#kartemquin

[aframehouse]

Kartemquin Films @ 1901 W. Wellington from 1971-2024. Remembered

[entomoblog]

Les fourmis et la sauterelle – projection débat du festival AlimenTERRE | Le 3C – Café Culturel Citoyen à Aix en Provence

See on Scoop.it - Variétés entomologiques

Rendez-vous au café culturel citoyen à Aix-en-Provence le jeudi 23 novembre ! Nous serons ensemble dans le cadre du festival AlimenTerre pour la projection du documentaire Les fourmis et la sauterelle.

  Les jeudis du 3C

  Nous suivrons les aventures d’Anita Chitaya, une agricultrice du Malawi. Elle tente de rendre son village plus résilient et respectueux de l’environnement, d’y éradiquer la faim et d’y faire advenir l’égalité femme-homme. Anita se rend aux États-Unis pour rencontrer des agriculteurs, des militants, des climato-sceptiques et des législateurs afin de les persuader de sauver sa maison en commençant par sauver la planète. Nous débattrons ensuite de la question des inégalités, du changement climatique et de la manière dont le pouvoir citoyen peut y mettre fin. Documentaire de Raj Patel, Zak Piper/ Kartemquin films, Bungalow town / 2021 / 74’ / Anglais, sous-titré français

[movieposteroftheday]

2018 US re-release poster for INQUIRING NUNS (Gordon Quinn & Gerald Temaner, USA, 1968)

Designer: Dan Sharkey/Dizzy Giant

Poster source: Argot Pictures

[ourdallasvideofestthings]

Cinematic Conversations- Trial of the Chicago 7 with Gordon Quinn

[joseluisbenavides]

Two Men Holding Hands

Gallery Talk and Reading 

July 21, 2018, Art Institute of Chicago

Davis, Keith F, Jane L. Aspinwall, and Marc F. Wilson. The Origins of American Photography: From Daguerreotype to Dry-Plate, 1839-1885. Kansas City (Mo.: Hall Family Foundation, 2007. Print.

(Meet guests at entrance of Never a Lovely So Real: Photography and Film in Chicago, 1950–1980)

First off I’d like to say thank you for coming. I’d also like to explain how honored I am to be standing here with you all. We’ll be examining one part of this exhibit, Never a Lovely So Real, which some of you may know takes its name from a line written by the great Chicago writer Nelson Algren. 

The title for this gallery talk and reading, “Two Men Holding Hands” is taken from the accompanying caption for a 19th century daguerreotype1 I first saw at the Art Institute of Chicago in 2003. As a teen I often ditched school to wander around the Art Institute. Searching for inspiration, I walked through the halls, spending hours examining the secrets of composition from the great masters, certainly all dead white men. 

However, back then I was a poet with dreams of being a novelist, not the visual artist I am today. Back then I looked for revelation in the romanticism of painters and sculptors who in all actually were not speaking to me and had no intention of communicating very much of anything to a queer Latinx kid from the city.

I grew up in Logan Square in the same house my grandparents bought in the early 1980s. I grew up in a multigenerational home with my grandparents (a factory worker and cleaning lady), my aunt and uncle (lunch lady and laborer) and my mom (a security guard). My mother, a single parent, raised me with the watchful support of her family as she often had to work the graveyard shift, leaving me alone in our basement unit of the house. And here we find ourselves in the basement of AIC. Please, follow me.

(Walk inside Never a Lovely So Real exhibition to the photographs by Luis Medina)

Logan Square in the 1980s-1990’s was much like Lincoln Park in the 1960’s-1970’s . These predominantly Latinx, Puerto Rican and Mexican neighborhoods would quickly see the erasure of their communities as the Kartemquin Films on view in that room, “Now We Live on Clifton (made in 1974) testifies, “a regular old family can’t afford some of the houses they’re remodeling,” says a young boy to camera. On the same block I was raised I witnessed the construction of single family McMansions taking up two plots in the place of where two homes used to stand. I’ve also seen the erection of million dollar condos and skyscrapers in a residential neighborhood with maximum height two story houses. 

When looking at the photographs of Wrigleyville, in Luis Medina’s exhibited works (behind me), documenting the “territorial gang graffiti” in Lincoln Park and Wrigleyville then, I’m simultaneously moved to joy and melancholy.

Gang member, Chicago, 1979, Luis Medina

       What do we see in these images? What do the smiles of young, macho, braggadocious men, or a young lady laying in her coffin say about the struggles of this Latinx community then and our community today? What’s ever present and missing in these young men’s posturing, the temporal scratches and claims to streets they would soon be pushed out of? What were the effects of gentrification on these communities, the closing off of and tightening of gang territories as boutiques and coffee shops replace bodegas and barbershops? Can you feel, as I do, the sense of being trapped, or a sense of oblivious defiance against being further boxed in and cornered by society, poverty and the economic power plays of a city?

         And what of the Young Lords, the Puerto Rican street gang that formed in Lincoln Park during the 1970s which mobilized for community activism in much the same vein as the Black Panthers? Where is the AIC archive and collection of photographs documenting their history? Why are the graffiti and tags of the Latin Kings, a gang that my mother and her sisters undoubtable dodged and on occasion cavorted with, documented in these photographs? 

How are the traces of these gangs etched into the minds of a young me and a future you viewing these images today? In what ways have we exhausted or not paid enough attention to the concerns and statements of these young Latinx figures, ghosts and stereotypes?  

I recall the caption of the daguerreotype I saw in this same gallery, “Two men holding hands” and think of the homosociality of these young men, their fraternal bonding, their comradery and kinship. What do you see of the boldness in “HOME OF THE GANGSTER MIGHTY GRAND” scrawled across a wall possibly doomed for demolition?

I wonder if anyone here can see themselves in these young men? Do I have to state, until this exhibit I can’t recall ever seeing myself on the walls of the Art Institute or why forms and quality and nuance of representation matters? How would my poetry and fiction have changed, what would it be now, who would I be now, had I seen myself on these walls then? What’s missing from the caption or titling that can never be regained in the branding of an image, “untitled, 1980” or “gang member, Chicago 1979”? And even still, I wonder at the irony of being tricked by art yet again, seduced toward the page by these inspirational images, the mirage of these young men, calling to me from behind gelatin silver prints. 

(Move outside gallery to Nelson Algren photograph)

But it’s no longer 1990 in Logan Square or 1980 in Wrigleyville. It’s 2018. I am a visual artist with an archival practice, a filmmaker-documentarian, an educator and a librarian who works with teens across the City of Chicago. Much like those gang members of the past, I searched the streets for meanings, for purpose, for place and a sense of belonging. I found my gang, my peoples, my community, by some miracle, not in the corner street gangs that populated Logan Square when I was young, not in the neighborhood gang from whom I would cut corners and take the long walk home to avoid, but in the community arts program, the local non-profit arts organization Young Chicago Authors (Y.C.A.) on the edge between Wicker Park and Humboldt Park. 

Nelson Algren, by his Favorite Division St. Bar, Chicago, 1949, Art Shay

As a teen I walked up and down Division Street much like the characters of a Nelson Algren novel, a wayward and misanthropic youth guarding a deep and terrible secret. I was a gay kid and didn’t have a single ally in the world. My only friend was poetry and prose, confidant and companion, my journal who saw me through it all. That journal became my lover and guide, and he steered me to the second floor apartment headquarters of Y.C.A., a local non-profit which provided free writing workshops for teens, photography classes, an open mic series and a youth run literary publication. Needless to say, I signed up for EVERYTHING. 

At Young Chicago Authors, I would soon publish, as part of our senior projects, a chapbook of poetry which would include the poem “Daguerreotype” (which I’ll read shortly) inspired by an image of two men holding hands in the exhibit, Unknown Maker: The Art of the American Daguerreotype, on view at the the Art Institute of Chicago from Jun 21–Sep 28, 2003.

(Show the guests photocopy of daguerreotype “Two Men Holding Hands”)

The poem written partially in that very room reflects this gallery talk today, playing between temporalities, the then and the now. The haunting of an image and the eyes of the poet bestowing all of himself onto the nostalgia and mythos of a faded photograph. In these men holding hands I caught a glimpse of safety and the possibility that my queerness was not quite as terrible a threat as I’d been taught. And though, I could only dream of gaining Algren’s stature as the “prose poet of Chicago’s slums”, the world renown writer of the alleys and drunks, the street brawls and drug addicts, the derelicts and deviants, might have been a good teacher to me had I ever listened to anyone’s recommendations to read his writing. 

Young Chicago Authors which then stood on the very same Division Street, so close to the corner of Damen and Division where Algren penned and set so many of his stories, is now unrecognizable to me. “The Devil” definitely “Came Down Division Street” to paraphrase, one of Algren’s titles, he just doesn’t quite look the way we expected. The devil to me is certainly not a junky or a gang member that we might have feared, instead being the realtors and landlords, the aldermen who pimp out their neighborhoods to the highest bidder and quickly expel the residents who’ve lived there for decades without batting a lash.

(Move to photographs by Dawoud Bey)

And, here we finish: in front of this stunning portrait of two young men who grew up on the Westside of Chicago. Let us marvel at this work by Dawoud Bey. Let us ponder at this, in the photographer’s own words, “unabashedly lush and romantic render of people who seldom receive that kind of attention.” Let us wonder at the hopes and dreams of these two young men. Do you see yourself reflected on the glass frame encasing them? Who is that person? How will they change? Who will they become? 

Matt and Joaquin, 1995, Dawoud Bey

(Read the poem “Daguerreotype”)

__

2019 “The Road to the Block Party Is Wide Open”, Matt Ford, Art Institute of Chicago, Feb. 15

[julyshewillfly]

Why Bing Liu's 'Minding the Gap' Might Be the Most Important Doc of 2019

Story by Benjamin Levine / Photography by Katie Levine

“Physical action as creative expression is one of Bing's central themes. He reveals emotions and character traits in scenes that show how boarders tackle a trick, handle a fall, or smash their board in a fit of rage. There's always a sense that something emotional underlies their physical actions. As Bing unveils their life stories, their skating becomes more expressive and understandable, creating genuine moments of sadness and ecstasy through their reckless artistry.”

[cherrygeek]

The forgotten 1963 Boycott in Chicago Documentary short

The forgotten 1963 Boycott in Chicago Documentary short

The more times change the more it stays the same. I don’t know who said it first but am saddened how true it is as I look around our country. It’s award season and I came across ’63 Boycott from Kartemquin Films that has been nominated for Best Documentary Short for the 2019 Academy Awards. It’s streaming free until January 14th and after that it’s $.99 on the Kartemquin Films, Public Media’s…

[peabodyawards]

Peabody Conversation: Kartemquin Films from Peabody Awards on Vimeo.

"I think we've always felt that documentary film has a critical role to play in the democratic process and a democratic society," Gordon Quinn of Kartemquin Films says in this Peabody Conversation after accepting an Institutional Award on behalf of the organization. For 50 years, the nonprofit has indelibly shaped contemporary filmmaking through its commitment to nonfiction storytelling as an artform, as reflected in the groundbreaking "Hoop Dreams," "Mapping Stem Cell Research: Terra Incognita" and "Minding the Gap," among others. Peabody honored Kartemquin for "its leadership in the tradition of independent documentary and its community, and its values rooted in social justice and democracy." Read the full winner's citation: peabodyawards.com/award-profile/institutional-award-kartemquin-films

[out-cut]

"America to Me" to Another Country

We're very proud to be part of this one. "America to Me" is a 10-part docuseries that examines race in our schools through students' eyes. Directed by Steve James for Kartemquin Films, and produced by Participant Media, episode one debuts on STARZ this Sunday. Mixed by our very own Drew Weir, with invaluable assistance from Logan Vines, Patricia Ramos, Josh Hunnicutt, Mike Regan, and Alex Paguirigan.

[humanworldwide]

Stranger Than Fiction: Documentary Premieres

The Gene Siskel Film Center celebrates the art of the documentary, presenting the Chicago debuts of eight new documentary releases. Twelve different producing nations are represented in films offering perspectives from Chicago to Alaska, and from Israel and Japan to Mexico and Qatar.

The series opens and closes with films by Chicago directors. Director Karen Weinberg will be present for opening week screenings of KEEP TALKING, produced by Chicago’s own internationally renowned Kartemquin Films, and exploring the transformation of a Native American community when women take the initiative to preserve their ancient language. Director Jack C. Newell will be present for discussion of our closing film 42 GRAMS, following the inside story of a critically acclaimed but short-lived Chicago restaurant.

http://www.siskelfilmcenter.org/strangerthanfiction2018

[dweemeister]

My alternative 91st Academy Awards

As always during 31 Days of Oscar, I partake in an annual fantasy. What would the Oscars look like if I stuffed the ballots - choosing every single nomination and choosing every single winner? It always would look a lot different. Fans of Black Panther and Bohemian Rhapsody and Vice? Come at me.

91st Academy Awards – February 24, 2019 Dolby Theatre – Hollywood, Los Angeles, California Host: None Broadcaster: ABC

Best Picture: ROMA

BlacKkKlansman, Sean McKittrick, Jason Blum, Raymond Mansfield, Jordan Peele, and Spike Lee (Focus)

Burning (KOR), Lee Joon-dong and Lee Chang-dong (Pinehouse Film/Now Film/NHK/CGV Arthouse/Well Go USA Entertainment)

Eighth Grade, Scott Rudin, Eli Bush, Lila Yacoub, and Christopher Storer (A24)

The Favourite, Ceci Dempsey, Ed Guiney, Lee Magiday, and Yorgos Lanthimos (Fox Searchlight)

Mission: Impossible – Fallout, J.J. Abrams, Tom Cruise, Christopher McQuarrie, and Jake Myers (Paramount)

Roma (MEX), Alfonso Cuarón, Gabriela Rodriguez, and Nicolas Celis (Netflix)

Shoplifters (JPN), Matsuzaki Kaoru, Yose Akihiko, and Taguchi Hijiri (AOI Promotion/Fuji TV/GAGA/Magnolia Pictures)

Spider-Man: Into the Spider-Verse, Avi Arad, Ami Pascal, Phil Lord, Christopher Miller, and Christina Steinberg (Columbia)

A Star Is Born, Bill Gerber, Jon Peters, Bradley Cooper, Todd Phillips, and Lynette Howell Taylor (Metro-Goldwyn-Mayer/Warner Bros.)

Won’t You Be My Neighbor?, Morgan Neville, Caryn Capotosto, and Nicholas Ma (Focus)

Wholesale changes in this category compared to real life. The best three films of 2018, to me, were Burning, Roma, and Shoplifters -- none of these were in the English language. Films I tossed for Best Picture were Black Panther, Bohemian Rhapsody, Green Book, and Vice. I don’t think any of those four films have any business being in this category. In their place are the likes of Eighth Grade, Spider-Man: Into the Spider-Verse, Won’t You Be My Neighbor?, and one of the most technically marvelous action films in decades in Mission: Impossible -- Fallout. Yes, an M:I film (superb editing, setpieces, and audacious style that finally wakes the franchise up).

But I’m going for an unexciting pick according to some with Roma. To use an oxymoron, it is an intimate epic -- one crafted beautifully, daring to comment on relations between ethnicities and the sexes at a certain time in Mexico. 

Best Director

Lee Chang-dong, Burning

Alfonso Cuarón, Roma

Hirokazu Koreeda, Shoplifters

Christopher McQuarrie, Mission: Impossible – Fallout

Paul Schrader, First Reformed

If you’re scratching your head, yes... Paul Schrader was nominated for Director in my ceremony, but First Reformed is nowhere to be found in Picture. I tend to do this for one Best Director nominee every year.

Best Actor

Christian Bale, Vice

Ryan Gosling, First Man

Ethan Hawke, First Reformed

Rami Malek, Bohemian Rhapsody

Yoo Ah-in, Burning

The real-life Best Actor category this year is the most dire slate in a while. So here is your palate cleanser. 

Best Actress

Yalitza Aparicio, Roma

Glenn Close, The Wife

Olivia Colman, The Favourite

Elsie Fisher, Eighth Grade

Lady Gaga, A Star Is Born

It is not so much acting, as inhabiting. And, as a non-professional actress, Yalitza Aparicio has it. And I believe that, in my alternate Oscar universe (yes, I’ve drawn up and thought about it for many ceremonies past... I’ll reveal those some day), Aparicio would be the first indigenous woman to be awarded an acting Oscar.

Best Supporting Actor

Mahershala Ali, Green Book

Richard E. Grant, Can You Ever Forgive Me?

Josh Hamilton, Eighth Grade

Tim Blake Nelson, The Ballad of Buster Scruggs

Steven Yeun, Burning

Ali is good, don’t get me wrong. But, compared to the movie Moonlight and his performance in it, it looks like he is about to get a second Oscar for a far worse movie and a lesser role. Ali is fourth or fifth in this lineup for me. Grant is fantastic in Can You Ever Forgive Me?

Best Supporting Actress

Regina King, If Beale Street Could Talk

Emma Stone, The Favourite

Marina de Tavira, Roma

Rachel Weisz, The Favourite

Michelle Yeoh, Crazy Rich Asians

This comes down to the fact I couldn’t separate Stone and Weisz’s performances in their saucy movie. Nor could I find the argument to give de Tavira or Yeoh the Oscar. This is a bit of a default choice, I hate to say.

Best Adapted Screenplay

Joel Coen and Ethan Coen, The Ballad of Buster Scruggs

Charlie Wachtel, David Rabinowitz, Kevin Willmott, and Spike Lee, BlacKkKlansman

Nicole Holofcener and Jeff Whitty, Can You Ever Forgive Me?

Barry Jenkins, If Beale Street Could Talk

Debra Granik and Anne Rosellini, Leave No Trace

Spike Lee would have at least one or two Oscars in my alternative universe by this point! The difference between the screenplays for BlacKkKlansman and Can You Ever Forgive Me? is far slighter than you think.

Best Original Screenplay

Bo Burnham, Eighth Grade

Deborah Davis and Tony McNamara, The Favourite

Paul Schrader, First Reformed

Alfonso Cuarón, Roma

Hirokazu Koreeda, Shoplifters

Not even a contest if you asked me. This category is something else if I consider The Favourite and Roma bringing up the rear. But Koreeda’s drama about a found family that does what they can to survive is the culmination of what he has done in his career thus far. This is his Oscar.

Best Animated Feature

Incredibles 2 (Pixar/Walt Disney)

Night is Short, Walk On Girl, Japan (GKIDS/Toho Company)

Ruben Brandt, Collector, Hungary (Mozinet/Sony Pictures Classics)

Spider-Man: Into the Spider-Verse (Columbia)

Tito and the Birds, Brazil (Bits Produções/Shout! Factory)

Longtime followers know that I have unorthodox opinions about animated features. The only Animated Feature Oscar I’ve handed to Pixar/Walt Disney Animation Studios since beginning this tradition in 2013 was for Inside Out. I thought Ralph Breaks the Internet was a painful addition to the Disney animated canon, so it is not here. Nor is Wes Anderson’s culturally insensitive Isle of Dogs or Mamoru Hosoda’s sloppy Mirai. At the end of the day? No boat-rocking this time, except in some of the other nominees.

Best Documentary Feature

Free Solo (National Geographic)

Hale County This Morning, This Evening (The Cinema Guild)

Minding the Gap (ITVS/Kartemquin Films/Hulu/Magnolia Pictures)

Three Identical Strangers (CNN/Channel 4/Neon)

Won’t You Be My Neighbor? (Focus)

Shoulda been nominated! Shoulda won! But in the spirit of Mister Rogers’ Neighborhood, these are all great documentaries. Minding the Gap is a close #2.

Best Foreign Language Film

Burning, South Korea

Capernaum, Lebanon

Cold War, Poland

Roma, Mexico

Shoplifters, Japan

Best Cinematography

Alfonso Cuarón, Roma

Caleb Deschanel, Never Look Away (GER)

Rob Hardy, Mission: Impossible – Fallout

Matthew Libatique, A Star Is Born

Łukasz Żal, Cold War

Best Film Editing

Barry Alexander Brown, BlacKkKlansman

Jay Cassidy, A Star Is Born

Tom Cross, First Man

Eddie Hamilton, Mission: Impossible – Fallout

Yorgos Mavropsaridis, The Favourite

Best Original Musical*

Julia Michels, A Star Is Born

Marc Shaiman and Scott Wittman, Mary Poppins Returns

Sia, Greg Kurstin, Scott Walker, and Margaret Yen, Vox Lux

*Best Original Musical – known previously as several other names – exists in the Academy’s rulebooks, but requires activation from the Academy’s music branch. To qualify, a film must have no fewer than five original songs. This category was last activated when Prince won for Purple Rain (1984).

Best Original Score

Michael Giacchino, Incredibles 2

Justin Hurwitz, First Man

John Powell, Solo

Alan Silvestri, Ready Player One

Brian Tyler, Crazy Rich Asians

The Star Wars universe is in good musical hands when John Williams leaves after Episode IX!

Best Original Song

“All the Stars”, music by Kendrick Lamar, Sounwave, and Anthony Tiffith, lyrics by Lamar, SZA, and Tiffith, Black Panther

“Nowhere to Go but Up”, music by Marc Shaiman, lyrics by Shaiman and Scott Wittman, Mary Poppins Returns

“The Place Where Lost Things Go”, music by Marc Shaiman, lyrics by Shaiman and Scott Wittman, Mary Poppins Returns

“Shallow”, music and lyrics by Lady Gaga, Mark Ronson, Anthony Rossomando, and Andrew Wyatt, A Star Is Born

“When a Cowboy Trades His Spurs for Wings”, music and lyrics by David Rawlings and Gillian Welch, The Ballad of Buster Scruggs

Best Costume Design

Alexander Byrne, Mary Queen of Scots

Ruth E. Carter, Black Panther

Sandy Powell, The Favourite

Sandy Powell, Mary Poppins Returns

Mary E. Vogt, Crazy Rich Asians

Best Makeup and Hairstyling

Cindy Harlow and Camille Friend, Black Panther

Göran Lundström and Pamela Goldammer, Border (SWE)

Jenny Shircore, Marc Pilcher, and Jessica Brooks, Mary Queen of Scots

Amanda Knight and Lisa Tomblin, Solo

Greg Cannom, Kate Biscoe, and Patricia Dehaney, Vice

Best Production Design

Hannah Beachler, Black Panther

Nelson Coates, Crazy Rich Asians

Fiona Crombie, The Favourite

Nathan Crowley, First Man

John Myhre, Mary Poppins Returns

Best Sound Editing

Benjamin A. Burt and Steve Boeddeker, Black Panther

Ai-Ling Lee and Mildred Iatrou Morgan, First Man

James Mather, Victoria Freund, and Nina Norek, Mission: Impossible – Fallout

Ethan Van der Ryn and Erik Aadahl, A Quiet Place

Richard Hymns, Gary Rydstrom, Cameron Barker, and Doug Winningham, Ready Player One

Best Sound Mixing

John Casali, Paul Massey, Tim Cavagin, and Niv Adiri, Bohemian Rhapsody

Jon Taylor, Frank A. Montaño, Ai-Ling Lee and Mary H. Ellis, First Man

Chris Munro, Paul Munro, Lloyd Dudley, and Mark Timms, Mission: Impossible – Fallout

Michael Barosky, Brandon Proctor, and Michael Barry, A Quiet Place

Tom Ozanich, Dean Zupancic, Jason Ruder and Steve Morrow, A Star Is Born

Best Visual Effects

Daniel DeLeeuw, Jen Underdahl, Kelly Port, Matt Aitken, Dan Sudick, Avengers: Infinity War

Christopher Lawrence, Michael Eames, Theo Jones, and Chris Corbould, Christopher Robin

Paul Lambert, Ian Hunter, Tristan Myles, and J. D. Schwalm, First Man

Roger Guyett, Grady Cofer, Matthew E. Butler, and David Shirk, Ready Player One

Rob Bredow, Patrick Tubach, Neal Scanlan, and Dominic Tuohy, Solo

Best Documentary Short

Black Sheep (Lightbox Entertainment/The Guardian)

End Game (Netflix)

Lifeboat (Spin Film/RYOT Films)

A Night at the Garden (Field of Vision)

Period. End of Sentence. (Guneet Monga)

My omnibus review of this year’s nominees is coming soon (check this space later).

Best Live Action Short

Detainment (Twelve Media)

Fauve, Canada (H264 Distribution)

Marguerite, Canada (H264 Distribution)

Mother, Spain (Apache Films/Caballo Films/Malvalanda)

Skin (New Native Pictures/Salaud Morisset)

My omnibus review of this year’s nominees is coming soon (check this space later).

Best Animated Short

Animal Behaviour (National Film Board of Canada)

Bao (Pixar/Walt Disney)

Late Afternoon (Cartoon Saloon)

One Small Step (Taiko Studios)

Weekends (Past Lives Productions)

My omnibus review of this year’s nominees can be read here.

Academy Honorary Awards: Cicely Tyson, Lalo Schifrin, and Marvin Levy

Irving G. Thalberg Memorial Award: Kathleen Kennedy and Frank Marshall

MULTIPLE NOMINEES (24) Eight: The Favourite; Roma Seven: First Man; A Star Is Born Six: Mission: Impossible – Fallout Five: Black Panther; Burning; Mary Poppins Returns Four: Crazy Rich Asians; Eighth Grade; Shoplifters Three: The Ballad of Buster Scruggs; BlacKkKlansman; First Reformed; Ready Player One, Solo Two: Bohemian Rhapsody; If Beale Street Could Talk; Incredibles 2; Mary Queen of Scots; A Quiet Place; Spider-Man: Into the Spider-Verse; Vice; Won’t You Be My Neighbor?

WINNERS 4 wins: Roma 2 wins: First Man; Mary Poppins Returns 1 win: BlacKkKlansman; Black Panther; Border; Can You Ever Forgive Me?; Cold War; Crazy Rich Asians; First Reformed; If Beale Street Could Talk; Marguerite; Mission: Impossible – Fallout; Shoplifters; Solo; Spider-Man: Into the Spider-Verse; A Star Is Born; Weekends; Won’t You Be My Neighbor?

19 winners from 25 categories. 39 feature-length films and 15 short films were represented.

[sareideas]

Amir George Named as First Black Artistic Director of Kartemquin Films | Chaz's Journal

Amir George Named as First Black Artistic Director of Kartemquin Films | Chaz’s Journal

George was selected after an extensive search that considered a deep pool of applicants. He will replace Gordon Quinn, the current and founding Artistic Director, who moves into a new part-time role as senior advisor. “With his cross-disciplinary background and generous spirit of collaboration, Amir is the right person to take the creative leadership mantle at Kartemquin as we strive to fulfill…

[ourdallasvideofestthings]

Finding Yingying Q&A from VideoFest on Vimeo.

Yingying Zhang, a 26-year-old Chinese student, comes to the U.S. to study. In her detailed and beautiful diaries, the aspiring young scientist and teacher is full of optimism, hoping to also be married and a mother someday. Within weeks of her arrival, Yingying disappears from the campus. Through exclusive access to Yingying’s family and boyfriend, Finding Yingying closely follows their journey as they search to unravel the mystery of her disappearance and seek justice for their daughter while navigating a strange, foreign country. But most of all, Finding Yingying is the story of who Yingying was: a talented young woman loved by her family and friends.findingyingying.com Kartemquin

[thegeekx]

Amir George Named as First Black Artistic Director of Kartemquin Films | Chaz's Journal

Amir George Named as First Black Artistic Director of Kartemquin Films | Chaz’s Journal

George was selected after an extensive search that considered a deep pool of applicants. He will replace Gordon Quinn, the current and founding Artistic Director, who moves into a new part-time role as senior advisor. “With his cross-disciplinary background and generous spirit of collaboration, Amir is the right person to take the creative leadership mantle at Kartemquin as we strive to fulfill…

[mundo-misterio]

Reseña de la película Let the Little Light Shine (2022)

Reseña de la película Let the Little Light Shine��(2022)

Cuando los barrios negros y latinos se reducen a meras estadísticas en las noticias, el trabajo de los documentalistas es absolutamente esencial para poner un rostro humano a las comunidades que se ven directamente afectadas por el impacto deshumanizador de la gentrificación. Inmediatamente después de colaborar con Steve James de Kartemquin en dos de las mejores docuseries de la memoria reciente:…

[peabodyawards]

78th Annual Peabody Awards from Peabody Awards on Vimeo.

Join host Ronan Farrow to honor the most powerful, enlightening and invigorating stories in television, radio and digital media. The evening spotlights all 30 winners, along with achievement awards for Rita Moreno, ProPublica, Sesame Street, and Kartemquin Films.