film.



Saturday, November 12 – Sunday, November 27, 2022

Venue

Online Screening

Director: Marusya Syroechkovskaya
Producer: Ksenia Gapchenko, Mario Adamson, Co-Producers Anita Norfolk, Alexandre Cornu
Cinematographers: Kimi Morev and Marusya Syroechkovskaya
Editor: Qutaiba Barhamji
Language: Russian
Country: Sweden, Norway, France, Germany
Year: 2022


DOC NYC review: David Siev’s ‘BAD AXE’ features hope pushing past hate. IFC will release one of the year’s best docs in theaters and on digital tomorrow!

BAD AXE

Synopsis: ​​After leaving NYC for his rural hometown of Bad Axe, Michigan, at the start of the pandemic, Asian American filmmaker David Siev documents his family’s struggles to keep their restaurant afloat. As fears of the virus grow, deep generational scars dating back to Cambodia’s bloody “killing fields” come to the fore, straining the relationship between the family’s patriarch, Chun, and his daughter, Jaclyn. When the BLM movement takes center stage in America, the family uses its collective voice to speak out in their conservative community. What unfolds is a real-time portrait of 2020 through the lens of one multicultural family’s fight stay in business, stay involved, and stay alive.


The Siev family patriarch Chun is a Cambodian refugee who came to the US to attain the American Dream. He and his wife Rachel opened a donut shop named Baker’s Dozen. Times were hard, and money was tight, but the Siev family stuck together and thrived. In 2000 they opened Rachel’s, a family restaurant in their hometown of Bad Axe, Michigan.

Director and only son in the Siev pack, David had the foresight to capture the upheaval of his family and their community beginning in March 2020. Like many families, the Sievs found their adult children moving back into their homes to help their vulnerable parents. Bad Axe is a small, tight-knit town with two stoplights. It’s a nice place to raise a family. When lockdown begins, local tension boils over, and the Siev family becomes targets of racism and conspiracy theories.

The eldest daughter, Jaclyn, has palpable anxiety. She tries her hardest to protect her father. The tension and stakes are higher than they’ve ever been. The family’s livelihood, quite literally, is on the line. Siblings, Michelle and Raquel, joined by Jaclyn’s husband Mike, Rachel’s boyfriend Austin, and a small handful of Rachel’s loyal employees, work day and night to feed the community and maintain a sense of normalcy while facing political and racial upheaval.

The intimate nature of Bad Axe is visceral. The Siev family could be anyone’s neighbors. They are friendly, hardworking, and respectful members of their community. They bug each other as much as they love each other. They remind me of my holidays when all four siblings invade our childhood home with inside jokes, arguments, and an unconditional adoration for one another.

Chun is a fascinating member of the family. He is a proud man. An opinionated individual, a responsible gun owner, and a survivor of the Cambodian killing fields, Chun’s unresolved trauma reveals itself in harsh words toward Jaclyn. He knows it and owns it. His emotional journey is everything.

The footage of the Black Lives Matter confrontation made my palms sweat. The aftermath of ignorant racist attacks will undoubtedly infuriate you. You will not believe the sheer terror these people have to endure. The courage of the Siev family makes my heart swell. Their bravery to move forward in the face of chaos is astounding. David’s commitment to telling their story gives audiences a peek inside the hatred stirred up by those in politics and the media that I refuse to give fuel by naming them. We all know who is responsible for the uptick of hate. May he lose again and again.

While we witness the many trials and tribulations alongside the Siev family, in the end, BAD AXE is a love letter to an ever-evolving community and an ode to a family that believes love conquers all. I can easily say Bad Axe is one of the year’s best documentaries.


BAD AXE — Directed by David Siev

New York Premiere — Winner’s Circle — IFC Films Release on Nov 18, 2022

Produced by ​​Jude Harris, Diane Quon, Kat Vasquez, David Siev 

Executive Produced by Daniel Dae Kim, Jeff Tremaine

Featuring Chun Siev, Rachel Siev, Jaclyn Siev, Skylar Janssen, Michael Meinhold

 

Screenings:

Online Screening Window – Sunday, November 13, 2022 12am through Sunday, November 27, 2022 at 11:59pm

Run Time: 102 minutes


 

DOC NYC (2022) review: ‘MY SISTER LIV’- one family’s story that speaks to millions.

MY SISTER LIV

Director Alan Hicks brings audiences the intimate story of sisters Tess and Liv through a letter from one the other. MY SISTER LIV is a tale of one family’s relentless journey to save their loved one by diving deep into the all-consuming chaos and shocking prevalence of depression. 

Liv’s personality explodes off the screen. Her bright-eyed energy catches you off guard and makes you smile. Her musical talents are an impressive saving grace. But, her thoughts of self-harm are a relentless monster exacerbated by sexual assault and body dysmorphia. Tess’ guilt is palpable. She and her mother did everything right. They researched medications and therapy and checked in on Liv. Ultimately social media and the need for acceptance lead to dark thoughts and self-medicating with alcohol.

Home videos, Tess’ narration, and Liv’s diary entries comprise a narrative that looks and sounds like so many young people. The doc plays out in two distinct halves; before and after. My Sister Liv begins with Tess telling the audience Liv’s story. The second is Tess and their mother’s emotional devastation and how the pandemic rolled into their already heavy grief, with videos of Liv replaced by videos of Tess. Then zoom discussions of Tess speaking with young people Liv’s age and mental health professionals, expressing similar feelings, coping mechanisms, causes, and statistics. 

Having lost one of my best friends from suicide after years of reaching out and quite literally talking them off the ledge, again and again, I understand the approach to mental health is sacred. My Sister Liv also served as a wake-up call for me as a parent of a five-year-old with OCD and anxiety. Can I prevent their mental health struggles from becoming all-consuming in a world that bombards children with negative thoughts and images 24 hrs a day? I’ve never wanted to predict the future more in my entire life. DOC NYC 2022 audiences have something special at their fingertips. If My Sister Liv gets viewers to start a conversation about mental health, that’s already a hugely important win for everyone. 

 thelivproject.org


Online Dates

Friday, November 11 – Sunday, November 27, 2022

Venue

Online Screening

Director: Alan Hicks
Executive Producer: David J. Cornfield, Linda A. Cornfield, Ross Kauffman, Geralyn White Dreyfous, Curtis Pesmen, Dan Braun, Josh Braun, Rob Galluzzo, Steve Carpenter, Amy Carpenter, Bob Birch, Genie Birch, William Campbell, Alice Fiori, Co-Executive Producers Amy Batchelor, Brad Feld
Producer: Paula DuPré Pesmen, Camilla Mazzaferro
Editor: Andrew McAllister, Michael Mahaffie, Jordan Swioklo
Language: English
Country: Australia, United States of America
Year: 2022


DOC NYC (2022) review: ‘ CIRQUE DU SOLEIL: WITHOUT A NET’ is an awe-inspiring film about the importance of theater and the ability to create.

CIRQUE DU SOLEIL: WITHOUT A NET

CENTERPIECE SELECTION

*WORLD PREMIERE*

Cirque du Soleil’s “O” is the top-grossing show in the world. Enter Covid19 and the subsequent and heartbreaking release of 3400 employees. The show was down for 400 days. In April 2021, restrictions finally loosening Cirque announced “O” would be back. Eight weeks to reopen among health and safety restrictions. The doc spotlights a handful of their performers. We learn how they got to Cirque and follow along as they retrain their minds and bodies after more than a year of uncertainty. We also see the tech and artistic crews rebuilding, sewing, and revamping as quickly as possible to meet the reopening deadline. It is an intricate dance of trust. One slight human or machine error could spell disaster for the artists.

The cinematography is breathtaking, from underwater shots of the artistic swimmers to areal views of acrobatic acts. Ultimately, the film reminds us of the power and importance of performance. It’s an undeniably visceral viewing experience.

As a performer, this documentary feels deeply personal. One particular quote early on struck me immediately. “It’s really difficult to live without purpose.” What is humanity without creation? What is an artist without the ability to access their craft? Speaking from personal experience and the confessions of fellow performers when the lockdown began, it physically pained us not to be onstage. Cirque du Soleil: Without A Net is a celebratory exploration of a performer’s purpose and the joyous return of the world of theatre.


CIRQUE DU SOLEIL: WITHOUT A NET had its World Premiere at DOC NYC on November 13 @ 2:15pm.

CIRQUE DU SOLEIL: WITHOUT A NET tells the story of when the world shut down, its greatest Circus went into freefall. Within 48 hours Cirque du Soleil closed all its 44 shows; within a week it let 95% of its workforce go. The show seemed over for the billion-dollar brand. Now, more than a year later, a group of world-class artists, athletes and crew at “O”, Cirque’s flagship production, face uncertainty as they prepare to bring their show back to life. With unprecedented access, this film documents their extraordinary journey as they attempt a return to stage after one of the world’s greatest crises.

Director: Dawn Porter
Executive Producer: Dawn Porter, Eli Holzman, Aaron Saidman, Richard Bedser, Ailsa Orr
Producer: Dawn Porter, Summer Damon, Sadie Bass, Mark Burnett, Barry Poznick
Cinematographer: Chris Hilleke, Bryant Fisher
Editor: Jessica Congdon, Dave Marcus
Language: English
Country: United States of America
Year: 2022

Online Dates

Monday, November 14 – Sunday, November 27, 2022

Venue

Online Screening

Review: ‘Keep it Secret’ Gives us a Glimpse but Maintains the Mystery

KEEP IT SECRET

Keep It A Secret recounts the inspiring true story of the dawn of Irish surfing and how the sport’s brave pioneers found the peace in the surf during the most violent years of The Troubles conflict.


Most people probably don’t even know about Irish surfacing culture, but perhaps that is exactly the point. In “Keep in Secret”, founding members of the Irish surfing community share a treasured history of bringing the ocean sport born and developed on the sunny shores of Hawai’i to the chilly white-tipped waters of the Irish coastline. A fascinating exploration into what was once just a curiosity sparked from 1960’s travel magazines, Irish surf culture grew into a close-knit community a continent and an ocean away. To fully enjoy sports like this, one must be fully-equipped with items such as bow cases

Anchored by charming first-person narratives from a crew you’ll wish you could keep up with, “Keep it Secret” is a total gem. Their tales of surf safaris around the Irish coastline are scrappy and steeped in the complex history of the 20th century. They crafted their first boards by hand and surfed the icy waters without wetsuits bolstered by a sense of exploration, camaraderie, and good Irish whiskey. 

The documentary hits the mark of gloriously showcasing a unique surf culture that should be celebrated but it also draws a line. Among local fears that these treasured surfing locations might soon be swamped with international tourists forcing the locals out, the documentary does keep some secrets close to the chest leaving the best of them for the insiders.



HBO original documentary review: ‘ADRIENNE’ lets us peek inside the life of the immensely talented Adrienne Shelley.

ADRIENNE

As the muse of Hal Hartley’s indie classics and as writer/director of the critically acclaimed Waitress, Adrienne Shelly was a shining star in the indie film firmament.


Indie film darling, writer, and director Adrienne Shelley‘s tragic death in 2006 sparked immediate action by her husband, Andrew Ostray. His new documentary explores Shelley’s childhood, her artistic talents, and her legacy. What happened that fateful day? How would he explain everything to their then 2-year-old daughter? Andy sets out to let people into Adrienne’s world, her career, and to help his own family navigate their grief.

Adrienne’s rise to fame seemed written in the stars. Certainly in her diary entries. Her daughter Sophie, who bears a striking resemblance to her mother, reads passages from the diaries through the years. Andy talks to Adrienne’s childhood friends, co-stars, and former directors as they recall her talents and loyal friendship. He documented conversations he had with Sophie about Adrienne. Richard O’Connor creates beautiful line-drawn animation with Sophie and Andy’s voiceovers that become great transition moments. 

Adrienne was so self-aware. It’s inspiring to watch the interviews where she expresses her values. Her uniqueness and vision allowed her to make a space for herself in the entertainment industry and quickly. She was also making a doc herself about happiness. There is so much insightful footage of Adrienne being Adrienne. A repeating theme is a sadness that she carried with her for a great deal of her life. It’s a heaviness that hovers over the entirety of the film. But she and Andy’s love story is never diminished. It’s the reason we have Waitress; this glorious celebration of a woman breaking free and understanding unconditional love. 

The doc swells to the gut-wrenching moment when Andy confronts the man who murdered Adrienne. It is a powerful interaction that had me trembling. But, most likely, you’ve already wept while watching ADRIENNE. You cannot sit through Jessie Mueller’s rendition of “She Used To Be Mine” from Waitress: The Musical and not be a complete emotional wreck. It’s not physically possible. This film is partly a gift to his daughter and Adrienne’s fans. It’s undoubtedly a physical catharsis, leaving the human experience of how one single person can impact everyone around them. It’s a legacy of an extraordinary woman and her story. ADRIENNE will touch your soul. 



Director: Andy Ostroy
Executive Producer: Marc Levin, Nancy Abraham, Lisa Heller
Producer: Andy Ostroy; Co-Producer: Jillian A. Goldstein; Supervising Producer: Daphne Pinkerson
Cinematographer: Trish Govoni
Editor: Angela Gandini, Co-Editor: Kristen Nutile
Music: Andrew Hollander
Language: English, Spanish
Country: USA

Year: 2021


So many stories left to tell. Adrienne, an HBO original documentary about the life and legacy of actress, director, and screenwriter Adrienne Shelly, premieres December 1 at 8 pm on HBOMax.


DOC NYC (2021) review: ‘Come Back Anytime’ is a Visual Feast with Charisma to Spare

Come Back Anytime

For more than forty years, ramen master Masamoto Ueda has been serving his legendary Tokyo-style ramen to a community of regulars who are not only his customers, but true friends.


Sometimes the simple pleasures are the best: good food, great friends, and a cold glass of sake. “Come Back Anytime” is a lovely tribute to Bizentei, a cozy ramen noodle restaurant located on a quiet corner of suburban Tokyo. Within this neighborhood gem, ramen master Masamoto Ueda has served comforting bowls of noodles for over thirty years while cultivating a cast of charming regulars that return week after week. While the lush cooking scenes bring to mind the much-heralded “Jiro Dreams of Sushi,” Bizentei has a relaxed communal atmosphere much more akin to “Cheers.” Serving a ramen style considered somewhat old-fashioned but with seriously upgraded ingredients, the regulars cherish the nostalgic qualities of the food as much as Master Ueda’s company, and if you have employees in this company the use of  instant paystubs generator free is useful to manage this. Through first-person interviews with the patrons, viewers gain privileged access to a cozy hub, and it quickly becomes apparent why it holds such a special place in the community. 

The film opens with the subtle ASMR of Chef Ueda opening his shop for the day. Beautiful cinematography captures both art and skill as Chef prepares delicate broths that simmer gently in the background forming swirls of quiet steam, then sharpens glistening knives on a dark stone before chopping picture-perfect vegetables into neat symmetrical rows. I was captivated less than five minutes in. 

“Come Back Anytime” grabs your attention with a stunning presentation of traditional Japanese cuisine, but it is the intimate portraits of friendship forged over crispy fried gyoza or melt in your mouth chashu that will capture your heart.


For more info on DOC NYC 2021 click here!


DOC NYC (2021) short film reviews: ‘Coded: The Hidden Love of J.C. Leyendecker ‘ & ‘Don’t Go Tellin’ Your Momma’

Coded: The Hidden Love of J.C. Leyendecker  

This is what most short films aspire to be– a brief 30 minutes that conveys a story so completely it feels like a much longer narrative. An exposition on the homoerotic imagery within the art of J.C. Leyendecker, Coded excels at blending what is essentially an art history lesson with its present-day significance and with a deeply romantic love story to boot. As someone who is always here for a story about true love, this one left an impression that is unlikely to fade.


Don’t Go Tellin’ Your Momma

Overflowing with cool-kid energy, this short film dazzles and delights. A tribute to the Black ABCs and growing up in New Jersey, Don’t Go Tellin’ Your Momma excels in quickly establishing a sense of place. This is a film about black people that is made for black people, i.e. Art that deeply respects its subject. The colors and angles of the shots are gripping, trippy, and mesmerizing. Viewing was akin to walking through an art exhibit: what do all the disparate clips mean? You get the sense of it but it’s mostly vibes.


For more info on DOC NYC 2021 click here!


DOC NYC (2021) review: Questlove Flawlessly Mixes Music + History in ‘SUMMER PF SOUL’

SUMMER OF SOUL

In his acclaimed debut as a filmmaker, Ahmir “Questlove” Thompson presents a powerful and transporting documentary—part music film, part historical record created around an epic event that celebrated Black history, culture and fashion. Over the course of six weeks in the summer of 1969, just one hundred miles south of Woodstock, The Harlem Cultural Festival was filmed in Mount Morris Park (now Marcus Garvey Park). The footage was largely forgotten–until now. SUMMER OF SOUL shines a light on the importance of history to our spiritual well-being and stands as a testament to the healing power of music during times of unrest, both past and present. The feature includes concert performances by Stevie Wonder, Nina Simone, Sly & the Family Stone, Gladys Knight & the Pips, Mahalia Jackson, B.B. King, The 5th Dimension and more.


Ahmir “Questlove” Thompson’s directorial debut is simply brilliant. It might almost be a given that as a world-famous and beloved D.J., every musical and visual choice in Summer of Soul masterfully cultivates a vibe and maintains that dazzling energy for the length of the entire film. In addition to showcasing a great party, Summer of Soul provides viewers with the essential historical and cultural context to fully appreciate what they are witnessing. Through passionate first-person narratives from attendees, the film balances what in less experienced hands might have become merely a history lesson with one hell of a show. 

 Piecing together recently discovered footage from the 1969 Harlem Cultural Festival, Summer of Soul is a celebration of black culture as it transitioned from the tumult of the 1960s into the black liberation movement of the 1970s. In a time of great uncertainty and political unrest, the concert series set in Mt. Morris Park was a time for black pride and celebration. The film includes never before seen live performances by a young Gladys Knight and the Pips, Stevie Wonder, Sly and the Family Stone, Mahalia Jackson, Nina Simone, and many more. Every shot is colorful, powerful, and tells a story. The music is phenomenal. The costumes are dazzling– maybe men should reconsider brightly colored ruffle shirts?– the Black Panthers provided security in full regalia, including the berets. Each shot is a wonder and a visual feast. 

 Summer of Soul is a vital inclusion to narratives around the Summer of Love and essential addition to understanding the complete history of the era.


SUMMER OF SOUL premiered at the Sundance Film Festival, where it won both the Grand Jury Prize and Audience Award. It is streaming on Hulu in conjunction with Disney General Entertainment’s Onyx Collective; Searchlight Pictures released it theatrically.


DOC NYC (2021) review: ‘GO HEAL YOURSELF’ takes a deep dive into alternative medicine.

GO HEAL YOURSELF

Against the wishes of her family, Yasmin sets out to find a treatment for her
epilepsy via alternative medicine. Meeting inspiring people all around the
world, she learns that this route is not as easy as simply taking a pill.


My aunt has always used homeopathic remedies. She’s beaten breast cancer twice. As someone with chronic pain from a neck injury caused by a car accident, anxiety since childhood, severe dance injuries, and phantom pain and diastasis recti from two C-sections, I would love to find ways to heal myself juts like I found the CBD oil for anxiety which allows me to cope with my mind. You hear testimonials constantly on the internet or get messages on social media from women in health and wellness, aka the newest pyramid scheme. In Go Heal Yourself, filmmaker Yasmin C. Rams goes on a mission to explore alternative medicine for her epilepsy and her father’s Parkinson’s. It is a journey fraught with emotion. 

The argument of western vs. eastern medicine will never fade. Alternative medicine is a rare topic in my house. We believe in science, but that never discounts the science we aren’t familiar with yet. Although, my neck injury was so painful that I did my first and only session of acupuncture. It did not move the needle (pun intended) on my pain scale. I’ve since watched two aunts go through breast cancer treatments. Neither of their stories is the norm. While one used homeopathic medicine and CBD treatments (find the Exhale Wellness Delta 8 joint here), the other did chemotherapy but never got sick. I’ve never heard of that before. 

In Go Heal Yourself, Yasmin’s father is skeptical. Her attempts to change his diet or convince him that his medication isn’t helping fall of deaf ears. Her epilepsy seems to reach a point of no return as CBD and herbal supplements become too expensive. In her search for answers, Rams reaches out to those individuals across the globe who claim their sickness wained due to a drastic lifestyle change and not medication. You cannot help but become emotionally attached to the people featured in Go Heal Yourself. You’d be hardpressed not to know someone in your life that isn’t afflicted similarly. While some of them heal, others struggle. Each believes that holistic medicine will lessen their ailments in the end. It’s the mental aspect that seems the most powerful. With mindfulness becoming more mainstream, those who practice may feel vindication from this doc.

We are fully invested in Yasmin’s journey. It’s a personal, oftentimes dark, diary of sorts. Undoubtedly, we’re hoping to find our miracle cure as we watch. Go Heal Yourself is going to rattle people, and there’s no getting around it. But if it causes us to stop and think for a moment about what our health means in our souls, then it has succeeded wholeheartedly. At the very least it opens up the dialogue.


Online Dates

Sunday, November 14 – Sunday, November 28, 2021


Director: Yasmin C. Rams
Producer: Yasmin C. Rams, Rodney Charles
Cinematographer: Vita Spiess, Nic Smith
Editor: Kirsten Kieninger
Music: Patrick Puszko
Language: English, German, Spanish, Mandarin
Country: Germany

Year: 2021


DOC NYC (2021) review: ‘YOUNG PLATO’ dares kids (and audiences) to use their words.

YOUNG PLATO

An inspiring documentary from the filmmakers of School Life (Released by Magnolia Pictures), YOUNG PLATO charts the dream of Elvis-loving school headmaster Kevin McArevey – a maverick who is determined to change the fortunes of an inner-city community plagued by urban decay, sectarian aggression, poverty and drugs. YOUNG PLATO hums with the confidence of youth, a tribute to the power of the possible. 


Teaching is hard. It’s also perhaps one of the most underappreciated careers. You cannot fully comprehend the emotional and physical burdens if you’ve never been in a classroom. In Belfast, a headmaster named Mr. McArevey teaches Philosophy to his primary school students. He makes it approachable. He creatively breaks down ideas to facilitate communication and critical thinking. Holy Cross Boys’ Primary School could be a blueprint for schools all over the globe.

Dealing with their anger is a running theme. Considering the neighborhood’s history, this is vital for these boys’ survival. I’m 41 years old, and until watching Young Plato, I don’t think I truly understood the chaos of religious politics in Ireland. Directors Neasa Ní Chianáin and Declan McGrath juxtapose volatile footage from 2001 with present-day footage of those same streets, now lined with school-age children. It’s a chilling effect.

 Holy Cross’s methods of discipline, under the guidance of McArevey, are fantastic, as the students actively and knowingly utilize philosophical strategies. The social-emotional impact that this could have in every school would be mind-blowing. In an area where violence is so prevalent, using the power of words is priceless. These young boys, even during reprimand, are unafraid to express their feelings. The intimacy and care that Young Plato takes in showcasing the children are beautiful. As a former teacher, this is a school that has all the tools. As a mother of a Kindergartener on the spectrum, focused, individual attention can change a child’s life. Holy Cross is a shining example. 

As the kids learn about their area’s recent violent past, the profound thoughts of peace from these youngsters give me hope. McArevey makes kids accountable for their words and actions. The staff does not let them off the hook while simultaneously extending consistent praise. Watching these lads progress through the school year, seeing the unique brand of teaching should inspire us all to do and be better with one another. Young Plato is a guide to a better world. 


For tickets to see Young Plato click here!


Director: Neasa Ní Chianáin, Declan McGrath
Executive Producer: Lesley McKimm, Justin Binding, Andrew Reid, Catherine LeGoff, Grainne McAleer
Producer: David Rane, Co-Producer: Hanne Phlypo, Jackie Doyle, Céline Nusse, Declan McGrath
Writer: Neasa Ní Chianáin, Etienne Essery, Declan McGrath
Cinematographer: Neasa Ní Chianáin
Editor: Philippe Ravoet
Music: David Poltrock
Language: English
Country: Ireland, UK, France, Belgium

Year: 2021


DOC NYC (2021) review: ‘The Business of Birth Control’

The Business of Birth Control

Sixty years after the pill revolutionized women’s emancipation, THE BUSINESS OF BIRTH CONTROL examines the complex relationship between hormonal birth control and women’s health and liberation. The documentary traces the feminist movement to investigate and expose the pill’s risks alongside the racist legacy of hormonal contraception and its ongoing weaponization against communities of color.  Weaving together the stories of bereaved parents, body literacy activists and femtech innovators, the film reveals a new generation seeking holistic and ecological alternatives to the pill while redefining the meaning of reproductive justice.


Is “the Pill” killing us? Perhaps not, according to the innumerable doctors who prescribe it to 11 million women. 35% of which are for reasons other than preventing pregnancy. Anytime I heard about my girlfriends going on birth control in high school or college, it was the same complaints; weight gain, mood swings, depression, and suicidal ideation. I never went on the pill because I was terrified by the side effects. In The Business of Birth Control, get ready to have your mind blown because everything you think you know about contraceptives and The Pill is about to change. The entire FDA approval study was based on only 132 women in Puerto Rico. What?! Under the auspices of body autonomy, the side effects were hidden or swept under the rug by the medical industry. Not a damn thing has changed. Profit and politics and old white men making decisions for women. Follow the money. Why fix a $17 billion industry? 

The Business of Birth Control utilizes doctors, educators, activists, professionals in payroll administration services and people passionate about giving you as much information as possible. We also hear about the fatal links to products like Yaz and NuvaRing. Director Abby Epstein introduces us to a group of parents who lost their daughters to the side effects of these hormonal contraceptives. They have become activists and not by choice. They wonder why there aren’t clear visual warnings on the front of contraception packages, much like cigarettes. I always pause when I watch drug commercials, and they rattle off the giant list of potential side effects.

I struggled to get pregnant for eight months. Every month I cried when the pregnancy test was negative. Then someone turned me onto an app very similar to the method discussed in the doc. I tracked my temperature each morning and some other information because you cannot get pregnant every day of your cycle, but that’s not what has been drilled into our heads since Sex Ed class in 5th grade. Within three months, I was pregnant, and I knew because of my spike in temperature. I knew before taking a test because I had learned the natural cycle of my body. 

Abby Epstein and Executive Producer Ricki Lake (The Business of Being Born) have given us so much to consider with this doc. There are more ways to maintain reproductive autonomy than I ever imagined. The fight continues to bring these options to every corner of the country, and much like the battle to keep abortion safe and legal, we cannot slow down in educating the masses. This film is not strictly for cis-gendered women who menstruate. The Business of Birth Control is knowledge every person should consume. Let’s keep talking to each other because that is empowerment. 


November 10th – November 18th

For tickets to watch The Business of Birth Control click here!


Directed by: Abby Epstein (The Business of Being BornWeed The People)

Executive produced by: Ricki Lake (Hairspray)

Producers: Abby Epstein, James Costa (Lunch HourWelcome to Chechnya), Holly Grigg-Spall, Anna Kolber (Chasing the Present)


DOC NYC (2021) review: ‘OBJECTS’ taps into our tangible sentimentality.

OBJECTS

Why do we sometimes save objects for years that seem precious to us, yet have no intrinsic value? For some, these mementos are the root of clutter and materialism, but for others, they are a treasured record of their lives. A way to hold on to time and life itself. A tangible nostalgia.

OBJECTS explores a very different kind of ‘collector.’ Through the lives of three unique individuals who have held onto a seemingly meaningless object – a fifty-year-old clump of grass, a sweater that once belonged to a French actress, and a forty-year-old sugar egg – the documentary explores how we find meaning. These objects are not things to be flaunted, rather they are items that profoundly touch their owners in ways that few others can understand.


Vincent Liota taps into our inherently sentimental human hearts. As someone who has a box of objects dating back to at least age 5, as someone who married a man with his own small chest of treasured things, and a mother that fills her home with memories (including a broken flamingo ornament that I would hide in the Christmas tree to avoid its demise), OBJECTS speaks directly to me.

While looking through the memories hidden inside his bookshelf, Robert Krulwich, former host of RadioLab and current NPR correspondent, says something that struck me, “That’s time travel.” Objects are stories. Objects are history. As for the doc, OBJECTS features items spanning from a clump of grass to a sugar egg. Hearing the meaning of these things directly from the people who keep them moves you. You are instantly invested in their safety and fascinated by their existence. The walkthroughs of spaces filled with memories create an emotional gravity that is undeniable. We all know the old saying, “One man’s trash is another man’s treasure.” OBJECTS proves just that.

I adored the time focusing on the methods of Marie Kondo. Like everyone else, when her series hit Netflix, I started to rummage through my drawers, cabinets, and boxes of things. I pulled all my clothes out of the closet and threw them onto my bed to decide what sparked joy. It was much more difficult than I could have ever imagined. In the end, I think I tossed things based more on logic and not at all on sentimentality. When it comes to my children, well, that is another story. I have a box filled with their sweetest baby outfits. 

OBJECTS captivates you with its ceaseless charm. Items that seem to have zero connection to the viewer go from innocuous to deeply meaningful. As we bounce from one unique narrative to the next, you cannot help but think about what is most important in your life. Perhaps it is not the object itself but the memory it envokes that we cherish so much. Regardless, OBJECTS reminds us that we are all connected, how a passing moment affects an entire lifetime. To quote Doctor Who, “We are all stories in the end, just make it a good one, eh?”


https://www.objectsfilm.com/trailer

For more information and tickets to watch OBJECTS click here!


Director: Vincent Liota
Executive Producer: Sally Roy, Vincent Liota
Producer: Vincent Liota
Writer: Vincent Liota
Cinematographer: Sam Cullman, Vincent Liota, Jason Longo, Bryan Margaca
Editor: Vincent Liota
Music: APM Library, Mark Orton
Language: English, French, Italian
Country: USA

Year: 2021