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.
Stockholm, written and directed by Robert Budreau and starring Ethan Hawke as the American who intends to swap millions and a friend for the largest Swedish banks’ hostages is a humorous thrill ride which almost has you rooting for the “wild and crazy” poseur Lars Nystrom/Kaj Hansson that Hawke assiduously portrays. The World Premiere slated as a Spotlight Narrative Film at Tribeca Film Festival 2018 is based on the incredible true story of how a charismatic criminal lures his victims to not only allow him to hold them hostage, but also elicits their help as he attempts to escape from the circumstances which irrevocably close in on him.
Ethan Hawke in a long haired wig, cowboy hat and dark sunglasses (for the film’s beginning) is perfect for the role as the maniac “Lars” whose bravado and energy take over the mild-mannered male and female clerks as he predatorizes their emotions, yet entertains them with his singing. Generally, he is an outrageous and likeable character and is more terrorized himself when he has to browbeat them into corners and submission with a gun.
When the minutes turn into hours with no resolution in sight, an incredible situation unfolds. Himself cornered by police and bank officials who refuse to give him the money he wants and other items for his escape,, Lars depends upon the support of teller Bianca Lind (the fine Noomi Rapace) and others. Lind becomes enthralled and even swept up and attracted to him. Lars negotiates a key point, in getting law enforcement to bring over Gunnar Sorensson (Mark Strong) a former friend whom Lars intends to free as a condition of releasing the hostages. To create conflict, Budreau portrays Gunnar as more menacing, though in real life, he was released and not charged possibly because he helped law enforcement catch “Lars” who was sentenced to ten years for this escapade.
With changes in name and characterizations, the film is primarily based on the true events which happened in 1973 in Stockholm, Sweden known as the Norrmalmstorg robbery. It was this robbery when Jan-Erik Olsson took hostages and their response to the situation originated the clinical symptoms known as “Stockholm Syndrome.” Specifically, the syndrome occurs when the alleged victims of a criminal predator identify with him, feel sorry for him and actually aid and abet his escape and/or commit criminal acts with him. Whether this is a survival mechanism response to fear is opaque. But the syndrome has been the subject of debate as other hostage crises have gained notoriety, For example in the sensational Patty Hearst case which occurred a year later than the Norrmalmstorg robbery, in 1974, Hearst was kidnapped by the wacked Symbionese Liberation Front who forced her to participate in a bank robbery which was filmed on camera. Hearst’s emotions became compromised to protect herself and mislead her captors. Nevertheless, her identification with criminals is not easily understood.
Budreau’s film gives rise to a number of psychological questions which he raises and attempts to answer. First, why does the attractive Bianca Lind go along with Lars and not resist him? Is it because he is not dangerous or because she is frozen in fear? Lind is the fictional character perhaps most similar to real life Kristin Enmark. Enmark in a conversation with officials said she believed the two hostage takers to be less dangerous than the police who were trigger happy. Likewise, in the film Lind cites the quote which Budreau included about the police being more likely to injure and kill the hostages in a fire fight, because civilian lives are less important than “getting the criminals” or preserving the banks funds.
Why does Lind passively go along with Lars to the point of assisting him? Surely, he is more hot air than serious killer as Hawke superbly portrays him to be. The longer the hostages and he remain together, the more they believe he has their interests at heart, while the bank is more interested in safeguarding their money. Interestingly, the manager and negotiators do not take “Lars” seriously. Only when the hostages help him with a plan and he pretends to injure Bianca is there some movement regarding giving him what he wants.
For her part Rapace’s Lind reveals a character who is more passive female than fiesty rebel. However, when we see her relate to her husband and family, Budreau offers up a tantalizing possibility. In the brief conversation she has with her husband, she appears steady and unemotional. Does she not want to upset him? Couldn’t she emotionally cry and manipulate her husband to more forcefully pressure the bank into settling with the bank robber? Instead, Budreau offers another look into a marriage and home life that may indeed be unsatisfactory and banal. Certainly, this interlude with the exciting and dangerous Lars stimulates another part of her seemingly untouched by her married life with the rather cold husband as portrayed by Thorbjørn Harr.
Budreau’s take on the “Syndrome” in the titular film Stockholm is varied and reveals elements that we may not have considered before because we are unfamiliar with the fascinating events that coined the phrase “stockholm syndrome” based on the symbiotic relationship between predators and their hostages. The film engages primarily due to the pacing, the tight, authentic revamping of the events in a believable way, and the fine performances, especially the high-flying wildness of Hawke and his exchanges and counter-play with Lind.
directed and written by Robert Budreau. Produced by Nicholas Tabarrok, Robert Budreau, Jonathan Bronfman. (Canada, Sweden, USA) – World Premiere. In 1973, an unhinged American outlaw walked into a bank in Sweden demanding millions in cash in exchange for his hostages. The events that followed would capture the attention of the world and ultimately give a name to a new psychological phenomenon: Stockholm syndrome. With Ethan Hawke, Noomi Rapace, Mark Strong, Christopher Heyerdahl, Bea Santos, Thorbjorn Harr.
Tribeca Film Festival held the World Premiere and screening of I Am Evidence, a compelling documentary which follows the story of four survivors of rape as they attempt to gain justice over a period of many years. During the process that they contact and work with law enforcement, they and filmmakers highlight the fate of what at one point amounted to 400,000 untested rape kits filled with evidence that various police departments left forgotten on storage unit shelves because rape is a low priority, high complexity crime. Behind each of the 400,000 + kits is the DNA of a woman who was sexually assaulted and who waits for her perpetrator’s DNA to be cross-matched with known criminals, serial rapists, murderers, through the federal database, CODIS.
Rape victims often hear nothing from the police departments for years leading to miscarriages of justice and an unfettered crime spree. Research has shown many rapists are serial rapists and some serial rapists murder. In one example in the film a serial rapist raped 10 women until he was picked up. The egregious negligence of various police departments across the nation, who allow criminals to run free, is one of the many issues directors Trish Adlesic and Geeta Gandbhir examine and explore during their journey shadowing the four women survivors.
Filmmakers show there is hope as the backlog of rape kits is slowly being addressed. More states are passing laws to enforce the testing of the kits. The film focuses on the backlog issues, the causes and solutions and the heroes in the fight, like Kym Worthy, Detroit prosecutor, whose untiring work to have Detroit’s 11,000 kits + tested is resulting in prosecutions that get rapists off the streets. The shining moments of the film reveal the survivors who are overcomers: they remain unapologetic about the miscarriages of justice that have occurred and have become advocates to change the laws so that every rape kit is tested, matched up in the criminal data base nationwide and followed up. They inspire hope as they encourage other women to come forward and join the fight to end this systemic institutional injustice of backlogged rape kits..
I met with directors Trish Adlesic and Geeta Gandbhir at the HBO offices a few days after the film screened.
I loved the film. Could speak to what the title refers to and what the film is about?
Trish: Well, the title came very organically through the process of understanding the journey for women who have been through this violence of sexual assault. In pursuing subjects for the film, I wanted to find someone who had not had their rape kit tested yet in Detroit because Detroit had a backlog of over 11,000 untested rape kits. I thought that it would be incredible to find someone who was still looking for their kit and still looking for justice. There was an organization called The Sasha Center which is geared toward the needs of African American women because the church is predominately African American. The Sasha Center (it provides sexual assault services for holistic healing and awareness) had someone they were working with who was still looking for her rape kit. She agreed to speak with me. When she walked into the room, she had this phenomenally beautiful pink hair and this beautiful skin. Then I look down and see, “I Am Evidence” on her T-shirt. I immediately got chills. I thought, I’m about to have a profound experience.
Geeta: Yes. And what is interesting is that Ericka is deeply involved in her church. That statement is used in her church and it is sort of a traditional saying, “I Am Evidence,” a statement about being a witness. So she took it and basically we reprised it in the sense of talking about her rape kit. It’s a powerful statement. And she makes statements about this in the film. She says that she is evidence that a rape kit is not just a rape kit. It’s not just DNA, there’s a person behind it. It’s also evidence of being able to overcome the struggle that goes along with the violence she experienced as her personal experience. So this background about Ericka was a big part of the decision for I Am Evidence to be the title.
Trish: Yeah. It’s incredible because it’s a double entendre. The body is a living, breathing crime scene. We are evidence. But the poetry around her is that we are the evidence that we can heal and grow and we can get beyond this, because this kind of violence is so debilitating for people. I found it so inspirational that she had the ability to say those words. I mean anyone can relate to the fact that we are evidence of the lives we live and how we handle trauma and challenges in our lives. I thought that would be something everyone could relate to.
Did she help to evolve the film’s uplifting tone. Could you talk about the extent to which she may have influenced that?
Geeta: I think she did. But there’s an arc, is there not Trish? I think with the subjects that we follow, the women that we follow have an arc and that over a period of time, this was her organic journey. Obviously, her journey was ultimately uplifting. She’s a powerful person.
Trish: Yes, she is very spiritual and that’s the case. She did have challenges. Her kit was found. It was tested and there were really hard days for her to undergo in that process. Ultimately, she came to a place of acceptance characterized by the word that she uses for it in the film: “unapologetic.” In other words we don’t have to apologize for the things that have happened to us. It’s OK to feel that pain and to want to have some satisfaction out of being hurt and you really have justice. And the arc is the unapologetic moment and the moment of acceptance that while I may not get a victory in court, I was heard. That’s what matters most to all of the victims of this kind of violence: the fact that they actually are given the opportunity for justice.
You helped in that arc. You helped to inspire her journey. Could you talk a little bit about that and how long the process was as she really was at the forefront of your expose.
Trish: It was about two and one-half years from the moment I interviewed her. I began to contact the prosecutor to find out if there could be some way in which they could try to locate her kit. She simultaneously had met with Ms. Worthy at a fund raising event for the backlog through an organization called the 490 Group. It’s a group of African American women in Detroit who are raising funds to test the kits. Both efforts converged and her kit was located. I think that certainly her participation in the film brought this opportunity. Eventually, her kit would have been found because they are continuing to test all the kits, but it wouldn’t have happened necessarily in the timeline that it did.
Geeta: I have to say that the film had a profound experience on the women because of Trish. Trish is the producer and co-director, and Trish had a profound impact on the women because she was there from the inception. I came onto the film a little bit later, but Trish was there from the beginning. I think that the idea, the thought that someone is working with you, that someone wants to hear your voice, gives you a sense of empowerment. That’s not to decry the fact that these women in their own right are very powerful. But I think that when someone holds out their hand to support you, it makes a big difference.
In our presence at the World Premiere after the film screening in the Q and A, Ericka sang to a packed audience in the theater, which takes courage. And she announced that she’s running for office.
Trish: Yes. City Council. How about that? (she laughs). She’s smart, she’s very smart.
Geeta: She’s an incredible force, I mean with or without us and the film.
So there was a convergence of events which reveals a kind of synchronicity. This leads me to ask this question. Did this project choose you or did you choose it? How did the film evolve?
Trish: That’s a great question and it’s a question we’re always asked. I want to give the backstory so it’s clear. I had worked on the television show Law and Order: SVU for 14 years with Mariska Hargitay, and we became friends through that work together. I began to produce documentaries because I was potentially going to be affected by the issue of fracking in my community in upstate New York. That led me to do these films that had a profound effect on my life (Gasland and Gasland II). I saw the power of the medium and I thought, well, I’m not getting any younger. How do I want to spend my time? I feel like for me this opportunity has been a dream come true to do this work. It’s honestly gratifying.
Mariska saw that journey for me and I knew that backlog was at the forefront of her focus for her foundation (The Joyful Heart Foundation) and we kept saying let’s do a project together. Let’s do something. And it led to doing this film. You know it’s her first documentary. I was excited to do everything I could to give it its best shot and bring it into the light and to bring in all the best people I knew in the documentary world to help complement the work we were doing. So that’s how the film came about.
I brought Geeta on the project. I knew Geeta from working with her before. I trust her work and knew that Geeta would understand and care greatly as I do, and so she was someone that I really wanted to bring in on the film.
Geeta: It was such an honor for me when Trish and I worked together. Obviously, I really respect her and what she’s done. We were talking about doing this film for a long period of time.
Trish: I was serenading her (Trish laughs).
Geeta: I wasn’t able to. I had other things. Then finally there came the time. So it was Trish who brought me on. Also, I had worked with HBO for a long time; I started with them when the levees broke in New Orleans. That was when I became hooked on Social Justice issues similar to Trish, and I realized that these documentaries gave my life meaning. With this work you feel like you’re making some kind of impact, some kind of a difference.
Then, finally, it felt like the time was right. I think Trish and the project and Sheila Nivens (President of HBO documentaries) had something to do with it. Once they all say, it’s time…
Trish: She’s the Goddess (referring to Sheila Nivens).
Geeta: …you come on board. Honestly, it’s been incredibly rewarding and meaningful.
You knew through Mariska that there was a problem.
Trish: I did. We had done an episode at SVU about an untested rape kit. One of the women who actually is in our film, Helena, had an episode written for her. It’s called Behave. That’s when I first learned about the rape kit backlog. I saw what she he had been through with law enforcement being re-victimized by not being heard.
I think for a lot of the women whom I’ve spoken with, that very re-victimization almost felt worse for them than the assault itself. These were the very people who had been set up to be there for them. Yet, these very people in fact were blaming them and not believing them. Rape survivors felt so violated by that. First, it’s incredible that they have the ability to come forward with such a traumatic experience. It is so hard to tell your story. Then for them to go through the re-victimization with the police?
So I learned about the untested rape kits that way and learned more and more when Detroit broke in 2009. And I saw the heroism of Kym Worthy and thought, this has got to be a documentary. It’s amazing to be in this moment at this
Look for Part II of the interview with Trish Adlesic and Geeta Gandbhir.
For my review of the film CLICK HERE.
For the link to the website I AM EVIDENCE, CLICK HERE.
To see how your state is dealing with the backlog of untested rape kits, CLICK HERE.
I Am Evidence is one of the most important documentary films to come out of Tribeca Film Festival. It is a groundbreaking criminal and social justice documentary about women, rape, and the folkways that allow this crime to fly under the radar. The film centers around rape survivors and the process of rape crime evidence collection, sealed in a rape kit which then is sent off to be tested. Central to I Am Evidence is the egregious miscarriage of justice that happens in a predominance of states in the U.S. Rape kits, loaded with critical evidence, languish sometimes for years in police storage untested, forgotten, trashed. Is this institutional misogyny, the banality of evil or something else?
With meticulous, clearly organized information, the filmmakers answer these questions and examine how and why this unconscionable backlog of known untested kits (once numbered 400,000 nationwide) happened. The number was probably even greater if one considers those thrown away, negligently stored, lost, displaced. Rape victims are loathe to file a police report; most probably the number of rapes is greater. The backlog exacerbates our culture of sexual violence (every 98 seconds an American is sexually assaulted).
Through salient interviews of rape survivors (i.e. Ericka, Helena, Amberly), journalists, investigators, law enforcement, researchers, and other experts (Mariska Hargitay identifies the substantive issues at the outset as she interviews Wayne County prosecutor Kym Worthy), directors Trish Adlesic and Geeta Gandbhir cogently examine why the testing of rape kits needs to be a nationwide law enforcement priority. The filmmakers’ approach is winning; the documentary is a heartfelt and human drama told through the uplifting testimony of rape survivors like Ericka Murria. Murria shares her triumph over psychological and physical trauma as she seeks justice and takes a stand to advocate for others. As Ericka, Helena Amberly and others share the arc of their journeys from chaos and depression into the light, filmmakers outline the breadth of the problem about untested rape kits.
Adlesic and Gandbhir establish that every untested rape kit represents a victim. The kit contains material DNA evidence. Once the evidence is tested in a lab, the results can be placed in a data-base (CODIS) which matches rapes, crimes and murders nationwide with the DNA evidence from perpetrators. If the evidence is never tested, the kits left to molder on a shelf in a storage unit, that crime and the potential match-up with criminals (especially serial rapists/murderers), and other crimes they’ve perpetrated will remain unsolved.
Through the testimony of investigative teams and prosecutors, the filmmakers reveal the endemic nature of the problem. Each ignored kit means that a rape is not going to be investigated, even though a victim has emotionally steeled himself/herself to go through the shame of filing a report that takes 4-6 hours for evidence collection and placement in the kit. The message inadvertently sent to rapists and serial rapists/murderers is that they are permitted to to rape and/or kill again.
The message sent to victims is that their rape doesn’t matter and they don’t matter. Ultimately, the victim, traumatized by the sexual assault and battery, is further abused by the negligence of their un-investigated crime. Humiliation is compounded by the silence of injustice. An additional noxious side effect of untested rape kits is that word gets around that no one called about the rape investigation. Other victims are less likely to file a report. Rapists are emboldened. A significant point the filmmakers underscore from the research on rapists is that many rapists are serial rapists. They continue to rape until they are stopped. And some of those serial rapists also murder. Sadly, there is no way to gauge how many women are raped and how many serial rapists/potential murderers have committed multiple crimes.
When one considers that an untested rape kit that sits for years (the filmmakers reveal this occurred in places like Detroit, Los Angeles, see END THE BACKLOG), might empty even one cold case file, one begins to understand the staggering negligence that is multiplied as untested rape kits mount up in the thousands. (see your state’s numbers on END THE BACKLOG). In a lurid example of the impact of just one untested rape kit (sitting over a decade), filmmakers show how serial rapist Charles Courtney (a truck driver who committed crimes in various states along his driving route), was free to rape again and again. (click here for Helena’s story)
If kits had been tested, law enforcement could have checked the databases, identified Courtney’s multiple rapes and gotten him off the streets, never to rape, threaten her family, and traumatize Amberly, one of his victims who filmmakers interview. From that rape, Amberly suffered PTSD that sent her life spiraling downward into addiction, a devastation which she is turning around. Indeed, one of the investigators who helped get Charles Courtney off the streets stated that if all the kits nationwide were tested, she would bet that his DNA would match up with a few unsolved murders.
I Am Evidence incisively, humanly directed by Trish Adlesic and Geeta Gandbhir, is an extremely valuable work of social justice. The filmmakers make a precise, clear, and thorough examination of how this holocaust of abuse has been allowed to continue fueled by our culture’s mores, folkways and prejudices leveraged by institutional racism, negligent law enforcement, misogyny. The clips that reveal this are devastating. Though the documentary is a painful and frustrating look into the egregious criminal negligence committed by various police departments with an incredible number of backlogged rape kits (over 100,000 nationwide), I Am Evidence is also an unforgettable journey of hope, healing, redemption, and activism.
I cannot praise this film enough for its solid story-telling, its unabashed strength in unspooling the themes that inspire one to advocacy. From the outset, with empathy and poignancy, filmmakers elicit the soulfulness of the survivors who have gone through the hell of rape and reporting, and have attempted to deal with the psychological and emotional trauma of what they experienced only to then confront the truth that they may never receive justice. The documentarians also highlight the heroes-the investigators and prosecutors who have gone through the stressful frustration of dealing with the monumental backlog of untested rape kits.
Along the journey we watch specific examples of effectively functioning teams who are getting things done, pitted against interviews with former law enforcement officials who make dismissive comments about lack of funding and the terrible difficulty of prosecuting rape cases. Rather than admit the tragedy behind each and every untested rape kit, there remains a dilatory lack of accountability to problem solve or acknowledge that rape correlates with murder and other crimes.
What is particularly uplifting is that filmmakers show successes: they follow a team’s painstaking work to tackle the backlog that eventually results in successful prosecutions. They focus on undaunted heroes like Wayne County Prosecutor Kym Worthy (Detroit, Michigan had 11,000+ untested rape kits that had been placed in an abandoned, wrecked building, home to nesting birds and other creatures). When Worthy takes Mariska Hargitay to the site of the abandoned building to view where the kits had been left, we are shocked knowing that each kit is a person. When Worthy discovered this (2009), despite the insurmountable problems including lack of funding, she went into action, got kits tested, and criminals off the streets (some serial rapists had raped 10-15 times).
Survivors, law enforcement icons, The Joyful Heart Foundation, and End The Backlog are in the forefront of overturning the systemic criminal negligence perpetrated by the dilatory law enforcement agencies and their sub rosa misogynistic, racist behavior which deems rape a low priority crime, especially in ethnic communities. Some states are reforming their laws. Others are not. Why not? Is it because some law enforcement and prosecutorial departments don’t want to “waste” time, effort and finances on rape kits while there are other “more important crimes” to investigate? Indeed! By not testing rape kits, they are promoting more felonies instead of stopping them.
I Am Evidence is the filmmakers’ incredible work of hope and progress. Yet, it reveals we are not out of the labyrinth of unawareness and egregious systemic negligence. This must-see film is a clarion call for the public to demand all rape kits be tested as a matter of safety and security. Our criminal justice system must be accountable, especially now as the political winds shift.
Anthony Bourdain (star of Parts Unknown), is his edgy, humorous self in Wasted! The Story of Food Waste. The film, which screened in its world premiere at Tribeca Film Festival, Bourdain produced with Zero Point Zero Productions’ partners Lydia Tenaglia, Christopher Collins, Joe Caterini and co-director Nari Kye (Anna Chai also directed). However, Bourdain whose narration threads through the key issues about food waste globally and in the U.S. is more acerbic and ripping than ever I imagined he could be. But he, Dan Barber (Stone Barnes, Blue Hill), Mario Batali, Eric Ripert (Le Bernardin), Danny Bowien (Mission Chinese), Massimo Bottura (Osteria Francescana), Tristan Stewart (Toast Ale) and others who are in the forefront of trying to figure out how to rescue food and use it to create delicious meals, must tell it like it is. The situation is bleak.
Food waste is perhaps the most dire problem we face as Americans that we can do something about right now. Consider a few of these facts that directors bring out through interviews and celebrity chef comments in the initial segments of their amazing documentary.
Roughly one third of the food produced in the world for “people consumption” (approximately 1.3 billion tonnes yearly), gets lost or wasted. Food losses and waste amounts to around US$ 680 billion in industrialized countries and US$310 billion in developing countries. Ninety percent of the food produced ends up in landfills. According to Anthony Bourdain, all along the processing of food for consumption, there is waste at every junction from the farm, and the harvest, to the distribution, to the grocery story or green market, to the preparation, to the dinner table, to the leftovers.
And where does this food predominately end up? In landfills. In garbage dumps. If we could only redistribute the unused food to those who need it. Even if just one-fourth of the food currently lost or wasted globally could be rescued, there would be enough to feed 870 million hungry people in the world. But globally, people are not just hungry. It is a tragedy that globally, thousands of individuals face chronic starvation and die from disease and malnutrition. In the U.S. one in six individuals is food insecure, (in Europe it is 1 in 20). These are not just lazy, “good-for-nothings” as politocos would have us believe so we can dismiss them and de-fund programs which they label entitlements. The families are working in low paying jobs (an employment situation which has never been recovered since the second Great Depression), and many of them are white. In the film, Mario Batali looks dead into the camera (in the US we are the worst perpetrator), and he brings the problem right into our homes. He says, “This waste is criminal!”
Anna Chai and Nari Kye’s efforts are subtly brilliant because of how they have structured their film and carried us along a journey of discovery to recognize the staggering numbers and the criminality of food waste that resonates profoundly for our own lives. First they identify the unimaginable and make it visible. They outline the causes (taking us to farms, showing the process of food distribution, etc.), then bring us to the end of the line-the food devastation in landfills.
This is where the concept of food waste goes exponentially unconscionable and Batali is not kidding when he points out the egregiousness of waste as not only “stealing” food from the hungry, but also wantonly, negligently stealing all of the resources our planet offers for us to make it to the next generation. We won’t get there if the situation continues into the next decades if we continue to be as brazenly stupid as we have been culturally.
Filmmakers and experts reveal how food in landfills exacerbates global warming-climate change. As the food decomposes methane gasses are released. Methane, heavier than CO2 is a worse pollutant of clean air. It erodes oxygen supplies, acidifies the oceans, chokes off marine life, harms ecosystems that sustain plants, animals and us. You didn’t note any discussion about the higher degree temperatures increasing glacial melt did you? We won’t acknowledge that is happening for fear of offending those government leaders who think global warming is a matter of belief.
You thought you had handled the problem of plastic by shopping with your cloth bags? Well, what about the food you are throwing away? Filmmakers point out that one head of lettuce in a landfill takes twenty-five years to break down. You have to throw away some lettuce because your guests won’t eat wilted leaves? Throw it in your composting bin or bring it to your green market for them to compost. If you multiply your leaves and that head of lettuce you threw in the garbage last week with thousands upon thousands of heads that got wilted and that grocery stores daily en masse throw away because housewives like their lettuce crisp and fresh-looking (even though it has no taste and the wilted leaves at the green market have much more nutrition and taste because they were picket in the morning), then you begin to see the extent of the problem of why food waste is so endemic.
Filmmakers show that unsustainable farming practices expend and do not replenish resources (air, water, rich soil). Think of the water wasted to irrigate veggies that end up in your waste-can and end up in a landfill. The amount of money that can be saved with careful planning and husbanding water, crop yields, etc., not only can be realized by farmers and businesses and grocery stores and distribution centers, but it also filters but can also filter down to families if thoughtful planning is accomplished and if consumers don’t mind selecting some bruised fruit at a lower price (often more delicious), than the perfect apples and oranges with no taste.
Food and resource waste directly correlating to global warming and climate change, whether deaf, dumb and blind politicians acknowledge this or not, insidiously correlates to shifting population migrations as refugees challenged by drought, famine and war in a subtle and complicated connection with dwindling resources (food, clean water) seek areas to live that are not under such duress. When Bourdain implies that everything about food is tied to everything else, the message not only “hits home,” filmmakers have brought you to a place where you need to see interventions and programs and innovations that are eliminating and reducing our criminality of food waste.
The interviews and visits with celebrity chefs are legendary. They follow Tristam Stewart to England as he shows how he recovers 900,000 tons of bread wasted a year by making artisinal beer). They travel to Modena, Italy and then Milan to see Massimo Battura who created Food For the Soul and the divine concept of the artistry of the Refettorios. With beauty and elegance he has found a way to touch the hearts of the “invisible needy” that rivals dining at The Four Seasons and uplifts their souls. At the outset they visit Dan Barber who takes us through his guided veggie discoveries and tastes as he educates us to the egregiousness of food waste with produce (fruits and vegetables, roots and tubers have the highest wastage rates of any food). And they shadow Danny Bowien’s travels to Japan where chefs surprise him with delicious dishes that use unbelievable cuts from the animal that he never tried including the uterus and vows to take home to his restaurant.
These entertaining, enlightening and uplifting segments of the film, which are woven into the dialogue about food waste, dissolve the “doom and gloom” of the underlying problems by showing there is much we can do. Indeed, entrepreneurs and innovators, spurred by funds from the Rockefeller Foundation (which is supplying grants through YieldWise) are working to ameliorate the situation and move the paradigm to Zero Food Waste in the next decades, regardless of the lack of political will that recently has been demonstrated. The uplifting examples of how other countries and individuals are curtailing food waste are inspiring. They encourage us to toward activism on a personal and local level: at the very least composting, wiser food shopping and more.
This is a must-see film for its clarity, for its inspiration, for its no-holds-barred revelations, for its love and good will, for its energy. Its unforgettable incisiveness magnifies the importance of our individual and national global food waste imprint. Its generosity and positive outlook spur us to become leaders in our own lives and communities so that we can have a global impact. The situation is bleak, but it is not without hope. We can positively shape our future and the future of the generations that come after us. It is only a matter of starting today.
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Playwright and screenwriter of Junebug, the award winning Angus MacLachlan, has done it again! He has penned a funny, poignant, commonsensical and incredibly human film which will resonate with a wide swath of individuals if it is discoverable to them. And Goodbye to All That, also directed by MacLachlan should be imminently discoverable. After all, the age group that this clever, saavy movie should appeal to ranges from thirty-somethings to sixty-somethings, and includes men and women. If you enjoy Indie films that cut through the hype, shmoozy glitter, and intentional, self-conscious realism, Goodbye to All That is for you, especially if you like to laugh.
Though the film has a regional feel, its subject touches upon issues that city-folks can relate to, namely separation, divorce and reentering the hot dating scene using Social Media after years of a settled, somnambulant marriage. MacLachlan is a canny director. He knows how best to achieve humor with his comedic timing and knowledge of how to vary silence, a look and a glance, with pacing and rhythm. The result has brought about an award winning performance by the likeable, human and very funny Paul Schneider who plays the everyman protagonist, Otto Wall. Paul Schneider who won a Best Actor in a Narrative Feature award at Tribeca Film Festival is incomparably Otto.
With clear precision, from the outset, MacLachlan intimates that Otto’s and Annie’s (a fine performance by Melanie Lynskey), relationship is terminally ill. The humor is that Otto is the only one who is back at the alter thinking everything is going really well. The arc of the film is Otto’s dawning realization that he has to grow up and confront who he is and what he wants in a relationship with a woman and especially in his relationship with his daughter after he separates from his wife. As he juggles his priorities, he begins to understand where he has come from. But will he be able to resume an existence without the woman who was so comfortable in his life’s landscape that he forgot she was there?
This is a tall order for Otto, as it might be for many men who have grown into a dullard’s reality of walking through time with someone they don’t know, understand or are interested in, even if it is their wife. However, Otto is fortunate to receive help. It comes in the form of a number of beautiful, autonomous, independent-minded and intelligent women. It’s an interesting arrangement; he is interested in them sexually and they are interested in him sexually. This is the age of Social Media and women are approachable at the click of a button on Facebook and the same applies for men as both genders surf online dating sites and profiles to see if there might be compatibility.
For Otto this is a kind of mecca. What was once a deadening existence just moving through the ethers now becomes a life that is thrilling and alive. After the first “date” he is invigorated and “rarein to go.” The painful jolt of being dumped (no spoiler alert…I will not ruin it for you as to the specifics), has revived him from near brain death. And that electric current is spurring him on to recognize that culturally “things have changed” after being out of the social loop for 15 married years. And it’s a change for the better.
Otto works through gauging his priorities and begins to develop into a responsible, caring male. Some of this evolves because of the unique responses and reciprocation of feelings from the women he engages with- Mildred (Ashley Hinshaw), Stephanie (Heather Graham), and Debbie Spangler (Anna Camp). Their meet-ups and dates are hilarious, surprising and real. Otto also is guided by his daughter (11-year-old Edie), whom he attempts to please and who is not afraid to “get real” and censure him when/if he goes too far with his women friends. Massaged by all of this female wisdom and the added preciousness of reestablishing a connection with an old girlfriend (Heather Lawless), he knew and cared for in high school (the classmates find each other via Facebook and hold a reunion), Otto finally gets to make a conscious decision about what he wants and who he is. He has landed on solid ground. He recognizes that he enjoys his life for he is no longer sailing away on the wings of oblivion in an existence that will be over before it really begins.
Goodbye to All That, an apt title, is meaningful without appearing to be “profound.” Yet it is real, touching, powerful and extremely funny. How MacLachlan achieves all this in a concentrated work whose scenes are precisely edited so they are just enough, and the dialogue sufficient without any extraneous bits to reveal the characters’ wants and needs is an extraordinary achievement for a first time director. It would be a shame if the film didn’t get the recognition it deserves for the writing and directing and the women’s acting ensemble in support of Schneider’s performance. All sync seamlessly.
This review first appeared on Blogcritics.