THE BUSINESS OF BEING BORN (2008) – Documentary Retroview

THE BUSINESS OF BEING BORN (2008) – Documentary Retroview

In The Business of Being Born, director Abby Epstein and producer Ricki Lake focus our attention on the issue of childbearing practices in the United States in much the same way Michael Moore highlighted the American health care system in Sicko. Both Epstein and Lake play dramatic roles in investigating the way in which the medical establishment deals with birthing and showing midwifery as a viable alternative for women who wish to avoid invasive procedures. This is a subject of interest and concern to us all–whether or not childbearing happens to be on our personal agenda.

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Women Make Movies initiates the #WontBeErased Screen In

Women Make Movies initiates the #WontBeErased Screen In

The Trump administration’s determination to define gender as a biological, immutable condition determined by genitalia at birth, would eradicate federal recognition and civil rights protections of approximately 1.4 million transgender Americans. In response and as a counter measure, Women Make Movies has initiated the #WontBeErased Screen In, an online streaming program of enlightening LGBTQ films, curated to honor and celelbrate our trans, intersex and gender non-conforming family, friends and colleagues. This collection, essential for fostering the work of diversity, inclusion and tolerance, is streaming for free for two weeks, beginning today.

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Documentaries on the 2018 Awards Circuit – Critics Choice Documentary Awards

Documentaries on the 2018 Awards Circuit – Critics Choice Documentary Awards

The official announcement of nonfiction nominees for the Third Annual Critics Choice Documentary Awards (CCDA) kicks off this year’s race for nonfic recognition, and what a race it is. Throughout the year, documentary production and distribution have soared, making 2018 the year of trending nonfiction.

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Preview: Margaret Mead Film Festival 2018

Preview: Margaret Mead Film Festival 2018

Honoring the legendary anthropologist Margaret Mead, this year’s festival focuses on the theme “Resilience in Motion, documenting stories that celebrate individuals who are breaking new ground or breaking free despite challenging circumstances and sparking provocative conversations­—whether they’re about battling voter suppression in Cumberland County, North Carolina, or Nigerian school girls kidnapped by Boko Haram struggling to regain normalcy after their release from captivity, or transgender women in Tonga creating safe spaces for self-expression.

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Review: I AM NOT A WITCH

Review:  I AM NOT A WITCH

Masterfully bewitching storytelling, a superb performances by first-time actor Maggie Mulubwa and a fine ensemble cast, exquisite cinematography that reveals nuanced emotions in close ups and captures broad sweeps of the arid landscape, and outstanding editing skills that balance satire and serious social commentary have brought <em>I Am Not A Witch</em> into contention for Oscar gold as the UK’s submission for best foreign film. Rungano Nyoni’s cinematic style is unique and fascinating. <em>I Am Not A Witch</em> is a must see. And, it warrants a second watch, as well.

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Fork Films Picks 16 Documentaries for Funding

Fork Films Picks 16 Documentaries for Funding

Abigail Disney’s Fork Films is dividng $625,000 in grants among 16 new documentaries that align with the company’s dedication to promoting peacebuilding, human rights, and social justice. All are directed and or produced by women. Selected from 500 applicants, the chosen films address topics ranging from refugee and immigration stories, to incarceration, civil rights, disability rights and media depictions of transgender people, as well as other timely topics. The unprecedented number of applications indicates growing demand for nonfiction storytelling in this turbulent time. Fork Films is committed to supporting voices not prioritized in mainstream media, and has given out nearly $5,000,000 in grant and investments to more than 100 documentaries to date.

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Documentary Distribution 101: The Film Festival Effect

Documentary Distribution 101: The Film Festival Effect

Developing audiences for documentaries can be a daunting task. Successful documentary distribution depends on audience demand, on convincing audiences that they want to purchase a ticket for a nonfiction film rather than for a narrative feature, even the weekly blockbuster with the title hat has been inked indelibly on their psyche by big budget, aggressive and effective marketing. How does film festival exposure help documentaries to gain audience, and does a documentary’s success on the festival circuit translate into wider distribution?

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PLAYER HATING: A LOVE STORY (2012) — Documentary Retroview

PLAYER HATING: A LOVE STORY (2012) — Documentary Retroview

In Player Hating: A Love Story, filmmaker Maggie Hadleigh-West follows Jasun Wardlaw, the talented hip hop recording artist known as Half-a-Mill, as he and his crew of ‘thugs’ prepare to release his first big record album. Half-a-Mill is hoping that the album will be the kind of success that will catapult him out of Brooklyn, New York’s crime-riddled Atlantic Housing Project, where he’s faced tough — no, make that dire — living conditions since his childhood. He’s deeply in need of some form of relief. And so are his family and friends. In fact, so is the whole neighborhood.

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DARK MONEY — Documentary Review

DARK MONEY — Documentary Review

Kimberly Reed’s well-researched and compelling documentary is an explosive expose about the tremendous threat the influence of concealed corporate funding of political campaigns poses to the democratic process and the legitimacy of our elections. Dark Money is a political thriller, a cautionary tale that shows how independent candidates for public office are targeted and defeated by special interest groups hiding behind nonprofit organizations that are funded by wealthy and influential individuals and/or corporations — the Koch brothers, for example — who are basically buying elections and gaining the control necessary to guide the making future laws and to determine policies of the United States regarding everything from land use to diplomacy and alliances with foreign nations.

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PRODIGAL SONS — Documentary Retroview

PRODIGAL SONS — Documentary Retroview

In Prodigal Sons, transgender filmmaker Kimberly Reed documents her return to the rural Montana town where she grew up — as Paul McKerrow, the local high school football star and the younger brother of Marc McKerrow, the emotionally disturbed adopted son of Paul’s birth parents. Kimberly, who’s had a sex change operation since she last saw her family and high school peers, is comfortable in her new identity, but faces the difficult dual challenge of revisiting high school cohorts and a sibling whose jealousies about her bloodline and high school popularity have often erupted into actual violence.

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