ANGELENO (2026)

June 26, 2026

Dances With Films LA

Greetings again from the darkness. Making its world premiere at this year’s Dances With Films LA is the first feature film from writer-director Jay Diaz, whose previous credits include numerous short films, videos, and TV episodes. Himself a first generation American, Diaz tells the similar story of Angel, a man working hard at life while trying to prevent his dreams from slowly slipping away.

Angel (played with heart by Jeff Torres) is a barista at a local coffee shop, an Uber driver, and the caregiver for his ailing mom. In other words, Angel is a grounded giver who also happens to be easy to like and root for. He’s the kind of guy who helps co-worker Heather (Lauren Marini) shoot an audition film, while he also arranges the cake for his young Goddaughter’s birthday party. That birthday party, and one thrown by another co-worker are two of the three that play a key role in the story and in Angel’s life. Surprised to cross paths with his now New York-based ex, Mia (Corina Calderon), Angel awkwardly greets her before heading off to his Uber gig. It’s here where he bumps into his old film school buddy, Taylor (Brian Thomas Smith). Taylor admits that he owes Angel and is surprised to learn that his more talented friend gave up his dream of filmmaking. An invitation to an industry party follows.

There are various elements of the story that work exceptionally well. The only nitpick is the abundance of ‘white people are bad’ moments sprinkled throughout. Of course, we understand that’s part of the challenge Angel faces on a regular basis, yet he’s such a strong and interesting character, this approach seems overly emphasized. We certainly respect his calm demeanor in these unfortunate situations, and he even acts as a connective facilitator during one confrontation. Angel is simply a guy we like and respect, and his constant use of “I got you” is never an empty promise. The varying vibes of the three different parties prove what a juggling act Angel must handle each and every day. By the end, he senses hope that his dreams may still be achievable. Cinematographer Tony Joun effectively shoots the up close and personal scenes, while also capturing the distinct areas of Los Angeles.

Premiering at Dances With Films LA on June 20, 2026

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Posted by David Ferguson

YALE (2026)

June 18, 2026

Opening night feature at 2026 Dances With Films LA

Greetings again from the darkness. Sometimes I believe the best use of cinema is in proving the old adage, ‘truth is stranger than fiction’. Combining that with the mission of Dances With Films to remain a festival that highlights independent filmmaking, featuring director Jay Silverman’s film on Opening Night is a fitting choice. It’s a remarkable story that writer Van Billet based on his own family. We can only imagine some of those holiday memories.

Caitlin McGee (“Bluff City Law”) stars as “Mac”, a flawed woman who is also a successful horror writer. Her agent (the always terrific Rachael Harris) is threatening to drop her, while at the same time Mac must overcome her challenging past in order to help her 12-year-old son Ryan (Benjamin Mackey) who needs a life-saving emergency kidney transplant. Certain circumstances and medical backgrounds leave Mac with one choice … track down her estranged father who abandoned her and her now deceased mother when Mac was only nine years old. And while this is the story of Mac and Ryan, it’s that man who shocks us in so many ways.

Yale Parker (played by veteran character actor Kevin Dunn) is the owner and in-house stand-up comedian for a low-rent strip club. His gambling debts are out-of-control and he also carries a secret that could not only devastate Mac, but also help Ryan. Will Yale finally perform an act that is neither self-serving nor filled with corny jokes (told while wearing outlandish clothes and a horrible wig)? The core of this story is watching Mac and Yale battle the past while negotiating a relationship that was shattered when she was so young. Many awkward conversations occur during a makeshift road trip that generates even more awkward conversations.

It’s absolutely fair to label Yale Parker a deadbeat dad yet, as most parents try to convince their kids, most everyone has some good buried inside. Yale’s big secret will not be revealed here, but it’s safe to say the film’s best scenes feature Mr. Dunn and Ms. McGee coming to grips with each other and themselves. Family dynamics are a popular topic for films, and writer Billet is to be commended for turning his own family mess into a story that will both entertain and strike an emotional chord.

YALE has its WORLD PREMIERE at Dances With Films on June 18, 2026

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UNIDENTIFIED (2026, Saudi Arabia)

June 18, 2026

Greetings again from the darkness. Writer-director Haifaa Al-Monsour (MARY SHELLEY, 2017; WADJA, 2012) will always be referred to as a trailblazer, and the label was earned by becoming the first female filmmaker in Saudi Arabia to direct a feature length film. She has since influenced and inspired other women to pursue the art. Her latest film was co-written with her husband Brad Nieman, and it opens coldly with a woman’s dead body discovered in the desert.

Nawal (Mila Alzahrani) is an administrative assistant who is hooked on a podcast titled “Unsolved Crimes from Around the World”. Incredibly, the podcast blends crime stories with make-up tips, and Nawal just can’t get enough of either. When she hears about the unidentified body, she offers her assistance to the police who initially want nothing to do with her. However, she continues her own investigation, and the police recognize that she can ask questions and meet with people that they can’t. In the meantime, we get some of Nawal’s backstory, and as we see from the flashbacks and nightmares, there is quite a bit of unpleasantness and even tragedy.

We have become accustomed to crime thrillers with a tangled web of leads and evidence, so we recognize that this one isn’t especially well done or unique. Many aspects are included here: religion, family, pride, and dignity. Nawal claims her goal is for the family to claim the body for peace, despite the defense mode they seem to hide behind. The funniest use of a shopping mall train is a nice touch, but the big twist at the end feels unearned. Anytime a film uses the final ten minutes to lay out what really happened, it’s a big clue that the storytelling was less than admirable. I simply chuckled at the presumption that we should accept this. Haifaa Al-Monsour does include commentary on the social and cultural treatment of women even in modern times, and that’s likely the most important aspect of the film.

Sony Pictures Classics will release the film on June 19, 2026

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Posted by David Ferguson

TOY STORY 5 (2026)

June 16, 2026

Greetings again from the darkness. It’s been thirty-one years since I sat stunned in the movie theater after being first introduced to Woody, Buzz, and the entire gang of Pixar toys. It was the year BRAVEHEART won five Oscars and TOY STORY, which marked a shift in filmmaking, won none. That was Pixar’s first feature film and since there was no Animated Feature Film category at the time, the Academy didn’t really know what to do with it. Fortunately, John Lasseter (since fired) and Andrew Stanton certainly knew what to do, as this is the fifth film of the franchise, and they’ve managed to create cinematic magic with each one.

We’ve established that I’m a raving fan for the franchise. Yet with each entry, I still go in concerned that this will be the first dud. I’m relieved and happy to report that the fifth film is funny, colorful, filled with great characters, and maintains the emotional charge we’ve come to expect. Pixar’s Andrew Stanton has been involved with each of the TS films and he’s joined this time by co-director and co-writer McKenna Harris (her first feature). They have managed to uphold tradition, while making the film entirely contemporary and introducing the beloved characters to a new generation (it’s been seven years since TOY STORY 4).

The familiar characters are back, which means most of the familiar voices are as well: Tom Hanks as Woody, Tim Allen as Buzz Lightyear, Joan Cusack as Jessie, Wallace Shawn as Rex, Annie Potts as Bo Peep, Tony Hale as Forky, and Keanu Reeves as Duke Caboon. New to the scene are Scarlett Spears as Bonnie (she’s the third to voice the character), and of course, with the passing of Don Rickles, Estelle Harris, and Jim Varney, there have been new voices for Mr and Mrs Potato Head and Slinky Dog. And yes, Pixar’s good luck charm John Ratzenberger returns as Hamm. Among the others making their first Toy Story credits are the voices of global sensation Bad Bunny as ‘Pizza with sunglasses’, Greta Lee as Lilypad the smart tablet, Conan O’Brien as a ‘specialized’ device, and Mykal-Michelle Harris as Blaze.

This is definitely a female-centric story as Jessie takes the lead role. Woody and Buzz are featured prominently, but Jessie is the one focused on ensuring young Bonnie makes friends. The emphasis on technology is one all parents will recognize. Kids don’t “play” the way they once did, and the story emphasizes how that adds complexity to not just making friends, but also in defining what friendship actually is in this modern world. Smart devices, screens, and tablets have pushed toys to the background – or the garage, or even worse. It’s heartwarming, and sometimes nerve-wracking, watching Jessie and this crew of toys do what they can to help kids hold onto childhood as long as possible.

There are some subplots included regarding Buzz and Jessie, Jessie’s background with previous kids, and the ongoing challenges faced by parents. The animation is as stunning as you’d expect, and Randy Newman returned to compose the film’s score. By now it’s no secret that Taylor Swift, with a writing boost from Jack Antonoff, performs her new song, “I Knew it, I Knew You”, over the closing credits (and stay for the stingers).

DISNEY & PIXAR’S TOY STORY 5 releases exclusively in theaters June 19, 2026. Run time: 1hr 42min

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Posted by David Ferguson

GREGG ALLMAN: THE MUSIC OF MY SOUL (2026, doc)

June 12, 2026

Greetings again from the darkness. The songs are part of music history: “Whipping Post”, “Midnight Rider”, “In Memory of Elizabeth Reed”, “Melissa”, and “Ramblin’ Man”. Their album, “Live at Fillmore East”, is considered one of the best live albums of all time. The Allman Brothers paved the way for a couple of hugely Southern rock bands, Lynyrd Skynyrd and the Marshall Tucker Band, and they were influential to the work of countless other bands and musicians. Of course, a documentary about Gregg Allman must include much about the band, yet documentarian James Keach does tremendous work here maintaining the focus on the man. Mr. Keach is mostly retired from a long acting career, yet he’s continued to take on directing gigs across the past thirty-plus years – including  a couple of other documentaries on musicians: LINDA AND THE MOCKINGBIRDS (2020) and GLEN CAMPBELL: I’LL BE ME (2014).

Keach used a 2014 interview given by Gregg as the foundation for this profile. Sure, it’s unusual to have such a reluctant rock star, but if somehow nothing else shines through as you watch this, you’ll certainly come away recognizing the Gregg Allman was a shy and sensitive man who dodged the spotlight when not on stage. Wait a minute (you might say) – didn’t he marry Cher at the height of her pop star career (not exactly low key)? The answer is yes, and as Cher notes here, they separated just a few days after the vows – turns out Gregg was not willing to live his life as a full-blown celebrity. The point of all this is that the rarely seen 2014 interview offers the only glimpse of himself that we get from Gregg. The rest comes from those he knew, those he married, the kids he fathered, and musicians he played with and influenced (Chuck Leavell, Jackson Browne).

Gregg was prolific at two things: songwriting and getting married (7 wives). But he was only really good at the former. His distinctive singing voice tears into the guts of “Whipping Post”, while capturing the bluesy longing of “Melissa” (a song Gregg wrote as a homesick 17 year old). We learn that even though Gregg was first to play guitar, big brother Duane took it over and Gregg began a love affair with a Hammond organ. Duane went on to become a legendary session man and then the leader of the Allman Brothers band. Keach includes some terrific photos of young Duane and Gregg together, and we hear the childhood stories – including the murder of their father.

As you would expect for a band creating a new sound, things were not easy. Band names (Allman Joys, Hour Glass) preceded Allman Brothers, as Gregg was the last to join. It was their 1971 live album, “At Fillmore East”, that rocketed the brothers and the band to fame. Tragically, a motorcycle accident killed brother Duane shortly thereafter. He was only 24. The band managed to stay together, but the shock deeply affected members of the band, especially Gregg (drugs and alcohol became a problem) and bassist and founding member Berry Oakley (also from a motorcycle accident).

We hear stories from some of Gregg’s wives and daughters, as well as his musician son, Devon. The humanity of the man is crystal clear as those closest to him recount his life – one in which he ultimately got sober. In 2014, Gregg and others collaborated on the “All My Friends” benefit concert after Gregg revealed he had liver cancer. He and another founding member of the band, Butch Trucks, died in 2017, while Dickey Betts passed in 2024. Drummer Jaimoe is the only surviving member of the Allman Brothers band formed in 1969 Jacksonville, Florida. Documentarian James Keach has delivered a stellar profile of Gregg Allman the man, while also paying tribute to the band, the songs, and the family.

Opens in theaters on June 17, 2026

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Posted by David Ferguson

DISCLOSURE DAY (2026)

June 9, 2026

Greetings again from the darkness. Three-time Oscar winner Steven Spielberg readily admits to a lifelong fascination with life beyond Earth. Two of his most iconic films (plus a couple of others) dealt with just that topic: CLOSE ENCOUNTERS OF THE THIRD KIND (1977) and ET: THE EXTRATERRESTRIAL (1982). Now, more than forty years later, he uses 79 years of collective data to question how humanity would react to full ‘disclosure’ of alien activity. What’s interesting is that Spielberg and co-writer David Koepp present the story as a high-octane action-thriller of conspiracy rather than in a traditional science fiction format.

The film’s opening catches us off-guard. Why are we watching close-ups of sweaty body slams during a WWE match? It turns out Dr. Daniel Kellner (Josh O’Connor) is in the crowd as a rendezvous point to exchange his backpack for his captured girlfriend, Jane (Eve Hewson). Oscar winner Colin Firth plays Noah Scanlon, the leader of WARDEX, a private company that has worked closely with the government and military to safeguard the most confidential information on interactions with interplanetary life. Kellner, an IT and math whiz, stole the data and then bolted from his desk at WARDEX. He now finds himself in a predicament that would have likely gone much worse if not for the powerful tool/weapon/device of interstellar origin he uses to safely escape Scanlon’s henchman – taking Jane and the data along with him.

The Kellner – Jane side of the story turns into a chase movie, and in the meantime, we learn surprising and quite disparate details of each of their backgrounds. The ‘other side’ of the story involves Kansas City TV meteorologist Margaret Fairchild (Emily Blunt) and her musician boyfriend Jackson (Wyatt Russell). One morning a cardinal (bird, not ballplayer) lands on their kitchen table and proceeds to have a staring contest with Margaret prior to again taking flight. Not only does this encounter leave Margaret with a very particular set of skills, but it also sends her on the road to track down Kellner. It’s a connection and reason she can’t explain to average guy Jackson, who does his best to support a girlfriend he’s convinced is going bonkers (hey, we’ve all been there).

Once Kellner and Margaret meet up, yet another chase sequence occurs and this one is even bigger, noisier, and more high-powered than the others (not one, but two speeding trains!). Their movements are directed by the calm, smooth-talking leadership of Hugo Wakefield (Colman Domingo), who is masterminding the whole mission of public disclosure. There is a lot going with the various stories, and Spielberg and Koepp are asking the audience to keep up … even while a potential World War III brews in the background. The film is set up to elicit discussion around numerous topics such as religion, politics, technology, corporate greed, and especially empathy (a topic that too often seems lacking these days).

Despite keeping us (and the characters) on the run for most of the film, Spielberg and Koepp wrap things up at the end, allowing viewers to determine if they believe the right steps were taken. Two frequent collaborators stand out here: cinematographer Janusz Kaminski (with a constantly-moving camera) and composer John Williams. Ninety-four-year-old Mr. Williams, a five-time Oscar winner, came out of retirement for the job on his 30th Spielberg film and proves yet again why he’s an all-time great. As with most of Spielberg’s films, the ensemble cast is strong. O’Connor’s Kellner is easy for us to relate to. Firth’s villainous corporate head is especially effective when he’s doing the mind-control thing, while Domingo contrasts perfectly. Ms. Hewson shows again why she’s one of the more underrated actors working today, and though Wyatt Russell might be a bit miscast as Blunt’s beau, he always makes it fun. The true star here is Emily Blunt. She’s had many standout scenes in her career, yet it’s this role that comes across as an actor who was all in. She is outstanding.

Of course, a Spielberg film wouldn’t be complete without discussing the legend himself. His love of cinema is so obvious here, and his complete understanding of how to grab an audience and leave them fully entertained has never been better. There may be segments that don’t hit as hard as others, and at times the story line seems a bit forced, but the ride is wild and enjoyable and sure to please many movie goers. As for alien life, Mulder told us, ‘The truth is out there’. But then a certain colonel once said, “You can’t handle the truth!” Perhaps it’s best if we just … “listen.”

Opens in theaters on June 12, 2026

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Posted by David Ferguson

POWER BALLAD (2026)

June 4, 2026

Greetings again from the darkness. It’s been said that we must experience the bad times to fully appreciate the good times. However, while those bad times are occurring, they can feel overwhelming and like it will never get better again. It’s also been said that inner peace can only be found by appreciating what one has. All of this philosophy is on display in this latest from writer-director John Carney and co-writer Peter McDonald. Mr. Carney has been the creative force behind three other gems centered on music: FLORA AND SON (2023), SING STREET (2016), and ONCE (2008). Mr. McDonald’s 2011 short film PENTECOST received an Oscar nomination. These guys are talented and they’ve done it again with this film.

For twenty-five years (plus or minus), Paul Rudd has crafted a certain on-screen persona. He’s been so adept at this that most of us are quite aware of what to expect for a Paul Rudd movie or role. In a welcome change of pace, this time it’s different. As the lead singer of a wedding band, he still fires off a few patented one-liners, but he is also a middle-aged married guy with a teenage daughter. Rudd’s Rick is the sensitive type who still harbors dreams of what could have been as a songwriter and rock star had he not moved to Ireland for the girl. Rick is often frustrated at playing the same old re-tread hits over and over as well-dressed folks dance the night away.

A twist of fate finds Rick crossing paths with Danny Wilson (Nick Jonas), a singer who was once part of a mega-hit Boy Band. Danny is now attempting to transition to grown-up music in an industry that doesn’t always embrace a change of style. His agent, Mac (Jack Reynor) makes this abundantly clear. Rick and Danny spend a few post-wedding hours proving their love of music as they fine-tune some songs in Danny’s palatial suite. They share what each has been working on and generously offer the other some suggestions. Rick leaves reinvigorated about reclaiming his joy in songwriting, while Danny takes a different approach to quell the pressure of re-branding his image.

What follows is not just a life lesson, but commentary on art and greed and blind ambition. Playing key roles here are Rick’s wife (Marcella Plunkett) and daughter Aja (Beth Fallon), and especially Rick’s guitarist and close friend Sandy (played by the film’s co-writer Peter McDonald). Our parents train us to ‘do the right thing’, but what happens when others don’t? Therein lies the life lesson. From a musical standpoint, the lip-synching could have been better produced to sound live, but that’s a minor quibble for a movie that’s so entertaining while introducing us to a new path for Paul Rudd.

Opens in theaters on June 5, 2026

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Posted by David Ferguson

CAROLINA CAROLINE (2026)

June 4, 2026

Greetings again from the darkness. Director Adam Carter Rehmeier (DINNER IN AMERICA, 2020) and screenwriter Tom Dean prove that a film need not cover new ground to be entertaining. Of course, it does help to have a strong cast. We’ve seen other movies, some considered classics, with star-crossed lovers wreaking havoc on the road. A few other romantic crime thrillers that come to mind are BONNIE AND CLYDE (1967), BADLANDS (1973), SUGARLAND EXPRESS (1974), and NATURAL BORN KILLERS (1994).

This ‘strong cast’ does not include any of the mega-stars from those films listed above. Perhaps it’s safer to say that Samara Weaving and Kyle Gallner are not yet at that level. You may know Ms. Weaving from the READY OR NOT movies or OVER YOUR DEAD BODY, and Mr. Gallner has been featured in the SMILE movies and STRANGE DARLING, among others. In this one, Caroline (Weaving) spots a con Oliver (Gallner) pulls on the convenience store owner. Caroline wants to escape her drab life in the only town she’s ever known, while Oliver is a slick charmer with a cool car who is willing to give her a ride.

Caroline says goodbye to her beloved dad Hank (Jon Gries, “The White Lotus”, NAPOLEON DYNAMITE) and hops in the car with Oliver. He falls hard for her and acts as a trainer for cons … in between sessions of intense passion. Soon, Caroline pushes Oliver for bank jobs, and next thing we know, she’s in a black wig with oversized sunglasses – flashing a gun at small town bank tellers across the southeastern U.S. See, they are on the road to South Carolina so that Caroline can track down the mother who abandoned her long ago.

As stated previously, none of this is new ground. We know exactly where the honky-tonk reunion with Deborah (Kyra Sedgwick) is going to lead, and it’s not long before there’s a manhunt (or whatever it’s called these days) for these Bonnie and Clyde types and, again, we know where this road leads. It’s kind of funny listening as Oliver explains that he’s not a bad guy since he’s stealing from shareholders, not working folks. It’s common knowledge that their time riding high can only last so long, and we expect the fall will be harsh and painful.

The soundtrack for the film is country and excellent. The film shares a title with a Jonathan Edwards song (he’s best known for “Sunshine (Go Away Today)”) and includes a Townes Van Zandt song (which readers know always earns bonus points from yours truly). It seems the only real misstep here stems from the film’s opening scene followed by a “3 months ago” flashback. This gives away the ending to a movie where we already know the all-too-familiar path.

Magnolia Pictures will release CAROLINA CAROLINE In Theaters on June 5, 2026

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Book Review- A CENTURY OF HITCHCOCK: THE MAN, THE MYTHS, THE LEGACY by Tony Lee Moral

June 1, 2026

Alfred Hitchcock certainly earned the moniker ‘The Master of Suspense’.  Through his many classic films and superb TV show, “Alfred Hitchcock Presents” (1955-62, 268 episodes), Hitch consistently built tension that frayed our nerves to the point that we could neither look away, nor hardly wait for the next film or episode. The list of filmmakers influenced by his work is endless, and as film lovers, we are continually drawn back to his movies due to emotions and nostalgia. While all of that remains true one hundred years after his debut feature film, the reputation of Alfred Hitchcock the man was forever changed/damaged with the unauthorized biography by Donald Spoto and the memoir of actress Tippi Hedren.

Author Tony Lee Moral, a British filmmaker and film historian, has devoted countless hours to research in offering a counterpoint, or rebuttal, to the previous accusations hurled at Hitchcock. His interviews and real-world examples provide a profile of a genius filmmaker who was described (in various ways) by his co-workers as an often quiet gentleman dedicated to maintaining structure on his sets. Since Hitchcock passed away in 1980, unable to defend himself against the later accusations, Mr. Moral offers perspective from the other side. Moral’s book is less about the fascinating films Hitchcock directed (there are literally hundreds of publications dedicated to this), and more about his personality, demeanor, and approach to the work – as recalled and documented by those he worked with.

Part 1 of the book details young Alfred’s rise through German, British, and ultimately, American filmmaking. Part 2 dives into the psychology of Hitchcock – both real and perceived, specifically the allegations brought by Ms. Hedren, and Francois Truffaut’s role in providing a contrasting prospective. Part 3 provides context to Hitchcock’s overall legacy and how revenge, greed, the need for attention, and changing social mores likely played a role in shifting attitudes. It’s important to note that this book is not designed to provide critical film analysis or a creative breakdown of any of film in the Hitchcock oeuvre. Rather, at its core, this is an author and film historian providing a measured and detailed response to the attempted character assassination of a deceased man. Moral even provides substantial information on what was possibly behind the words of Mr. Spoto and Ms. Hedren.

As a film lover and film critic, I’ve long been an admirer/fan who obsesses over Hitchcock’s body of work. I’ve also been fascinated by how he turned himself into an iconic public figure through film cameos, measured interviews, and especially, the hosting of his TV series. Author Moral lays out the memories of many who worked with Hitchcock, and includes the importance of the director’s long-time wife and frequent collaborator, Alma Reville. We also learn of Hitchcock’s penchant for practical jokes … a trait that contrasts with his meticulous approach to structure on the set. It’s likely many will find interest in Hitchcock’s intent to create a new movie star out of a beautiful model with little acting experience. His success in this venture may be best judged by the films they made together, THE BIRDS (1963) and MARNIE (1964) … as well as her acting career post-Hitchcock. The legacy of Alfred Hitchcock is certainly more complex now than it was at time of his death. The MeToo# movement played a part in the shift, while the movies and words of all collaborators must be considered. This book from Tony Lee Moral helps us do so.

The book is available on Amazon beginning June 9, 2026

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Posted by David Ferguson

GEORGIA O’KEEFE: THE BRIGHTNESS OF LIGHT (2026, doc)

May 30, 2026

Greetings again from the darkness. The “Mother of American Modernism”, while impressive as a moniker, seems to fall short in describing the impact, influence, and lasting legacy of artist Georgia O’Keefe. Oscar winning director Paul Wagner (short film THE STONE CARVER, 1984) has put together one of the most comprehensive and detailed biographical documentaries I’ve seen, and he couldn’t have selected a more deserving subject.

The film opens with an O’Keefe retrospective in Europe … the area’s first real exposure to her work. It’s rare for someone to be so famous and influential in the states, and yet relatively obscure in Europe. One gallery exhibit changed that. Most of us recognize O’Keefe’s work through her use of color and the ties to nature. It’s fascinating to see the path she took towards being the most important female artist of the twentieth century. Mr. Wagner delivers an encompassing profile, beginning with her birth in 1887 on a Wisconsin farm – even showing us the oldest known O’Keefe drawing – a 1901 sketch of laundry day.

Sprinkled throughout the presentation are archival clips from 1960 and 1977 on camera interviews that O’Keefe sat for, as well as numerous other video clips and photographs. The sheer volume of photographs is not surprising given her connection to renowned photographer and art promoter Alfred Stieglitz. The two eventually married, but the professional side may have eclipsed the personal in regard to importance. O’Keefe was a favorite subject of Stieglitz and his camera, and Wagner doesn’t shy away from showing us some of the more risqué shots – a side of O’Keefe rarely seen.

So many things stand out about O’Keefe’s life, and her travels around the country are quite startling, given the era. We trace her from Wisconsin to Virginia to New York to Texas and ultimately New Mexico, where many of her most famous works were crafted. This is a woman who enjoyed life in a NYC skyscraper, a home at Lake George, the dusty plains of Texas, and the New Mexico desert. The energy she drew from bones, skulls, antlers, rocks, and trees all inspired her work and her way of living. Her ‘Ghost House’ in New Mexico was isolated, keeping her connected to nature.

Georgia O’Keefe passed away in 1986 at the age of 98. We learn that at an early age she stopped painting for four years, and we also learn that what brought her back to the canvas was the idea that art begins with abstraction, rather than recreating the works of others. We hear perspectives from an impressive lineup of professors, biographers, curators, and art experts. These are the folks who can adequately place O’Keefe in historical perspective. She’s now a symbol, and this Paul Wagner documentary should be sought out by all aspiring artists and anyone looking to blaze their own trail in life.

A nationwide digital launch begins June 1 on Apple+, Prime Video, Google Plus, and more

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