We are thrilled to announce the hiring of Pamela Cohn as our newest programmer! Cohn will work alongside David Wilson, Paul Sturtz, and Chris Boeckmann, to curate the film lineup.
Originally from Los Angeles, Cohn moved to Berlin, Germany in 2010 and soon after became an associate programmer for DokuFest, a documentary and shorts festival that takes place in Prizren, Kosovo annually each August. Cohn also runs an experimental video series called Kino Satellite, which takes place in Berlin.
In addition to her programming experience, Cohn also brings many years of experience as a film writer. She has regularly contributed to FILMMAKER Magazine, DOX Magazine, BOMB Magazine’s arts blog, Guernica, Senses of Cinema, Desistfilm, Kosovo 2.0, and The Calvert Journal. She is also a member of FIPRESCI, CAMIRA and Verband der deutschen Filmkritik. She has also recently worked as a freelance writer and editor for the Berlin-based DOX BOX Association, a new initiative for Arab World filmmakers.
“Can one be giddy about nonfiction film programming? If so, that’s us. Pamela is energetic, capable, and ridiculously well-versed in new currents in nonfiction cinema – especially work coming out of central and eastern Europe. She’s a huge asset to our team and will help bring a raft of creative ideas to True/False”, says Co-Conspirator Wilson.
Cohn will act as a Festival Programmer as well as the point person for re-imagining fest panels, the Great Wall (True/False’s experimental outdoor movie screen), and as the fest liaison with the Based On a True Story (BOATS) journalism conference.
According to Cohn, “To say this new opportunity has the words ‘Dream Job’ written all over it would be an understatement. I have enormous admiration for Paul, David and Chris, and am so proud to be able to work beside them as we continue to grow one of the best film festivals in the world.”
If one of your favorite parts of True/False is chatting with our visiting guests, you’re not alone. The festival environment is an auspicious one for fest-goers and filmmakers to connect – both groups energized by the weekend and excited to share ideas about their experiences.
Elaine Sheldon and Sarah Ginsburg have been working on a new podcast in the same spirit. She Does: Conversations with Creative Minds launched in January of this year, and has since been consistently connecting listeners with women artists of all stripes. These conversations are personal and professional – maybe the kind you’d have over coffee at Uprise right after watching a new film?
From their site:
“Whether up and coming or well-established, She Does features notable women of all generations, working at the intersection of media, film, journalism, art and technology. We bring you stories of what makes these women tick, their beginnings, their roadblocks, and the delightful bits in between”
It’s clear that the ladies of She Does have great taste, because they’ve featured tons of True/False makers, musicians, and guests:
Upon the start of the 2016 festival season, a few important notes regarding True/False film submissions:
Filmmakers, Festivals, Friends…we’ve quit Withoutabox! We built our own application tool, available directly on our website here: truefalse.org/submit
Before applying, please consider these thoughts, in response to some (very) frequently asked questions.
1. On Waivers:
Waivers are for festival alumni only (and occasionally, based on need, for filmmakers in developing nations). We understand many many doc makers are doing so on a tight budget – but we need to charge a fee. To us, the fee is a guarantee that we take care of your film. That your film is being watched all the way through, at least once, by a vetted member of our screening committee, and that we will take the time to send you a personalized message whether or not we are able to program your film.
2. On Premiere Requirements:
No, we do not have strict premiere status requirements. We aspire to be a platform for the world’s greatest nonfiction cinema, and when we come across vital new work, we want to share it with our audiences. However, we screen fewer than forty features and twenty-five shorts, so when a film is already available, or is about to be available, to our audiences, it feels less urgent. As such, we very rarely program films — particularly features — that are, or have been available online, theatrically, on TV or via on demand. We typically play films very early in their lives, though many may have played other festivals.
3. On Programming Goals:
True/False is open to all works of nonfiction cinema. We also consider chimeric works that straddle the line between nonfiction and fiction. We value formal inventiveness and craftsmanship; we give no extra points to “important” messages or stories. True/False does not screen didactic work nor does it play documentaries best suited for the small screen.
We can’t wait to see what you’ve been making this year!
When Associate Producer Un Kyong Ho got the text from Director Cynthia Hill that their film, Private Violence, had been nominated for an Emmy, she tried to play it cool.
Un Kyong was on a video conference call with other Fledgling Fund grantees. “I probably looked like an insane person to the other folks on the call,” Un Kyong said. “I was all over the place! I’m still all over the place!”
Cynthia was on a shoot that day for another project and said the Emmy was the furthest thing from her mind.
The last time we saw these two filmmakers, along with Private Violence’s main subjects, Kit Gruelle and Deanna Walters, they were at True/False 2014 as True Life Fund recipients. During their time here, they visited school-wide assemblies for all four Columbia Public High Schools and held community meetings on domestic violence.
Since T/F, the film has made its international premier at Hot Docs in Toronto and won the Human Rights Award at Full Frame Festival in Durham, NC. (Durham, “The Bull City:” Cynthia’s hometown and not far from where Private Violence was filmed.)
“It feels good to get the accolades,” Un Kyong said, “But at the end of the day, we want to make change around this issue.”
Figuring out how to measure change when it comes to an issue like domestic violence is, not surprisingly, far from simple. Sure, there are national statistics, but with a subject that is so deeply hidden, and, well, private, it can feel impossible to know if and how the needle moves.
“I remember being in Kentucky in a small college town to screen the film,” Kit said. She met a young man who had come to the screening by mistake, perhaps because he misunderstood the event.
“But then he realized he needed to stay and talk about his experience with his abusive father, who was a local business man, the kind of man no one would think was an abuser.” Kit said. “It was one of the most powerful experiences I had. We all sat and listened to him talk, and then cry, about the abuse he and his mother suffered. After he was done, he walked out. Most of his friends left with him. The rest of us sat there for a few minutes, thinking about what we had just seen. This is domestic violence in America: still rampant, still too hidden.”
This is a big part of the work of Private Violence: making the violence less private. Creating safe spaces for people to share stories. Opening up dialogues and conversations that have yet to be breached.
“They brought together 80 stakeholders from across their community,” Cynthia said. “Everyone from the professors, social workers, advocates, medical health professionals, folks from across the legal landscape including lawyers and judges, law enforcement officers, and even the mayor.”
The Private Violence team sees Cincinnati as a model for the power documentaries can yield, and they’re working on a how-to guide based on the summit for other communities. In October, which is Domestic Violence Awareness Month, they’ll be in Sioux City, Iowa and back in Durham, North Carolina for similar events.
Along with these events, the Private Violence team has been working on an immediate metric post-screening. If you were at a showing at T/F 2014, you may have remembered those little tear-off surveys you were asked to fill out right after the film.
Here is where I admit that as someone who was passing collection buckets for the True Life Fund immediately after the screening, and overseeing large quantities of cash that were mixed in with slips of papers, I wasn’t the biggest fan of the surveys. Part of me wondered how valuable they could be. And now I must eat my hat. Because while I don’t get excited about numbers too often, the stats form this survey blew me away.
From the four-question survey, they were were able to determine that of the respondents:
94% felt the film had increased their understanding of domestic violence;
75% had asked the question “Why doesn’t she just leave?” of a person in a domestic violence situation;
86% felt they would respond differently to domestic violence victims after watching the film;
83% said they would consider getting involved in advocacy efforts in their community.
“From that quick survey, we learned that the ‘Why doesn’t she just leave?’ reaction to domestic violence is a pervasive part of our victim-blaming culture,” Un Kyong said. “We also learned that the film shifted people’s thinking around DV and potentially helped to activate an audience to move towards change. That is huge.”
The survey generated a bit of buzz; it was the first time a doc had used a tear survey to measure audience response and impact. Un Kyong said they were proud to have created a tool that other filmmakers can use to capture the kind of data that might help with partnerships or funding. (For a great interview on measuring a film’s impact, we’d direct you to an episode with Lina Srivastava from our friends over at She Does podcast.)
So while I’ve heard these women –Cynthia, Un Kyong, Kit, and Deanna— call their time on the road with Private Violence a “listening tour,” another way of thinking about it is as an attention tour. Attention is being paid to survivors, attention is being drawn to an open secret, and they’re exploring the question of just how much action can come from the attention of one film. As for the Emmy, there’s a reason we call the nomination a nod: it’s one more attentive glance.
At this year’s Boone Dawdle (August 15th – get your passes before they’re gone!), we’re embracing our inner headbangers and throwing a special metal-themed “aireoke” challenge for six lucky teams – and one very lucky audience. Beyond mere air guitar or lip synching, this metal mayhem calls upon our contestants to form an entire air band – riffing, strutting, and flailing in synch to a heavy metal anthem of their choice. Each band member plays along in time with the song (air guitar, air drums, air bass, air keyboard, etc), in what is sure to be an epic, high energy performance!
Before the film begins, these six “bands” of Dawdle attendees will strum, pound, and wail their way to victory. Winners will be selected by audience approval, with the film’s producer, Tom Davis, as the final judge and official tie-breaker. Victors will receive accolades and glory – as well as sweet prizes, like Busker Bands to the 2016 festival, and a totally sweet trophy from local artist and T/F stalwart Michael Marcum. Runners up will also get a (sweet) prize (TBA).
See the application for additional rules & guidance: HERE
Applications will be accepted between July 17 and August 3.
For inspiration, we’ll be posting some of our favorite videos on our Facebook page between now and the Dawdle. Check out this YouTube playlist to get you into the spirit of the event. You’ll find classic rock/metal videos, as well as a performance or two by Unlocking the Truth, the band featured in the Dawdle film.
That film, Breaking a Monster, is a heavy metal coming-of-age story. Discovered as pre-teens busking in Times Square, the three members of Unlocking the Truth deal not only with taking their first steps into the complexities of adulthood, but simultaneously making the leap to being professional musicians. With a savvy music industry vet as a manager, can they navigate their way to a million dollar record deal while avoiding the pitfalls of fame and the dark side of the music biz?
The screening will be followed by a Q&A with producer Tom Davis. For more pre-Dawdle fun, watch the short film that inspired Breaking a Monster:
Set entirely at night, Field Niggas (T/F 2015) takes us to the corner of 125th Street and Lexington Avenue in Harlem and introduces us to its faces. Not just avoiding but repudiating condescension, director Khalik Allah’s camera, a longtime, welcome presence in the neighborhood, spotlights his subjects in stunningly composed, dignified portraits that are hypnotically woven with street images. The non-synch audio track consists of conversations with and among those faces: dreams, regrets, arguments, affection, observations, opinions. Field Niggas is a mesmerizing viewing experience, that finds its rhythm using field hollers. The title draws from Malcolm X’s “Message to the Grass Roots” speech, in which he targets the power balance that creates a dangerous wedge between the “house slaves” and the “field slaves.” Khalik Allah’s singular, trenchant film serves as an ardent call to rise above social constructs.
Since True/False, Field Niggas has screened at Sarasota, Maryland and FIDMarseille, where it received a special mention from the Marseille Espérance Jury. This Friday, July 17 at the Metrotech Commons, Rooftop Films is hosting a free screening of Field Niggas. For more information, visit this page. We caught up with Khalik on the phone earlier this week.
T/F: I’ve heard you discuss your history with photography, but I don’t know much about your relationship with movies.
KA: I never was interested in movies. I used to think movies were boring. I was into TV. But my brothers—I’ve got a lot of brothers—they always used to steal the remote and just start watching movies. So I saw Larry Clark’s Kids. I remember studying that when I was kid. I was 9 when that came out.
When I made the decision to start dabbling in films, I went to the library, and whenever I saw the Criterion Collection, I just got that DVD. That’s how I found out about Kurosawa and so many different films. Taxi Driver, everything from Scorsese. I just started following different directors and studying them. Jim Jarmusch, obviously Spike Lee, a bunch of different people. And then when I started studying documentary more, it was Werner Herzog. And the idea that I can make any type of film because all these different directors have their own style, that inspired me.
So this simple library card afforded me an entire education. Then I got Netflix. At one point I wasn’t even working, and I was watching 50 movies a week. I was trying to train my eye. All those Bergman movies and his DP Sven Nykvist. And the Woody Allen films. Studying the DPs behind these films and their ideas, their philosophies, their personal lives, their orientation to light. How Sven Nykvist used to carry a 35mm still camera and photograph the light days before he would shoot a scene just to see what the light would look like at a given point in the day. These guys are scientists. Kurosawa and the movie Rashomon, he used mirrors to light a lot of those scenes, you know? All those people are inspirations, and mentally, I’ve got a store house, a visual library that I think about.
One of my favorite movies is Heat by Michael Mann. I remember I was having an argument one time with a person who was saying that every person in the movie is wearing makeup, and I was like, “Naw, that’s not true.” There are a lot of actors who don’t wear makeup, who keep it real. And I think of Michael Mann and his movies, especially Heat—that shit was 100 percent real. I’m more of a realist with my style of filmmaking. I’m a documentary filmmaker, but I want to go into narrative where it’s fictional but it’s done in such a real way. Everything about it is real. Nobody is wearing makeup. People are doing real things. The props are real.
Field Niggas (dir. Khalik Allah, 2014)
You mentioned Werner Herzog’s documentaries. Did you watch others? Has your relationship with documentary changed over time?
Obviously Nanook of the North and Robert Flaherty. Stuff I studied because I was told to study those things. I looked into the origins of documentary. Filmmaking started out as documentary, you know? But then a lot of narrative films are also documentaries, like James Toback’s Black and White. The thing I like about James Toback is that he’ll improvise a lot of scenes, which gives his fictional pieces a documentary type of feeling. I studied so much it’s kind of a blur—a big, abstract idea, all these different people and what they did.
Makes you think about how much is going on now that’s not being documented. That in itself is the inspiration to make documentaries. It really comes down to how creative you want to be. I think there’s a whole nother language. I was trying to come up with another language with Field Niggas. Because I could have had that movie talking about the meth labs, drug abuse. More of a cerebral analysis, talking-head type thing, interviewing politicians in the neighborhood. But that’s been done. Another thing that keeps things interesting is creative documentary.
I haven’t seen it, but based on the trailer, I assume your first feature-length documentary, Popa Wu, a 5% Story, is more conventional?
Yes, definitely. A lot of festivals are asking me if Field Niggas is my first film, and in a way, I feel like saying ‘yes’ because it’s the first time I’ve been playing festivals. To me, the Popa Wu film—it took me four years to make, it was like college. That was my bachelor’s degree, that movie. Nothing ever happened with it, no distribution, no film festival plays. I sold it, but I sold it to a niche group of people: the Five Percenters, people who are within that demographic, that type of knowledge, the Five Percent Nation. It was tailored for them, but I actually wanted it to go beyond that and be a much bigger thing. I put four years into that project, and I put less than three months into Field Niggas. And Field Niggas went forty times further. But that film set me up. It was an education, my training.
You say three months, but it wouldn’t exist had you not spent years hanging out in this part of Harlem. I read that when you first started shooting in the neighborhood, there was some resistance. I’m wondering if you could walk me through the very first night.
Well, the first time I came, there was no negative experience. It was in the daytime. I was in and out. It wasn’t like I was lingering on the corner, taking pictures like I do now. I didn’t know that was going to be the focal point for me.
Spring 2011, I’m out there, I’m shooting. I see a crackhead with a bald head, it’s a woman, and she had a pacifier around her neck, hanging like a necklace. She asked me for a dollar, and I said “Yeah, yeah, I’ll give you a dollar. Just let me take a picture of you.” And she was giving me the middle finger in the picture, and I said, “Yeah, yeah that’s good. Keep giving me the middle finger, but put the pacifier in your mouth.” She put the pacifier in her mouth, she’s giving me the middle finger, and all I hear is this brother behind me say, “Yo, brother, we don’t want to be seen like that! We don’t want to be seen like that!” So I start addressing him. “I’m out here as a photographer. I’m documenting the positive, the negative and the neutral.” I kind of engage him. We go back and forth for a while. He was an MTA officer. He had his name tag on, so I just kept calling him by his name. “Yeah, Mike”—his name was Mike—”Yeah, Mike, I’m a documentarian, I’m filming 360 degrees.”
Whenever there’s an argument in the streets in Harlem, people just congregate around it and start instigating. I just stepped off. I just said, “Peace!” There was another person listening, an older Muslim guy. Later that night I came back. It wasn’t even dark yet. Me and that Muslim guy were talking. He said, “Yeah, I heard what you were saying, man. I think it’s positive. I think it’s positive that you are a photographer, there’s truth to be documented.” So I took that and I left that night.
Fast forward. I went to other places and kept shooting downtown Manhattan. I would just come back sporadically to shoot 125th and Lex. But when I developed that film, and I’d seen that picture of that woman, the crackhead with the pacifier and the middle finger. I was like, “Yeah man, I’ve got to shoot. There’s a lot of light on this corner for me to start working with.”
So fast forward now to November 21, 2011. At 11pm, I drove to the city, parked in the Lower East Side. I took the train all night. I took the train to 125th and Lex. At 2am, I walk into a congregation of crackheads and took a shot. And there was a shot of Frenchie—that was the first night that I meant Frenchie. And basically I overcranked the film in the camera, and now the film is broken in the camera. And I still had a pocketful of film. I wanted to go shoot all night, so I needed a darkroom to take the film out without exposing it and ruining it. I was so serious, I was about to hop on the train tracks just to use the darkness. But when I was contemplating, I saw a woman coming out of the janitor’s closet, and I just told her, “I’m a film student at NYU, I need to use the janitor’s closet for the darkness.”
Yeah, I was lying to her (laughs) I basically went in there, took off my coat, put the camera in there and used it as a dark bag. Then I was able to reload and keep shooting. But as soon as I got home that morning, I was worried the film was ruined. So I just developed it, and I see these pictures of Frenchie, and I was like “Damn, that’s it. This is my corner.” That night just consecrated it. This is where I’m going to shoot.
Watching your films back-to-back, you see the growth. In “Urban Rashomon,” you buy Frenchie some K2 and then regret it after he acts up in a corner store. At the beginning of your next film, “Antonyms of Beauty,” you ask Frenchie about that night, and he says he was ‘acting’ for you. Can you talk about that idea of performance?
In Frenchie’s case, he considered his life a performance. Frenchie got hit by a train and survived it. I asked him about it afterwards, and he said he was just acting. Nobody was there filming. Nobody was there to photograph it. I wasn’t there. But he said, “I was just acting.” He was in the hospital, he broke his pelvis. His foot was injured ever since. With me and him, that day, he probably would turn it up a little more for the camera. Maybe, potentially. But the stories I hear— you know, Frenchie’s dead now—but the stories I was hearing about what he was doing in my absence were more interesting than a lot of the stuff when I was there taking photographs of him. He’s a deep soul. He’s a deep, deep, deep person, and I feel like we were destined to come together for this film project. There was an exchange of light and mental energy between Frenchie and I throughout this whole of process of “Urban Rashomon,” “Antonyms of Beauty,” those times.
With K2, I felt guilty afterwards. He asked me for it, and I told him I want to take a few of photographs. So my concept was, “OK, I’m taking some of his time, at least let me give something to him that he wants.” And that’s also going to make the work that much more interesting. And then I’m going to have a story that much more interesting based on all this. So I go ahead and buy him the K2, but when he started foaming from the mouth and rolling on the ground in the corner store, then I felt bad about that. And I told myself I wouldn’t do that again. But the next time I see him in person, he was smoking K2 anyway. I see him laying down on the ground smoking some K2, acting kind of normal, so I just started questioning him. “Naw, naw, naw I was acting.” Then I was seeing if he could control himself off of it. And again, we were spending time together. He was giving me a lot—answering my questions, giving his time to do this photography project and working as a subject. I was like, “Yo, here, I’m a scientist. I deal with experiments. Here, you’re a grown man.” He was fifty some odd years. And I didn’t feel guilty about it. I felt good about it. It was just making it more interesting.
Plus, I wouldn’t have been able to make Field Niggas without those two preceding films. And K2 has been a piece of all of them, from “Urban Rashomon” to “Antonyms of Beauty” to Field Niggas, K2 is present. And right now it’s still there.
So it’s still legal?
The last I’ve heard on the law—and the law is constantly changing around K2, which has so many different names—is that it’s legal to sell. It’s legal for a person to buy it at the corner store, but it’s illegal person for that person to smoke it in public on the streets. That kind of contradiction in the law is very bad because these people don’t have homes. They don’t really leave that corner, so they’re going to smoke it in public, and that’s grounds to get arrested or grounds for a citation. And you don’t show up in court, now there’s a warrant issued for their arrest. And these aren’t even criminals, and now they’re being put through the system just for smoking a substance that was legal for them to buy. It’s just real disgusting when you really look at it. I look at it as a gentrification ploy to try to move people off that point in Harlem. Because 125th and Lex is the last frontier.
You’re still shooting out there?
Yeah, it’s very interesting. A lot of people say, “Yo, Khalik, are you going to leave 125th and Lex? You going to go do another project?” But if people look at what I’ve been doing, it’s staying within the same environment but elevating it. Elevating my perception of it. So first, I was taking stills, then I made a documentary. Now I want to make a feature film. Right in the same place. That for me is a way to keep interested. I continue to photograph the area because photography is how I build my energy up. Photography is like the mulch of the movie. Definitely for Field Niggas. That’s why I tried to simulate the aesthetic of my photography in the movie.
Do you see yourself continuing to use your voice in such a prominent way?
I actually see it coming less and less. I think that ultimately the project will dictate that, how I feel about the project. Growing up, the path that I went through was the Five Percent Nation. I’ll probably keep a lot of knowledge in there, a lot of myself. But the way we as Five Percenters look at Islam—it came from the Nation of Islam, and then a man named Father Allah gave it to the kids in the streets. Those were the young Five Percenters. It was still considered Islam but as a culture, not as a religion. As a way of life. And ISLAM, the acronym, was “I Stimulate Life and Matter” or “I Stimulate Life Around Me.” That’s how we always broke it down. So when I’m in my movies and I’m talking, I’m just trying to stimulate different things. In Field Niggas, I’m asking people on drugs, “What do you think happens when you die?” The big questions of life, asking that to someone you wouldn’t have asked. It’s a form of stimulating them. But in Field Niggas’’ case, I tried to cut out a lot of my questions, but then there wasn’t enough context. You would just hear the person’s answer, and a lot of the heart was missing from it. You had to feel me, to know where I was coming from. It was more compassionate. So it was good there. But it wouldn’t be good everywhere (laughs).
I recently watched a rough cut of this Mexican documentary. The director is filming in a Canadian park where a community of Aboriginals lives. They’re frequently drunk on camera, and they’re expressing a lot of frustrations with the government and with society. Anyway, in the opening minutes, the director says something about his opposition to ‘empathy.’ He thinks that’s the wrong way to approach people. In this case, he points out that he grew up in Mexico, and he is in no way capable of understanding the pain his Canadian subjects are feeling. I’m wondering if you have any thoughts about that, about this idea of empathy.
Empathy has two different manifestations. The way that I use it is not to join in suffering and thus lighten the burden. My form of empathy is to tell them that they’re innocent, that they can’t be hurt. That regardless, whatever the body or the ego is going through, they’re still invulnerable. So I’m not going to share in a suffering that I don’t even believe exists. I can look at them in what the world would consider suffering, in what the world would consider misery, and still see the light there and still see beauty there.
But if I was going there, “Oh, I feel so bad for you, what happened with your mom and dad when you were little? What happened? What brought you to the streets? Why are you strung out on drugs? Oh, I feel so bad.” That’s corny. That type of shit—that’s the Christian Children’s Fund. That’s a 30-second PSA on TV. That’s nothing. What I was trying to do, and what I feel I’m continuing to do in my documentary work, is speak to the people who usually don’t get a chance to speak and give them a voice. But first I would have to be interested in their world, my own self.
But empathy, there’s two forms of it. Empathizing to join someone’s suffering. People do that all the time. “My mother died,” “Oh, my mother died too!” Or “I’m having trouble in my relationship.” “Oh, so am I!” And then they start sharing war stories about negative shit. The other form of empathy is to be like, “Oh, your mother died, but there’s no such thing as death. Your mother’s still with you. She served her purpose in your life.” Start talking about the positive shit. That’s my form of empathy.
What kind of negative responses have you received to the film?
Mostly all the responses to my film have been positive. The negative ones have been mostly positive in the sense that—you know, people want to know why you named it ‘Field Niggas.’ Some people have ideas of exploitation simply because I’m dealing with people who are poor, even though I don’t regard them as poor. As I said, with my empathy, I still see them as rich. Because money is nothing in reality, so I’m looking at reality. Fuck if the world agrees with me.
A guy, Neil Young from the Hollywood Reporter, just wrote a good feature about Field Niggas. Totally unexpected. But I read what he wrote, and I liked what he wrote. Even though some of it could have sounded like it was coming at me because he basically felt that the first half of the film was stronger than the second half. He felt I was tooting my horn in the movie, that I was becoming a little too flamboyant of a character in the movie. I asked some people questions, “What you think about me as a documentarian, or as a photographer, in the area?” Then they would say something real positive, and I kept that in the film. It could have been perceived as arrogance, but that definitely wasn’t my intention. My intention was to show that I’m actually part of this community and as a filmmaker, don’t think you can come here and just shoot. It took me three years to do this.
Even in the film, I say the only other camera besides me is the surveillance camera. Because I don’t see other photographers where I shoot. When I was shooting in the Lower East Side, there were photographers everywhere I looked. When I started shooting, that was part of the decision-making process when I chose that area of Harlem. Because there was nobody documenting it. Even Bruce Davidson, he did 110th Street, but I haven’t seen anyone do 125th and Lex.
But I read what Neil Young wrote, and I thought it was great. I thought he liked my film. He was very poetic, and he was very descriptive. And his words and the way he wrote what he wrote, it was a good piece. I put it on my Facebook. But some people even commented on my Facebook post, “This dude didn’t know what he was talking about.” But I look at it like, he liked the movie, and there were parts he didn’t like. I do that with films.
Field Niggas (dir. Khalik Allah, 2014)
I found a quote from you, “I feel like I only started talking in my twenties. I’m 28 but I’ll be silent in my thirties, until I’m forty.” You’re now just a few months from 30. Do you feel the same way?
That’s actually been put into application now. So much has happened even since I been back from France, and I haven’t really been putting it out there. I used to have so much news, and I would blast it on Facebook. But now I’m just getting into myself more. When I was a teenager, I was more quiet. I was just working. I was trying to figure shit out, studying, reading books. Then when I was 20, I put all that into application. I started making films, started becoming a photographer. And now, I feel like I see what it is, and I can be effective at a distance. I can be more effective. Sometimes you get a lot more work done in silence. And I’m just thinking as far as publicly saying shit, there’s just so much going on, let other people talk about it. Let other people talk about it, but keep working. Give them something to talk about.
Thank you all so much for voting, sharing, and helping us these last few weeks in the Neighborhood Assist contest! Our True/False education program hinges on volunteers and rally-rousers like you. We’re continually floored by our community’s support– and it’s because YOU are what makes up True/False.
Though we didn’t win this grant, we’ll be continuing our education and community outreach. This contest was another reminder that many hands stitch this festival together, and our outreach efforts are dedicated to revealing the variety of these threads. Thanks to State Farm for their support and thank you again for yours. Onward!
We are thrilled to announce that have met our goal and raised $35,000 for Adi Rukun of The Look of Silence with the 2015 True Life Fund. Adi will be using this money to open a brick-and-mortar optometry business in his new community. This is incredible news. Thank you to everyone who donated and made this possible!
Update – Joshua Oppenheimer on the impact of this year’s True Life Fund:
“It may be hard for Americans to imagine how transformative the True Life Award will be for Adi’s family. For decades, all relatives of genocide victims were officially designated as ‘unclean’ by the government, and thus subject to official economic apartheid. They were denied access to higher education, decent jobs, and the right to run for public office. This left the vast majority of survivors desperately poor. The generosity of all who gave to the True Life Fund will transform future prospects for Adi and his family. It will allow Adi to open a brick-and-mortar optometry shop, and ensure his children can attend university and have a firm foundation for their future. We are grateful beyond words.”
For several years now, Kevin B. Lee has been pioneering an innovative form of film criticism, recutting films into insightful and provocative video essays. Last summer he first shared Transformers: the Premake (T/F 2015) and for many made the leap from criticism to cinema. The Premake is a “desktop documentary” examining the sprawling production of the incomprehensible mega-blockbuster Transformers: Age of Extinction through amateur videos, while exploring the virtual space of a computer desktop and the way we process information. Just this week the Premake earned Kevin the Arte Creative Newcomer Award at the European Media Art Festival. If you haven’t seen it yet, take the time to watch this fascinating short right now.
A couple weeks back I got the chance to chat with Kevin about his film, its influences and our culture’s pathological relationship with mega-franchises.
True/False: Hey Kevin! Can we start by talking about how you first get interested in making a film about the Transformers’ production?
Kevin B. Lee: I’ve worked as a film critic for a number of years. I specialize in a form of criticism that takes footage from films and manipulates it so that we can learn about them. I was looking for a way to break out of my normal routine of watching movies, analyzing them and putting them back together into video essays.
I wanted to get away from screens, for one thing. I was spending way too much looking at movie and computer screens and sort of questioning the meaning of my life. I wanted to experience actual physical reality and try to connect my love of cinema with physical spaces.
And so it just so happened that there was a film shoot, Transformers 4, happening in Chicago where I live around the fall of 2013. I took this as an opportunity to go, see what was going on and ask questions.
How does a movie manifest itself in a physical space, in an actual location? And how does it actually affect that location, especially when it’s a city with 3 million people and streets are being closed off and citizens have limited access to their own city?
So I went with my camera, but I didn’t get very far because they had everything blocked off. I basically had to stay in these designated observation areas that they had created. There I was with my camera, and I look around and see 50 other people with their cameras. That was very humbling, trying to make a documentary with an original view of movie production and seeing all these other people doing this same thing that I was! Then I started noticing that some of the videos were being put online. So I was like “okay, this film is sort of happening without me.”
The more I looked at this footage, the more I started to wonder. Here’s a clip from Chicago. Here’s one from Detroit. Here’s one from Texas. Here’s one from Hong Kong! It started making me think about the entire production, not just what was happening in Chicago. I’d spend weekends just doing different kinds of keyword searches on YouTube, with any variation of Transformers 4, shooting, production, location, ect. I wound up with 355 YouTube videos of the production in different parts of the world. I got to thinking, “wow, that’s a lot of video. What could I come up with if I started putting all of this footage together? Could I actually make scenes or sequences from the movie? Could I create some version of the movie and maybe put it out on YouTube before the movie even comes out? So instead of a remake–which is what people usually do, recutting footage and making their own version of movies–why don’t I have a premake, and put this movie up before the movie comes out?” That got me excited.
I would open up different video clips and put them on the screen side-by-side just to see how they could be stitched together. The more I did that, the more I started to become fascinated with the desktop itself as this kind of location–my own sort of movie set if you will–where I was putting things together. I started to think about the desktop as an environment that is worth exploring in its own way, in a creative or artistic way, to think about how the desktop works as screen, but also as a camera, because now we have the ability to record our desktops.
image from Tranformers: the Premake
You see all of these demo videos on YouTube with people saying “I’m going to show you how to solve all these problems on Final Cut” and you literally watch this guy’s computer screen as he’s operating software. This got me thinking. What if I did my own sort of instruction video for how to understand Transformers, a user manual for how to look at all of these YouTube videos and create a pathway for understanding all of the factors that go into a contemporary Hollywood blockbuster? So there’s a bit of a instructional video aspect to it as well.
I started thinking about this thing called “desktop documentary” and what it might look like. I started looking at the very small handful of pre-existing examples I was able to find, to take lessons from each one. I experimented with recording the screen and putting windows in different arrangements. You’re kind of taking people on a path, with one video building on the one before, so that each video builds the argument or takes you further on the journey.
T/F: Could you tell me more about the preexisting examples of desktop documentary that you found? I ask because I don’t think I’ve ever seen anything like this before your film.
KBL: Yeah, there are three main examples that were really illuminating for me, and they are all very different from each other. The first one was made by a teacher at my school, the Art Institute of Chicago. The teacher’s name Nick Briz and he made a film called Apple Computers. It’s a half hour documentary that takes place entirely on his desktop. It’s a critical look at how Apple creates a restrictive, proprietary creative environment, how the perfect veneer of user interface that Apple presents you with actually restricts your ability to be creative. He interviews several media scholars, activists and artists who all have some sort of beef with Apple and are critical of its dominance in the current cultural landscape.
Another is a narrative film called Noah. It’s a short fiction film that premiered at the Toronto Film Festival in 2013 about a teenage boy named Noah who breaks up with his girlfriend on Facebook. It all happens in real time. What you’re seeing is literally his computer screen as he’s looking at it, opening up different windows and doing different things all while having this conversation with his girlfriend that eventually becomes a breakup. You literally see the mind of a 17 year-old kid at work. He’s multitasking through like five different things at once and you’re like “ok, no wonder he can’t maintain a relationship.” So, that was fascinating because it actually tells a story through a subjective point of view. That got me thinking on how I can present my point of view based on what you’re looking at at any given moment.
image from Noah
The third example is Grosse Fatigue which is a work of visual art created by the French artist Camille Henrot. It won the jury prize at 2013 Venice Biennale. This one is super visionary, with windows opening and closing, this endless play of images opening on her desktop creating this visionary formation. It’s really thrilling to watch, one of the most creatively expressive videos I’ve seen. It made me think about how the internet is this endless repository of images waiting to open up before you, to create that sense of abundance.
So new media, a festival film is and an art video, three very different examples from three very different worlds, right? I tried to merge them together to make my work.
T/F: Do you think about this film as more cinematic than your other video essays, like The Spielberg Face, which I would see more as works of criticism? Is there a sharp distinction for you?
KBL: Yeah, if you want to define cinematic in terms of a direct sensory experience of time and space, because there’s very little voice-over or narration happening, it’s really just looking at a screen and experiencing what’s happening on a screen. But I’ve gotten some push back on this being more cinematic from people who are more old school in their definitions of cinema, who say cinema is about looking at scenery or landscapes and really being in a physical space. Are we really in physical space when we’re looking at a computer screen? That’s a fair criticism to make.
My response would be that we are at a point in human history where we spend an enormous amount of time looking at screens. You and I are looking at screens right now. We use them as accessories, as means to accomplish things. But now it’s really become a primary experience of reality. Think about how many hours you spend looking at your laptop or iPad or iPhone or TV. When you get to that point of saturation, it really does affect your definition of what’s real. The things on screen are manifestations of your reality. It’s now an issue of how do I explore this environment called the screen. Instead of the screen taking a picture of other things in the world, you treat the screen as an environment in itself that you can probe and explore, the same way that a camera can explore a forest or a landscape. I think this is very much a 21st century update on those basic cinematic questions that we asked 100 years ago.
T/F: It’s interesting too that idea of taking a computer screen and putting it up onto a cinema screen like we did at True/False, so you’re seeing the screen in a new context.
KBL: Absolutely. It makes you think about the computer screens we take for granted. How it affects the way we see when you create that distance from it.
T/F: One thing the film investigates and documents that interests me is the crowd-sourced marketing now built into these mega-franchises like Transformers. These movies feel like they are already partially digested by the time they actually reach the audience.
KBL: Yeah, it’s like the actual act of watching the movie is just an afterthought. All they want to do is drum up as much anticipation and involvement and emotional investment from us as possible, hoping they push everyone into buying a ticket. And then once you get that 10 or 15 bucks, the movie is an almost an afterthought. You watch, and you’re like “that kind of sucks.” This is the problem right now with the way Hollywood has affected our patterns of cultural behavior. We get excited about something, there’s all this build up, anticipation, and then always a let down. But we always come back for more. There’s always another Avengers movie coming out, another Star Wars movie coming out. What is the deal with this reflex that is happening again and again?
One reason why I made this movie in the first place is that as a critic I felt useless when it came to saying that these movies suck, because no one listens. I mean, they kind of know they suck, but because there’s so much cultural buy-in from all the marketing they feel this weird peer pressure to care about them. So the movie effectively becomes critic proof. So how do I as a critic become relevant in this sort of situation? How do I grab people’s attention and make them think or act differently in relation to these movies, instead of just getting caught up in the same anticipation-letdown-anticipation-letdown cycle?
T/F: The point in the film when the production reaches mainland China, and all of the crowd-sourced material disappears. Do you know why there aren’t any fan videos inside China? Are they not being shot or are they just all being taken down? It creates a feeling of a negative space.
KBL: Yeah, I know, the only videos you can find are from official media outlets. I don’t know if there were any amateur videos in the first place or if they weren’t being made because the locations were so off limits. It’s an interesting juxtaposition to compare what’s going on in the U.S. with what’s going on in China. For all that’s happening in the U.S., at least we’re able to upload these videos, regardless of how they get used.
T/F: So I watched Transformers: Age of Extinction right after watching the Premake. I have a lot of questions, but most of them are metaphysical and I doubt you could answer them.
KBL: But what was is like to watch it after watching the Premake? Did it take you out of the film? Because that’s what people ask me, “Can you even watch the movie as a movie?” And the answer is no. For one thing, it’s pointless because the movie is pretty much a mess. But the reason it’s a mess is because of all of these different factors: product placement, Chinese branding, ect. It’s very much a movie that’s manufactured out of all of these components coming into play.
T/F: Yeah, Transformers is sort of the ultimate hollow franchise, because it started as a way to sell a line of toys.
KBL: Yeah, this is what I discovered. During the Reagan administration, around 1985, a law was actually repealed. Up to that point you could not produce a children’s entertainment show with a marketing merchandise tie-in. It was a preventative measure to prevent marketing to children. In 1985, they passed a law making it okay. Within a year you had Transformers, you had G.I. Joe, TV cartoons with commercials promoting toys related to the TV show. That was a revelation for me. I grew up watching these cartoons and from an early age, caught up in this consumerist culture.
T/F: Watching Age of Extinction, I was trying to identify specific places from the Premake, but it was very difficult, because the movie is so batshit insane.
KBL: There are sequences where literally one shot you’re in Chicago, the next shot you’re in Hong Kong and the next shot you’re in Detroit.
T/F: The interesting thing about Detroit is that the movie is not set in Detroit at all, I think. So Detroit is completely invisible.
KBL: Yeah, that’s a fantastic point. Because you think at least part of the reason these cities bend over backwards to give these tax breaks to Hollywood is to raise the profile of the city by putting it on movie screens around the world. The thinking is it becomes a kind of advertising for the city, to see Chicago get blown up in such awesome ways by these fancy robots. But with Detroit you are absolutely right. They mortgaged their identity and basically disappeared as a sort of stand-in for Hong Kong. It’s kind of sad. It tells you a lot about Detroit’s general state of affairs.
T/F: Well, like I was saying, I’m still super confused about Age of Extinction. I still don’t understand what the Transformers are even. They don’t really seem to be robots, because they’re made out of a metal that has a genetic code, and they can transform by breaking up into a cloud of metal chunks. Why even bother being a robot if you can break down into chunks of matter and reform into whatever you want? I don’t understand.
KBL: You know, as many writers have worked on these Transformers scripts as have worked on the Bible. They all have their interpretations and ideas to add without staying consistent with what came before. (laughs) It’s amazing.
In 2013, True/False began Neither/Nor, an open-ended project to map a history of what we call “chimeric cinema”. Chimeras are films which enthusiastically embrace the paradox at the heart of all cinema, the medium’s capacity to document authentic slivers of the reality it necessarily manipulates, distorts and enhances. Film culture generally appears uncomfortable with this tension, preferring instead to assign films easy labels like “documentary” and “fiction”. Chimeras are works which emphatically defy all such attempts at categorization.
Every year, Neither/Nor explores a different region and period in cinema history in collaboration with a visiting film critic, who selects important works from this milieu to screen at the Fest. The critic also writes a special monograph with essays and interviews on the films. All three of these monographs are now available in digital versions online.
This whole undertaking is made possible by the generous support of the Academy of Motion Picture Arts and Sciences.
Below you’ll find a complete outline of Neither/Now to date, organized by year, with images from the films and links to each of the individual essays and interviews from the monographs. Take a look around and discover what cinema is capable of.