LOS ANGELES, CA – Last night I had the honor of attending the Annual Oscars Academy Award Nominee Symposium for the 5 Nominated Documentary Shorts and Documentary Features. The films each possessed qualities of sheer humanity in every form and while yes, that is the nature of documentaries on the whole, it doesn’t always happen with such candor.
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“I might have remembered what my father…
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The film is split into three distinct sections seamlessly tied together with the help of Oscar-nominated editor, Doug Blush, and appropriately, iconic graphics. Following Pilloton and Miller, we meet the wood shop class students: boys and girls who are depicted at first to fit the uncertain, marsh-riddled town stereotype of drowning in muddled obscurity. Students who seem so woefully different from what we—especially in Orange County—expect or are used to when it comes to 16-year-olds (arguably), but who we very quickly realize are as different from us as we are from ourselves.
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Scraping away at our visual paradigms Diller…
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When it comes to politics there are generally two sides of the fence: you’re either interested, or you aren’t. Then there are the rare moments when an event is so catastrophic, a policy so egregious, that everyone, young and old, find themselves getting involved whether they like it or not, out of moral obligation or personal vendetta. The devastating tragedy of September 11, 2001 is one of these. However, busy as we are supporting our troops, admonishing our government, or going about our lives with an air of indifference, it is perhaps the revelatory spotlight on the question of what to do with the 16 acres of land where the twin towers once stood that has plagued the nation—especially New Yorkers; a question whose answer lies in the celluloid folds of Richard Hankin’s aptly-named biographical documentary, 16 Acres.
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I had the pleasure of sitting down with two of what I believe will be the actors to keep your eye on in the coming years: Garrett Backstrom and Collin Ford. Invited to attend the Red Carpet DVD Release Event of Michelle Danner’s “Hello Herman”, I was asked if there was anyone attending I’d want to interview. While the list is always interesting, I wanted to interview someone I felt hadn’t really had an opportunity to be seen outside of their realm. For the first time ever, I interviewed two, under 18, rising stars in Hollywood. Both 17 years-old, both with a rather successful career already under their belt, and the endless potential that will no doubt make them household names very soon.
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In a world where bullying is more prevalent than ever, violence seems to be the first resort rather than the last, our youth is more isolated and apathetic than times passed, and well, the accessibility of “reaction” is catastrophically daunting. Hello Herman is a film starring Garrett Backstrom who gives the performance of his young career pushing the boundaries of his psyche, exposing the faulty backfire of repercussion, and the prevalent truth that something is genuinely faulty with the way the world is raising our future generations.
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The crusade for answers involves a series of interviews with politicians, seed salesman and trips across America and the world—some leading as far as an international seed vault concealed within a Norwegian mountain. But the film, at its core, mainly serves as a journey of Seifert’s to educate his children, who have a love of collecting seeds, why they should be concerned about new genetically modified seeds on the market.
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Is life composed of hard edges, or soft curves? In this elliptical documentary on the architectural wonderment of modernism and its steadfast metamorphosis over the last eighty-plus years, filmmakers Mike Bernard and Gavin Froome travel the Pacific Northwest in an effort to capture the essence of a spirituality we won’t find at the local synagogue or mosque, but in the very bones of our own homes. Coast Modern tries to establish not so much a style of living, but a way of life in its up-close-and-personal investigation of a series of homes and establishments belonging to the few who’ve decided to forgo the privacy and security of the enclosed enclaves most of us probably find ourselves in.
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Global warming is an issue that has garnered bursts of widespread attention in both mainstream media and flyers on the walls of local colleges, with an impact as concerted as it is aloof. Films about the “inevitability” of our ill-fated demise (2012, An Inconvenient Truth) stand toe-to-toe with those rallying against the supposed absurdity of such a notion (The Great Global Warming Swindle). In a sort hilarious twist of irony, there may be a bigger issue at hand here, one that connotes the idea of a hell-on-earth as defunct.
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It is with this in mind that I was struck by how at odds I felt about the actors’ ability in conjunction to the film’s style and narrative. Undoubtedly a by-product of the director’s decided dismissal of maintaining strict coherence of his script, throughout the narrative Renata and Val carry on Linklater-esque conversations in an awkward, pause-filled manner that initially induces a sort of ticking time-bomb dread.
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While higher-budgeted docs filled with even bigger names might elicit the awe of that Hollywood intangibility, Cawley’s down-to-earth subject matter, and even the subjects themselves, bring us into the story of our own lives. We don’t want to be the people on-screen, these celebrities of sight and sound and tactile surfaces, but rather we wish to paint the stars of our respective destinies with the footnotes of these men and women’s successes, failures, moments of elation, and of suffocating despair. They are, in a word, human.
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Smiling Through the Apocalypse, if you haven’t already Googled it yourself already, is a documentary that focuses on Esquire magazine during the sixties. Specifically, during the sixties under the helm of editor Harold T.P. Hayes. The story goes something like this: during one of the most turbulent decades unseen since the Civil War era, editor and provocateur Howard Hayes is remembered as having stepped up to take the falling star that was Esquire, and put it back in the sky. The film’s summary goes on to describe a man who not only led a team behind some of the most varied polemical writing styles and iconoclastic subtleties, but did so under the caveat that each and every day could easily lead to (and oftentimes did) disaster riddle in controversy.
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We sit silently living and hoping, waiting for the shards and broken pieces to weld themselves back together. The vacancy of wonder, elusive and misleading; in the end all we strive for is for one person to understand us. To see the color inside the storm, the liquified beauty inside of the chaos. We are, fools for love. And yet we watch as it wavers, sliding from our grasp, and some of us cling to the tattered threads because somehow – we still believe there is a way to piece us back together.
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There is a striking honesty that moves through every image and it’s apparent fearlessness really does incite a rather beautiful curiosity. With images of iconic entertainers like Bono, Lenny Kravitz, Mos Def, Sean Lennon, and Quincy Jones blended with nude that show you the vulnerability, strangeness, fear, sensual prowess, and uncertainty in each of his subjects allows for a familiar raw and primal undertone…
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We talked for an entire hour delving into everything from the Arab Spring, Serbia, war, politics, elections, family, truth, hope, and touched on his assignments as a contributing Editor of Vanity Fair. It was an hour that opened my eyes, informed me, and awakened my political passions. We talked about Tim Hetherington, but above all the hour gave us all insight into why Sebastian is the journalist, writer, filmmaker, and man he is …
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Directed by Artist, Photographer, Producer, and Music Man, Mathieu Bitton, every shot is honest and gritty – no concealed perfections. Told in a fragmented voice that embraces the moments caught through the lens, the poetic narrative strung together by raw moments not only tell a story in a way that I find refreshing, Matthieu – an artist in his own right – propels us into a world both dynamic and real. He shows us the many sides of a man. A musical icon. A dreamer that captivates the gentle hum buzzing within us all – that need to find love in everything.
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A Taste of Dawn RADIO spends a…
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“A filmmakers’ journey is never dull or without challenge and that, well – that – restores my faith in the world of art. Film is that beautiful world that invites us in to one another’s lives, imaginations, and complex humanity. The cinema, the arts – they feed us all, individually, collectively, and purposefully. They strip down boundaries and beg us to have an open mind.” – Dawn Garcia. Screenwriter, Lover of Film.
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A Taste of Dawn RADIO Talks with…
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