THE BENGALI (2022, doc)

September 16, 2022

Greetings again from the darkness. We don’t often get tales in documentaries, but that’s the interesting approach documentarian Kavery Kaul takes here. Rather than reporting only the results, Ms. Kaul travels with Fatima Shaik as she pursues answers to the questions of her family’s roots.

Ms. Shaik is an African-American writer from New Orleans, and she’s on a quest to find out if all the stories she heard growing up are true. The only way to know is for her to travel to the village in India where her grandfather, Shaik Mohamed Musa, lived prior to emigrating to the United States in the very late 19th century. She carries one photo of him.

Fatima is friendly enough as she works her way through the village, but it’s fascinating to see how the locals treat her. First, they have never seen an African-American, and her skin color is a topic of discussion. But more importantly, they are clearly suspicious of her, and even say, she “doesn’t belong here.” The language barrier causes some issues, but mostly they view Fatima as a threat – someone attempting to reclaim land owned by her ancestors. Further distrust occurs because Fatima is a Christian, and the Catholic Church is not trusted here.

Her encounters with the villages are interesting, and it provides a case study in how humans react to those who look and talk differently … it’s not a reaction limited to white Americans. For the most part, director Kaul’s travelogue approach works, and Fatima gets the results she was seeking. Perhaps the time with the locals could have gone deeper, but the 70-minute run time feels just about right.

The film opened at the Quad in NY on September 9, 2022 and will open at the Laemmle Royal in LA on September 16, 2022

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Posted by David Ferguson

EXPLORER (2022, doc)

September 2, 2022

Greetings again from the darkness. Not so long ago, it was a compliment to be called “a man’s man.” It was a term of endearment and respect that meant a man was strong, quiet, adventurous, and trustworthy. Sir Ranulph Fiennes, born Ranulph Twisleton-Wykeham-Fiennes, 3rd Baronet, fit the bill. He refused the royal title saying being born into it is not the same as earning it. The man-the myth-the legend is cousin to actors Joseph and Ralph Fiennes, and has been better labeled as “the greatest living explorer”, and documentarian Matthew Dyas wants us to know all about him.

An astonishing list of ‘Ran’s’ (as he prefers to be called) exploits, adventures, and records scrolls over the film’s opening. We don’t even have time to absorb what we’re being fed, but the first thought is … no one man could have done all of this. Director Dyas takes us through Ran’s childhood and his service in the Army. Turns out, he was always one to push boundaries. A significant portion of the film is spent detailing the long-time relationship between Ran and his first wife, Ginny. She was his biggest supporter, and the love of his life. We learn this, and much more, through the fantastic archival footage, photographs, and audio recordings, the latter of which are used instead of the customary talking heads posed for the camera.

This is a man who traversed the planet through both poles. Ran takes us through the process of cutting off the tips of his own frostbite-damaged fingers on his left hand by using a hacksaw and having Ginny assist. We learn about his heart attack, which caused him to ‘take it easy’ as he ran 7 marathons in 7 days on 7 continents (known as the World Marathon Challenge). When Ginny was diagnosed with terminal cancer in 2004, she encouraged him to re-marry. He did so to Louisa, with whom he fathered his only child. After the wedding, Ran headed back to Mount Everest, and at age 65, was successful on what was his third attempt. He also self-treats his Parkinson’s with frigid sea water.

Perhaps “a man’s man” is not so fitting for Ranulph Fiennes. With this being a partial list of what he’s done in his life, there can be no other man who belongs to his club. Of course, he has his detractors, and director Dyas allows those to have their say. But the actual video footage and recollections of those who knew him are simply too amazing to disparage. He’s now 78 years old and still has his adventure goals. Learning about Ranulph Fiennes is likely to humble you and hopefully inspire a few to push those boundaries.

Available on Digital and On Demand beginning August 30, 2022

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Posted by David Ferguson

THE PRINCESS (2022, doc)

August 18, 2022

Greetings again from the darkness. It’s been 25 years since the paparazzi chased the car into that Paris tunnel. The ensuing accident took the lives of Princess Diana, her boyfriend Dodi Al Fayed, and their driver, Henri Paul. The tragic and stunning event led to global grieving for a Princess who many felt never was accepted as a member of the Royal Family. Director Ed Perkins (BLACK SHEET, 2018) uses only archival footage, stills, and news clips to show how the media covered Diana over what was less than two decades in the spotlight. No new interviews – the talking heads we are accustomed to in documentaries – are included here, only the editing of existing media materials are offered as storytelling devices.

The film opens with a tourist-shot video taken just moments before the fatal accident. What stands out is the crush of photographers, the squealing tires takeoff of Diana’s car, and the swift action of paparazzi following on scooters and cycles. It’s not until the end of the film that we see the footage of the wreckage being towed from the tunnel. The rest of the film tracks Diana over the years … less than 20 years total.

The flashback takes us to Diana Spencer as a 19-year-old girlfriend of Prince Charles. As the press hound her on the walk to her car, we note her coy and shy demeanor as she offers “no comment” before driving herself away. The strain on her face as she’s being questioned is evident, and remains through those early shared interviews with Charles. It’s not until years later when she becomes so adept at handling the media frenzy.

Throughout the film we see clips of Prince Charles, Queen Elizabeth, Sarah Ferguson, and Diana’s interactions with such notables as Henry Kissinger, Mother Teresa, John Travolta, Luciano Pavarotti, and Nelson Mandela. We watch as Diana’s hairstyles make their way around the globe, and of course, the wedding segment recalls how it became ‘the’ television event of 1981. There are segments on two babies (William and Harry), and we even see Diana holding Harry in her lap as the car drives away … and Charles heads to his polo match.

The 12-year age gap is discussed, but Diana’s surprising BBC interview with Martin Bashear provided the more likely reason for the 1992 separation. Camilla Parker-Bowles is shown while still married, but a Charles interview (along with Diana’s BBC interview) make it clear that the Diana marriage was meant to deliver ‘pure’ bloodlines to the Royal Family, and the “Fred and Gladys” (Charles and Camilla) relationship couldn’t do that. We can’t help but notice how much sadness Diana carried, and she certainly had her own detractors and critics, especially when biographers noted her own affair. It was this era that turned the Royals into their own entertainment industry – something which is disturbingly even more true today. Diana died at only 36 years of age. Both of her sons are older than that now. The global grief experienced is on full display during the segments highlighting her funeral. Perkins’ film might be a bit difficult for anyone who wasn’t around during the Diana era, but for those of us who were, the memories have not faded, and are enhanced by what we see here.

Available on HBO and HBO Max beginning August 13, 2022

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Posted by David Ferguson

MY OLD SCHOOL (2022, doc)

July 22, 2022

Greetings again from the darkness. The world can be divided into those who dream of going back to their glory days of high school, and those who fight off seizures over the thought. Documentarian Jono McLeod broaches this topic through the story of legendary Scottish conman ‘Brandon Lee.’ Since this dates back almost 30 years, you may not be familiar with the details, but even if you are, McLeod’s film will likely fill in the gaps while serving up firsthand recollections from those who were there.

An early twist is just the beginning of this oddity. Brandon Lee agreed to be interviewed for this documentary, but he refused to appear on camera. So, we hear his voice and his own words, but they are being lip-synched by actor Alan Cumming. The additional talking head interviews are the classmates who attended Bearsden Academy in Glasgow alongside Brandon Lee, as well as an administrator and teachers. The former students reminisce about Brandon’s first day at the school as a transfer in 1993. All agree he had an unusual look: gaunt, pale, funny hair, older looking … these are just some of the descriptions.

Equipped with a backstory, Brandon was exceptionally bright, while not quite fitting in. His goal was to attend medical school, and he informed others that he was from Canada and had been very close to his mother, a renowned opera singer who died in a car crash. Teachers were impressed with his knowledge, and he even excelled in the school’s musical production of “South Pacific”.

Rather than live action re-enactments, McLeod uses a significant amount of animation to visualize the moments and events discussed by these now-fully-grown former students. This adds to the comical feel of the story and works to distract us from what we really want – photos and video of Brandon in school. The animation even works as a bit of misdirection for how the final act plays out, and what happens when he finally comes clean with who he is and what he’s done.

The name is critical to the story. First of all, the name Brandon Lee was all over the news in 1993, as the actor and son of legendary Bruce Lee had only recently been accidentally killed on the set of his film, THE CROW. There is even speculation that he drew the name from Jason Priestley’s character on the hit TV show, “Beverly Hills, 90210”. And later, when his actual name is revealed, there is a connection that leads to further complications and confusion. Some of the theories tossed around are quite interesting, not the least of which is that Brandon possessed mind control skills and could actually hypnotize people. Whether this a crime of fraud, an elaborate prank, one man’s way to achieve his dream, or simply twisted morality, is something you’ll have to decide after hearing what Jono McLeod’s film has to say … and McLeod discloses that he was also a student Bearsden Academy.

In theaters on July 22, 2022

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Posted by David Ferguson

GABBY GIFFORDS WON’T BACK DOWN (2022, doc)

July 20, 2022

Greetings again from the darkness. If you get shot in the head, you will likely die. If somehow you survive, and never fully regain speaking competence or full physical coordination, what would be your outlook on life and on gun control? Gabby Giffords, a former member of the U.S. Congress, did survive, and co-directors Julie Cohen and Betsy West (the duo behind the 2018 documentary, RBG) show us that Gabby remains a committed optimist and activist … a gunshot victim, a gun owner, and a gun control activist with reasonable goals for gun ownership. She confidently proclaims, “I’m not against guns. I’m against gun violence.”

It was January 8, 2011, when Gabby (I’m referring to her this way out of ultimate respect and because this is how she often refers to herself) was meeting and greeting her constituents outside the front doors of a Safeway store in suburban Tucson. A gunman opened fire attempting to assassinate her, and in the process, shot 19 people, killing six – including a federal judge and a young girl. Though initially reported as dead, Gabby did survive despite the bullet passing through her skull and brain. Gabby’s husband, Space Shuttle Endeavor Commander Mark Kelly, decided to film her in the hospital for the days and weeks after the shooting, so that one day she could see what she had endured. Some of these segments are quite difficult to watch, especially when we see her uncontrollably repeating the word “chicken”, and subsequently breaking down with her speech pathologist. These segments convince us of two things: Gabby’s recovery was remarkable, and she’s an incredibly determined person.

Filmmakers Cohen and West provide some background on Gabby. After graduating college, she had a NYC job with a large firm, and resigned that to move back home and run El Campo Tire, the family business. We even see her appearance in a local TV commercial, her charm and leadership skills clearly on display. After negotiating the sale of the business. She turned her attention to politics and we see some of her early campaigning. Articulate, forceful, and immediately likable, Gabby was a moderate who used logic in the stands she took, and was a rising political star on the national scene. We hear from Gabby’s parents, as well as her stepdaughter, who admits to not being especially warm to Gabby when her dad (Mark Kelly) began dating her. It’s refreshing to see that their relationship is quite strong today.

Aphasia is a disorder that affects a person’s ability to communicate. There can be few things worse for anyone, especially a politician. Former President Barack Obama is interviewed and speaks glowingly of Gabby as a politician and a person; however, it’s the relationship between Gabby and husband Mark that is the heart of her recovery, her work since, and his successful run for Congress in 2020. This is the husband that commanded the Space Shuttle concurrently with his wife’s latest brain surgery. The couple founded a gun control organization in 2013, and it’s now known simply as “Giffords”. We see Gabby’s triumphant return to Washington, DC, and understand her subsequent resignation a few months later. This is the story of a unique and strong woman in a true relationship with a strong man. Together they do amazing things. Consider me “Gabbyfied”.

Opened in theaters on July 15, 2022

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Posted by David Ferguson

DREAMING WALLS: INSIDE THE CHELSEA HOTEL (2022, doc)

July 7, 2022

Greetings again from the darkness. Art, sex, drugs, rebellion, counterculture, and even death … that’s the infamous history of New York’s Chelsea Hotel. And for the last decade, it’s been about renovation and ongoing construction, and the persistence of a few long-time residents. Co-directors Maya Duverdier and Amelie van Elmbt deliver an unconventional documentary in that it doesn’t focus on the Chelsea’s iconic place in NYC history. It doesn’t focus on the idols who created art here. In fact, the history of the place takes a backseat to the current residents and the never-ending construction, neither of which are as entertaining as the legendary past.

In a tease, the film opens with a young Patti Smith waxing poetic about what Dylan Thomas might have glimpsed from the same rooftop. This is followed by a montage featuring the instantly recognizable faces of Janis Joplin, Jimi Hendrix, Leonard Cohen (“Chelsea Hotel #2), Marilyn Monroe, Bob Dylan, Andy Warhol, Arthur C Clark, and Salvador Dali, amongst others. That gives you some idea of the place the building holds in the history of art. We then cut to the elderly residents trudging through hallways that are covered in plastic and littered with wires. Some chat it up with the construction workers, while others seem oblivious to the inconveniences – likely just resigned to the daily obstacles.

Most tenants took the buyout offer from the new owners, while others cling with all their might to the low-rent (both definitions) living they’ve grown accustomed to. The Christmas tree in the lobby may or may not indicate the season, and mostly we realize the misery in trying to live one’s daily life amidst the constant accompaniment of hammering, drilling, and sawing. This is more a Sociological case study on gentrification than anything else, despite the filmmakers attempts to tie in the past by projecting the famous faces on the walls.

The closest comparison to Hotel Chelsea is Los Angeles’ equally infamous Chateau Marmont. A 2008 documentary entitled, CHELSEA ON THE ROCKS, provides an interesting look at Chelsea’s historical relevance in the art world, something co-directors Duverdier and van Elmbt seem to care little about. There are two approaches to the Hotel Chelsea that might hold our interest: the past or the future. Unfortunately, this look at the present merely scratches something that doesn’t itch.

Opening in theaters and On Demand beginning July 8, 2022

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Posted by David Ferguson

HALLELUJAH: LEONARD COHEN, A JOURNEY, A SONG (2022, doc)

July 1, 2022

Greetings again from the darkness. He’s not an easy man to figure out. His many written and spoken words can be challenging to interpret, and his art comes in many forms: poems, novels, drawings, and songs. Leonard Cohen was an enigma, yet also a treasure trove of thought-provoking work crafted over fifty years. Collaborators for more than 25 years, documentarians Daniel Geller and Dayna Goldfine knew tackling Cohen as a subject would be too much, so by taking inspiration from Alan Light’s book, “The Holy or the Broken: Leonard Cohen, Jeff Buckley, and the Unlikely Ascent of ‘Hallelujah’”, they were able to approach him through his most recognizable and most oft-covered song, “Hallelujah.” The result is a captivating two hours that will appeal to Leonard Cohen devotees and enlighten those new to his work.

We open on December 21, 2013 in Auckland, New Zealand. Leonard Cohen is on stage and sings the immediately recognizable first “secret chord” line of “Hallelujah.” This would be his final live performance. Someone offers the description of LC as “a spiritual seeker”, and that appears to have been the case most of his life. Perhaps there is no better evidence of this than his pursuit of writing lyrics to “Hallelujah.” We see the dozens of notebooks filled with his handwritten lyrics. We know there are multiple versions of the song, and Leonard admits the song was never finished … it was ever-evolving, same as the writer. Although Cohen passed away in 2016 and was not interviewed for this film, precious archival footage allows us to see him expressing his own thoughts alongside new and recorded interviews of those who knew him for so long.

The great Judy Collins tells of the time she encouraged Leonard to come on stage and sing his song “Suzanne” with her. It was 1966 and though to that point, he had been mostly a poet, he now immersed himself and his words into songwriting. In regards to his poetry, so many believe one must suffer to have anything of value to say; however, Leonard was born into a wealthy family, and he created reems of meaningful passages as a deep thinker and observer. Other terrific interviews come courtesy of music journalist “Ratso” Sloman (who also shared tapes of his own Leonard interviews with the filmmakers), long time back-up singer and co-writer Sharon Robinson, Cohen’s former girlfriend and renowned photographer Dominique Isserman, lifelong friend and fellow Canadian Nancy Bacal, Canadian journalist and lifelong friend Adrienne Clarkson, and John Lissauer who first produced “Hallelujah” and also composed the score to this documentary.

The song itself took a journey worth exploring. Leonard initially worked on the lyrics for years. Once the song was recorded, it (and the entire album, ‘Various Positions’) was rejected by Columbia, the record label that had already paid for it. The album and song were finally released on a small independent label. Ultimately, Bob Dylan began performing the song in concert, and it was gradually adopted by other artists, and reached mainstream status when it was included in the animated hit movie, SHREK. How is that for an unusual journey for a song?

Even the SHREK saga wasn’t straightforward. Rather than use Cohen’s version of the song, the director chose the version sung by Rufus Wainwright, but then decided it didn’t fit, and shifted to the John Cale version. As a final twist, it’s Wainwright’s version on the released movie soundtrack. It’s not just the lyrics that have multiple versions. As of last count, more than 200 artists have their own version, with those of John Cale and Jeff Buckley being the most frequently listened to. Both get their due in this documentary, and it’s quite moving to compare the different approaches … one’s mood must be the determining factor on which fits the moment, as it’s impossible to say one is “better” than the other. We also hear from other artists who testify to the song’s personal importance to them. And to reinforce the point of how the song has become part of the fabric of society, there is a montage of TV contestants singing their version in hopes of moving on to the next stage.

Although the filmmakers use “Hallelujah” as the structural force for this film, they expertly weave in Leonard Cohen’s personal history throughout. They remind us that his early song “Suzanne” was written well before he met and married Suzanne Elrod. We hear a bit from the cringe-inducing partnership with producer Phil Spector for one album. The filmmakers highlight Cohen’s 1993 decision to isolate at the Mount Baldy Zen Center through 1999, before returning ‘back down the hill’ to write more songs. It was in 2005 when Cohen discovered that his long time manager had bilked him out of his earnings and assets. This sent Leonard back on tour for the first time in 15 years … he performed 379 shows over 5 years, thrilling his fans and introducing many new ones to his music.

There have been other documents focusing on Leonard Cohen, most notably, LEONARD COHEN: I’M YOUR MAN (2005), and MARIANNE & LEONARD: WORDS OF LOVE (2019). Both have their merits, yet neither capture the remarkable story of this ‘spiritual seeker’ as thoroughly as this one. He was an unusual and remarkable man who wrote, “I did my best. It wasn’t much.” Maybe the only false words he ever penned.

Opens in theaters beginning July 1, 2022

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BITTERBRUSH (2022, doc)

June 16, 2022

Greetings again from the darkness. The work of director Emelie Mahdavian and cinematographers Derek Howard and Alejandro Mejio make this one worth watching if only for the wide panoramic views and stunning landscapes of the wild west in today’s America. However, the views are really the bonus, as the focus is on Colie Moline and Hollyn Patterson, two cattle wranglers working together on a job in Idaho.

Colie and Hollyn have partnered on jobs for ‘around’ 5 years, though neither is sure how long it’s been. Some will be surprised that two women have become so proficient at herding cattle – a job that has traditionally been the domain of men, the cowboys we are accustomed to. Make no mistake, Colie and Hollyn are real cowboys (cowpersons?) and they are experts at managing cattle, horses, dogs, the terrain, the weather, and the solitude.

We ride along with them through Idaho, though at times, we feel like intruders. Colie and Hollyn enjoy the life, have an efficient partnership, and have grown to be friends despite their differences. Hollyn is moving towards a more traditional life (out of necessity), while Colie dreams of having her own ranch. This seasonal work is for 4 months and covers late spring, summer heat, and early snow. They are truly hired hands, and one extended sequence finds Colie working to break a horse. It recalls the 2011 documentary, BUCK, on horse whisperer Buck Brannaman, but here there is no audience and no ‘show’. It’s just a hired hand putting in the work.

Neither have a “real home”, which becomes a factor as spreading the ashes of a beloved dog constitutes a challenge. Being away from family during special events and illness is part of the job, as well as part of the conversation. Director Mahdavian utilizes expertly played and beautiful Bach piano music as accompaniment, but we can’t help but feel this is cheating. Why should we hear this when the two women doing the work only hear the sounds of nature? Their toughness and resilience are quite something to behold.

In theaters on June 17, 2022 and On Demand beginning June 24, 2022

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DEEP IN THE HEART: A TEXAS WILDLIFE STORY (2022, doc)

June 2, 2022

Greetings again from the darkness. It’s easy to see why this film was selected for opening night at this year’s EARTHX Film Festival. Ben Masters’ feature length documentary is filled with historical information, geographic differentiations, a timeline of human impact, and some of the most stunning wildlife photography we have ever seen … and that includes any productions from Disney Nature and National Geographic. And if that weren’t enough, the film leaves us with a lesson on the importance of wildlife and nature conservation.

Academy Award winner Matthew McConaughey narrates the film, and as a native Texan, his drawl and pacing are in perfect sync with what we see as filmmaker Masters guides us through the various areas of Texas. The opening segment from the high plains of the Panhandle focuses on the history of bison, and how hunting had dwindled the once massive numbers to the point where only five (5, not 500 or 5000) remained. Remarkable conservation efforts have resulted in bison now once again roaming the plains in packs. It’s a majestic sight.

Time is spent on White Tail Deer, and it’s a trip to the south Texas brush country that provides one of the most fascinating segments. Sightings of the “near mythical” Ocelots are rare, but here we follow a mother and cub. These gorgeous creatures are photographed up close and in their natural habitat. Despite only a few remaining in the species, we get to see them hunt and prowl. It’s quite a treat. Texas wildlife is the focus here, but when the film shifts to the Hill Country, it’s water that takes center stage. The state rivers, creeks, and aquifers are highlighted and how, just like many other states, severe drought has had a direct impact on wildlife in Texas.

After glimpsing the awe-inspiring views of the Bracken Cave bats, the film takes us to Big Bend country where the top predator roams – the Mountain Lion. By this point, we’ve learned about the Guadalupe Bass (the Texas state fish) and the piney woods and wetlands of east Texas, so we head to the Gulf and witness an array of colorful birds, and learn of the wildlife swimming the depths of the ocean around and through the coral reefs not far offshore.

The visuals here are truly stunning thanks to the innovative work of Director of Photography, Skip Hobbie and a large team of cinematographers. Some of the shots of Ocelots and Mountain Lions leave us gasping, ‘how’d they do that?’ As beautiful as the film is to look at, it never strays far from the message that humans have the ability to destroy, conserve, and recover wildlife. Examples of each are provided, and that’s what sets the film apart from so many nature docs that simply preach. Ben Masters takes a different approach – he shows us the bad that has occurred, the good that helped, and how conserving is a never-ending project, but one that is well worth the effort.

Opens in Texas theaters on Friday, June 3, 2022

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TAKE ME TO THE RIVER: NEW ORLEANS (2022, doc)

May 20, 2022

Greetings again from the darkness. Most anyone who enjoys various types of music has at least some basic knowledge of the New Orleans music scene. The film’s director is music producer Martin Shore, who also directed TAKE ME TO THE RIVER, a 2014 documentary on Stax Records and the Memphis music scene. Shore mostly sticks to the same format here by blending the past generation with the new, while mixing in tidbits of history from the area.

Narrator John Goodman opens by attributing the uniqueness of New Orleans to the convergence of cultures from Europe, the Caribbean, and Africa. Our first studio sequence pairs up the great Irma Thomas with Ledisi, two powerful singers. Including a clip of young Irma with Dick Clark on “American Bandstand” in 1964 was a terrific lead-in to the duet, and this segment also features the amazing bass work and musical instincts of George Porter Jr. This is also when Shore directs the conversation to passing the musical torch from one generation to the next.

Shore hits multiple recording studios around town, and exposes us to many local and influential musicians. The segments come and go very quickly, which is somehow both the film’s strength and weakness. We get a taste of many, but a full serving of few. Multiple New Orleans drummers take us through the tradition, as does the Dirty Dozen Brass band. Congo Square and Preservation Hall are visited and discussed briefly, though most of the screen time is spent with collaborators in studio. One of the best is the jam with Ani DiFranco and “Wolfman” Washington.

Many styles of music have roots in New Orleans, including: Jazz, R&B, funk, zydeco, and even gospel and rap. Shore gives us almost nothing, or at least very little, on such key players as Louis Armstrong, Fats Domino, Al Hirt, Pete Fountain, and the Marsalis family; yet, he covers The Meters and has a nice tribute to Allen Toussaint. The rap session is probably a bit too long, and focuses on Manny Fresh, G-Eazy, and Snoop Dogg. Two highlights of the film are one of Dr. John’s final recording sessions of “Jock-A-Mo” (the Iko Iko song), and the amazing recording session after the reunion of the Neville family (extra special considering the recent losses).

During this year’s SXSW I watched the documentary, JAZZ FEST: A NEW ORLEANS STORY. That film focused on the festival itself and what it has meant to music and the city. For this film, Mr. Shore touches on Mardi Gras Indians, The Wild Tchoupitoulas, and the aftermath of Hurricane Katrina, which cost the city many of its local musicians. One of those in the film mentions that in New Orleans “we look back to go forward”, and that respect for history and roots of the music being played is crucial for the next generation.

Opens in theaters on May 20, 2022

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