With such a broad subject matter, it’s quite astonishing how director Ava DuVernay was able to weave “talking heads” with facts, figures and history footage into the coherent and thought-provoking documentary, 13th.
Starting with racism in the prison system, the film is about much more than that and covers a wide variety of issues that stem from the time of the 13th Amendment. Rather than go chronologically, the film flows from different topics but ties them all together in a way that is interesting and informative.
Let’s step back and acknowledge how incredible it is that this film opened the New York Film Festival and is available to watch just a week later on Netflix. How amazing is that? You don’t have to find an indie theater to see it. Anyone can see this with their subscription or even just sign up for a free trial to watch. For those in New York, it’s opening at the IFC Center with a Q&A with Jelani Cobb, Univ. of Connecticut professor and contributor to The New Yorker, at 7:55 show!
This film presents factual information in a way that is fair and unfortunately depressing, yet there is a sense of hope that cannot be mistaken. This is a must see.
Festival Director Kent Jones & 13th Director Ava DuVernay at the press conference
https://youtu.be/V66F3WU2CKk
More often than not, when we think about our legal system today, perhaps the word that comes to the mind of many is “Injustice” How much does personal belief, whether religious or political, sway the decision of a DA’s office or a jury. My husband recently served on a jury here in Manhattan, on a relatively well known case. After his month long ordeal, he stated, “In some alternate universe, if I was ever thinking about breaking the law, well, God help me. A jury of my peers is anything but.” He explained that the particular jury he served on contained individuals who slept during proceedings, doodled in their notebooks, sighed audibly in court, and verbally fought to be excused on a daily basis. He cannot imagine what it would have been like had he been the defendant. In a very important documentary, SOUTHWEST OF SALEM, four women, who happen to be lesbians, were convicted of a heinous crime based upon a modern day witch hunt. In Texas, their jury was most certainly not comprised of their peers. 
Directed by filmmaker journalist Deborah Esquenazi, this emotional documentary first made its big splash earlier this year at the Tribeca Film Festival and received audience accolades. It recently garnered Grand Jury Award at 2016 Outfest and Outstanding Documentary Jury Award at the 2016 Frameline Film Festival.
The score is stunning, the cinematography might as well be an add for the landscape and the local sites. Susan Traylor, as Lizzy, is haunted and ethereal. Anslem Richardson, as Guy, is soft and magnetic. Someone, two people who should have nothing in common create a world of self discovery and forgiveness. Written in collaboration with Traylor, Richardson, and Balderson, the dialogue runs in circles at moments, keeping you on your toes constantly. El Ganzo has a quiet elegance that will capture your heart.
This is one of those films where seeing is believing. The striking visual scope of Firecracker is just one of the things that makes it so unreal. Half in black & white and the other half in overly saturated color, the emotional story lines are hard drawn. Paying almost direct homage to FREAKS, (and far before it’s time, Jessica Lange’s leading lady in Season 4 of American Horror Story) FIRECRACKER is disturbing in so many ways. 
Black plays duels roles, as both the carnival chanteuse and mother with a severe case a PTSD. Son Jimmy is caught between both worlds. The emotional grip this strange tale holds upon the audience is something to experience in the theater, in the dark, on a big screen, surrounded by others experiencing it for the first time. 
The cinematography from Austria’s preeminent DP Martin Gschlacht (Goodnight Mommy, Oscar-nominated Revanch
Will Allen‘s 22 years of footage appear, at first, to resemble a long-lost infomercial from the 80’s. It only takes a few minutes to realize that this is not VHS from our youth but the continuous documenting of a group of people seeking something different. What they ultimately find is a mysterious man who is nothing he claims to be. Utilizing intimate, present-day, sit down interviews with members of Buddhafield combined with Allen’s chronological documentation of the group’s daily activities, HOLY HELL is unlike anything we’ve seen before. To have such unguarded footage and insider knowledge is pretty unprecedented, especially for this length of time. From private therapy sessions to retreats, public outings and the eventual breakdown, each year is more shocking than the last. There are moments that will make you cringe, question your judgement, and certainly, times that will turn your stomach. HOLY HELL is as relevant today as it was when it began its seedling production. It will both open your eyes and terrify you.
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