Category Archives: Tribeca Film Festival
Tribeca Film Festival World Premiere Review: ‘It Takes a Lunatic,’ The Life and Times of Wynn Handman
Anyone who has been involved in the New York City theater world knows who the prodigiously awarded Wynn Handman is. He is a lunatic indeed, with a purpose and a passion. Wynn Handman’s love is for theatrical performance, teasing out character to achieve the pinnacle of believability that allows the actor to live “onstage.”
For decades Wynn Handman has been coaching actors to get in touch with the best part of themselves and release their God given talents. His appreciation for innovative theater is as legion as his humanity. It is expressed in the countless friendships he’s had over the years with writers, playwrights, musicians, directors and artists. Billy Lyons’ wonderful documentary is an incredible testament to a great man who continues to have an impact on all in his sphere of influence.
In its World Premiere at Tribeca Film Festival, It Takes a Lunatic, director Billy Lyons (actor, director, teacher, producer and assistant to Wynn Handman) displays the man behind the mask and reveals there is no mask or gloss to Wynn Handman. Wynn is who he is, an authentic, witty, “tell-it-like-is” acting teacher, and he is this with everyone, large and small, famous or infamous, actor or layperson. Why change now? Wynn is 97-years-young and is still teaching acting. He has nothing to lose by being himself, which he always has been, “a wild and crazy guy!”
Lyons’ poignant tribute to this brilliant genius and loving artist is a lesson in learning to be real, to get to the core of oneself unapologetically, to take risks, to embrace the unique, and defy the status quo. And above all through this retrospective on Wynn, we learn that in the theatrical world, one should go where angels fear to tread to manifest the rewards of creative inspiration. Wynn has approached his life this way and has achieved what only a fearless magician would dare to even think about. He initiated The American Place Theatre and with it directed and hosted unknown and established playwrights and known writers who adapted their work into plays. Wynn allowed innovation to flourish and opened opportunities to black (Ed Bullins, Michael Bradford, Ron Milner) and Chinese (Frank Chin) and female (Emily Mann, María Irene Fornés) playwrights and actors at a time when opportunities for them were slender and doors opened infrequently.
Lyons reveals how Wynn effected this, through his own life experiences during and after the war when New York was opening up like a flower and anything seemed possible. Wynn learned from some of the best; he ended up studying with and assisting Sandy Meiser at The Neighborhood Playhouse. There he made his chops and had the grist to launch out on his own creating his own acting classes and sessions which he has continued doing for decades.
Lyons captures this dynamo through film and video interviews and archived family photos that span his early life and cover all parts in between through his marriage, later family life and continuous career, from 1949 up until the present. Lyons captures his enthusiasm, his great good will, humor, generosity and his flexibility to understand the importance of helping to hone the talents of actors, directors and writers. Video and film clips include interviews or discussions with/about a veritable “Who’s Who” of actors, directors and playwrights who studied or worked with Wynn. A few interviewed in the film or seen in photos or film clips are Richard Gere, Joel Grey, John Leguizamo, Bill Irwin, Raul Julia, Sam Waterston, Frank Langella, Sam Shepherd, Eric Bogosian, Michael Douglas, Dustin Hoffman, Mira Sorvino, Susan Lucci, Woody King Jr, Faye Dunaway and many more.
Lyons includes historical clips from his acting and coaching classes as individuals discuss Wynn Handman’s approach toward his actors which was unlike many of the other acting teachers in the city who were austere and frightening. Every actor interviewed from Michael Douglas to Richard Gere tells anecdotes and experiences they had with Wynn, many humorous, all of them praiseworthy. He is the ideal acting teaching who dispels fear, encourages, comforts with his wise, calm demeanor. He knows just when to tell a joke or make one laugh. His suggestions and perceptions are superlative. From the introductory applause in the theater as Robert De Niro introduced Billy Lyons and the film, one could tell that Wynn’s hundreds of fans-many of them working actors and directors were present to support him. They gave him and Billy Lyons a standing ovation before and after the film.
The list of celebrities who studied with Wynn is impressive. Many of them have gone on to be award winners. Lyons includes fabulous black and white performance clips from some of the fascinating productions staged at The American Place Theatre and has various actors discuss their impact. Lyons delves into Wynn Handman’s close friendship with Sam Shepherd who he, in effect, put on the map by producing 8 of his plays at The American Place Theatre.
Wynn Handman conducted many series at The American Place Theatre. There was a Humorist’s series (i.e. Cavin Trillin, James Thurber, Jules Feiffer and others) A Woman’s Project Series, a Literature Series (various authors adapted their longer works into plays). Wynn encouraged the production of controversial, ground-breaking and thematically striking works.
In 1969 Wynn produced George Tabori’s The Cannibals a holocaust play which received a cool reception because the audience didn’t understand the piece as black comedy. Tabori’s play went on to be produced at the Schiller Theatre in Berlin where it received an incredible reception and outpouring of support because the Germans needed to deal with elements of the Holocaust and the play afforded them the opportunity. Tabori, a Hungarian Jew who swore he would never return to Berlin ended up moving there and becoming a vital force in German Theater. From the reception of this work, Tabori ended up writing additional plays and working in TV as opportunities opened up to him. Tabori became globally renowned and won various awards. Without Wynn Handman’s support for Tabori to present his plays, one wonders would this inspired story have ended the way it did? Lyons coverage of this segment in the history of NYC theater is monumental.
Additionally, in 1970, Wynn staged Tabori’s Pinkville starring Michael Douglas in a dynamic and highly praised performance. The play was an indictment of the US war in Vietnam. Pinkville was controversial and exceptional. It is another example of Wynn Handman’s courage in treading where theatrical producers feared to go. But in the film Handman emphasizes that The American Place Theatre was a non-profit theater, funded through subscriptions. So those who donated, paid their subscriptions because they wanted to see controversial, ground-breaking Off Broadway theater. The American Place Theatre was artistic theater in the best sense of the word and as one of the producers, Handman was free from worrying about the bottom line and commercialism that plagues NYC theater today.
The moderator of the Q & A that occurred after the screening was Jeremy Gerard who wrote the biography on Wynn Handman entitled Wynn, Place, Show. It is worth the read to review Wynn’s historical place in American theater and specifically his influence in shepherding so many sterling actors who are still working today.
The documentary superbly chronicles one man’s indelible impact on NYC theater and in particular revelatory drama. Lyons has created a gem of a film. It is a must-see for anyone pursuing a theater or entertainment career, and for those interested in how theater’s cultural impact can change lives. Look for It Takes a Lunatic online and check out their FB page.
American Factory by Steven Bognar and Julia Reichert screened in its New York premiere at Tribeca Film Festival. The documentary is an alarming view of the foreign factory which may presage the downhill slide for American workers as the trend of foreign investment continues. Factories in China and Russia operate differently. And when such investment comes to the U.S., standards of accountability are not what Americans are used to. Foreign ownership dictates process and operation.
The film presents the anatomy of a GM plant closing December 2008 and its rise from the ashes in the form of a refurbished plant bought by Chinese investors. The idea to invest in the U.S. was to establish profitability. For Americans the hope was that the jobs created would bring greenery back to a state which was choking from the massive rust storms its closed industries had caused.
The devastation in industry as a result of the mortgage debacle and Second Great Depression under the Bush Administration was legion throughout the U.S. and globally. Thus, when news of the GM plant’s restoration by Chairman Cao came, there was cause for jubilation. After the dust of the launch settled, expectations shifted and the hard realities revealed themselves.
The filmmakers lay no blame and avoid a political stance. Any reference to politics is my own perspective. The filmmakers present all sides and attempt to be as objective as possible. Because of that attitude they had total access to the factory floor. Using the techniques of cinema verite and acute editing, we see interviews of workers expressing feelings and opinions. In light of the history of the American factory and unions which the film touches upon, what is now happening with foreign investment coming here and opening factories is not the boon politicians would make it out to be. Based upon what the filmmakers discovered and relate through their interviews and portraits of workers at home and on the factory floor, “the handwriting is on the wall.”
A Bit of History
When the Dayton, Ohio GM plant closed in 2008 filmmakers recorded what was a tragedy for blue collar workers. Dayton, the home of the Wright Brothers, had a prodigious history of industry and innovation. At one point it boasted the most patents per capita than any other city in the US. It was the second largest automotive manufacturing city after Detroit at a prosperous time before the Regan administration. Before the Regan years the wealthy were taxed proportionately with the other classes. The corporate tax rate was triple what it is now. The unions protected/advocated for workers and petitioned the government (OSHA) to safeguard their health and well being when there were violations. CEO salaries were not as exponentially wacked in comparison to their workers’ salaries. Workers faced low inflation: by comparison to today, there was little national debt. A single parent wage-earner was able to support a family of four and put kids through college in middle America and the South. Additionally, the medical industrial complex was not profit based.
None of this was socialism! The wealthy were taxed their proportionate fair share. It was good, old-fashioned American citizens paying to support one another’s prosperity, from the wealthy to the poor based on the graduated income tax. The extremes between rich and poor were not galactic. Banks were regulated repositories of citizen funds; they could not invest.
Ronald Regan and a conservative Republican administration exponentially increased corporate socialism otherwise known as corporate welfare. Everything changed in the nation’s economy and social/economic progress among the classes to benefit the wealthiest and slight the poor and middle class (upper middle, middle, lower middle). Republicans increasingly targeted programs for every-day Americans and pushed for more tax breaks for the wealthy. Unions were broken up. Globalism was used as the excuse, but in effect, the 60/40% power balance upended between unions and corporate higher ups to 80/20. Corporates took advantage. Greed blossomed, inequities grew. Corporations closed factories in the U.S. and went overseas, not happy to make a profit, but happier to make a mega profit to pay a hefty CEO salary and benefits to someone more interested in the bottom line than making product. Banking structure continued to change. Banks consolidated, made investments, funded derivatives, subprime mortgages and became “too big to fail.
Surreptitiously, Regan and others that followed had the laws changed to effect this, all to benefit corporates and the wealthy. There was continued downsizing, outsourcing, lower corporate tax rates, higher middle class tax rates, and lower taxes for the wealthy. Factories went overseas and Americans and farmers went bankrupt as the American Dream evaporated. With the mortgage debacle in 2008, it was the apotheosis of the death of the American Dream. Plant closures bankrupted and retrograded the lives of thousands of blue-collar workers in a chain reaction effect on other businesses.
After filmmakers covered the GM plant closing, they did an update of the area. Founder, chairman and CEO of Fuyao Glass Industry Group in a symbolic gesture acquired the old GM factory to establish an American headquarters of multinational Fuyao Glass. For the promise of hiring American workers and having it launched by American officials, he received enormous tax credits from the Ohio Tax Credit Authority. These breaks have increased under the Trump Tax Reform Act, which gives millions of dollars in tax welfare to corporations and billionaires, while making the other, poorer economic classes pay for it in a now swelling $23 trillion dollar deficit, something once considered anathema by conservative Republican tea partyists, now embraced and lauded by Mitch McConnell Republicans.
Documentarians filmed the plant launch and operations of Fuyao Glass which, to Chairman Cao’s consternation, was not immediately profitable as it would have been in China. It was losing money on top of the $500 million invested to open the plant.
Interestingly, Steven Bognar and Julia Reichert examine a cross-section of Chinese and American workers and managers to gauge the cultural differences, language barriers and work approaches. They interview Chairman Cao (a communist party leader hooked in high up to the party through his family). The Chinese workers, used to long hours and little pay are happy. American workers are upset.
The differences between the two cultures are staggering and problematic when the pressure of financial losses increases. Chinese workers, used to 10-14 hour days, find the 8 hour day unrealistic for profitability. US safety regulations established by OSHA are not understood and often ignored imperiling workers. For example Wong He, lead Furnace Engineer in OEM Tempering at Fuyao Glass America in an area where temperatures exceed 1200 F, a 20-plus-year employee of Fuyo, has burn marks all over his arms gotten in China. China’s safety regulations are not like ours. American workers file grievances, something that Chairman Cao doesn’t understand.
The Chinese and American workers try to become friends; there are humorous clips of Americans bringing Chinese workers for barbecue and for entertainment, showing them how to use guns for target practice. The Chinese workers who are away from their families and room together in tiny apartments are shocked that some Americans have to work two jobs (FGA pays $14.00 per hr.) to make ends meet. Clearly, American standards of living are not what Chinese hear about. Filmmakers interviews who lost homes, went bankrupt and live in one room in a relative’s house with few belongings. Thus, FGA seemed a dream come true. There are caveats.
In the past the former jobs at GM paid $28.00 an hour and the inflation rates and cost of living were lower. With their lower salary and higher costs, inflation and the shrinking purchasing power of the dollar, the FGA workers cannot afford to pay for their own education to retool or pay for their children’s college. Some are happy to have a job. But it is longer hours (they are not paid for training) with unsafe working conditions. The Chinese workers are younger and are used to long work hours under stressful conditions. Chinese workers come from a militaristic/communistic approach to company loyalty. They obey all commands without question, even if it means sacrificing their safety. Americans if have been used to a long tradition since unionization of asking “why?” Chairman Cao and the Chinese officials see this approach as disloyalty. They should just obey orders.
As the financial pressures increase, the Chinese attempt to show American company officials how FGA should be operated; they even pay for their visit to China to understand how plants are run. The hand of the Communist Party is all over the company in China; there are songs, banquets and entertainment to praise Fuyo Glass and the Chairman for his goodness. The sessions appear like brainwashing PR advertisements which inculcate the workers to be loyal, obedient employees for the good of the company/communist party. The visit to mainland China is an eye-opener.
Though American managers who visited China attempt to rein in their American workers when they return home, the historical, socio-cultural and economic disparities get in the way. Everything explodes when American workers at FGA attempt to unionize with the help of the U.A.W. Chairman Cao will not brook this assault on his company. He hires American lawyers and lobbyists to thwart unionization and mount an attack campaign against the union so workers will vote it down. The firm he hires, the Labor Relations Institute is paid over one-million for its assistance to provide everything that Chairman Cao and Chinese managers (Chairman Cao brings over new managers to tackle what the American managers can’t) need for the union vote to fail.
Filmmakers catch all of these interactions on camera and edit cogently so we understand the events with voice over explanations by workers. Surveillance of union representatives at FGA is taken. The right of the worker to voice complaint is discouraged; union reps who work at the plant are the equivalent of traitors. The vote fails; FGA has no union. There are promises made to lift the employee wages. Eventually, with no profitability, American management is fired; union reps are fired and anyone who gives “what for” or doesn’t work at the level required of their Chinese counterparts is put on notice. Retribution for asserting the right to speak out will occur, thus workers fear filing grievances with OSHA. At the end of the film’s shooting in December of 2017, a Fuyao employee was accidentally crushed to death. Additionally, to avoid conflicts in the future, the plant is being increasingly automated. Regardless, workers will be out of jobs, even if they prove loyalty.
Is there any way of knowing what injuries are occurring or what violations are happening in a corporation in the US, a foreign run company, which follows Chinese policies and practices? Only whistleblowers could reveal this; but they need their jobs and would be fired if the the identity of the whistleblower was revealed. The law of profitability is supreme, under a system of loyalty to the Chairman and the company which expects its workers to meet its own standards, not American standards.
Since the film the number of OSHA complaints against the company is down-exactly why is not known. The company has been profitable in 2018; but one of the stipulations for tax incentives of $15 million is that the company fulfill its promise to hire 800 employees, generate an annual payroll of $32.5 million and stay at their current facility for at least 18 years. Filmmakers also discovered that in March of 2018 a Fuyao employee was accidentally killed while working. Fifteen years ago in plants across the nation, to avoid citations, OSHA standards were being followed and the press would have publicly shamed the company.
Chairman Cao is spending $16 million to build a new processing center in South Carolina. It’s a new day. Foreign investment is here. It’s been a long time coming. Those in the “know” needed to prime the nation for such a situation with sub prime loans, so workers could go bankrupt, corporations could make more money overseas, the unions could be broken and those pesky regulations could be obviated. All of this happened and happens so that corporations pay little for a desperate, broken-down, poor, workforce, and foreign companies find the US an attractive place to invest, helped by politicians looking to make a little spare change for their states and themselves. But as automation takes over jobs, much of the need to oversee human production will be moot.
How do we handle the coming foreign factories that are populating our American landscape, offering jobs at what cost to Americans?
The situation has exponentially worsened under Trump. Workers are expendable and invisible; the rule of law and regulations are a thing of the past. No one is watching except Chairman Cao, and other foreign corporate chairmen and Trump. They are watching their bottom line at the expense of workers and the American people. But don’t believe what I’ve written here. See the film for yourself. Corporate socialism has everything to do with what is happening to the “American” Factory. Equitable economic, democratic practices and tax structure had everything to do with why the U.S. was thriving up until Regan. Only the .001% are increasing their wealth exponentially. The reset of the nation is treading water or drowning in rust. Automation will exacerbate these problems.
The film is truly a siren call to citizens in the South and in the Rust Belt who are debilitated and hurting economically, despite promises by Trump. Fox News reports which ADVERTISE for the next election, a “booming economy” (yes for billionaires and Wall Street) are great sources of brainwashing to convince Americans that the shrinking purchasing power of the dollar is not happening and their existing paycheck to paycheck is a good thing. Just don’t get sick. The film posits what is happening and I’ve suggested this is no coincidence if you look at the larger picture. The economy is global. Corporations are not bound by nation-states,’ laws. They are free; their CEOS make incredible salaries; workers can’t afford a night out on the town if they have children. And under Citizen’s United, corporations are people; they can donate any amount they like to their preferred political candidates to perpetuate corporate welfare.
An example of foreign investment that is happening as I write this concerns Russian oligarch Oleg Deripaska who is bringing money and jobs to Mitch McConnell’s state of Kentucky after Trump lifted heavy sanctions applied by Obama. against Russia for the Crimean invasion. Oleg Deripaska,Putin’s close friend, is building an aluminium factory in Kentucky. Deripaska has a history of looting, money laundering, corruption, silencing whistleblowers (one woman who shot her mouth off that Deripaska knew about Russian meddling with the U.S. election has been jailed in Russia). Deripaska/Putin have covered up corruption that is the basis of his oligarchic empire which he is making global with the help of Trump and McConnell.
If Deripaska is given carte blanche treatment to “stimulate jobs,” for McConnell’s Kentucky, his company will not ipso facto be subject to former American factory standards, especially if Trump and Mitch McConnell (who has turned a blind eye to Russian meddling in the 2016 election, the Mueller Report’s findings of potential conspiracy and definite obstruction of justice) are in power. If the company pollutes and run roughshod over American workers? Only an aware public and vigilant government can stop any abuse by a company that is processing one of the most toxic substances on this planet, a poison connected to Alzheimer’s and other debilities.
Under Trump, the skies are the limit with foreign investment and foreign companies coming to the US to “create jobs.” There are no regulations worth keeping to improve the profitability of corporations. US tax payers will be subsidizing these corporations and individual states will be subsidizing tax breaks; certainly Mitch McConnell and the Kentucky state tax commission will be offering Oleg Deripaska tax breaks as a condition of hiring American workers. One wonders what else McConnell and others from Kentucky will be offering to “bring jobs” to one of the poorest states in the Union?
If we learn anything from American Factory, we will note that unless guarantees are made with workers, foreign investment will not improve American citizens’ plight and the economy in states that are hurting. Coupled with workers’ inability to easily retool and get an education (they cannot afford it because of bank strangleholds on student loans and interest rates) their options are so limited they are forced to work in such foreign industries for lower pay and questionable safety conditions. The vicious cycle will continue and the divide between rich and poor, the coastal cities and the red States will exponentially worsen. We must ask who does this foreign investment help?
This is a film worth seeing and thinking about. The point is to keep on learning. Ignorance is not a luxury we can afford.
In Washington, D.C. the beautiful monuments and treasured capitol building are icons Americans accept with reverence to appreciate their history. Also in an area that encompasses 17 blocks in the shadow of the capital there is a slaughter going on which is shameful and hidden.
The documentary film 17 Blocks by filmmaker/journalist Davy Rothbart with screenplay and editing by Jennifer Tiexiera, who won a Tribeca Award for Best Editing, exposes one of the most violent areas and gives us pause to ask why must gun violence continue, even in the very capital whose politicians refuse to deal with it because of money and power? We also ask, what is the value of human life to individuals whose lives have apparently been thrown away by a society and culture that doesn’t care?
Rothbart’s powerful and poignant film exposes the raw underbelly and extremes of life and death, that exist for black Americans who abide in the shadows of racism, poverty, drug addiction and the dwindling hope that their lives will ever get better in the capital of a ountry whose history has been plagued by war from its inception. In the chronicling of one family’s experience living in the 17 block radius, a picture unfolds that explains all we need to know about our country’s ethos in the hope that there can be improvement. If people see and understand, then they can change and help others change. It started with a filmmaker and someone who liked the idea of filming and from there, 17 Blocks was born.
The film begins with 9-year-old Emmanuel (the name means “God is with us,” and in the New Testament, Jesus Christ) using the camera in cinema verite style to capture the daily life of each member of the Sanford-Durant family.
Rothbart met Emmanuel who expressed an interest in being a filmmaker after he and his older brother Smurf become friendly with Rothbart. Eventually, the ball was set in motion for Emmanuel to chronicle snippets of family over a period of two decades. Emmanuel used Rothbart’s camera to shoot homely scenes, for example of his sister Denice preparing dinner, his mother getting ready to go out, as well as the family dynamic, their relationships and struggles. Various scenes express a rawness and poignancy that shows their love, concern, stress, anger and the full range of emotions that beset a family that is going through hard times, including the lack of finances or the education to start a successful career path.
Emmanuel introduces us to his mother Cheryl and other family members, Smurf, his brother who is six-years-older and Denice the oldest sister who has a job and attempts to take care of everyone. Over the years we watch their aging. We understand that Smurf battles a drug addiction and then goes full blown into dealing and then is arrested. We note that Cheryl has been struggling with a drug addiction that has financially bled her family dry and has dispossessed herself from a life of success by using. this goes on for years and is exacerbated when she is with her boyfriend Joe. Emmanuel even tapes their arguments.
Through it all, we watch Emmanuel grow up to capture what it is like living in the not so safe haven of family and the unsafe streets that they must negotiate as they attempt to get through each day. Emmanuel captures Denice’s children and Smurf’s holiday gatherings, parties, Cheryl’s elderly father who is not well and the general mayhem of the household which does not have enough room for all of them.
Denice who works, attempts to do the best she can but is not a good housekeeper and Cheryl chides her for this. But taking care of her children, cooking for them, working and moving in the direction of being a cop, then dealing with her addicted mother and brother is stressful. Somehow she manages to shore up her strength and be the mother and rock for all of them.
We are upset by their lows and happy that Emmanuel who has found an interest in being a firefighter and who has made good grades in school is graduating. He has a lovely girlfriend who is a good influence on him and it is clear that capturing on film his and his family’s lives may have made a difference in his choices away from running on the streets like so many of the other kids in this 17 block radius.
However, Cheryl and Smurf are on a downward slide with nothing to buoy them up and take them away from the destructive habits that have overwhelmed them. We understand this by how Cheryl has aged and by Smurf’s attitude, that the drugs will eventually do them in unless there is an intervention to make them realize their lives are worth something and that they still have a purpose in living.
Happily, their intervention comes. However, how and when it comes is not only unexpected, it is tragic.
Rothbart’s cobbling together these cinema verite pieces that Emmanuel captured during this time period is an ethnographic study in one black family’s life attempting to make it to the next day. Emmanuel portrays them lovingly through his lens so that we feel we come to know them, empathize with them and want the best for each of them. We are happy for Emmanuel’s goodness and Denice’s ambition and we hope against hope that Smurf and Cheryl will somehow dig deep within to change their lives.
We also stand in their shoes through the intimate approach that Emmanuel takes loving every one of his family members. And we can’t help but ask what would I do if I lived in that 17 blocks? Would I be so desolate I would turn to drugs as a way out and into oblivion? Where do I go for hope when I am so depressed and don’t have the means to seek a doctor’s help when what ails me is I’ve objectified what the culture and society says about who I am; that I’m worthless?
Rothbart has presented this documentary with perfection, keeping the inexpertly shot footage by Emmanuel as a nine-year-old and merging it eventually with the footage Emmanuel shot later and the scenes he himself has shot toward the conclusion of the film. We are left with a heartbreaking portrait of a family who is like us and who wants out of living in an environment prevalent with drugs and violence. And so would we if we stood in their shoes. And that is Rothbart’s point. Deliverance must come to this area. It has been a long time coming and ultimately seeing from the perspective of a nine-year-old who grows into manhood, the heartbreaking message is clear. We must stop the proliferation of illegal guns by making it unprofitable for gun manufacturers. There is no time better than now.
Tribeca Film Festival Review: ‘A Taste of Sky,’ Sparking the Vision of the New Nordic Cuisine in Bolivia
Have you ever eaten at the number one restaurant in the world? For a number of years NOMA received the honor. Chef René Redzepi who runs the new NOMA in Copenhagen is working his way up to first world status again, after having moved and lost the former prestige. Chef Claus Meyer worked with Redzepi in helping to put New Nordic Cuisine and Copenhagen, Denmark, not normally known for sensational food, on the superior gastronomy map to win the title of “Best Restaurant in the World” four times.
A Taste of Sky by Michael Y. Lei features Claus Meyer’s groundbreaking cooking school and fine-dining restaurant GUSTU and chronicles how and why Meyer decided to open the school in La Paz, Bolivia. The film presents two students from GUSTU who are among the best of the best for they have evolved from humble beginnings to become fine chefs who will most probably one day gain the title of helping to be a part of the restaurant team who will have achieved the title of “Best Restaurant in the World.”
Yei’s documentary is a beautifully shot film for foodies and a great way to become acquainted with those who dedicate their lives to superior gastronomy like Claus Meyer. Meyer is culinary entrepreneur, food activist, cookbook author, professor and TV host. Though others assisted in helping Meyer establish the New Nordic Cuisine philosophy (12 chefs in 2004 wrote the New Nordic Food Manifesto to begin the movement, based on Claus Meyer’s initiative, inspirational draft and coordination) Meyer’s genius originated the concept. Over the years after the establishment of NOMA as a working laboratory and kitchen to foster the ideas of the New Nordic Cuisine, the restaurant became globally renowned and the philosophy spawned other iterations. Restaurants materialized similar approaches.
New Nordic Cuisine seeks to foster local agriculture, honor the region’s agrarian traditions, encourage environmentally friendly production, and establish food with a uniquely Nordic identity among the world’s great cuisines. An activist who believes that gastronomy can improve lives and change xenophobic responses to disparate cultures, Meyer has worked on many projects over the years to realize his beliefs. One of these projects took him to La Paz, Bolivia where he opened GUSTU and proved that the concepts initiated in the philosophy of “New Nordic Cuisine” could be retrofitted to any area in the world which has a dynamic environment and varied cuisine.
Lei’s film cuts back and forth to his interview with Claus Meyer and his daughter, and two students trained at GUSTU: Kenzo, a hunter raised in the wild of the Bolivian Amazon and Maria Claudia, a native of the Andean altiplano. Both sacrificed to leave home and attempt to become familiar with another world entirely. Meyer’s hope to establish one of the poorest countries in the world, Bolivia, as a a fine dining destination, is a fascinating revelation and experiment in fostering cultural intersections, between cities and rural areas, between and among cultures, and families educated and not educated.
The filmmaker includes glorious shots of Kenzo’s Amazon rain forest as he delves into Kenzo’s background, familiarizes us with the terrain, visits Kenzo’s parent’s farm and home, interviews his parents and generally helps us get to know this amazing, forward-thinking young man with great ambition. Assimilating the concepts of the philosophy behind New Nordic Cuisine, Kenzo, who completed his training at GUSTU, has made it through a difficult program where his friend dropped out to pursue something else.
Kenzo is currently working as a chef at a fine dining restaurant far away from Bolivia. He hopes to return one day to establish his own restaurant creating dishes whose unique ingredients come from the rain forest, the place he knows best as he learned from his father what plants are edible, healthful and delicious. The cuisine he will create using the local ingredients promises to be incredible.
Lei gives a sensitive and caring portrait of Maria Claudia, revealing that her problems are the usual ones for women. She must launch out into a career, having left home and the ones she loves instead of getting married and bearing children. She is overthrowing centuries of gender folkways with her new beginnings. This has been emotionally painful for her. The power of Lei’s interviews with Maria Claudia are that he allows her to explore and express her feelings so we understand what she has given up for a dream that she herself must manifest.
Lei reveals that in their own way, seeking their dreams using gastronomy as the vehicle, Maria Claudia, Kenzo and Meyer have taken parallel paths, though they are completely different individuals from different countries and backgrounds. Yet, all were inspired by this dream of how food can change one’s life and world, expanding food culture to meld people together so they might appreciate each other.
In his interview with Meyer, Lei brings out the problems with establishing the New Nordic Cuisine philosophy as it might adapt to the cuisine and culture of La Paz, Bolivia. Lei includes interviews with Meyer’s critics who are eventually won over by what Meyer is doing. And Meyer discusses the idea that the obstacle of the perception of the “colonial” coming in to help the “little people” was something he had to overcome. During Lei’s interviews with Meyer, he allows the entrepreneur to discuss his childhood and personal life. From that we understand the forces that shaped Meyer to move in the direction of gastronomy in a world laboratory to change people’s lives for the better.
To his credit, once Meyer established the success of GUSTU and made sure the school was grounded and continuing without him, he gave it over to Bolivia. Meyer’s intellectual genius is in researching whether or not his hypothesis about food works anywhere in the world, in any setting in the world. Is food a vehicle to change lives and improve the lives of the most hurting, the most needy of individuals? In all of Meyer’s projects threads of this belief are present.
Credit goes to Lei’s vision and the perspective he captures in this sonorous, sensual, striking film. The title is ingenious in symbolizing not only the beauty of the sky in Bolivia and the skyward dreams that both Kenzo and Maria Claudia are reaching toward, as they fly up to meet them using their love of gastronomy to create their own unique dishes based upon their culture, background and training.
The film is seamless in its cinematography and editing. It should be seen especially if one is a foodie. Look for A Taste of Sky online.
‘Our Time Machine,’Maleonn working on bird sculpture. Courtesy Maleonn Studio.
OUR TIME MACHINE
Directed by Yang Sun & S. Leo Chiang
Executive Produced by Jean Tsien, Sally Jo Fifer, & Nick Fraser
World Premiere – Documentary Competition – 2019 Tribeca Film Festival
Official Selection – 2019 Hot Docs Film Festival
Pre-Festival 2019 Tribeca Film Festival Screening:
Tuesday, April 16th at 6:00 PM at Tribeca Screening Room (375 Greenwich St.)
To RSVP – Email Vince Johnson at VJohnson@tcdm-associates.com
2019 Tribeca Film Festival Screenings:
Sunday, April 28th at 5:30 PM at Village East Cinema – World Premiere
Monday, April 29th at 4:00 PM at Village East Cinemas – Press/Industry Screening 1
Tuesday, April 30th at 7:00 PM at Regal Cinemas Battery Park
Wednesday, May 1st at 1:30 PM at Village East Cinemas – Press/Industry Screening 2
Friday, May 3rd at 7:00 PM at Regal Cinemas Battery Park
About the film OUR TIME MACHINE
43-year-old Maleonn is one of China’s most influential conceptual artists today. His father, Ma Ke, was the artistic director of the Shanghai Chinese Opera Theater. After being humiliated and forbidden from working for a decade during the Cultural Revolution, Ma Ke immersed himself in theater. The mysterious excitement of Ma Ke’s creative world inspired the young Maleonn, but his father’s absences stoked early feelings of resentment.
When Ma Ke is diagnosed with Alzheimer’s, Maleonn pours everything into an ambitious new theater project: “Papa’s Time Machine,” a visually stunning time-travel adventure told with human-sized puppets. At the play’s heart are autobiographical scenes inspired by Maleonn’s memories with his father. He hopes this will bring the them together artistically and personally.
With enthusiasm both domestically and from abroad, the play shows signs of a promising future. But Ma Ke’s condition deteriorates. Maleonn is torn between the original goal to honor his father and the pressure towards commercial success. Ma Ke struggles to contribute to the play, and barely recognizes the play when it is completed.
Facing his father’s painful decline, Maleonn becomes more aware of life’s complexities. There are no effortless masterpieces or simple solutions. And there’s no traveling back in time to retrieve what has been lost. There, is however, the relationship that has developed with co-director Tianyi. He proposes to her, ready to become a partner and a father, and to carry on forward with a new outlook on his art and life.
About Filmmakers Yang Sun & S. Leo Chiang
Yang Sun is a documentary director and cameraman based in Beijing. He was on staff at China’s Central Newsreel and Documentary Film Studio, making documentaries for broadcasters including CCTV, Youku and the Travel Channel. He has directed several short and mid-length documentaries, including THE SECOND ALBUM, AKEN, BACKPACKERS FOR 10 YEARS, AFTER HE ROSE TO FAME, as well as the ten-part series TAKE ME TO TRAVEL. He worked as a director of photography on A CENTURY WITH NANJING, CENTURY MASTER, and SOUTH OF THE OCEAN. Sun Yang holds a Master’s degree from the School of Television and Film Art at the Communication University of China. OUR TIME MACHINE will be his first feature-length documentary.
S. Leo Chiang is a Taiwanese-American filmmaker based in San Francisco and Taipei. His documentary, MR. CAO GOES TO WASHINGTON, won the Inspiration Award at the 2012 Full Frame Documentary Festival. His previous film, Emmy® Award-nominated A VILLAGE CALLED VERSAILLES, picked up eight awards and aired on the American PBS series, Independent Lens. Leo’s work has received funding support from the Sundance Documentary Fund, the Tribeca Film Institute, and ITVS. He also collaborates with other documentarians as editor and a cameraman. Leo received a MFA in film production from University of Southern California. He is the co-founder of A-Doc, the Asian American Documentary Network, and a documentary branch member of the Academy of Motion Pictures and Sciences.
IN ATTENDANCE AT TRIBECA 2019: S. Leo Chiang (Director), Sun Yang (Director), Jean Tsien (Executive Producer), Bob Lee (Editor), Ma Liang (Subject)
YEAR 2019 | COUNTRY U.S.A., CHINA | RUN TIME 80 mins
Group photo of puppets and puppeteers in a gallery. Courtesy Maleonn Studio.
World Premiere Documentary
at the 2019 Tribeca Film Festival
Directed and Written by: Ellen Fiske, Ellinor Hallin
Produced by: Mario Adamson, Ruth Reid
As her childhood turns into motherhood, teenage troublemaker Gemma comes of age in her fading Scottish steel town. But in a place where “you either get knocked up or locked up,” innocent games can easily turn into serious crime.
***Limited Tickets Available***
Friday April 26th at 5:45PM at Village East Cinema 03
Saturday April 27th 11:30AM at Regal Battery Park 06
Wednesday May 1st at 5:00PM at Village East Cinema 02
Friday May 3rd at 8:00PM at Regal Battery Park 06 (no tickets available)
RT: 90 Minutes
FILMS AT TRIBECA FF
THE SHORT HISTORY OF THE LONG ROAD
*World Premiere Screening at the 2019 Tribeca Film Festival in the U.S. Narrative Competition*
Written & Directed by: Ani Simon-Kennedy
Starring: Sabrina Carpenter, Steven Ogg, Maggie Siff, Danny Trejo
For teenage Nola, home is the open road with her self-reliant father and their trusty van, two nomads against the world. When Nola’s rootless existence is turned upside-down, she realizes that life as an outsider might not be her only choice.
Saturday, April 27th at 2:30 PM at Village East Cinema 07 (World Premiere)
Sunday, April 28th at 5:00 PM at Regal Battery Park 06
Wednesday, May 1st at 5:45 PM at Village East Cinema 03
Saturday, May 4th at 9:00 PM at Regal Battery Park
Purchase tickets by going to Tribeca Film Festival website. See the film guide at the top of the website page. TRIBECA WEBSITE: CLICK HERE
FRAMING JOHN DELOREAN
HBO DOCUMENTARY FILM THE APOLLO ON WEDNESDAY, APRIL 24
Academy Award® winning director Roger Ross Williams’ film celebrates the historic New York City cultural landmark where musical legends were discovered
Features interviews with Pharrell Williams, Jamie Foxx, Patti LaBelle, Ta-Nehisi Coates and more
NEW YORK, NY – February 13, 2019 – The Tribeca Film Festival, presented by AT&T, will open its 18th edition with the world premiere of the HBO Documentary Film The Apollo. Helmed by Academy and Emmy Award-winning director Roger Ross Williams, The Apollo chronicles the unique history and contemporary legacy of the New York City landmark, the Apollo Theater. The film will debut at the iconic theater itself on Wednesday, April 24, 2019 and later this year on HBO. The feature-length documentary weaves together archival footage, music, comedy and dance performances, and behind-the-scenes verité with the team that makes the theater run. The Apollo features interviews with artists including Patti LaBelle, Pharrell Williams, Smokey Robinson, and Jamie Foxx. The documentary is produced by Lisa Cortés, Nigel Sinclair’s White Horse Pictures, and Williams. The 2019 Tribeca Film Festival runs April 24-May 5.
The Apollo covers the rich history of the storied performance space over its 85 years and follows a new production of Ta-Nehisi Coates’ Between the World and Me as it comes to the theater’s grand stage. The creation of this vibrant multi-media stage show frames the way in which The Apollo explores the current struggle of black lives in America, the role that art plays in that struggle and the broad range of African American achievement that the Apollo Theater represents.
The Apollo Theater is internationally renowned for having influenced American and pop culture more than any other entertainment venue. The space has created opportunities for new talent to be seen and has served as a launchpad for a myriad of artists including Billie Holiday, Aretha Franklin, Ella Fitzgerald, Diana Ross & The Supremes, Stevie Wonder, The Jackson 5, Luther Vandross, Dave Chappelle, Lauryn Hill, Jimi Hendrix, and more.
“We’re excited to finally be going uptown to play the Apollo,” said Jane Rosenthal, Co-Founder and CEO of the Tribeca Film Festival. “The Apollo gives audiences an inside look at the major role this institution has played for the past 85 years. It’s seen the emergence of everything from Jazz to R&B to Soul and Gospel – all quintessential American music genres, and this is the time to remind people of our nation’s rich history. ”
“The Apollo is about so much more than just music, it’s about how we used music and art to lift ourselves out of oppression,“ commented director Roger Ross Williams. “The story of the Apollo is the story of the evolution of black American identity and how it grew to become the defining cultural movement of our time. I was fortunate to make my first film with HBO and I am thrilled to be coming back home with The Apollo. Premiering at The Tribeca Film Festival, at the Apollo Theater in Harlem is a dream come true.”
“The Apollo Theater is a symbol of the creative spirit of New York and beyond, and I’m very happy that we’re kicking off our 18th Festival celebrating it with this documentary from Roger Ross Williams,” said Tribeca Co-Founder Robert De Niro.
The Apollo, directed by Academy Award-winning and Tribeca alumnus Roger Ross Williams (Music by Prudence; Life, Animated) and is produced by Lisa Cortés (Precious), White Horse’s Nigel Sinclair (George Harrison: Living in the Material World; Undefeated), Jeanne Elfant Festa (Foo Fighters: Back and Forth, Pavarotti) and Cassidy Hartmann (The Beatles: Eight Days A Week, Pavarotti) along with Williams.
The Apollo will have additional screenings during the Festival. Passes and packages to attend the Festival go on sale on February 19, 2019.
The 2019 Tribeca Film Festival will announce its feature film slate on March 5.