SURVIVING SEX TRAFFICKING (2022, doc)

March 24, 2022

Greetings again from the darkness. Director, Jain monk, war veteran, and sexual abuse survivor Sadhvi Siddhali Shree follows up her 2017 documentary, STOPPING TRAFFIC: THE MOVEMENT TO END SEX-TRAFFICKING, with a focus on the rare survivors/escapees of the horrific global issue labeled sex trafficking. The initial statistics she provides state 45 million are trafficked each year, and only about 1% ever escape or are rescued. We learn this “industry” generates approximately $150 billion (with a b) in annual profit.

The film allows five victims to bravely tell their story, concentrating not just on the ordeal they survived, but also what has happened since. Their stories are about healing and recovery, and we hear from three women in the United States, one from Ethiopia, and one from India. Their stories are different, yet they share the similarities of being forced into a tragic and dark underworld.

The women are often asked, “Why didn’t you just leave?”, and their answers revolve around such things as fear, shame, and violence. Threats against themselves and their families were commonplace. One of the survivors defines Sex Trafficking as ‘sex for money through force, fraud, and coercion.” Another revisits the condo where she was violently attacked for wanting to leave. She re-enacts that night and we see photographic evidence of the brutal beating she endured.

Director Shree tells the details of her sexual abuse at age 6, and we learn the target age for traffickers can be 12 to 17. With their pain often invisible on the outside, the women discuss what they have done while attempting to rebuild some semblance of a “normal” life – always looking over their shoulder and living with the memories. Two key points emerge and those are opening more shelters for victims and training law enforcement on how best to treat those who have been sex trafficked … contrasting from runaways, for example. Therapy is obviously crucial, and what is most important is keeping discussions going so that, for as long as sex-trafficking exists, we are addressing the prevention, the rescue, and the treatment of victims.

In limited theaters on March 25, 2022 and on VOD beginning April 15, 2022

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Posted by David Ferguson

JAZZ FEST: A NEW ORLEANS STORY (SXSW 2022, doc)

March 23, 2022

SXSW 2022

Greetings again from the darkness. We are informed that the annual New Orleans Jazz and Heritage festival features 7000 musicians across 14 stages over 8 days. It’s a massive and popular event and co-directors Frank Marshall and Ryan Suffern set out to highlight the festival’s 50th anniversary in 2019, and ended up with a blend of music, history, and culture. Mr. Marshall, along with his wife Kathleen Kennedy, is a frequent producing partner of Steven Spielberg, and he also directed the 1990 favorite ARACHNOPHOBIA. Marshall and Suffern previously collaborated on music documentaries of Carole King-James Taylor, and The Bee Gees.

In New Orleans, “the air is thick with humidity and culture.” Music has long been a key element in the culture, and we see clips of late greats like Louis Armstrong, Mahalia Jackson, Fats Domino, and BB King. We also hear from festival co-founders George Wein and Quint Davis, and learn that despite the festival’s name, all types of music have been featured, including jazz, gospel, soul, blues, R&B, and whatever that is that Pitbull does. In this spirit, the filmmakers include clips of live performances from such artists as the Marsalis family, Herbie Hancock, Jimmy Buffett, Earth Wind & Fire, Al Green (in a comeback), and the great Aaron Neville singing “Amazing Grace.”

Any conversation about New Orleans must also include the unique local cuisine, the craziness of Mardi Gras, and the tragedy and destruction of Hurricane Katrina in 2005. The first festival held after the hurricane featured Bruce Springsteen, and we get the footage of him performing, “My City of Ruin.” The film isn’t really structured as a history of the festival, but there is plenty here to justify a viewing, especially the clips of festival performances. To cap it off, Marshall and Suffern show us 2022 as The Big Easy and the festival recover from two years of pandemic shutdown, and leaves us with … “When the Saints Go Marching In.”

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Posted by David Ferguson

MORE THAN ROBOTS (SXSW 2022, doc)

March 23, 2022

SXSW 2022

Greetings again from the darkness. For as far back as we can trace human existence, the older generation has grumped on the younger one. It’s unlikely Neanderthal parents used the term ‘slacker’, but they undoubtedly got their point across to the youngsters who were inept at hunting and never seemed to gather much. Gillian Jacobs is best known for her acting (the TV series “Community”), and in directing her first feature length documentary she serves up proof that the rising generation offers plenty of hope for the future.

The film opens on a crowded gymnasium filled with noisy kids and action around some funky looking automated devices. It turns out what we are seeing, and what Ms. Jacobs set out to document, is the 2020 FIRST Robotics competition in Los Angeles. For Inspiration and Recognition of Science and Technology (FIRST) is an international non-profit organization co-founded in 1989 by Dean Kamen. The mission is to encourage and develop students in the field of engineering and technology through what they term, “coopertition”, a blend of cooperation and competition.

We follow four distinctly different teams as they prepare for the competition. One team is from an upper-middle class California area and has 60+ team members. Another is from the Watts area and is much smaller. Interestingly, the adult mentors for these two teams are a married couple, displaying the true meaning of coopertition! The other two teams are from Japan and Mexico, respectively, and Ms. Jacobs wisely focuses on one student leader from each of the four team, making it easier for us to connect and follow.

The pandemic wreaked havoc on the teams as the competition was canceled for two consecutive years. However, the kids proved just how resilient they are as they committed their time and skills to building facemasks, respirators, and contributing to society in every way possible. Of course this meant even more excitement was generated as the 2022 FIRST Robotics competitions kicked back in … and we get to experience the emotions. The focus on teamwork and alliances is refreshing to see, and the joy on the faces of students makes it all worthwhile. This may seem to revolve around robots, but it’s actually life lessons for everyone involved.

WATCH THE TRAILER

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Posted by David Ferguson

FACING NOLAN (SXSW 2022, doc)

March 21, 2022

SXSW 2022

Greetings again from the darkness. Having been a baseball fan for as long as I can remember, I can list the handful of players that I got to see play in person who left me in utter awe of their talent. Lynn Nolan Ryan was definitely one of them, so when I saw Bradley Jackson’s documentary listed on the SXSW schedule, I immediately sent my RSVP.

Jackson opens with the numbers: 7 no-hitters, 100.9 mph, 5714 career strikeouts, and 51 Major League Baseball records. Big Tex. The Ryan Express. If he wasn’t flesh and blood, Nolan Ryan could be the lead character in a graphic novel. An intimidating player with a Texas drawl borne of his upbringing in tiny Alvin, Texas. We see a fuzzy clip of Nolan pitching in high school, and his wife Ruth drives us by his childhood home. As a long-time fan, I’m relieved to see that Ruth Ryan is finally exposed as a guiding force in his life and career. Their first date is recalled … watching ROME ADVENTURE (Suzanne Pleshette, Troy Donahue) … as is their second – a baseball game to see Sandy Koufax pitch. Ruth explains that Nolan had no aspirations of a professional baseball career, and instead was determined to become a veterinarian. It was Mets’ scout Red Murff who changed the trajectory of animals and hitters everywhere when he convinced the team to draft Nolan.

Jackson includes interviews with players such as Pete Rose, Randy Johnson, and Jerry Grote (his catcher with the Mets). Rose talked about how difficult it was to face Nolan, while Johnson labels him the most intimidating pitcher of all-time. Others interviewed include Ryan’s biographer Rob Goldman and former President George W Bush, who was one of the team owners when Ryan signed with the Texas Rangers.

Some terrific archival footage shows Nolan’s World Series contribution to the 1969 Miracle Mets, his subsequent trade to Gene Autry’s (“The Singing Cowboy”) California Angels, and his early no-hitters and dominance. We learn about the impact of Tom Morgan, his first “real” pitching coach, and later, Ryan’s stunning free agent contract with the Houston Astros – making him the first athlete to sign a million-dollar contract. Jackson even includes the replay of the moment in 1973 when Norm Cash came to the plate with a table leg instead of bat to face Ryan during his second career no-hitter.

More footage is shown of Ryan’s 5th and 6th no-hitters, including Terry Puhl’s running catch. What a fun moment it is when Mr. Puhl proves that, even to this day, he still has the clip of that catch on his iPhone. And yes, it was the Astros’ blunder of inviting Nolan to take a ‘hometown’ pay cut, that drove him to sign with the cross-state rival Texas Rangers and write the final chapter of his storied baseball career. What followed was his 300th win, his 5000th strikeout, and remarkably, his 7th no-hitter. Of course, one of the most famous events of Ryan’s career occurred in 1993 when Robin Ventura charged the mound against the 46-year-old Ryan. What’s fascinating is how this is tied back to a previous incident with Dave Winfield years ago. Winfield discusses what happened, while Ryan admits to the impact.

The baseball content served up here is enough for any fan, but the real insight comes from the talks with Ruth and Nolan and their family members. Sure, he spent 27 years in the league and delivered a humble Hall of Fame induction speech (which is included here), but at the core of the player is the man with values … the man Ruth chose so many years ago. The kids and grandkids speak of Nolan and Ruth as role models, and we witness firsthand the difference between the Hall of Fame pitcher and the man fishing on the riverbank or at the head of the table for family meals. We have Red Murff and Tom Morgan to thank for the pitching, Ruth Ryan to thank for the man, and Bradley Jackson to thank for this profile.

WATCH THE ENTIRE MOVIE ON NETFLIX

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Posted by David Ferguson

CROWS ARE WHITE (SXSW 2022, doc)

March 21, 2022

SXSW 2022

Greetings again from the darkness. The synopsis for this documentary had me excited to learn about the Tendai sect of monks on Mt Hiei in Japan. Known as “the Marathon Monks”, the sect has been a part of the mountain for more than 1200 years and are known for their extreme tests of physical endurance on the path to enlightenment. Director Ahsen Nadeem set out to explore his own faith, and looked to these monks for guidance.

This is a film of contradictions. It’s not really about the monks, and Nadeem’s true objective seems to be tricking the monks into guiding him through his messy life … a mess he created through his many deceptions. Nadeem seeks out time with Kamahori, a monk in the midst of a difficult 7-year journey to enlightenment. Kamahori has taken a vow of silence, which, as you can imagine, doesn’t make for a much of a cinematic interview. Instead, the monks kick Nadeem off the mountain when his cell phone rings. It’s at this point where we realize Nadeem is all about himself, and the tone of the film shifts.

Raised by strict Muslim parents, Nadeem recollects his childhood for us. It’s this background that allows us to understand how severe his broken trust with his parents has become. See, Nadeem is engaged to a non-Muslim woman, but he keeps this fact (and her) a secret despite regular Facetime calls. It’s a double-life that continues to get more complicated as the lies and deceptions pile up.

Still seeking answers, Nadeem heads back to the mountain where he meets Ryushin, a monk working the gift shop. We learn Ryushin is a black sheep monk … one who loves sake, ice cream, and heavy metal music (Slayer and Slipknot). Their odd friendship is the most interesting part of the film, and perhaps the portion that most helps Nadeem. Some of the best monk sayings come out in this part, though mostly we (and Nadeem) learn that perception is truth, and that we often lie to ourselves regarding key elements in life. And then Nadeem is again kicked off the mountain.

After returning to Los Angeles for his wedding, Nadeem admits that he still hasn’t told his parents. We find ourselves not liking Nadeem very much and certainly struggling to have any respect for a man who deceives his loved ones. In fact, his wife seems to take our side and is the one who pushes him to ‘come clean’ with the parents he hasn’t seen for 10 years, 3 of which cover his secret marriage. The way this portion is handled is downright despicable and we feel for his parents and the pain they experience.

We can remain in awe of the monks and their extreme physical feats. Walking the circumference of the globe over 1000 days is fascinating, and Kaihogyo – no sleep or lying down for 90 days – is dangerous and incredible. It’s very likely a second viewing of the film would allow for more focus on the spiritual aspects regarding faith and love and self. The contradictions in life – especially those we create for ourselves – are most certainly worth exploring, but our dislike of Nadeem (in spite of his honesty in front of the camera) is too distracting to pull out the wisdom and counseling that is present. Perhaps that is one more contradiction or paradox that we should deal with.

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Posted by David Ferguson

THE TORCH (2022, doc)

March 17, 2022

Greetings again from the darkness. When Buddy Guy pops up on my playlist, I can feel it. After watching Jim Farrell’s documentary, I now know why. Sure, Buddy Guy has won 8 Grammy Awards, been inducted into the Rock n Roll Hall of Fame, been awarded a Kennedy Center Award, and the Presidential National Medal of Arts. He has also influenced most every known guitar player from Hendrix to Clapton to Beck to Page to Stevie Ray Vaughan to John Mayer, and so on. But it’s not until you watch him play that it all comes into focus. Buddy Guy finds joy in playing, and he also carries the burden of keeping the blues alive.

Howlin’ Wolf died in 1976. Muddy Waters died in 1983. When BB King died in 2015, the legacy of the blues fell to Buddy Guy, and now he’s doing what he can to ensure it lives on … he is 85 years old, after all. So part of Farrell’s documentary is about the legacy of the blues and Buddy Guy, and part of it focuses on Buddy’s mentoring of guitar phenom Quinn Sullivan. We get some background on both men. Buddy was born and raised on sharecropper farm in Louisiana. He was crafting his own instruments by age 7 using wire, string, nails, and rubber bands. After playing with Howlin’ Wolf and Muddy Waters for Chess Records, he will forever be associated with Chicago blues. Sullivan, a natural guitarist, first played on stage with Buddy in April 2007, at the age of seven. Since then, the two have bonded, performed, and recorded together.

Sullivan is truly the heir apparent, and Farrell includes footage of Quinn and Buddy performing live on stage together … quite a musical experience for those in the room. We also see the two chatting it up – Buddy telling his stories and Quinn soaking it in. And as amazing as it is to watch them on stage, it’s a rare treat to be allowed in the studio to film them recording a song. Farrell includes some interviews (Carlos Santana and others), and Buddy’s reverence for Howlin Wolf and Muddy Waters is understandable. We are left with the hope that Buddy’s polka dot playing days continue for many years and that Quinn Sullivan appreciates the torch being passed to him.

WATCH THE TRAILER

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Posted by David Ferguson

JANE BY CHARLOTTE (2022, doc)

March 17, 2022

Greetings again from the darkness. Fearless, brave, and risk-taking. These are words often used to describe the acting choices of Charlotte Gainsbourg, who has been on screen regularly since she was a teenager. And it’s no wonder, given a resume that includes such films as NYMPHOMANIAC VOL I and II (2013), MELANCHOLIA (2011), and ANTICHRIST (2009). But it’s likely she’s never been more reticent than when directing her first film … a documentary on her mother, actor and singer Jane Birkin. This is anything but another profile of a famous person. No, this is something so intimate and personal that we often feel like we are eavesdropping and invading the privacy of mother and daughter.

We open with Jane singing on stage with the symphony at Bataclan Paris. It’s a reminder of how this icon from the ‘swinging 60’s’ remains a beloved figure today. But this is no career retrospective. In fact, there is very little structure … it’s kind of a meandering journey through the time Jane and daughter Charlotte spend together. Much of it is filmed at Jane’s beautiful riverfront home in France, and it seems Charlotte’s focus is on creating some special moments that she can recall once her 74-year-old mother is no longer around. Death, illness, and aging are all discussed.

Jane Birkin may be best known as the muse to Serge Gainsbourg, Charlotte’s father, and for singing his risqué song, “Je t’ame, moi non plus”. There is an initial awkwardness between mother and daughter, and that’s likely due to the uncertainty over the reason for this documentary. Charlotte, also a photographer, is frequently seen snapping pictures of her mother, even as the film crew does their thing. It’s obvious both mother and daughter are more comfortable with the camera than they are with each other, though they do warm up as things progress.

Jane discusses her propensity to hoard items, rarely discarding anything. She jokes that Charlotte will have to decide what’s to keep once she’s gone. One of the oddest sequences occurs when the two ladies visit Serge’s old home. He passed away in 1991 and it appears the home hasn’t changed much, other than to display items as if it were a museum. Even some of the canned food has exploded since it’s been more than 30 years. It’s kinda creepy and a bit surreal watching them fumble through the place, picking out items that bring back memories.

“The Birkin”, a handbag by Hermes, still sells for thousands of dollars, and Jane makes it clear she still cares about her looks … wrinkles and famously tousled hair. The insecurities and guilt are never really dealt with here, leaving it mostly a project of love and respect. Perhaps Charlotte wanted to ensure that the moments put on film were never about regret and instead about finding joy and comfort together. It seems this is much more a film for these two ladies, and less so for the rest of us. For a more interesting primer, see JANE B FOR AGNES V, a 1988 documentary on Jane Birkin by Agnes Varda. That’s not a home movie.

Opening March 18, 2022 in New York and March 25, 2022 in Los Angeles

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Posted by David Ferguson

I AM HERE (2022, doc)

March 10, 2022

Greetings again from the darkness. This isn’t the first documentary profile of a Holocaust survivor, but given the timeframe involved, it’s likely to be one of the last. It’s the first feature length documentary from Jordy Sank, and he was a teenager when he first met his subject, Ella Blumenthal. Taking a different approach, Mr. Sank and a small crew filmed Ms. Blumenthal’s 98th birthday party over a weekend with her friends and extended family – kids, grandkids, and great-grandkids.

Born in Warsaw in 1921, Ella was 18 years old when the war started in 1939. 23 of her family members were taken by Germans, and only she and her niece, Roma, would survive. Director Sank wisely keeps Ella on camera as much as possible because she is a true force of nature. Her stories are riveting and shocking, yet she remains so energetic … filled with light and full of life. Some animation is utilized to complement Ella’s stories to ensure that we visualize what she recalls. Her stories include her time in Majdanek, Auschwitz, and Bergen-Belsen, three concentration camps where so many Jews were exterminated. By the time, Bergen-Belsen was liberated on April 15, 1945, Ella had spent most of 5 years in horrific captivity. She recalls how close she came to death before a nurse-friend stepped in to save her life.

Ella even tells her post-war stories, including meeting her husband, which resulted in a relocation to South Africa. The couple purchased and ran a department store, and now at age 100, Ella still lives in Cape Town, enjoying a life of friends, family, and swimming. The scar on her arm keeps the past terribly close, but this lady’s spirit is something special. We see clips of her visiting the sites of the concentration camps, and we hear a stunning story of her reaction to one particular case of antisemitism. Most of us know someone who has an admirable zest for life, but rest assured you’ll come away from Ella’s story touched and inspired … and hopefully share her approach of being thankful for every day.

WATCH THE TRAILER

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Posted by David Ferguson

LUCY AND DESI (2022, doc)

March 3, 2022

Greetings again from the darkness. Since it is arriving on the heels of Aaron Sorkin’s dramatized BEING THE RICARDOS (2021), it’s tempting to view this documentary as if a professor is grading his work … or at least fact-checking. However, Sorkin’s film, which resulted in Oscar nominations for Nicole Kidman, Javier Bardem, and JK Simmons, was based on a snapshot in time (and even took some liberties with that), while this first documentary from Amy Poehler takes a much wider lens to the life and career of Lucille Ball and Desi Arnaz.

An elite comedian herself, Ms. Poehler’s obvious admiration and respect for Lucy is understandable, and her film plays much like a tribute to her hero. She includes brief interviews with such legends as Carol Burnett, Norman Lear, Bette Midler, and Charo … each who have had enormous success in the comedy field. These folks all tip their cap to Lucy and Desi and their remarkable groundbreaking achievements with “I Love Lucy” – the most important, the most beloved, and the most long-lived sitcom in TV history.

Ms. Poehler also interviews Lucie Arnaz, daughter of Lucy and Desi. We learn a long-forgotten box of audio tapes was discovered, and that allows us to hear much of their history directly from Lucy and Desi. Lucie adds to the loving and respectful nature of the presentation, although we can’t help but notice her brother, Desi Jr, only shows up in one brief clip of a previous interview. Poehler complements the audio tapes with some excellent archival footage, including home movies that add to the personal feel.

The necessary background is provided so that we may better appreciate just what these two accomplished. Lucy’s grandfather took her to vaudeville shows, and she worked as a model prior to becoming “Queen of the B’s”. Desi’s family was affiliated with the Bacardi rum empire and lost everything in the 1933 Cuban revolution when he was 14. He worked in Xavier Cugat’s band and refined the “Conga line” that is still a party favorite these days. Lucy and Desi met on the set of the RKO movie TOO MANY GIRLS (1940) and after a whirlwind romance, the two were married shortly thereafter.

The marriage difficulties are soft-pedaled, and while it’s clear they loved each other very much, we learn that due to Desi’s stint in the Army and near-constant touring with his band, that the newlyweds saw very little of each other those first few years. In fact, that’s what inspired Lucy to demand that Desi play her husband in the new TV show. We then learn about the extraordinary business decisions that were made – not just for the show, but also in founding their own studio, Desilu, which allowed them to own their show and produce others. It was the selling of all 179 episodes of “I Love Lucy” that kicked off the whole idea of reruns, a staple of today’s television programming.

We see some classic clips from the sitcom, as well as footage of Desi performing his signature “Babaloo”. Lucy and Desi met, fell in love, worked together in the most popular sitcom of all-time, had kids together, built a revolutionary studio business together, divorced, and loved each other forever. Lucie recalls her mother visiting Desi as he lay in bed, slowly dying from lung cancer. She could hear their laughter as they watched “I Love Lucy” reruns. Is the story truth or legend?  Does it matter? The two had a lasting and historic impact on the entertainment world, both from what was on screen and from the business side of running a studio. And even today, everyone still loves Lucy.

Exclusively on Amazon Prime beginning March 4, 2022

WATCH THE TRAILER

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Posted by David Ferguson

SYLVIE OF THE SUNSHINE STATE (2022, doc)

February 6, 2022

Slamdance Film Festival 2022

Greetings again from the darkness. Parenting is difficult. Pandemic parenting is a whole new level of difficult. No helpful guidebook exists and there is no recent similar time in history from which to take lessons. That leaves instinct, and in my first documentary of this year’s Slamdance Film Festival, single mother Sasha Levinson has inexplicably (and to my horror) put her pandemic parenting instincts on display for all to witness.

A terrific opening shot of Sylvie riding her bike in circles around the backyard pool reminds us that separating kids from friends during the pandemic has likely stunted the social development of many, while also forcing them into independence mode. We soon learn Sylvie is a 9-year-old in the process of repeating second grade. She has names for her many dolls and converses with an imaginary friend. Her mother Sasha has explained the purpose of filming their daily activities, and why they are quarantined.

Despite the title and the fact that the lens is regularly focused on her, this isn’t really about young Sylvie. It’s about Sasha. It’s about Sasha’s challenges with parenting, and her own self-centeredness. It’s also about Sasha’s need for emotional support, and her disturbing attempts to get her daughter to provide it. Don’t misunderstand. Sasha clearly loves Sylvie and provides a nice home. The best we can hope is that many of these mother-daughter interactions were Sasha’s attempt to create the conflict necessary for what she considers an interesting story. Whether that’s the case, or if what we are subjected to is what Sasha considers acceptable parenting, much of what we see is uncomfortable at best, and truly frightening at times.

Sylvie does have a special relationship with her father, who initially is quarantined in upstate New York. When he finally visits, we see the connection they have. But the visit is only temporary, and not long after, Sylvie has a horrific health scare that results in a seizure, ambulance ride, and a hospital stay. Once recovered, the chaos of online school is back in full force. At the end of the semester, another litmus test serves as a reminder of Sasha’s parenting skills. It turns out that her daughter … you’ll recall Sylvie is already repeating second grade … is in danger of failing yet again due to a sea of missed assignments. That’s correct. This mother has made no effort to assist her daughter with the structure and discipline required in the new world of virtual education.

Although Sylvie’s dad is living far away, other family members live close by. Grandma Mimi, Grandpa John, and Great-Grandmother Gigi (who has a real thing for ‘handsome’ Al Gore), all live nearby and get short, masked-up, socially-distanced visits. Even these rare family visits aren’t without conflict. Sasha’s strained relationship with her own mother, and the associated tainted childhood memories she has, are intensified when Sasha tries to convince Sylvie how lucky she is to have the mother she has. I’m choosing not to re-live the segments where Sylvie exhibits body image issues, or when Sasha tells her daughter, “I thought you liked your dad more.” Instead, I go back to my original confusion as to why any mother would put such emotional pressure on a young kid, film it, and then put it on display for all to see. When Sylvie asked, “Mommy, when will the virus be over?”, all I could wonder was how many kids have been so negatively impacted over the past couple of years.

**Slamdance Film Festival embodies its mantra: By Filmmakers, For Filmmakers. Though Slamdance has greatly evolved since the early years, its mission and organization remain the same. Slamdance serves new and emerging artists, filmmakers, and storytellers from around the world. Slamdance programmers gravitate towards films that embody the true spirit of DIY guerilla filmmaking.

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Posted by David Ferguson

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