DOK LEIPZIG 2020: NAKED TRUTHS – INTIMACY IN DOCUMENTARY FILM

If there’s one panel that really catalyzed my mind this virtual festival year it was DOK Leipzig’s “Naked Truths – Intimacy in Documentary Film” discussion. Expertly led by moderators Djamila Grandits (who seemed to be posing questions straight from my head) and Carolin Weidner, both members of the fest’s selections committee, the participants ranged from sex-on-film veterans to those who defined intimacy in completely clothed terms. There was longtime producer and Berlinale programmer Jürgen Brüning, founder of Pornfilmfestival Berlin, and his co-organizer and curator at the fest, Paulita Pappel, who is also the cofounder of Lustery. And Pia Hellenthal, director of 2019’s exquisite Searching Eva (which Brüning had selected to premiere at last year’s Berlinale). And rounding out the lineup was Julia Palmieri Mattison, whose short Play Me, I’m Yours was playing DOK Leipzig.

To read Part 2 of my panel coverage visit Hammer to Nail.

“Women of Blumhouse: Shaping Genre Storytelling at the Iconic House of Horror” at the 2020 SCAD Savannah Film Festival

Appropriately presented the day before Halloween, the SCAD Savannah Film Festival’s “Women of Blumhouse: Shaping Genre Storytelling at the Iconic House of Horror” provided an intriguing peek inside the multifaceted production house from a female POV. Moderated by Variety’s Deputy Awards and Features Editor Jenelle Riley, the three executives Zooming in included Blumhouse Television’s head of physical production, Lisa Niedenthal; Blumhouse Productions’ executive vice president of development for feature films, Bea Sequeira; and Blumhouse Productions’ head of casting, Terri Taylor.

To learn how these ladies are leading the way to a more inclusive scary movie future read my coverage at Filmmaker magazine.

DOK Leipzig 2020: Naked Truths – Intimacy in Documentary Film

DOK LEIPZIG: DOK Leipzig provided the informative panel discussion Naked Truths - Intimacy in Documentary Film. Safe to say that in all my years covering nonfiction fests around the globe, Naked Truths – Intimacy in Documentary Film is a panel title I’d never seen listed in any program. Until now. Presented at this year’s hybrid DOK Leipzig, this thrillingly enlightening (virtual) talk posed a lightning rod question rarely wrestled with: Namely, what is the place of sexually explicit imagery in the nonfiction, non-porn world? (And since we’re getting all philosophical, what is, in fact, intimacy itself?)

To hear all about the philosophical discussion visit Modern Times Review.

Wonder Women: Producers Zoom In at the 2020 SCAD Savannah Film Festival

Moderated by Megan Lombardo, a professor in the Savannah College of Art and Design’s Film & Television department, this year’s Wonder Women: Producers panel was an all-Zoom affair. And taking to the computer screen were six diverse (albeit all white) women with a variety of career stories to tell. There was Jayme Lemons, whose Dawn Porter-directed doc The Way I See It had played the virtual fest earlier in the day, and who runs Jaywalker Pictures (with another wonder woman Laura Dern). Also Julie Christeas, founder and CEO of Tandem Pictures, who most recently produced Lawrence Michael Levine’s Black Bear; and Libby Geist, Vice President and Executive Producer, ESPN Films and Original Content (and one of the forces behind Jason Hehir’s epic Michael Jordan/Chicago Bulls series The Last Dance). Geist was also behind Bao Nguyen’s Bruce Lee doc Be Water, from British producer Julia Nottingham, who likewise participated on the panel. As did Nottingham’s countrywoman Alison Owen, perhaps the most veteran of the producers, and whose long list of credits includes everything from 1998’s Cate Blanchett vehicle Elizabeth to last year’s coming-of-age-in-the-90s comedy How to Build a Girl. And rounding out the lineup was Cate Blanchett’s American business partner Coco Francini, their Dirty Films having most recently produced Mrs. America for FX Networks.

To read all of my coverage visit Filmmaker magazine.

Wonder Women: Below the Line at the 2020 SCAD Savannah Film Festival

While laudable causes to achieve gender parity in the film industry have been all the rage for a number of years (remember the mad rush of fests signing on to – and then publicizing their signing on to – the 5050×2020 pledge?), too often the result seems to be simply seating a woman in the director’s chair and forgetting about the rest of the table. Which is why the SCAD Savannah Film Festival’s Wonder Women: Below the Line panel (which, like everything else these days, took place via Zoom at the all-digital fest) struck me as so important. How could aspiring craftswomen see themselves pursuing crucial, behind-the-scenes roles in the industry if they rarely ever saw (or heard) from the women already succeeding in those roles?

To find out read my coverage at Filmmaker magazine.

“A Vindication of the Primal Nature of Creativity, Spontaneity, and the Uniqueness of Each Human Being”: Gustavo Sánchez on I Hate New York

For those of us who spent most post-midnight hours of the Giuliani years on the smoke-choked dance floors of places like Limelight and The Pyramid Club, I Hate New York, the debut feature of Barcelona-born journalist Gustavo Sánchez, is a walk down an age of innocence memory lane. A pre-9/11 time when nightclub royalty such as Amanda Lepore and Sophia Lamar were as ubiquitous as the flyers in the St. Mark’s record stores that showcased their names.

For those not steeped in trans-fabulous NYC lore, the aforementioned Lepore is best known as the longtime (Jessica Rabbit-esque) muse of David LaChapelle, while (Lepore’s former friend) Lamar is a no-nonsense refugee from Castro’s Cuba who began her reinvention as an avant-garde artist during NYC’s punk heyday. For over a decade (2007-2017), Sánchez tagged along with each on their various East Village excursions, as well as followed trans and AIDS activist Chloe Dzubilo, lead singer of the pioneering punk band Transisters, and activist/DJ/rapper T De Long. The resulting film, a clear-eyed downtown history lesson, is distilled from hundreds of hours of interviews, fly-on-the-wall observations, and VHS-style footage. From contemporary Tompkins Square Park to flash-from-the-past SqueezeBox, I Hate New York is also, thankfully, more nostalgia-free love letter than cinematic poison pen.

On the day of the film’s September 1st digital release, Filmmaker caught up with Sánchez, who in grade school became the youngest radio host in Spain, to find out why and how he decided to document the dogged survivors of a long corporate-coopted underground scene.

To read my interview visit Filmmaker magazine.

In Opposition to “A Very Particular Mode of Transness”: Isabel Sandoval On Lingua Franca

The struggles of outer borough working class folks is nothing new to NYC-set dramas. But, in the outsider eyes and busy hands of director/writer/producer/editor/actress Isabel Sandoval, one of the newest auteurs of Filipino cinema — who makes her English-language debut in her adopted city with her third narrative feature Lingua Franca — classic tropes are updated to reflect our current intersectional reality.

The Venice International Film Festival 2019-premiering movie follows live-in caregiver Olivia (Sandoval), who, in the course of looking after an elderly Russian resident of Brighton Beach (Lynn Cohen), becomes romantically entwined with the woman’s ne’er-do-well grandson Alex (Eamon Farren), who labors under his uncle in a meatpacking plant while struggling to get his life back on track. The fact that Olivia is trans and undocumented while blending into her Brooklyn surroundings as cisgender female and assimilated makes the story all the more complicated — not to mention heartbreaking against a political backdrop in which pushing the marginalized back into the shadows and closet has become US government policy.

The day after the film’s August 26th Netflix release, Filmmaker caught up with Sandoval to learn about her project.

To read my interview visit Filmmaker magazine.

"There is No Expiration Date on Your Sexuality”: Josie Hess and Isabel Peppard on Their Fantasia Festival-Debuting Doc Morgana

The bored and lonely housewife embarking on a life of erotic pleasure has been a porn-movie trope since at least the days of the 8mm-stag film. But the Belle de Jour-style protagonist is never an unhappy Australian mom who goes from planning suicide, to radically reclaiming agency by hiring a male escort, to soaring to international fame as an award-winning feminist pornographer. Until now. Meet Morgana Muses, the unlikely star of Josie Hess and Isabel Peppard’s Fantasia Film Festival-premiering documentary Morgana.

Hess, a filmmaker and pornographer, and her co-director Peppard, who is also an animator and visual artist, began collaborating on what eventually became an unusual, feature-length character study in a likewise unconventional way — at Morgana’s 50th birthday party. As a gift to herself, the self-invented sex symbol had asked the duo to document the celebration — specifically her naked body suspended in Japanese rope bondage. And thus the idea of a film about an artistically defiant, middle-aged porn star was born.

Prior to the doc’s August 20th virtual fest debut, Filmmaker caught up with the Australian directors to learn all about following the Pornfilmfestival Berlin darling — whose fans include everyone from Petra Joy to Stoya, just two of the many erotic pioneers appearing onscreen to sing Morgana’s praises — on her journey from rural Victoria to urban Germany and back. And from the depths of misery to ageless body positivity.

To read my interview visit Filmmaker magazine.

“We Worked With as Many BIPOC Womxn Crew Members as Possible, Whenever Possible!”: Linda Goldstein Knowlton on We Are The Radical Monarchs

The Black Panther Party, with its firm commitment to nourishing and nurturing the children of Oakland’s barely served African-American community, was founded all the way back in 1966. So it’s a bit shocking that it took nearly half a century later for the Radical Monarchs to be born. Or maybe not. After all, historically, queer women of color — like the Monarchs’ tireless co-founders Anayvette Martinez and Marilyn Hollinquest — had never been given leading roles in the Black Panther show.


Fortunately, dedicated feminist and filmmaker Linda Goldstein Knowlton and her all-female team (including EP Grace Lee) are now shining a documentary spotlight on Oakland’s newest (youngest) activist movement: an alternative to the Girl Scout Brownies for girls of color that can go from toasting marshmallows to marching for Black trans lives in a single bound. Or as 8-year-old member Amia puts it at the start of the film, “Something about social justice that is fun is that we get to kind of make history — or “herstory” as we like to say it. And we get to be one tiny little part of it. ‘Cause we all know that a lot of tiny little parts can equal one big part.” (That said, by the time of the troop’s trip to the state capitol to lobby lawmakers at the end, it’s pretty clear these girls’ ambitions are far from tiny. Amia for one takes a spin on the marble floor and sighs, “I was meant to be here.” Out of the mouths of radical babes indeed.)

Filmed over three years, including both before and after the 2016 presidential election, We Are The Radical Monarchs follows not just the third-through-fifth graders as they earn their badges (in such subjects as “radical beauty,” “radical bodies,” and “radical roots”), but also goes behind the scenes with the scrappy cofounders who put their day-job skills in community advocacy and organizing to work. In other words, Hollinquest and Martinez have found a way to harness willpower in lieu of financing to expand BIPOC girl power into a nationwide revolution.

Prior to the doc’s July 20th airing on POV, Filmmaker reached out to the Emmy Award-nominated director to learn more about the inspiring project, including shooting with underage characters and ensuring diversity behind the lens.

To read my interview visit Filmmaker magazine.

“His First Question To Us Was, ‘What Are Your Astrological Signs?'”: Cristina Costantini, Kareem Tabsch and Alex Fumero on Mucho Mucho Amor

Premiering at Sundance back in the pre-pandemic festival days (uh, January) Mucho Mucho Amor is a much-needed uplift in these trying times. Co-directed and produced by Cristina Costantini (Science Fair) and Kareem Tabsch (The Last Resort), and produced by Alex Fumero (I Think You Should Leave with Tim Robinson), the doc, which hits Netflix today, is a fascinating odyssey into the beautifully eccentric world of Walter Mercado. Combining the fashion sense of Liberace with the relentless positivity of Tammy Faye Bakker, the Puerto Rican astrologer, psychic and defiantly nonbinary pioneer spent decades spreading his mantra of “mucho mucho amor” to an audience of millions — 120 to be exact — of Latinx viewers across the globe. (That would include Lin-Manuel Miranda, who touchingly transforms into a starstruck schoolkid upon being granted an audience with the icon.) Until one day the bundle of energy just up and vanished from the TV.

Exhaustively thorough, the film mixes archival images with contemporary interviews with Mercado’s relatives, friends and former business partners, and even the hiding-in-plain-sight Mercado himself. Yet the doc goes further than just stitching together the mystery of what happened to this once ubiquitous ambassador for happiness. Indeed, Mucho Mucho Amor even reaches out to make a convincing case for why this relic from another era, an octogenarian at the time of production, matters today. For Mercado’s adamant refusal to discuss his gender or sexuality — while making it clear through his in-your-face appearance that he would never be confined to category nor closet — put him way ahead of his time. (Historically, LGBTQ folks went directly from being shamed into secrecy, to being shamed if they didn’t come out. Of course, being expected to proudly announce one’s identity is a burden that straight cisgender people have never been asked to bear.) And this unconventional spirit, who at one point declares to the camera that every morning he wakes up is the first day of his life, had no interest in living life on others’ terms.

So to learn more about Mucho Mucho Amor and its uncompromising star (though Mercado notes, “I used to be a star and now I’m a constellation”) Filmmaker reached out to the trio that rediscovered the legend and so much more.

To read my interview visit Filmmaker magazine.

Doc Stars of the Month: Cheyenne Adriano and Mari Timans, 'Unsettled'

Taking Best Documentary Feature Film at last year's Outfest, Tom Shepard's Unsettled, an IDA Enterprise Documentary Fund grantee, adheres to every fraught definition of its title. Debuting on WORLD Channel on June 28 (and available for streaming on WorldChannel.org through July 12), the film follows four newly arrived LGBTQ refugees and asylum seekers — Subhi, a gay man from Syria; Junior, a gender-nonconforming gay man from the DRC; and Cheyenne and Mari, a lesbian couple from Angola. Over several years, Shepard's camera captures this diverse foursome as they all figure out how to navigate life on these increasingly hostile shores — and in the process learn the true price of American freedom.

So for this Pride "Doc Star of the Month," Documentary is honored to spotlight two brave LGBTQ asylum seekers, Cheyenne Adriano and Mari Timans, who traded horrific threats on their lives for a more mundane form of US insecurity.

To read my interview with the persevering duo visit Documentary magazine.

“We Prioritized Hiring Trans Crew, and When We Couldn’t do That We Mentored Trans People on Set”: Sam Feder on Disclosure

Disclosure, directed by Sam Feder (Kate Bornstein is a Queer & Pleasant Danger) and executive produced by Laverne Cox, debuts on Netflix today, June 19th. And in the wake of the whiplash from the Trump administration’s decision to erase healthcare protections for trans people, followed by the US Supreme Court’s momentous ruling protecting those same folks from workplace discrimination, it couldn’t have arrived at a better time. The doc is an exhaustive and entertaining look at how trans individuals have historically been depicted onscreen through surprising archival footage (Birth of a Nation and Bugs Bunny make appearances) and insightful interviews with a diverse array of activists and artists (everyone from the ACLU’s Chase Strangio, one of the attorneys on plaintiff Aimee Stephens’ winning team, to directors Lily Wachowski and Yance Ford).

During the start of this chaotic Pride Month, Feder took a few moments to fill Filmmaker in on the project, including working with an all-queer crew and celebrating the wide range of trans men and women and gender nonconforming trailblazers (who look nothing like the white and wealthy Caitlyn Jenner).

To read my interview visit Filmmaker magazine.

From Stonewall to George Floyd (and back again)

June 28, 1969 – July 3, 1969. Those were the dates of the Stonewall Uprising. The days – and I emphasize the plural – that changed US LGBTQ history forever. What we too often forget, with our current-day corporate-packaged Pride parades and complementary brand marketing, is the messiness of the rebellion. Like with the decades-long civil rights movement, a half century on we’ve sanitized the struggle. As the feel-good fairytale goes, “In the blink of one night a community of righteous gays stood together in kumbaya harmony to neutralize law enforcement with a single kick line.” And though the Uprising did indeed feature a kick line, it also featured violence. Lots of it. Several nights, in fact, of broken glass, raging fires, street fights and looting. The West Village as war zone.

To read more of my musings on the queer connection to our current moment visit Global Comment.

Five Docs to Stream at the Human Rights Watch Film Festival 2020 Virtual Edition

This year’s Human Rights Watch Film Festival, streaming nationwide from June 11-20, is chock-full of impressive cinematic gems that delve into a wide variety of important topics woefully underrepresented onscreen. Beginning with opening night’s Belly of the Beast, the latest from Emmy and Peabody Award-winning filmmaker Erika Cohn (The Judge), which shines a light on the involuntary sterilizations running rampant in our US federal prison system, the fest continues to express its commitment to strong films by and about women.

 

To read the rest of my streaming suggestions visit Filmmaker magazine.

“The Most Important Thing in an Image is the Feeling That What You’re Seeing is Completely True — Like an Accident….”: Bruno Santamaría on his Hot Docs Digital-Debuting Things We Dare Not Do

Executive produced by Charlotte Cook, and making its debut at this year’s (virtual) Hot Docs, Bruno Santamaría’s Things We Dare Not Do is a stunning look at the small Mexican town of Roblito through the eyes of its deeply impoverished, yet happy-go-lucky, youngsters. Serving as mother hen to the carefree kids, for whom random violence seems no more noteworthy than water delivery day or a taco snack, is 16-year-old Ñoño. Though the vivacious teen’s exploration of his own gender identity forms the basis of the film’s title, Things We Dare Not Do is no mere coming out saga. It’s a visually risk-taking, multilayered portrait of growing up and learning to live out loud.

Filmmaker took the opportunity to learn more about the project from its Mexican cinematographer-director prior to the film’s Hot Docs digital debut.

To read my interview visit Filmmaker magazine.

“We Read Adam’s Blog Every Day...So It Was Like a Daily Script”: Pia Hellenthal on Her Social Media-Themed Doc, Searching Eva

Having made my “Best Yet-to-be-Distributed Docs 2019” list, Pia Hellenthal’s Searching Eva, currently streaming on Mubi USA and with a virtual release upcoming on June 2nd through Syndicado, can now be shifted to the “best docs of 2020” category. My assessment of this “portrait of a restless, gender-ambiguous, philosophical millennial who documents her entire life — from fashion week to freelance sex work —  online” might not make the film seem like must-see viewing. But that’s precisely the point — and what makes Hellenthal’s talent all the more apparent. As an often cynical critic who couldn’t care less about a globetrotting poet with an Instagram account, I found myself absolutely riveted when I accidentally discovered the film at last year’s CPH:DOX. As I wrote at the time, “Between Hellenthal’s exquisitely composed shots and her titular protagonist’s surprising bon mots (Eva longs to “go to the beach or start a revolution — depends on what my friends are up to”),” this “addictively cinematic” doc is “also pure poetry in motion.”

Filmmaker took the opportunity to find out more about this unusual work of cinematic nonfiction from its Cologne and Berlin-based (and Teddy Award-nominated) director a few weeks prior to the doc’s digital debut.

To read my interview visit Filmmaker magazine.

Doc Star of the Month: Pat Henschel, 'A Secret Love'

When one thinks of a coming-out story these days, an LGBTQ teenager proudly declaring their identity on Instagram might immediately spring to mind. Which wasn't the case for the two women at the center of Chris Bolan's heartfelt doc A Secret Love, streaming on Netflix starting April 29. 

The film is a decades-spanning portrait of the director's great-aunt Terry Donahue, a member of the women's pro baseball league that inspired the 1992 film A League of Their Own, and Pat Henschel, the hockey player she fell in love with way back in 1947. Over six decades later, facing their mortality and the challenges of aging, the two make the difficult decision to let the entire family in on the fact that they've always been more than just roommates. Which launches the couple into an unfamiliar — though ultimately exhilarating — gay marriage-accepting world.

Though Terry Donahue died in March of 2019 at the age of 93, her nonagenarian wife Pat is still very much alive and speaking out about her life (and the love of her life). And most fortunately for Documentary, she was willing to be featured as April's Doc Star of the Month.

To read my interview visit Documentary magazine.

No exodus: Pray Away

SEXUALITY: Former survivors & leaders of the gay conversion therapy movement contend with its aftermath.

The road to hell is paved with good intentions. That aphorism could easily be the tagline for Kristine Stolakis’ debut feature Pray Away, which was selected for this year’s Tribeca Film Festival Documentary Competition. Stolakis, whose work is informed by an eclectic background in anthropology, journalism, politics, and community art, has crafted a fascinating character-centric study of a long-discredited movement that, nevertheless, continues to thrive. This in spite of its founders’ near-religiously zealous efforts to kill it off year after year.

To read my critique visit Modern Times Review.

Jennifer Lyon Bell and Stoya Talk “Blue Artichoke Films Presents: Adventures In Intimacy” (and Sex Positivity)

Taking place on Friday, February 28th in Amsterdam (or via a live stream near you), “Blue Artichoke Films Presents: Adventures In Intimacy” will be, according to the event’s press release, “a celebration of sex-positive, p*rn-positive, queer-friendly culture as explored by p*rn performers, scientists, and sex educators in their own work.” Organized by the feminist force behind Blue Artichoke Films (which will simultaneously celebrate its platform launch) Jennifer Lyon Bell, the evening’s quartet of speakers, including the host herself, are an international array of notable thinkers on the subject of erotica in cinema. The Netherlands Ellen Laan, a sexologist and “pleasure activist,” will be joined by performers Bishop Black (Berlin-based by way of the UK), and the US’s own high-profile Stoya.

Both award-winning filmmaker Bell (who was crafting “ethical porn” long before that was a thing) and prolific sex writer Stoya (“Philosophy, Pussycats & Porn”) found time to fill us in on what to expect.

To read my interview with the duo visit Filmmaker magazine.

The Whitewashing of Mayor Pete

Let me begin by stating the obvious. For the majority of his life, US presidential candidate Pete Buttigieg passed as a straight white male. This is how others viewed him, and thus treated him accordingly. So the notion that the South Bend, Indiana politician can possibly “relate” to, say, the African-American experience – or that of a drag queen for that matter – is ridiculous at best, insulting at worst. People are defined by the society in which they live, by how others see them, with rewards and punishments doled out accordingly. And Mayor Pete did not challenge – and indeed profited from – that fact.

To read all about why I can't come out for (former) Mayor Pete visit Global Comment.