Slamdance with Arielle: History of Love

It’s my pleasure to introduce Arielle, my wife and an eager new contributor who is covering the Slamdance Film Festival in Park City this year, along with a few Sundance selections.

Director Sonja Prosenc discusses the film
History of Love
Directed by Sonja Prosenc
Breakout Features

Portraying a narrative about love and loss, “History of Love” tells the story of a family mourning the death of their wife and mother. As they uncover secrets about the life she lived, they are forced to engage with their grief and the world around them in unusual and unexpected ways. Felt by the audience as a real and raw experience of grief, director Sonja Prosenc explained that she was actually grieving a family member who was dying during the filming process, making this story all the more real, painful, and necessary for her to share with the world.

The film employs vivid imagery and sound to convey the overwhelming, sometimes drowning, effects of grief on loved ones. The director intentionally uses water to illustrate fluidity of bereavement and the sadness that often overtakes life, though the film sometimes feels as if it was moving at a trickling pace. Nonetheless, as an aspiring chaplain, I feel this film does a tremendous job of capturing the vastly different ways in which individuals grieve, even within a single family. Age, relationship to the deceased, and anxiety about loss can all be tremendous influencers in one’s grief process, and I appreciate the fact that the characters do not try to alter how the others experience their loss. Through anger, sadness, despair, and reminiscing, each character is able to find some peace within the pain, learning and showing us how to live again after loss.

B

Slamdance with Arielle: Impetus

It’s my pleasure to introduce Arielle, my wife and an eager new contributor who is covering the Slamdance Film Festival in Park City this year, along with a few Sundance selections.

Director Jennifer Alleyn discusses the film
Impetus
Directed by Jennifer Alleyn
Narrative Features

“Impetus” tells the story of loss, grief, and continued life through varied stories of resilience. Though intended as a fictional film, director Jennifer Alleyn describes it as a hybrid film where “life just sort of burst into it.” She felt that this film was made up of many little miracles. “Everyone on board had hit a wall in their lives,” and was able to work through their despair or frustration by being part of this project. The original actor cast in the fictional movie became so busy throughout the process that it was impossible to complete the filming, so the director returned to the original idea of having a female protagonist, one who happened to be a good friend of hers, and found herself with a finished product unlike anything she could have imagined.

As a Jewish critic, I was intrigued by the two Jewish references made in the film – one shot of Hasidic Jews in a restaurant, and the other a mention of the actor playing a Jew in a film. Alleyn said that she is totally fascinated by the Jewish faith and culture, and the ways that its influence in New York can be omnipresent, but also inaccessible. In fact, the original script included a conversation between the protagonist and a rabbi on a Hasidic bus, but that scene never ended up being filmed.

From maintaining a level of distraction by keeping busy, to feeling completely serene, I really appreciated the ways in which this film honored the varied stories of human resilience and coping, and the day-to-day movement between them. However, by the end of the film, it seemed that those involved with creating the film gained more from their experiences than I had from watching it.

B-

Slamdance with Arielle: Behind the Bullet

It’s my pleasure to introduce Arielle, my wife and an eager new contributor who is covering the Slamdance Film Festival in Park City this year, along with a few Sundance selections.

Behind the Bullet
Directed by Heidi Yewman
Documentary Features

“Behind the Bullet” offers a new perspective in the conversation about shootings and gun violence, striving to look at the issue from the perspective of the shooter. When I first learned what the film was about, I was shocked, assuming its aim was to offer compassion and empathy for a mass shooting perpetrator. However, after watching the film, it became clear that the purpose of the film was to understand the impact that a shooting – whether accidental or intentional – has on the shooter, and how the incident affects their lives going forward; mass shootings were not even addressed.

The film follows Taylor, Will, Kevin, and Christen, who, aside from the fact that their lives were all drastically changed by pulling the trigger, had very few experiences that connected their lives or stories. Through discussions of protection, murder, suicide, and accident, this film allows the audience to open their minds and hearts to the experiences of other human beings and the tragic events they endure. The film’s director, ­­­­­­­­­­­­­­­­­­­Heidi Yewman, graduated from Columbine High School 13 years before the mass shooting there which claimed the life of her basketball coach. At his funeral, “something snapped” and she knew she had to get involved in the fight for gun control. After writing a book about 19 people who were affected by gun violence, she felt like she and others needed to get out of this discourse pattern and away from the political allegiances on the issue. She wanted to bring something new to the conversation that had not been explored in great detail – the perspective of the shooter. It took about three years to film, in large part because Yewman and her crew needed to establish trust with each of the victims in order to ensure they would not be portrayed as evildoers.

After seeing the film, I questioned whether the film could offer glorification for the shooters, the act, or the event’s aftermath, allowing audiences to see that people do move on from the trauma of firing a gun, though their lives may be forever changed. But Yewman’s response opened my eyes and my heart to a level of empathy I had not imagined I would feel for the shooters when she asserted that there are no support groups for these people. There are resources available to individuals who lose a loved one because of gun violence, but there are few, if any, resources allocated to helping the shooters survive after such a life-changing event, likely because the impression we have as a society is that their action was intentional and morally wrong, and we do not need to help them live through it. Or perhaps we do not even think about them; when we speak of survivors, we mean only the victims on the other side of the gun.

Still, I do feel uncomfortable with some of the ways in which the shooters have continued to live their lives. For example, the subjects did not discuss therapy, which I believe should be crucial in coping with their experiences. For some of them, despite the trauma of the shooting, they continue to handle guns and engage in risky behavior. For Taylor in particular, I would have imagined that his parents would have forbidden him from playing with guns or fireworks after the incident he had as a child, and yet, his father expressed pride that he taught his son gun safety. I wonder if they agree with one of his friends that it would be God’s will if he were to get injured or killed, and if so, would faith be enough to carry them through another tragic loss?

The film is definitely a necessary part of the conversation on gun violence that we’re not talking about, and it’s worth seeing and opening our minds to the issue. Try to go in without judgment or bias, and be open to the experiences the film will share with you. It may or may not change your perspective, but it’s certainly worth opening the conversation.

A

Slamdance with Arielle: Kifaru

It’s my pleasure to introduce Arielle, my wife and an eager new contributor who is covering the Slamdance Film Festival in Park City this year, along with a few Sundance selections.

Director David Hambridge and producer Andrew Harrison Brown discuss the film

Kifaru
Directed by David Hambridge
Documentary Features

I walked into Kifaru assuming it was going to be a straightforward documentary about Northern White Rhinoceroses. What I did not expect was that the film would document the lives of the rhinos’ caregivers as much as it would the animals themselves. I did not expect that I would be able to witness the moment of extinction for an entire species. I did not expect to feel attached to people halfway around the world because they care for animals in much the same way I do for humans at the end of life. But Kifaru gave me all of this and more.

Kifaru told the story of the Northern White Rhino, not from the finger-wagging perspective to shame us for what we, as human beings, have done to the species, but from the perspective of the men who care for them, who feed, bathe, socialize, and offer companionship to these massive, regal animals. The men sacrifice ten months with their families to be care for these rhinos in good and bad, understanding the value of their work and the extent to which foreign tourism enables them to feed their families. Despite not being able to communicate in ways we might understand, the animals valued and understood their relationships with their human caregivers, playing, cuddling, and respecting them in all the right ways. Tight shots of the men’s hands and faces allowed us to peer into their deep-seated worries and concerns for the animals they cared so much about, and although I could not fully understand the level of connection that could exist between a while animal and its human caregiver, the intense moments of death demonstrate in entirely authentic and vulnerable ways how cherished and mutual the love was between them.

The filmmakers were revolutionary in their ability to capture the actual moment of extinction of a special on camera. Although the science is still in process for resurrecting the Northern White Rhinoceros species through cloning or in-vitro fertilization, this film is sure to help the memory and beauty of the last original Northern White Rhinoceroses live on forever.

A-

Slamdance with Arielle: High Flying Bird

It’s my pleasure to introduce Arielle, my wife and an eager new contributor who is covering the Slamdance Film Festival in Park City this year, along with a few Sundance selections.

Cast and crew of the film at Slamdance, photo credit Lauren Desberg

High Flying Bird
Directed by Steven Soderbergh
Special Screenings

Slamdance’s premiere of High Flying Bird seemed extraordinarily popular, with attendees even sitting on the floor to be part of the action. Part of the appeal I think came from the chance to listen to Steven Soderbergh share his thoughts on past successes and failures, his passion for making films using an iPhone 8, and his desire to help other filmmakers succeed. He claims he helps people out of a selfish desire to be around talent, but he asserts that “people who are truly talented don’t really need a lot of help.... Sometimes all they need is help getting into the room,” a nudge he is always happy to provide. While I had only seen a handful of the films he’s produced (“Pleasantville” and “Rumor Has It”) and directed (“Erin Brockovich” and “Traffic”), it was clear to see from his in-person demeanor why he is so adored - he emanated humility, warmth, and an eagerness to help others.

The film itself was interesting. André Holland plays a sports agent who, when faced with a months-long lockout, finds himself negotiating and manipulating the agency he works for, the Player’s Association, and one particular rookie he represents. Despite some of their decisions, I found all of the characters to be quite likeable, which I’m not sure I would have expected given the premise of the film.

All in all, I thought the film was enjoyable, though I think it resonated and stayed with me about as much as “Moneyball” did in 2011 – I don’t remember any of the details, but I have a slightly better understanding of a sports concept I didn’t understand at all before. Without being familiar with the nuances of sports management, I was not only able to follow the storyline, but found it engaging and captivating. My only moment of confusion came at the very end of the film, which, don’t worry, I won’t spoil for you! I wasn’t sure exactly what had happened to get us to that point, but I did understand the end result and sometimes maybe that’s enough!

B

Slamdance with Arielle: Hurry Slowly

It’s my pleasure to introduce Arielle, my wife and an eager new contributor who is covering the Slamdance Film Festival in Park City this year, along with a few Sundance selections.

Cinematographer Jeremy Stewart and director Anders Emblem discuss the film

Hurry Slowly
Directed by Anders Emblem
Narrative Features

"Hurry Slowly" is a beautiful expression of the trials, tribulations, and joys that go into caring for a loved one. Fiona (Amalie Ibsen Jensen) has cared for her younger brother, Tom (David Jakobsen), who demonstrates developmental disabilities, since their grandparents passed away, balancing work and her love for songwriting. Tom respects and loves his sister, helping her around the house and following her every direction, turning their sibling relationship into one that resembles a parent and child. Though Fiona does not seem to begrudge her brother or her circumstances, she inquires about extending Tom’s care at the group home, wondering if that might be better for him, and for her. Through Fiona’s vivid expressions, the audience is able to tangibly feel the dilemma she faces within and is intrigued to be on the journey of her decision alongside her.

When asked what sparked his desire to create a film of this nature, Anders Emblem, the film’s director, screenwriter, co-producer, and editor, remarked that he wrote from a place of personal connection and love as he has been a social worker for years. Using slow cinema – a technique which involves reduced camera movement, holding the edit longer, and not necessarily following a story in a shot – Emblem and his cinematographer, Jeremy Stewart, are able to offer painting-like views of scenery and moments. While stunning, I found myself wondering how many of the film’s 68 minutes could have been shaved off by shortening those lengthy shots, but I think it did help to slow the story and agonizing decision-making process down. Being from Norway, Emblem is in communication with Norwegian distributors, though he seemed open to distributing the film himself – possibly for free online – because “since it cost nothing, [he has] nothing to lose.” While he tried to convey a message of personal freedom, Emblem intentionally designed the film to be open to interpretation so that audiences can find their own meanings to take away from it.

B

Slamdance with Arielle: Ski Bum

It’s my pleasure to introduce Arielle, my wife and an eager new contributor who is covering the Slamdance Film Festival in Park City this year, along with a few Sundance selections.

Cast and crew of the film at Slamdance

Ski Bum: The Warren Miller Story
Directed by Patrick Creadon
Breakout Features

I’m not a “sports person,” even less so a “ski person,” but this film intrigued me nonetheless, in part because I had a feeling that its placement as Slamdance’s opening night film meant it had to appeal to more than just sports fans. But even more than that, I was eager to see the film because I had the great fortune of speaking to the film’s director, Patrick Creadon, co-producer Jeff Conroy, and cast member John Egan on a press line before the film and found them to be incredibly kind, warm, and excited for others to hear about the incredible man Warren Miller was and the legacy he left behind.

And what a legacy he left! It was quite fitting that this film’s world premiere was in Park City at Slamdance as it tells the story of Warren Miller, a skier and filmmaker who changed the face of extreme sports and brought adventure into the lives and homes of people everywhere. Warren was an outdoorsman through and through, sacrificing his comfort and ease in order to capture the perfect moment on camera. He felt that audiences perceived his life as just that – perfect – while it was anything but. “He inspired me to go places because I watched a film. But what was more interesting to me was the idea that there was this whole other complicated guy behind the persona he was portraying,” remarked Conroy. “His honesty surprised me, his willingness to tell the whole truth. In fact, he sits down and I’m like, ‘I gotta tell the bad things too,’ and he’s like, ‘It wouldn’t be a good story without it.’” Warren persisted in the face of every obstacle he encountered, choosing to see the best in others and to pursue his dreams, whatever it took. “Warren was one of America’s original independent filmmakers and independent film distributors, and I don’t think he gets enough credit for that,” Creadon said. “He was doing that since 1950, long before the independent film movement happened in Hollywood….We wanted to really give him the credit that he deserves for paving the way for so many filmmakers, not just skiers.” Warren committed himself to sharing his love of skiing with anyone who would listen, though this film eloquently and artistically demonstrates that he gave the world and all those who knew him so much more.

Creadon noted, “Warren was the pied piper, not only of skiing, but of adventure, and he really saw value in getting out and pushing your own limits and exploring the world and exploring mother nature and spending time with your family and friends.” You may not care much about sports or filmmaking, but I can assure you that by the end of “Ski Bum: The Warren Miller Story,” you’ll wish you had grown up watching his movies. And if you were one of the lucky ones who did, share those videos with your loved ones. Either way, do yourself a favor and watch this film; let Warren Miller change your life, through the stories he was famous for telling and the stories his loved ones shared about him. After all, as Warren would say, “If you don't do it this year, you'll just be one year older when you do.”

B+

Slamdance Special: Pick of the Litter

I'm delighted to invite a guest reviewer, my wife, Arielle Friedtanzer, who got the chance to cover a film of particular interest to her at the Slamdance Film Festival.

Pick of the Litter
Directed by Dana Nachman and Don Hardy
Slamdance Special Screening

The dogs and humans featured on camera and behind it
When Movies With Abe gave me the opportunity to see this film, I jumped at the chance! A film about training guide dogs? I’d be crazy to say no! What I did not realize at the time was that in addition to having my first stab at attending a film festival as press, doing my first behind-the-scenes interview, and attending my first red carpet premiere, the film that I was getting to do all this for was not only beautifully made and poignantly crafted, but has the potential to make a difference in our world. Many films are created just for the sake of entertainment or pleasure, but this one captures the attention and the hearts of all who have the pleasure of seeing it, and is sure to leave audiences with a new perspective on the vision impaired community and their canine companions.

Arielle and Poppet, one of the stars of the film
Spotlighted as the opening night film for Slamdance, a film festival that rose from the ashes of Sundance rejections to become a “showcase for raw and innovative filmmaking - by filmmakers, for filmmakers,” “Pick of the Litter” was certainly a good pick as a touching, informative, entertaining crowd-pleaser. Watching it in a packed house (literally, I was sitting on the floor!), I realized that we were all aboard a roller coaster of emotions: suspense, excitement, joy, and even sadness. And at the end of the movie, I knew my life was better for having seen it - so much so that I saw it twice in one day! While several parts of the film tugged at the audience’s heartstrings and others were laugh-out-loud hilarious, everyone was engaged throughout the film, a true tribute to the brilliant cinematography, editing, score (by Helen Jane Long, a personal favorite of mine), and direction that went into it. And getting to watch five puppies grow up and embark on their individual journeys is an opportunity I don’t think I’ll ever have in my life, so I am grateful to have felt like I lived it from my seat.

The finale of the Puppy Parade on Main St. in Park City
And yet, I will likely never know what it feels like to be on this journey, to raise a puppy with the intended purpose of it becoming a guide dog, knowing all the while I will need to give it back despite how attached I become to it; or to imagine the trust that is involved in relying on a well-trained dog to be my eyes in the everyday world. This film gives audiences a glimpse into the world of the visually impaired, the vulnerability and dependence experienced by individuals who are expected to function fully in a world that is insensitive and ignorant to many of their needs. The dangers posed by vision impairment are all around us, and the presence of a guide dog in the life of a blind person offers them independence, dignity, and comfort in knowing they are cared for and protected. These four-legged friends become an extension of their owners, and it is through the meticulous and thoughtful training they undergo - from the moment they’re born through graduation - that allows them to offer the gift of sight, in addition to the love and companionship typical of pets.

Co-directors Don Hardy, Jr. and Dana Nachman
And speaking of friends, it took just moments sitting with co-directors, Dana Nachman and Don Hardy, Jr., each of whom worked in several other capacities on the film, to feel completely at-home. They immediately made me feel comfortable and welcome as they shared the inspiration behind the film, the impact they hoped it would have on audiences, and the insight they intended to bring to those within the guide dog community. This 81-minute sure crowd-pleaser, whittled down from around 300 hours of footage from 120 days of shooting, was intended for documentary and dog lovers alike, people with disabilities to families with children, and everyone in between. “I want people to not just think of it as a cute dog movie,” Nachman said. “I think there’s a lot of heft to it; it’s a people movie as much as it’s a dog movie.” Nachman and Hardy, Jr. hoped that their creation would be eye-opening for those involved in raising guide dogs, offering them a glimpse into the parts of the training they were not involved with, and Rebecca, one of the film’s veteran puppy raisers (raising eight guide dogs over the last decade) confirmed they had succeeded when, during the Q and A, she expressed her gratitude for getting to see how the puppies she raises are trained to become outstanding guide dogs. Nachman and Hardy, Jr. also wanted to educate sighted individuals of all ages, as they believe many of us could benefit from learning about vision impairment, but their passion and investment in sharing the gift of this film did not stop at the screen. These thoughtful and inclusive directors also premiered the film with the use of ActiVew, a software that allows vision impaired individuals to experience a film through audio descriptions of what is on screen.

Q and A with the amazing onscreen team
And yet, their thoughtfulness didn’t stop there! As executive producer Ian Reinhard said during my red carpet interview with him, “It’s nice to work with nice people, and the Guide Dogs people are nice people.” Well, so are those running the ship of “Pick of the Litter,” including Reinhard himself, who invited this very lucky first-time film critic to celebrate with their team after the premiere! Truly, every single person working on this film could not have been kinder, and I think that shines through both in the subject matter of the film, and in their excitement to share it with the world and raise awareness about the blind community. “The canine human connection is really pretty profound,” Nachman said, and this film really helps to bring that relationship to the foreground. (It doesn't hurt that all of their publicity materials include five very adorable dogs.) Hardy, Jr. agrees, ”“The cute dogs are what get you through the door, but then you really learn how much it takes, how many people it takes, and the struggles involved in really becoming a guide dog so hopefully the next time you see one walking down the street, you realize that's an incredible animal there that can do just amazing work.”