The U.S. premiere of Matt Tyrnauer’s CITIZEN JANE: BATTLE FOR THE CITY will open the 2016 DOC NYC festival
DOC NYC
IFC Center, 323 Sixth Ave. at West Third St.
SVA Theatre, 333 West 23rd St. between Eighth & Ninth Aves.
Cinépolis Chelsea, 260 West Twenty-Third St. at Eighth Ave., 212-691-5519
November 10-17, $10-$30 (badges $75-$750)
www.docnyc.net
DOC NYC continues its rapid growth with a wide-ranging schedule for its seventh year, featuring more than two hundred film screenings, workshops, university showcases, panel discussions, master classes, Q&As, and more. The festival of nonfiction film runs November 10-17 at IFC Center, the SVA Theatre, and Cinépolis Chelsea, with tickets ranging from $10 to $30. (Badges are necessary to attend “Short List Day,” “Documentary & Journalism Day,” “Smart Producing Day,” “Pitch Perfect Day,” and “Show Me the Money Day” events.) Among the many highlights are documentaries about David Lynch, Jane Jacobs, John Coltrane, Fred Hersch, Ken Loach, Sharon Jones, Robert Mapplethorpe, L7, and Tony Conrad as well as such topics as gender identity, abortion, religion, human rights, the ivory trade, African American journalism, disabilities, guns, food, and O.J. The impressive list of directors includes Werner Herzog, Barbara Kopple, Stanley Nelson, Katy Grannan, Raoul Peck, Ava DuVernay, Kirk Simon, and Kirsten Johnson. Below is a look at three festival films that have previously played in New York City and have been reviewed on twi-ny. Keep watching for more reviews as the festival approaches and gets under way.
NFL hero Steve Gleason takes a new look at life after being diagnosed with ALS
GLEASON (Clay Tweel, 2016)
Thursday, November 10, Cinépolis Chelsea, 6:00
Thursday, November 17, Cinépolis Chelsea, 11:45
gleasonmovie.com
“It’s not gonna be easy but it’s gonna be awesome,” Steve Gleason promises his unborn child in the extraordinary documentary Gleason, a heartbreaking yet uplifting tale about dedication, family, and never giving up. On September 26, 2006, scrappy New Orleans safety and special teams stalwart Gleason became an all-time inspirational Saints hero when, on Monday Night Football, he blocked Atlanta Falcon Michael Koenen’s punt less than a minute and a half into the Saints’ first home game in the Superdome following the devastation wrought by Hurricane Katrina the previous summer. The play, which resulted in a touchdown when the ball was recovered by Curtis DeLoatch in the end zone, has been memorialized with a statue titled “Rebirth” in front of the stadium. But Gleason became a different kind of hero five years later when the undrafted free agent was diagnosed with amyotrophic lateral sclerosis (ALS), better known as Lou Gehrig’s disease, a generally fatal neuromuscular disease. Right after that, the Washington State native, who at the age of thirty-four was given three to five years to live, found out that his wife, artist and free spirit Michel Varisco, was pregnant with their first child, a boy. Determined to pass on as much of a legacy as he could to his unborn baby, Gleason began a vlog, a series of deeply personal five-minute videos in which he spoke openly and honestly about how they would never have the traditional father-son relationship but he wanted the boy to know that he was loved and cherished. But that is only the beginning of an incredible story that is poignantly told in Gleason.
Directed and edited by Clay Tweel (Make Believe, Print the Legend), the film features powerful clips from Gleason’s video journal; intimate footage shot by Ty Minton-Small and David Lee, who lived with Gleason, Varisco, and their son, Rivers, for two years; and interviews with family members and friends as Gleason’s physical conditions worsens but his heart and will grow stronger. “People will say, ‘Oh, it’s such a sad, tragic story,’ Gleason explains in the film. “It is sad, and so they’re right, but it’s not all sad. I think there is more in my future than in my past.” Gleason, with Michel’s father, Paul Varisco, form Team Gleason, a grass-roots nonprofit organization dedicated to helping people with ALS have a better quality of life, taking them on adventure vacations and giving them access to cutting-edge technology that increases their ability to communicate as the disease destroys their speech and movement. Among Steve’s famous friends and supporters are Saints quarterback Drew Brees and his wife, Brittany, and Pearl Jam guitarist Mike McCready and singer Eddie Vedder. Steve and Michel hold nothing back, sharing their deepest fears and insecurities while his condition deteriorates. As he tries to get the most out of his limited time with Rivers, Gleason also reexamines his troubled relationship with his father, Mike, a born-again Christian who is often at odds with his son. The real superstar of the film, however, is the brave and courageous Michel, who devotes her life to her husband and son despite increasing difficulties. In a statement about the film, Michel said, “I hope people who need a good laugh or a heavy cry can get that from this film. I hope people who need to be reminded to love their kids or their friends can get that from this movie. I hope people with ALS who want to use this film to show others what their lives really are like can get that from this movie. I hope people who have strained relationships with their parents will want to work on those relationships after they watch this movie. I hope people who have wanted to do something great in life will go ahead and do it after seeing this movie. People have told me that they have gotten all of these things from watching Gleason. And I think that’s pretty awesome.” Gleason, which is not always easy to watch, achieves all that and more, and indeed, that’s pretty awesome. The Sundance hit will be at DOC NYC on November 10 and 17, with Tweel and Michel Varisco participating in a Q&A after the first screening. Tweel will also take part in the panel discussion “Short List Day: Character Studies” on November 11 at 12 noon.
The colorful Anthony Weiner marches in the Gay Pride Parade as he runs for mayor in 2013, a bright future potentially ahead of him
WEINER (Josh Kriegman & Elyse Steinberg, 2016)
Monday, November 14, Cinépolis Chelsea, 3:45
Tuesday, November 15, Cinépolis Chelsea, 9:45
www.ifcfilms.com
Near the end of Weiner, one of the most revealing and entertaining documentaries about a political figure you’re ever likely to see, one of the directors, Josh Kriegman, asks subject extraordinaire Anthony Weiner, “Why have you let me film this?” It’s a great question, and one that can be inquired of Weiner’s wife as well, Huma Abedin, who stands alongside her scandal-ridden husband nearly every step of the way. (Of course, the film was made prior to the most recent scandal, which led to the dissolution of their marriage.) In May 2011, during his seventh term as a fierce, fiery congressman representing parts of Brooklyn and Queens, Weiner was forced to resign in disgrace after it was discovered that he had sent lewd pictures of himself to several women over a public social media account while lying about it as well. Just two years later, the Brooklyn-born Weiner decided to get back in the game, running for mayor of New York City. Kriegman, who was a senior aide to Weiner in 2004-5 and his New York chief of staff in 2005-6, thought the comeback campaign would make a fascinating story, and Weiner agreed, giving him virtually unlimited access to his family and staffers. Initially, everything is going better than expected: Weiner is leading in the polls and getting his message across. But then the sexting scandal rises up again, and it all starts falling apart. Weiner tries hard to fight the good fight, concentrating on communicating his political platform, but the media only wants to ask him and his brave wife about the sexting, even when it is clear that the people of New York City prefer to talk about the issues. “I guess the punch line is true about me. I did the things . . . but I did a lot of other things too,” Weiner acknowledges. Of course, maybe Weiner never really had a fair chance. The movie begins with a telling quote from Marshall McLuhan: “The name of a man is a numbing blow from which he never recovers.”
Yet another texting scandal forces Anthony Weiner to reconsider his options under media scrutiny
PBS and MTV veterans Kriegman and codirector Elyse Steinberg amassed more than four hundred hours of footage for their feature debut, and very rarely does Weiner or Abedin shut them out, even when things appear to hit rock bottom. Kriegman focuses his camera on Weiner, who doesn’t flinch as he considers all his options and, all too often, takes the wrong path, whether it’s getting angry with a patron in a Jewish deli or arguing with Lawrence O’Donnell on a videolink interview. Weiner continually performs self-defeating acts that Abedin, a longtime Hillary Clinton supporter who is now vice chairwoman of the presumptive Democratic presidential nominee’s campaign, gracefully and painfully points out to him, but she sticks with her husband and his campaign to the bitter end. Kriegman and Steinberg show Weiner hanging out at home, walking around barefoot, and playing with son Jordan, who was born in December 2011. But it’s truly heartbreaking when the directors zero in on Abedin’s forlorn face as the scandal grows and grows and the media has a field day with it. Weiner is seamlessly edited by Eli Despres (Blackfish, Red Army), who keeps the tension high even when we know what is coming, as the narrative plays out like a unique kind of political thriller. It’s impossible to take your eyes off the screen, to stop watching Weiner and Abedin as they have to deal with his dirty laundry in public. In addition to allowing Kriegman and Steinberg to follow him everywhere, the usually charismatic Weiner is decidedly dour as he sits down for a candid wraparound interview with the filmmakers. “Shit. This is the worst. This is the worst. Doing a documentary on my scandal,” Weiner opines at one point, displaying a rare moment of genuine regret as opposed to his usual hubris. But the film, which makes no judgments — and which Weiner and Abedin have refused to see so far — is as much about the relationship between media and politics as it is about one specific politician who made some personal mistakes, and it does not bode well for our future. Will Weiner ever be able to stage another comeback? He’s a determined guy, almost to the point of obsession, with a deep desire to help the people of New York City and the country, but then there’s that name, and the photos he posted, and the strange faces that he makes, so a third chance might just be one too many. A most human drama that won the U.S. Grand Jury Documentary Prize at Sundance, the extraordinary Weiner will be shown at DOC NYC on November 14 and 15 at Cinépolis Chelsea. In addition, Kriegman and Steinberg will discuss the making of the film in the special programs “First Time Doc Maker Day: Morning Manifesto” on November 10 at 10:00 am and “Short List Day: Unfolding Stories” on November 11 at 10:30 am. By then we’ll know how much Abedin’s emails found on Weiner’s laptop impacted the 2016 presidential election.
Sharon Jones is nervous about returning to the stage after tough cancer battle in Barbara Kopple’s intimate, affecting documentary
MISS SHARON JONES! (Barbara Kopple, 2015)
Wednesday, November 16, Cinépolis Chelsea, 5:00
Thursday, November 17, Cinépolis Chelsea, 9:45
sharonjonesandthedapkings.com
“I feel my day is coming, it’s my time,” soul singer extraordinaire Sharon Jones is shown saying at the beginning of Barbara Kopple’s touching and intimate documentary, Miss Sharon Jones! But that was before the former wedding singer and Rikers Island corrections officer, who was born in 1958 in North Augusta, South Carolina, raised in Brooklyn, and later lived in Queens, was diagnosed in June 2013 with stage two pancreatic cancer. Jones, who has been called the female James Brown — she tells a story in the film about the time she met the Godfather of Soul — allows the Oscar-winning Kopple (Shut Up & Sing, Harlan County, USA) remarkable access as she cuts off her trademark locks and chooses a wig, undergoes painful chemotherapy, is cared for by her close friend and holistic nutritionist Megan Holken, and visits her old stomping grounds in Augusta, Georgia. Jones shares her thoughts about her future, feeling responsible for the financial well-being of her longtime band, the Dap-Kings. “First and foremost, we’re a family,” Daptone Records cofounder and saxophonist Neal Sugarman says. In fact, “family” is a word that pops up often in the film when people describe their relationship with Jones, who has never married and has no children. Among those who talk about Jones, her amazing talent, and her fight with cancer are her oncologist, Dr. James Leonardo; her manager, Alex Kadvan, who is with her every step of the way; her assistant manager Austen Holman, who tries not to break down on camera; Daptone Records cofounder and bassist Gabe Roth; guitarist Binky Griptite, who is up front about his financial troubles while the band is on hiatus; drummer Homer Steinweiss; and Dapettes Starr Duncan Lowe and Saundra Williams.
Sharon Jones, the female James Brown, takes the stage in Barbara Kopple’s MISS SHARON JONES!
Jones is a fiery dynamo onstage, pounding the floor in her bare feet, shaking her dreads wildly, a relentless performer in a compact package. (We’ve seen Miss Jones perform numerous times, including with Prince at Madison Square Garden, and Kopple does a masterful job capturing Jones’s infectious passion and energy.) She proves herself to be quite the character offstage as well, an unpredictable force who is at ease lighting up a cigar while fishing in a lake, not embarrassed to admit that her dream is to dance on Ellen with Ellen DeGeneres, and lifted by the power when delivering an awe-inspiring rendition of the Gospel standard “His Eye Is on the Sparrow” in a Queens church. Of course, the film is filled with lots of great music, all originals by Sharon Jones & the Dap-Kings, including “I Learned the Hard Way,” “Get Up and Get Out,” “Longer & Stronger,” “I’ll Still Be True,” and “100 Days, 100 Nights.” As the chemotherapy nears its conclusion, Jones, itching to return to the stage, wonders whether she’ll be strong enough to go back out on tour behind their latest record, the aptly titled Give the People What They Want.After seeing the film, Jones posted on social media, “I never thought I had a story, but Barbara Kopple and her team captured a beautiful one during the most difficult months of my life. They were able to make the difficulty in what I went through mean a lot. You see a part of life I never would have looked at and it was moving for me to be able to see all the people it affected.” Miss Sharon Jones! is indeed a moving, deeply affecting film. It is playing at DOC NYC on November 16 and 17, with Kopple and coproducer David Cassidy participating in Q&As after the screenings. Kopple will also take part in the panel discussion “Short List Day: Character Studies” on November 11 at 12 noon.
In his 1964 book, Understanding Media: The Extensions of Man, Marshall McLuhan declared, “In a culture like ours, long accustomed to splitting and dividing all things as a means of control, it is sometimes a bit of a shock to be reminded that, in operational and practical fact, the medium is the message. This is merely to say that the personal and social consequences of any medium — that is, of any extension of ourselves — result from the new scale that is introduced into our affairs by each extension of ourselves, or by any new technology.” Screen Slate and Anthology Film Archives have teamed up on a series that shows that concept at work in a very specific way. Continuing through November 13, “Screen Slate Presents: The Medium Is the Massacre” consists of a dozen horror films and specially chosen shorts that ratchet up the fear factor using cutting-edge technology and new media. Based on the novel by Dean R. Koontz, Donald Cammell’s creepy, claustrophobic 1977 futuristic thriller Demon Seed offers a very different look at motherhood. The film stars a surprisingly game Julie Christie as Susan Harris, a frustrated housewife whose husband, Alex (Fritz Weaver), is the leader of a team that has built a master computer known as Proteus (voiced by Robert Vaughn). When Alex goes off for several months to further Proteus’s already impressive attributes, the supercomputer starts developing a mind of its own, locking Susan in the house and deciding she must give birth to its child.
Brazilian writer-director Anna Muylaert once again intricately explores the nature of class, identity, and family in her fifth feature film, the powerful and poignant Don’t Call Me Son. In last year’s award-winning The Second Mother, Muylaert told the story of a live-in housekeeper who was like a surrogate mother to the family she works for, but things change when her estranged teenage daughter comes to stay with her. In Don’t Call Me Son, a family is torn apart when it is discovered that the mother, Arcay (Dani Nefusi), actually stole her children, son Pierre (Naomi Nero) and daughter Jaqueline (Lais Dias), when they were babies, and the kids’ biological parents have been searching desperately for them ever since and have now found them. Pierre is a seventeen-year-old gender-bending bisexual musician who seems relatively comfortable in his own skin, at least for a seventeen-year-old gender-bending bisexual musician, until Arcay is arrested and imprisoned for kidnapping. She might not have been a model mother, but she was his mother, and he is devastated when he is suddenly forced to move in with his biological parents, Glória (also played by Nefusi) and Matheus (Matheus Nachtergaele), who are overjoyed to have him back but were expecting someone a little bit more traditional; however, Pierre’s new younger brother, Joca (Daniel Botelho), appears to be happy he now has such a cool, if tortured, sibling. Meanwhile, Jaqueline is taken away to live with her real parents. As Glória and Matheus persist in calling Pierre by the name they gave him at birth, Felipe, the teen acts out as he tries to figure out who he is and redefine his place in a world that has been turned upside down and inside out.
