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An Inconvenient Sequel

About a third of the way into An Inconvenient Sequel: Truth to Power, something remarkable happens: Al Gore gets mad. The moment comes during a training session for climate activists, where Gore is passing on the knowledge in his persuasive and ever-evolving Keynote presentation describing the problem of global warming and proposing solutions. For a moment, the famously low-key vice president gets caught up while describing the efforts of the fossil fuel industry to sew doubt about the reality of what he calls the climate crisis. His voice coarsens into a shout, his eyes narrow, and he pumps his fist into the air. Then, he catches himself, stops, and takes a deep breath. The crowd of 300 or so progressives burst into applause and shouts. But Gore doesn’t take the bait and start ranting. Instead, he apologizes, quiets the crowd, and gets back down to business.

It’s a small moment that reveals much about Gore’s character. He kept his cool as the presidency was stolen from him, but he finally loses it when he allows himself to think about the sheer magnitude of the petty, greedy, self-serving, willfully ignorant jackholes who would risk the complete collapse of human civilization just to keep their companies’ stock prices up. If I were Al Gore, I would be frothing with rage all the time. And maybe, down deep, he is. But he’s too disciplined and too focused to let it slip out, and that’s why he’s the one with the Nobel Peace Prize.

When it premiered at Sundance in 2006, An Inconvenient Truth was the right movie at the right time. Climate change denier George W. Bush had won re-election, but his inept handling of Hurricane Katrina in late 2005 had caused the blinders to fall away for a large part of the electorate. The core of the film was just the same slideshow Gore had been polishing since he walked away from a two-decade-long political career in the wake of the 2000 election debacle. But the information was so well presented and so alarming, and Gore’s presence so comfortingly professorial, that the movie became the 10th highest grossing documentary of all time and earned two Academy Awards.

Al Gore (above) keeps his cool — even while he warns of a global meltdown.

For a time, An Inconvenient Truth seemed to turn the tide against climate denial. Much progress has been made over the ensuing decade. Gore spends a considerable amount of time in An Inconvenient Sequel talking about the advances in wind and solar power generation. The climax of the film follows Gore as he is part of the team of negotiators trying to close the deal in the 2016 Paris Climate Accords, where he helps negotiate a solar technology transfer to India.

But for a 2017 viewer, what was supposed to be the triumphal moment of the film — the signing of the Paris Climate Agreement by 196 countries — comes across as a harbinger of doom. We know the delicate progress was undercut by the election of Donald Trump, a dedicated climate change denier who promises to withdraw the United States from the agreement. In the words of The Big Lebowski, the plane has crashed into the mountain.

The consequences of continuing to burn fossil fuels are not left to the viewer’s imagination. The film’s most incredible footage — some of the most incredible footage in any film ever — comes from a helicopter pilot flying over Greenland during the hottest day ever recorded on the Arctic island. We see a glacier not so much collapsing as exploding. Thousand-foot spires of ancient ice collapse into clouds of steam. It’s like the buildings exploding in a city-destroying climax of an Avengers movie, only it’s real. Later, Gore is taken on a tour of Miami Beach by the city’s mayor. High tides now routinely flood the city. A city engineer tells Gore of a plan to raise an eroding roadbed by a foot. Gore tells him the sea is expected to rise by at least seven feet. It’s moments like that when you think maybe it would be a good idea if Gore got mad in public more often.

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Bobby “Blue” Bland Celebrated With Special Screening Of Unsung

The life of Memphis blues legend Bobby “Blue” Bland will be the subject of an episode of TVOne’s series Unsung.

Bobby ‘Blue’ Bland

Bland was one of a group of pioneering blues musicians known as the Beale Streeters, along with B. B. King and Johnny Ace, who were instrumental in bringing the Delta music to the world. He owned his own record company, Duke Records, and had a string of pop and R&B hits in the late 60s and early 70s, including “Cry Cry Cry”, “Turn On Your Love Light”, and “Stormy Monday Blues”. He is a member of the Blues, Rock and Roll, and Memphis Music Halls of Fame. In 2013, he died at his home in Germantown.

Unsung, a music documentary show produced by the African American themed television network TVOne, is devoting an episode to the life of Bland. Memphians will get a special screening of the episode at Studio On The Square on Wednesday, Dec. 7. The 7:30 PM screening will be proceeded by a reception at 6:30. Seating is limited, so those wishing to attend should RSVP to Pat Mitchell Whorley at pat@fanfarecr.com.

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Comic Book Documentary Who The Hell Is Alfred Medley? Holds Preview Fundraiser

Harry Koniditsiotis is most familiar to Memphians as a musician. He is the mastermind behind punk bands like Angel Sluts and Switchblade Kid, and the owner of Five and Dime Recording studio. Now, the pop culture officianado is expanding his creative streak into filmmaking.

Koniditsiotis has been working on a documentary about a mysterious figure in the world of comic book collecting. “In 1987 I bought a copy of the Avengers #1 for $62 from BSI Comics in New Orleans. I saw the name “Alfred Medley” stamped on the cover and asked grizzled, wheel-chaired store owner Carl Tupper “Who the Hell is Alfred Medley?” He grumbled/yelled “I don’t know…. Some guy!”

Medley had stamped his name on at least 900 valuable vintage comics, but no one seemed to have any idea who he was, so Koniditsiotis set out to track him down. In the process, he says he hopes to paint a portrait of the underworld of eccentric comic artists and collectors in the South. So far, his interviews have included the Hernandez Brothers, creators of the pioneering graphic novel Love and Rockets, Peter Bagge of Hate, and Kurt Amacker of Bloody October.

Tonight (Wednesday, Nov. 30), Koniditsiotis will host a preview party at 901 Comics to raise funds to finish the film. He will screen selections from the interviews and footage he has collected for the film. There will be a $5 suggested donation, and the party will include free beer and snacks, and a raffle prize. Festivities will continue from 7-10 PM.

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Danny Says Reveals Untold Story of the Punk Revolution

To a lot of America in the 1970s, it seemed like punk rock just appeared out of nowhere to challenge the content mediocrity of the status quo. But that’s not really how it happened. Punk did not spring forth fully formed like Athena from the head of Zeus. It was shaped and midwifed by a series of writers, hucksters, and hustlers, the most prominent of whom was a New York promoter named Danny Fields.

Fields is the subject of Danny Says, a new documentary directed by Brenden Toller, that will have a free screening at Studio on the Square on Tuesday, November 22 at 7:30 PM. The film explores the lasting impact the hype man had on American music, from his promotion of The Doors to his careful shaping of the rough public images of artists like Iggy Pop and The Ramones, whose song about Fields gives the film its name. Goner Records and Magnolia Pictures are sponsoring the screening, which, although it is free, does require a ticket to get in. Passes are available at Goner Records while supplies last.

Danny Says Reveals Untold Story of the Punk Revolution

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Indie Memphis Sunday: Documentary Lives Restarted Celebrates Memphis’ Holocaust Survivors

Waheed AlQawasmi says his own experience as an immigrant colored his documentary Lives Restarted “I was born and raised in Jordan, and I emigrated here when I was 13,” says the director. “That was one of my main impetus for the story. You see a lot of holocaust documentaries, but they never really talk about what happened after, which was as much of a struggle as it was during the war. I had a couple of survivors tell me it was a bigger struggle for them, because they came here, they didn’t speak the language, they had no friends, and they literally didn’t know where their next meal was coming from.”

Director Waheed AlQawasmi conducts an interview with Memphis holocaust survivors for Lives Restarted.

AlQawasami’s company, WA Films, is a successful commercial video production house, and he used his considerable skills to tell this remarkable story of triumph over ultimate tragedy. “The way this project came together is, the Jewish Community Partners wanted to do a 3-4 minute video celebrating the accomplishments of the Holocaust survivors in Memphis to present it in their Yom Ha’Shoah program this year, which is a day of remembrance about the Holocaust. They approached a gentleman named Jerry Erlich, an advertising executive in town. I work with him a lot, we do commercials together. I said I would love to do it, and we just kind of went from there. We convinced them to turn this into a mini documentary to educate kids in schools about immigrants and their success stories, to show these people’s struggle.”

Lives Restarted skillfully combines archival footage of World War II and its immediate aftermath with contemporary interviews of Memphis holocaust survivors and their children. Much of the historical holocaust material came from Steven Spielberg’s Shoah Foundation. “I spent two weeks calling every day until I could get someone on the line. They were very kind and sent us that footage over to use. Between me, Brian and Ryan, we cleaned it up and tweaked the color. The reason I went out of my way to try to find those shots, is because of the educational nature of the venues in which this is going to be exhibited. Kids these days, if you put black and white in front of them, they’re not going to watch it. They’re just going to be bored. If it’s cut like a talking head documentary, they’re going to tune out. So we tried to cut it like a modern movie. We showed it at St. Mary’s, and none of the kids were on their phone the entire time.”

Although it is a historical documentary, AlQawasmi says he and his subjects found it remarkably—and depressingly—timely. “This was my way of dealing with the Syrian refugee crisis. I volunteered my time for this movie, although we had a budget. We put all the money on camera. I wanted to show people that this is a part of history that most of know about, and here’s what happened with the people after, and their struggle. Some of the survivors I talked to are really shocked at the way our politics are going right now. We just went through this, guys. And now you’ve got someone saying, ‘Kick everyone out!’ Most Americans associate Jews in America as being welcome in America, but history doesn’t remember it that way. What they’re saying about the Syrians now—that they’re spies and combatants who are trying to take over our country—are the same things they were saying about the Jews after the war. That’s why they didn’t come to America for up to ten years after the war, in some cases.”

The director says the film is also a way of giving back to people who came to his aid in his time of need, and he hopes his example will strike a blow against hatred. “I’m a Palestinian making a documentary about Jewish holocaust survivors. You have a lot of the Arab world who are not very knowledgeable about this material. They just see what they see on the news and say, ‘All Jews are bad.’ I never even met a Jewish person until I moved here at age 13. I had to meet someone to make an informed decision. It turned out to be one of the best communities I’ve ever witnessed in my life. They’ve been my friends, and I’ve worked with a lot of Jewish small businesses, and witnessed how to create a new life. When my dad left us, the only people who stood by me were my Jewish friends and employers. They helped me through my struggle.”

Indie Memphis Sunday: Documentary Lives Restarted Celebrates Memphis’ Holocaust Survivors

Lives Restarted screens as part of the Hometowner Cultural Documentaries bloc at Circuit Playhouse on Sunday, November 6 at 1:30 PM. You can purchased tickets and festival passes on the Indie Memphis website.

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Indie Memphis Saturday: Goodnight Brooklyn Chronicles The Last Days of New York’s Hottest Music Venue

Music documentaries are always a big draw at Indie Memphis, and this year music films get their very own category, called Sounds. One of the most acclaimed films in the category is Goodnight Brooklyn by first-time director Matthew Conboy

Noise rockers Lightening Bolt plays at Death By Audio in Goodnight Brooklyn.

In 2005, when Conboy met Oliver Ackerman, he didn’t know it would change his life forever. Ackerman is the founder of Death By Audio, an small electronics company that makes guitar effects pedals beloved by musicians ranging from Wilco to Nine Inch Nails to U2. Ackerman and his company had taken over an abandoned industrial space in Brooklyn where he lived and worked. “He had a tiny little closet to build pedals in. I started building pedals with him. It became a full time thing with me. That lasted about a year before I started our music venue, which I also called Death By Audio, because I thought it was important for people to know about the awesome pedals that were made there.”

The music venue in question was a formerly disused space downstairs from the loft where Conboy and Ackerman and friends lived and worked. Thanks to a series of high profile shows by up and coming bands like Future Islands, it soon became known as one of the best music venues in New York. “We were a non-profit. Our goal was not to fill the bank account. We were just trying to make enough money to keep it going. We were mostly focusing on building a community, and having it be something that was really fun. That old school DIY mentality is pretty hard to do these days here.”

Conboy says giving artists a place to experiment and find their audience is a vital cultural priority. “I think it’s important if you want to live in a vibrant, compelling society, you need spaces for people to do their art and make things. I think that it really helps if those spaces are less concerned with profits and more concerned with really great ideas. That’s the kind of mentality that fosters new music, and lets the artists that no one gives a shit about right now but who are brilliant and just at the beginning of their career, it allows them a space to develop. And I think you see that in the film. There’s a lot of bands who started out at Death By Audio, playing their first shows or just their first shows in New York, who become pretty famous and pretty successful. I can’t speak for anyone else, but for me, any time I had gone to those kind of spaces in my teens and early twenties, it was a thrilling experience. You’re kind of in it with the people who were there. It’s not an us-vs-them situation, like you might get in an arena. If you are a young person looking for inspiration, that’s the kind of environment that makes you say, ‘I have an idea, and I’m going to fucking go for it!’ Amazing things can happen from that.”

Director Matthew Conboy

But in 2014, Death By Audio’s experiment in musical freedom fell victim to gentrification. Ironically, it was Vice Media, the counterculture news and media outlet, that made the deal to occupy the venue’s space. With two months to go on their lease, the partners decided to go out with a bang, booking the biggest and wildest shows of their eight-year run. When Conboy told producer Amanda Schultz about the space’s impending demise, she urged him to make a film about the experience. “I’m really glad that she convinced me,” Conboy says. “People came out of the woodwork offering to help. It was so moving.” 

Goodnight Brooklyn was Conboy’s directorial trial by fire, shot while the venue was going full tilt into oblivion. “It was a really traumatic time, especially with all of our stuff getting destroyed,” he says. “We felt like the world was crumbling around us. Most of us weren’t really sleeping a lot, and at the same time, we were dealing with tons of stress, and everyone was taking on more than they could handle. The recipe for a fiasco is reaching just beyond your grasp and not making it. But the recipe for greatness is that you do that and you make it. I feel like we achieved some level of greatness.”

Conboy took the lessons in collaboration he had learned in the music world and applied them to his filmmaking. “So much of being the director is just being the person who has thought about this thing the most. The strength I hope I have, and that most good filmmakers do have, is that even with all of your vision and preparation, if someone comes along with a better idea, you can listen to them and make your movie better. There were countless times on this film where that happened.”

Trailer: GOODNIGHT BROOKLYN – THE STORY OF DEATH BY AUDIO from Dishwasher Safe Films on Vimeo.

Indie Memphis Saturday: Goodnight Brooklyn Chronicles The Last Days of New York’s Hottest Music Venue

Goodnight Brooklyn screens at Studio on the Square on Saturday, November 5 at 3:50 PM. You can purchase tickets and passes at the Indie Memphis website.

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Indie Memphis Weekend: Midsummer In Newtown and Dark Night Offer Different Perspectives On Mass Shootings

The phenomenon of mass shootings has been frightening and baffling the country since the Columbine massacre in 1999. Two films at this year’s Indie Memphis film festival grapple with the issue in different ways.

On Saturday, the documentary Midsummer In Newtown looks at the psychic wreckage left in the wake of the Sandy Hook shooting. Producer Tom Yellin says the genesis of the project was a chance meeting with director Michael Unger. Yellin, a veteran of TV news turned independent documentary producer, learned that Unger, a Broadway professional, was traveling to Newtown to produce a musical adaptation of Shakespeare’s A Midsummer Night’s Dream with a cast of students from Sandy Hook. “I asked Michael if he would consider letting us capture the process, and make it the centerpiece for the film,” Yellin recalls.

Midsummer In Newtown

Yellin assembled a team and traveled to Newtown with Unger. “The hardest part of these films is getting them funded. We shot the audition process on spec. The director of our film Lloyd Kramer is a friend of mine, and he was intrigued. We went up there with a crew and shot for a couple of days, then we got a great editor and cut it together. I sent it to five people who I thought might potentially fund the film, and all five of them said they would do it. It was amazing. The email I sent just said, ‘Here’s something that’s eight minutes long.’ It didn’t have a pitch, I didn’t write anything, just ‘Take a look’.”

Eventually, Microsoft co-founder Paul Allen’s company Vulcan and Participant Media cut a deal to make the film. “It was the easiest thing I’ve ever gotten funded, and one of the hardest things I’ve ever had to do,” says Yellin.

This was not the first time Yellin had tackled the subject of mass killing. In the mid-1990s, he produced a TV special with Peter Jennings about the Oklahoma City bombing. “The Tim McVey show was a psychological profile of the making of a mass murderer. How did he become that person? We were totally focused on the perpetrator. In the case of Newtown, one of the subjects mentions the shooter, but he’s not the subject at all. It’s about what happened after the fact to the entire community, particularly the victims of this terrible tragedy. What we are really focusing on with Newtown is the resilience human beings have naturally. One way to get access to that is through art. It’s really remarkable, but ultimately not that surprising, that a play people participate in and music like a very talented musician can make, can help you get in touch with your humanity.”

Midsummer In Newtown

Midsummer In Newtown ties together the stories of the kids preparing for the production with the story of how the parents of one victim are coping with the loss of their daughter. “As we spent more and more time in Newtown, we were told that we couldn’t really understand what is happening here unless we talked to some of the families who lost their children. That was obviously a very difficult thing to do. We had Lloyd and two producers working on this, and one of them spent a lot of time in Newtown. She, family by family, made a lot of different contacts, and we settled on Jimmy and Melba. We thought the fact that Jimmy was an artist resonated deeply with the themes we were discovering as the play was going on. It took a lot of time and effort to convince them to participate, and they put some serious ground rules around their participation. You don’t see much of them, you don’t see their house. We weren’t able to interview their other child. One of the reasons they were so cautious is that they get these crazy denialists who come and yell at them, saying ‘This shooting never happened. You didn’t really have a daughter. This is a conspiracy to take away guns.’ These are crazy, crazy, sick people. They were trying to protect themselves from that, but they agreed to participate.”

Yellin says putting the two stories together in the editing room was among the biggest challenges of his professional life. “The first cut did not work. We screened it for some people, and we thought it worked, but we were told in no uncertain terms that it was not successful. I resisted, I said no, it does work. Then I watched it again, and said, ‘They’re right. It doesn’t work.’ Someone whose son or daughter may have been at Sandy Hook but survived the tragedy is just in a different category than someone who’s son or daughter did not. Putting on a play that is full of comedy is very different from living your life as a tragedy, which is what you’re resigned to when you’ve lost your child like this. Balancing these two parts out so it didn’t feel like they canceled each other out and this whole thing was a waste of time was incredibly, incredibly difficult. We really wrestled with it. Turns out the tweaking we needed was so precise and so subtle. Little things made an enormous difference. It was so hard. But I’m so proud of how it came out. I think we got it right, and audiences who have seen it say the same thing.”

Indie Memphis Weekend: Midsummer In Newtown and Dark Night Offer Different Perspectives On Mass Shootings

On Sunday, filmmaker Tim Sutton takes another tack on the problem of mass violence with Dark Night. Sutton combines fiction and documentary techniques to create a haunting day-in-the-life of a community in the hours before a mass shooting. Sutton says his film was inspired by his studies of the 2012 mass shooting in an Aurora, Colorado theater that was screening the Batman film Dark Knight and Gus Van Zandt’s 2003 film about the Columbine massacre, Elephant. “I almost called the movie Elephant. I had seen it a bunch of times, but after Aurora massacre happened, like everybody I was deeply affected by that. I was watching Elephant, and I remembered loving the pace and all that. I had a real moment where I decided that I was a going to make a movie about Aurora, and it was going to be a day in the life, and if people wanted to say it’s just like Elephant, my response would be, exactly. His movie was a way of continuing a conversation about violence from Alan Clarke’s Elephant, which is about the Troubles in Northern Ireland. I realized that no one wanted to make this movie, so I had to make this movie. It should be thought of as a direct cinematic response to Van Sandt’s Elephant, and it’s on a continuum of direct cinematic response to violence.”

Dark Night

The prevailing mood of Dark Night is suburban isolation, with characters like a fitness obsessed young woman who compulsively posts pictures of herself on Instagram. Even when they are trying to socialize, they are really alone. “It’s very rare when a character in Dark Night shares a frame with another character. These are supposed to be characters that, in any cross section of America, you’ll be able to see yourself in it, even if it’s the selfie fitness girl. The soldier home from Afghanistan or Iraq will see himself in the character who is struggling with PTSD. You’re going to see the guy down the street, who you say, why does that guy have a gun? He doesn’t need a gun. And you’re going to see the teenager you used to be, who has a journal filled with bad thoughts. You’re supposed to see these characters and identify with at least one of them, if not all of them, and replace them while you’re watching the movie with yourself.

Dark Night

Sutton thinks tackling tough, socially relevant topics is his duty as an artist. “My dream would be that a young filmmaker, in two years, makes Dark Night 2 and continues the conversation. I hope that won’t have to happen, but this kind of cinematic discussion needs to keep coming from the film community.”

Indie Memphis Weekend: Midsummer In Newtown and Dark Night Offer Different Perspectives On Mass Shootings (2)

Tickets to Midsummer In Newtown and Dark Night, as well as festival passes, are available on the Indie Memphis website.

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Best of Enemies Premieres on WKNO Tonight

Best Of Enemies, the acclaimed political documentary with Memphis connections, makes its free TV premiere on WKNO tonight at 8 PM. 

William F. Buckley and Gore VIdal in Best of Enemies

The documentary, which premiered at Sundance 2015, had a successful theatrical run last year and garnered rave reviews from critics worldwide. It tells the story of the series of televised debates between conservative William F. Buckley and liberal Gore Vidal that aired on ABC during the 1968 Democratic and Republican national conventions. The film was co-directed by Memphis filmmaker Robert Gordon and Morgan Neville, who won an Academy Award in 2013 for 20 Feet From Stardom.

The timely documentary airs on WKNO as part of PBS’ Independent Lens series at 8 PM.  You can read much more about the film in this Memphis Flyer cover story from last August. 

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Where To Invade Next

Michael Moore takes on the world in Where To Invade Next

Micheal Moore has always been a conundrum. The polemicist was one of the few leftists in America who refused to fight with one hand tied behind his back while the lie, bomb, and loot Bush junta drove the country into the ditch. And, as Ayn Rand would say, Moore has been rewarded in the marketplace of ideas. Fahrenheit 9/11, released in June, 2004, is currently the highest grossing documentary of all time at $119 million, beating second place March of the Penguins by $42 million and its nearest right wing competitor, 2016 Obama’s America by a whopping $86 million.

Looking back from twelve years remove from the midst of the Bush disaster, it’s kind of difficult to remember what a huge cultural event Fahrenheit 9/11 was. Moore was the only person on the left standing up and saying what many Americans believed with even Hillary Clinton was casting a positive vote for the stupid, disastrous, and criminal Iraq War. At a time when we were being openly called “traitor” for opposing the single worst decision in American history, Moore stepped into the leadership position vacated by his alleged ideological allies. And for that he will always have my gratitude.

Moore is a pamphleteer in the tradition of Patrick Henry, but the opposite of propaganda is not opposing propaganda, it’s news. The American left does not have the same taste for self-reinforcing propaganda that American movement conservatives do, and so the next Moore movie on the list of highest grossing documentaries of all time is at 10, right below Katy Perry: Part of Me. Cannes Film Festival winner Sicko, an examination of the American health care meat grinder released during the run up to the Obama election of 2008, failed to attract the flocks of left leaning viewers that Fahrenheit 9/11. Indeed, the lead film at Indie Memphis the year Sicko was released, and which graced the cover of this very publication, was the black propaganda Moore takedown documentary Manufacturing Dissent. The left is more interested in participating in a circular firing squad than uniting behind a perceived propagandist.

But the past is a foreign country, as they say, and the America of 2016 is different from 2004 or 2007. Moore’s latest film, which will be screening in Memphis until Thursday, is Where To Invade Next. 2016 sees Moore not in attack mode, but in trying to build a positive vision for a more progressive America. The film is a travelogue through countries where ideas that Americans have been told were unworkable or unrealistic are, in fact, working in reality. Moore made his bones chasing down the CEO of General Motors in Roger and Me, but he had no trouble getting the Italian CEO of the industry-leading motorcycle manufacturer Ducati to give him a tour of their factory, and say with complete conviction that there is no conflict between his workers’ well being and the bottom line of his highly successful company. Similarly, German pencil manufacturer Faber Castele is, despite all conceivable information technology trends to the contrary, having the best year of their century long history, and their CEO speaks in glowing terms of the German model of having half of a corporation’s board of directors made up of workers.

Moore talks with children around a French school lunch table.

The recurring theme of Where To Invade Next is people from countries who have solved America’s seemingly insoluble problems looking into the camera with disbelief as Moore explains the realities of American life to them. A French couple expresses a desire to move to the United States until Moore tell them we have no vacations or maternity leave. A Finlandian sex ed teacher says abstinence-only education is “too risky”. Slovenian students look like dogs being shown a card trick when Moore tries to explain the concept of student loan debt to them. Moore outlines Iceland’s response the financial crisis: About 30 bankers were responsible for destroying the small island nation’s economy, so they put them in jail, and now Iceland’s economy is the envy of Europe. One Icelandic CEO says she wouldn’t live in the United States if they paid her, because of the rampant corruption in the financial sector and the prejudice against women in the boardroom.

Moore’s ideology has always been much more complex than the caricature his opponents have painted of him. Where To Invade Next’s thesis is most similar to that of his most artistically successful documentary, Bowling For Columbine, where he posited that it is not the easy availability of guns that causes mass shootings in America, but a toxic, pervasive ideology. To change your country, he believes, you must first change minds, and Moore’s goal is to expose his audience to ideas that work in real life. He’s trying to pierce the fog of “American Exceptionalism” and point out areas where we can actually improve our citizens’ lives. Imagine, he says, where the trillions spent in Iraq could have gone. Moore may be preaching to the choir at this point, but at least he’s still out there preaching, and as the American political battle lines are drawn between neo-fascist Trumpism and FDR-style Social Democracy, we need Moore’s unbowed rhetoric more than ever. 

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Film Review: The Wolfpack

The elevator pitch for Crystal Moselle’s first documentary The Wolfpack reads like a set-up for a horrible tragedy: Six brothers and a sister locked inside an apartment in New York’s Lower East Side for 15 years are slowly introduced to the world.

It is, in some respects, a tragedy. But the portrait Moselle painted of the Angulo family is more complex than that. It’s the story of family ties and patriarchy gone amok, but it’s also a story of the strength of the bond between the kids and the mythmaking power of film.

The Angulos are a global family, like many you find in New York. Their father, Oscar, is from Peru, and their mother Susanne is from Minnesota. It’s not entirely clear in the film, but Oscar was apparently a Hare Krisha around the time he met Susanne, and wanted, like Krishna, to have 10 children. Susanne could only make it to seven, each of which were named for figures from Hindu mythology: Bhagavan, Govinda, Jagadisa, Krsna, Mukunda, and Narayana. The lone daughter is named Visnu, but if she spoke in the film, I missed it.

The Brothers Angulos from The Wolfpack

After the family was stranded in New York while attempting to get to Scandinavia, they holed up in their apartment. Oscar had the only key, and forbade everyone to go out outside without permission. One of the most chilling quotes in the film is from one of the boys, who says the most they ever got to go outside in one year was nine times. “One particular year, we never go out at all.”

Director Moselle happened to run into the group on the street while she was a student at NYU and befriended them because they shared her passion for movies. To while away the long, lonely hours trapped in a shabby, four-bedroom apartment, the kids watched and reenacted movies. The Godfather and The Godfather, Part II topped their list of favorites from the more than 5,000 titles they had on DVD and VHS, but they were also big fans of Quentin Tarantino, and adopted the sunglasses and dark-suit look from Reservoir Dogs as a sort of tribal uniform. The VHS footage of some of their elaborate productions are the most compelling parts of the documentary. Their craftsmanship and dedication are inspired in a way that can only be explained by the fact that they had nothing else to do. Their homemade Batman costume, made from cereal boxes and cut-up yoga mats, would pass muster at Comic-Con. The array of cardboard weapons they made to act out gangster movies were so realistic, someone from the building where they live called the police thinking they had holed up with a vast arsenal, and the SWAT team ended up apologizing for breaking the apartment’s door down.

You would think this would be a character study, but it’s really more of a mood piece. The kids look alike because Oscar insisted that they never cut their long, black hair. One brother, Narayana, stands out because, after seeing The Dark Knight, he was inspired to break out of the apartment and explore the city block where he had lived all his life. But even when they work up the courage to defy their paranoid, authoritarian father and venture out into the world, they still stick together. The prevailing mood of the movie is fear—of the unknown, of other people outside their little tribe, and of what will happen if they never break out. It is a toxic, corrosive fear that touches on the larger human phenomenon of tribalism. It’s also clear that the kids’ worldview is almost completely shaped by movies, and as a result, they have a twisted view of reality. But it also suggests that maybe this strange family is only an extreme case of an artificial place where we all find ourselves in this media-saturated world.

The Wolfpack is thought-provoking and sometimes touching, but there is a nagging sense that Moselle didn’t dig deep enough into the abusive situation. But then again, the Angulos are so tight and so cloistered, maybe no one would ever be able to venture deeper into their world, or understand what they saw there.