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:
Back in January, before she came to True/False with (T)ERROR, Lyric Cabral was featured. Polish filmmaker Hanna Polak talks about her 14-years in the making doc, Something Better to Come (T/F 2015). Linda Pan, of the SundanceNow Doc Club, and Emily Best of Seed and Spark both spoke on our Dollars & Donuts panel about distribution. Fans of T/F buskers will especially enjoy the She Does Music ep, and these featuring music by Dubb Nubb and Pearl and the Beard.
Once you’ve enjoyed those episodes, check out this week’s new ep, Finding Your Own Fun: Pamela Ribon.
Posted August 27, 2015
Upon the start of a new 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!
Programming & Communications Manager
Posted August 17, 2015
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.
When the film was in Cincinnati, Ohio, for instance, the filmmakers had their first successful summit, largely because of the involvement of Center for Race, Gender, and Social Justice at the University of Cincinnati College of Law.
“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.
by Allison Coffelt
Posted August 7, 2015
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:
Unlocking The Truth – Malcolm Brickhouse & Jarad Dawkins from The Avant/Garde Diaries on Vimeo.
Posted July 17, 2015
Khalik Allah “Field Niggas” Preview from Khalik Allah on Vimeo.
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.
Khalik Allah, Urban Rashomon from Khalik Allah on Vimeo.
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.
Antonyms of Beauty from Khalik Allah on Vimeo.
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.
Interview by Chris Boeckmann
Posted July 16, 2015
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!
Posted June 4, 2015
Polish filmmaker Hanna Polak was unable to turn away from the homeless children she found living in and around Moscow. Her Oscar-nominated short film Children of Leningradsky (T/F 2005) explores the culture of children living in and around that city’s major railway station. But this impressive and moving work would prove to be just the beginning of her involvement with these stories. Over the course of 14 years, Polak followed Yula, a homeless girl living in Europe largest garbage dump, just outside of Moscow. In the resulting Something Better to Come (T/F 2015) we follow Yula from ages 10 to 24, as she confronts both adolescence and a daily struggle for survival while dreaming of a better life.
This bracing yet profoundly optimistic work is playing right now at Cinema Village in NYC. Last week I got the chance to speak with Polak via Skype about how this extraordinary film came to be.
True/False: Hi Hanna! Could you start by talking about how this project got started and what it looked like to you at the beginning? I assume you didn’t go into this expecting to film for 14 years.
Hanna Polak: At first, I didn’t really mean to film at all. I met homeless children on the streets of Moscow, and I was completely hooked. It was something really outside of my comprehension. I had met runaways, but not children who had really no one taking responsibility for them, no orphanages, police, parents. I could really not even understand the situation, kids living on the streets in big groups on their own, some of them as young as 4. This was the first time I directly came across a situation like this and of course I was deeply moved. A small group of children introduced me to a big group of children at the railway station. Along with some friends, I brought them some food and eventually started organizing some classes. Ultimately we made the short film Children of Leningradsky to try to help the children in this situation, living in this railway station.
image from Children of Leningradsky
We also filmed at the garbage dump, and we knew right away that these were two different films, and we had to make a decision. It was a different group of children there and they had a different group of problems. The children who lived in the garbage dump were mainly from the provinces. They were much simpler, there was much less crime, and sniffing glue and those sorts of things. So we didn’t end up filming as much at the dump while we finished the first film.
T/F: How did you first introduce the camera to the people living at the dump?
HP: In the beginning when I came I didn’t have a camera with me. It took me a few months to know I even wanted to shoot a film. I started to shoot still photographs at the garbage dump. I had to use a very small camera because of course being at the garbage dump was illegal, so what would they say about shooting?
T/F: One of the really fascinating things to me about this film is how you can see the contradiction in the children, how in some moments they behave like normal kids, while their situation has forced them to take on adult responsibilities.
HP: It is interesting because I felt many times the children are stronger than the adults. We see it of course with how Yula helps her mother, but I have seen it many times. They are small kids but in a way they are really adults. I think maybe this is why I found it so easy to have a relationship with them. With these kids you can talk as equals in many regards. This equality was something that was very quickly building a bridge.
We would organize drawing contests, and you would see those children would immediately become children again, drawing with great attention. In these moments they forget about being adults. Of course, there were other moments where they would have to show their strength. They would try to be very cynical on the outside, they don’t care, they don’t need anything.
Then there were moments of weakness where they would want you to adopt them. It was a very difficult situation for me. I would always explain to them, “you are very dear to me, I’m trying to do things as a friend. But you have to understand that I’m not from this country, I have no legal possibility of adopting you, but I will try to put you on your feet.” I knew how much they needed someone in their life who would act like a parent, and in moments like these you can really see that the kids are kids. But a moment later they would drink, they would smoke, they would organize a place to stay, they would have to protect themselves and live in the very cruel world of crime and prostitution.
image from Something Better to Come
T/F: When you are making a film over this stretch of time, you are of course evolving as a filmmaker too. Was it hard to keep the film consistent stylistically?
HP: I think the most difficult part of this film was really the editing. Of course, I was developing as a filmmaker during those years and the shooting conditions were always different and very difficult. It’s not like to take a tripod and a camera and film whatever you want. You have to sneak in and out, sometimes run away, sometimes protect the material, sometimes even use a hidden camera.
Of course, I can see how I developed as a filmmaker very much over the project. I could see early when I was talking to people, since I was so concerned about the suffering of the people, I would ask them about that, but what I found eventually is that it was better to ask people about the beautiful moments, because we see so much suffering and bleakness already. So it was always better when people talked about the beautiful parts of life.
T/F: Yeah, it was really striking how you captured a sense of communal life, a life filled with music and animals, lived in such dire circumstances.
HP: Yeah, I liked go there for these moments, for this atmosphere, for this sharing when they would open their hearts for each other. Sometimes life is more simple at places like this, because people don’t complicate it. This feeling of sharing and building a community is their only chance to survive, but it is something that often we miss in our regular life. So yeah, I felt this contradiction, you go into the middle of this darkness and then experience this incredible friendship-love-care-humor-simplicity-acceptance. All of this was totally striking for me, and this is what I really wanted to make the film about, that humanity is endless. Even in the worst places people take care of what they look like, using make-up. They love music. The people are so talented and so amazing and so philosophical and so warm.
image from Something Better to Come
T/F: So the hardest part was the editing?
HP: Yes, the most difficult part was really in the editing when we had to make a story. What I didn’t know was how difficult it was telling a time-lapse story. I went to a master class with people like Michael Apted and Czech filmmaker Helena Trestikova, who often works on long term projects. I also spoke with Katja Wildermuth about her experience of working on Sergey Miroshnichenko’s Russian version of the 7-Up series. All these people had the experience of working on a time-lapse story.
It’s really hard. If you make it chronological, it becomes boring, if you break chronology, then you make people really confused. We are dealing with a situation in which, in one and a half hours, more or less, you have to tell 14 years. You have bits and pieces of someone’s life. There are always some things missing that you’d like to have.
So with all this material I have in my bin, I was overwhelmed for a long time. I had worked on other films and made other stories, and I know editing is always very challenging, but this material was absolutely overwhelming. When I tried to work with an editor who didn’t speak Russian, it took me over a month to translate just the basic materials, working day and night.
I tried to construct this universe of Yula, not to make a film on her alone, but to show this place where she lived and the people around her.
T/F: So of course, we can follow the passage of time in the film through Yula’s face, but did you think it was important to provide the audience with more markers of time?
HP: Yeah, of course. Yula was changing so much, she changes the color of her hair and at times she’s almost not recognizable, so it’s a huge challenge. For the passage of time I use radio and a bit of historical events that were happening in Russia. I didn’t want to be political about it really, but I wanted to place this story in Russia and I wanted it to feel like time is passing. She is changing, but of course the world is changing around them to. Sometimes its subtle things, like a clock ticking. You see people celebrating a new year, and another time it is summer, all of this builds. In this kind of film it is very important to give these small touches of time.
T/F: Without giving too much away, we do see that there was something better to come for Yula, but her situation at the end of the film is still far from perfect. If anyone wants to help Yula now, or children currently living in her former situation, what’s the best way?
HP: The best way is the Norway based charity Active Child Care. You can send them money via PayPal and contact them if you want to donate specifically for Yula.
Posted May 25, 2015
True/False’s education program has been selected as one of the top 200 causes in the running for State Farm’s Neighborhood Assist program. Now we need your help to get us in to the top 40 so that we receive a $25,000 grant! Simply go here and cast your vote for True/False For All! You can vote each and every day until June 3. You get 10 votes a day, but if you check the box to use your remaining votes you can cast all ten at once.
Please vote often and help us spread the word about this campaign. It may seem silly, but this money will be very important to the future of our education program. In the days ahead, we’ll be sharing testimonials about what these efforts have meant to students and teachers in our community.
Over the past 12 years, our education program has offered unique field trips to thousands of students, organized hundreds of filmmaker meetings with students, teachers, and community groups and engaged thousands of people in the True Life Fund, our annual philanthropic effort thanking the subject of a documentary film. In the months and years to come we want to cultivate deeper, year-round ties with community organizations, create media-literate, artistic, savvy high school and college students who encounter other cultures in a meaningful way and nurture the appreciation of theatrical experience as important part of public life.
Please take a few minutes and help us now.
Students chat with director Liz Garbus after our educational screening of What Happened, Miss Simone? at the Missouri Theatre
Students participate in DIY Day at T/F 2015
Posted May 20, 2015
In 2015, it was our privilege to say thank you to Adi Rukun of The Look of Silence with our True Life Fund. Adi courageously confronted his brother’s still powerful killers and broke nearly 50 years of silence surrounding Indonesia’s mass killings of 1965-66. Thanks to the unfathomable generosity of our community, and our partners The Bertha Foundation and The Crossing, we were able to raise $35,000 for Adi, who will be using the money to open a brick-and-mortar optometry business in his new community.
Yesterday, we received the following message from Adi to everyone who donated:
I am deeply grateful to all who contributed to the True Life Fund. I cannot express how meaningful this award is for me and my family. My children will now have a secure future, because with this money we will be able to open an optometry shop in Indonesia. Although I will no longer have to walk door to door to test people’s eyes and sell glasses, I will still listen to whatever stories people will tell me while I test their eyes. I believe change begins when people share their stories. Thank you True/False Film Fest and the people of Columbia, Missouri. You will be dear to me and my family for the rest of our lives.
The Look of Silence director Joshua Oppenheimer shared this message:
It may be hard for Americans to imagine how transformative the True Life Fund 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.
Joshua Oppenheimer and Adi Rukun (via Skype) following the Missouri Theatre screening of The Look of Silence
Posted May 15, 2015
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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.”
Posted May 4, 2015
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