“You’d Be Surprised How Happy People Are to Talk About the Best Times in Their Lives”: Elegance Bratton on His Sundance-Debuting Doc, Move Ya Body: The Birth of House

"A good party knows no fucking sexual orientation, no race, no socioeconomic background,” notes Vince Lawrence, the very first person to record a house song and the main protagonist in Elegance Bratton’s Sundance-debuting Move Ya Body: The Birth of House. That a global movement could be traced back to a rather nerdy Black youngster raised in the segregated world of Mayor Daley’s Chicago is just one surprising element in this lovingly crafted music history lesson. (Less surprising is the number of white folks who would also like to take credit.) But perhaps most remarkable is that through a combination of eye-catching archival imagery, dance floor beats, a wealth of interviews with the sound’s pioneering artists and DJs – and even reenactments – Bratton has managed to create a time capsule of an all-inclusive community, while keeping the party going loud and proud onscreen. The week before the doc’s January 26th (Premieres section) Sundance debut, Filmmaker caught up with the director-writer-producer-photographer, who was last on the festival circuit with his TIFF-premiering 2022 narrative feature The Inspection.

To read my interview visit Filmmaker magazine.

“Playing Three-Dimensional Chess”: Balancing Personal Lives and the Status Quo in Violet Du Feng’s ‘The Dating Game’

At the start of Violet Du Feng’s Sundance-debuting The Dating Game we learn that, due to the former one-child policy, China now has 30 million more men than women, an eye-catching number that presents dire implications for the country. But behind the cold facts are flesh and blood human beings — and potential clients for a dating coach named Hao. Hao trains lovelorn males in the techniques of “strategic deception”, such as makeovers, enhanced social media profiles, and cagey communication skills. It’s into this faux glamorous world that three rural wife-seekers step. Zhou, Li, and Wu are all shy but willing to try as they take part in Hao’s fast-paced, week-long dating boot camp. They begin to question what to wear, who to pursue — and most importantly, how far on the spectrum between truth and lies they’re willing to go to meet their match. While the doc is specific to China, it’s also universal in its critique of how capitalism, consumerism, and social media collide to create a generation that assumes everyone is faking who they are and therefore concludes that they too must “fake it to make it.” As the film progresses, we learn that Hao’s just a village boy who made it in the big city, and even managed to land the stylish Wen (herself a dating coach for women whose advice couldn’t be more at odds with that of her husband’s). In other words, what Hao is really selling is the eternal rags to riches story, the forever elusive Chinese dream. A week before the film’s World Cinema Documentary Competition premiered today, Documentary reached out to Feng, whose Peabody and Emmy-nominated Hidden Letters (2022) tackled gender stereotypes from the female side.

To read my interview visit Documentary magazine.

A Conversation With Poulomi Basu (Maya: The Birth of a Superhero)

Who knew knocking down taboos could be so much fun? With Maya: The Birth of a Superhero, a VR piece that exhibited in the Immersive Competition, first edition at Cannes, and is currently available on Meta Quest, the UK-based Indian neurodiverse artist Poulomi Basu, along with her collaborator CJ Clarke, have crafted a coming of age tale that playfully tackles a topic usually discussed behind closed doors (if at all): menstruation. Indeed, with the titular, South Asian teen as our guide, we’re taken to a threatening land (contemporary London) filled with emotional minefields, forced to navigate everything from bullying classmates to a conservative mom for whom shaming comes easier than any expressions of love. Fortunately, Maya’s got some kickass girl moves – able to hurl tampons with Herculean strength! – which allow her (and us) to ultimately overcome insidious patriarchal stigma, the greatest hurdle of all.

To read my interview visit Hammer to Nail.

“A Deep Dive Into My Trauma”: Shiori Ito on Black Box Diaries

Shiori Ito’s Black Box Diaries is a film the Japanese journalist should never have had to make. Based on her international bestseller, the Sundance-premiering doc is a dogged investigation into a rape perpetrated by another Japanese journalist, Noriyuki Yamaguchi, a longtime friend of the late former Prime Minister Shinzo Abe, whose biography the offender penned as well. It’s also a somewhat surreal journey, given that the brave survivor in the purposely stalled case is Ito herself. Through an engaging mix of secret recordings, vérité shooting and confessional video, we’re invited along on an increasingly maddening odyssey through the shockingly antiquated Japanese judicial system; exposing a hidden world where, prior to production, rape laws hadn’t been changed for 110 years. As a result the minimum sentence for rape was shorter than for theft, and was provable not by a lack of consent but only by physical violence or threats. Add to this the chances of a female officer taking on your case being next to nil (since women make up less than 8% of the force), and the fact that you’ll likely have to re-traumatize yourself by reenacting the incident with a life-sized doll for the assigned policeman, and it’s easy to see why only four percent of violated women even bother to report the crime. That is, until an undaunted reporter suddenly decided to seek justice for herself and others by documenting everything, and calling BS on it all. Just prior to the October 25th theatrical release of Black Box Diaries, Filmmaker reached out to the gender-based human rights-focused writer and filmmaker, who in 2020 also made Time magazine’s list of 100 most influential people in the world.

To read my interview visit Filmmaker magazine.

'A Sisters’ Tale’ Review: An Iranian Woman Pursues the Musical Dreams Her Country Is Determined to Stifle in an Affecting Doc

Leila Amini’s “A Sisters’ Tale” centers on the filmmaker’s sister Nasreen, a Tehran housewife with a traditional husband, two young kids, and one big unrealized dream to sing. It’s an unfulfilled desire she shares with many a fellow “sister” in Iran, all of whom have been banned from expressing themselves through public singing since the establishment of the Islamic Republic in 1979. And it’s a story Amini followed closely with her camera as a not neutral observer for seven years, forever rooting for Nasreen to pursue her passion while simultaneously fearing the consequences if she in fact succeeds.

To read the rest of my Toronto Film Festival review visit IndieWire.

The Feedback: Emily Packer’s Many Forms of Hybridity in ‘Holding Back the Tide’

In Holding Back the Tide, Emily Packer’s “docu-poetic meditation on New York’s oysters,” the humble bivalve becomes much more than the sum of its pearls. Indeed, the experimental filmmaker has inventively chosen to reimagine the once ubiquitous mollusk as a queer icon, and cast the gender-fluid creature alongside a host of other thought-provoking characters, both real and fictional. We’re introduced to folks like Moody “The Mothershucker” Harney (real), who’s bringing oysters back to the average diner through his cart, taking inspiration from Thomas Downing, the 19th-century Black Oyster King of New York. And Pippa Brashear of SCAPE Landscape Architecture, which is harnessing the oyster to protect Staten Island’s Tottenville neighborhood through its Living Breakwaters project. Even former WNBA star Sue Wicks has gotten in on the mollusk action, having retired to her Violet Cove Oyster Co. farm (where she knows each of her bivalves by name). Between scenes with these colorful individuals in their natural environment are staged encounters with Packer’s gender-unbounded collaborators, who pass along the cinematic baton through striking visuals and lyrical words. A woman emerges from a shell on a beach. Diners feasting on oysters discover a new identity. Social constructs like race and binary categorizations fall by the wayside, ultimately swept out to sea by the power of “we.” Or as the director themself optimistically puts it, “We took inspiration from the oyster, which thrives when connected and fails when isolated.” Before its theatrical debut, Documentary recently caught up with Packer to learn all about Holding Back the Tide, from its Hurricane Sandy origins to the intersectional queer production process.

To read my interview visit Documentary magazine.

“My Hope Is That the Film Itself Is An Impact Campaign”: Alex Hedison on Her Sundance Short Alok

“What lives outside of the frames of this camera and your own eyes?” is the question the poet/comedian/actor/public speaker Alok Vaid-Menon challenges the viewer to ponder at the very start of Alex Hedison’s Sundance-premiering short Alok. Currently on the Sundance Film Festival Short Film Tour, and premiering at IFC Center on June 14th (with both the nonbinary star and Hedison, who also happens to be married to her EP Jodie Foster, in attendance), the doc is based on footage Hedison shot during the performer’s recent international tour and is supplemented with highly stylized interviews with the spiritually enlightened artist and their equally deep-thinking friends (including Dylan Mulvaney, who poignantly self reflects that “replacing fear with fascination” is what has made her life worth living). Indeed, for Alok, eliminating the binary between “us” and “them” is more important than the blurring of he and she. (Alok likewise stresses that the most controversial pronoun they have is “we,” which requires acknowledging our interconnectedness.) Transphobia is just another form of pain, they firmly believe. And by the end, as in the beginning, we’re faced with another potentially revolutionary question: “What would it look like if our weapon was love?” To learn more about Alok and Alok, Filmmaker reached out to Hedison, likewise an internationally-acclaimed artist and actor (and fine art photographer whose work has graced galleries throughout Europe); along with producers Natalie Shirinian and her wife Elizabeth Baudouin (also credited as music supervisor), who together founded indie production company Not All Films.

To read my interview visit Filmmaker magazine.