Steven Wise fights to bring personhood to chimpanzees in UNLOCKING THE CAGE
UNLOCKING THE CAGE (Chris Hegedus & D. A. Pennebaker, 2016)
Film Forum
209 West Houston St.
Opens Wednesday, May 25
212-727-8110
www.unlockingthecagethefilm.com
filmforum.org
Award-winning husband-and-wife documentarians D. A. Pennebaker and Chris Hegedus have been collaborating for forty-five years, working on films about such subjects as Bill Clinton’s presidential campaign (The War Room), Carol Burnett (Moon over Broadway), soul music (Only the Strong Survive), pastry chefs (Kings of Pastry), and Elaine Stritch (Elaine Stritch at Liberty). For their latest film, Unlocking the Cage, they spent three years following animal rights lawyer Steven M. Wise, the president and founder of the Nonhuman Rights Project, as he sought to establish “personhood” for several chimpanzees in order to free them from their caged existence and move them to more acceptable animal sanctuaries. Wise and his team, Natalie Prosin and attorneys Elizabeth “Liddy” Stein and Monica Miller, scour the internet searching for chimpanzees to represent as well as sanctuaries where the animals can be released. (The Nonhuman Rights Project focuses on great apes, elephants, and such cetaceans as dolphins and whales because of their autonomy, intelligence, and emotional capacity.) The concept is fascinating, and the film hits its high points when Pennebaker and Hegedus show some of the chimpanzees interacting with humans in compelling ways, watching television or figuring something out on a computer. Unfortunately, far too much of Unlocking the Cage deals with often murky legal discussions and courtroom arguments that drag on and on.
While some people believe the animals must be freed, others think it’s a slippery slope and that the species are already protected by animal welfare laws. Also, although Wise certainly means well, he is so obsessed with finding clients (including Merlin, Kiko, Hercules, Leo, and Tommy) and changing their legal status via the writ of Habeas Corpus that he doesn’t necessarily fully consider the animals’ current situations and relationships with their owners, instead assuming that what he wants for the chimpanzees is the only option, which doesn’t always appear to be the case. Wise, who was inspired by Peter Singer’s 1975 book Animal Liberation: A New Ethics for Our Treatment of Animals, meets with primatologists, visits zoos and sanctuaries, gives talks and lectures, is interviewed by the media, and makes his stand in court, and while he raises some genuinely important questions, the answers are too often bogged down in legalese and repetition. A presentation of Pennebaker Hegedus Films, First Run Features, and HBO Documentary Films, Unlocking the Cage opens at Film Forum on May 25, with Hegedus, Pennebaker, and Wise on hand for Q&As following the 7:00 shows on May 25, 26, and 27 and the 4:40 show on May 28.
“All of my stakes are in my work. I have given up in all else. I do feel I am an artist, and one of the best. I do, deeply,” German artist Eva Hesse explains in Eva Hesse, the debut feature by Marcie Begleiter, which is being brought back by popular demand for two screenings per day from May 25 through June 9 at Film Forum, following runs there and at Cinema Village. Begleiter, who has previously written the play Meditations: Eva Hesse and directed the short film Eva Hesse, Walking the Edge, examines Hesse’s too-brief life and career, as she dealt with feelings of alienation and deep loss through her art. “The power of her purpose was more important than what was going on in her life,” fellow artist and friend Rosie Goldman points out. Born in Germany in 1936, Hesse was determined to be an artist from an early age, first turning to drawing and painting, then to sculpture. The film features narration taken from Hesse’s journals, interviews, and letters between her, her main confidant, Sol LeWitt, and her father, William; Eva is voiced by Selma Blair, LeWitt by Patrick Kennedy, and William by Bob Balaban. Begleiter speaks with such contemporaries of Hesse’s as Richard Serra, Carl Andre, Nancy Holt, Dan Graham, Mike Todd, Roberth Mangold, Sylvia Plimack Mangold, and Hesse’s husband, Tom Doyle, who seems a little too trite given how they eventually parted. She also meets with Whitney curator and Hesse scholar Elisabeth Sussman, photographer Barbara Brown, art writer Lucy Lippard, and Hesse’s sister, Helen Hesse Charash, who sheds light on her sibling’s difficult childhood. But at the center of it all is Hesse’s inspiring art, which challenged the status quo as Expressionism shifted into Minimalism. “I will paint against every rule,” Hesse wrote, and she took that approach with all of her creations, including sculptures made of latex, metal, fiberglass, wire, and other industrial materials. The film firmly sets Hesse within the framework of the tumultuous era in which she worked, the 1960s, a time of great social and artistic change, but she still comes off as a lonely woman who could express herself only through her art. It’s both a sad and exhilarating documentary, a paean to the critical role art can play in life.
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. 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.” 
Rebecca Miller channels her inner Woody Allen and Noah Baumbach with the bittersweet romantic comedy Maggie’s Plan, which made its U.S. premiere at the fifty-third New York Film Festival last September. Greta Gerwig is at her loopy best as Maggie, a thirtysomething college arts administrator who, after failing to maintain any relationship for more than six months, decides to become a single mother by impregnating herself with the sperm of an old classmate, Guy (Travis Fimmel), a Brooklyn hipster trying to become a pickle mogul. (He works for the real 