WMFF
2024 Long Descriptions
AUG 27-TUESDAY
7PM SAUGERTIES
“WOODSTOCK ’94” Preventing a toxic
megadump paved the way. Enter Michael Lang. Town approves festival. Festival footage & 25th reunion at Saug. Sr. Ctr. Q&A
AUG 28-WEDNESDAY
7PM IROQUOIS
POWER FOR THE 21ST CENTURY American
history told by Haudenosaunee orators includes essential elements that were
omitted. Q&A
AUG 29-THURSDAY
7PM THE
BEGINNING DAOYOU Woman faces challenge
of U.S. assimilation. Her ingenuity and keen ability overcomes obstacles. Q&A
Director Biography – Jingwen Zhao
Jingwen Zhao is a Chinese filmmaker who grew up in every corner
of the United States. Raised in a Chinese household and educated with American
values, she represents a unique blend of cultural perspectives. Her
storytelling focuses on creating memorable characters demonstrating that what
is seen on the outside does not always represent the truth of what is inside. Jingwen focuses on showcasing thrilling outcasts to lovable
role models. She has a passion for creating dark characters that her audience
can empathize with and provoke responses by their moral choices as well as role
models that kids can aspire to become like in their future.
She tells stories which center around misjudged and mistreated character’s
upbringing. Amplifying a perspective of the under-represented that at first
glance may not be appreciated but ends with entertainment and understanding. Jingwen thrives in stories filled with drama, action,
provocative psychological themes, and thrill rides.
Her recent short film THE BEGINNING OF DAOYOU shares a perspective of an
immigrant college student’s journey of self appreciation
and cultural identity while learning to understand her mysterious super power. Previously, her thriller short film A MODELED
WOMAN won Film.Gate Miami Jury Award. Her 3 minute short JOLINA won the Scene Awards Audience-Choice
Best 3 Minutes short.
Besides directing, Jingwen produces short films.
She produced GUT HOOKED, a coming-of-age short film that follows a young boy
combatting the traumatic memories of his grandfather’s death. She also
freelanced as a Content Acquisition Manager and several below-the-line roles in
the United States for documentaries, game and reality shows.
Jingwen Zhao is a member of the New York Women in Film and
Television since 2019. She graduated with a Masters
from Florida State University College of Motion Picture Arts. When she is not
filming, she loves to travel and experience the food and culture of new
locations. In addition, she has spent time as an animal trainer, helping
strengthen the pet’s bond with its parents.
Director Statement
This film is a result of my profound inspiration that stems from personal
experiences. Growing up, I grappled with the challenges of fitting in due to
cultural disparities between China and America. It was my own longing for a
relatable role model, someone who resembled me and faced similar struggles,
that motivated me to bring this film to life. I wanted to shine a spotlight on
individuals who are battling to find their place.
At the core, this film delves into the theme of identity. Our protagonist,
Daoyou, finds it difficult to accept herself in this
foreign land, burdened by the expectations imposed by her parents to
assimilate. They believed that blending in and avoiding attention was the key
to fitting in. However, Daoyou, already standing out
due to her extraordinary powers, realizes that denying her true self is not the
solution. It is through her journey that we explore the repercussions of
conformity versus embracing one’s uniqueness. The stakes are high, as her
decision to stand out becomes a matter of life and death when she must save
others from a reckless driver crashing into a restaurant.
When determining the style, tone, and genre of this film, I drew
inspiration from the “Florida Project” . I wanted to infuse a
dream-like quality, capturing the essence of childhood through flashbacks. The
tone strikes a delicate balance between happiness and sadness, emphasizing the
constant feeling of displacement that accompanies Daoyou
wherever she goes. This film falls under the coming-of-age genre, as we all
experience a sense of not belonging at some point in our lives.
Throughout production, we encountered numerous challenges that could have
jeopardized the realization of this project. From casting to scouting suitable
locations on a shoestring budget, the scope of this film seemed daunting.
However, the unwavering support from those who believed in this story made all
the difference. I am profoundly grateful for the incredibly talented
individuals who have brought this narrative to life, as they are destined for
stardom. Moreover, the generosity of those who shared their resources and
expertise, driven by their love for this story, has made filming this project
an absolute dream come true.
Ultimately, my aspiration for this film is for the audience to gain
insight into the immigrant experience in America, where superpowers serve as
both a source of strength and a scapegoat. I want them to find entertainment
and be warmed by the heartfelt nature of this coming-of-age tale. By immersing
themselves in Daoyou’s journey, I hope viewers will
not only appreciate the struggles faced by immigrants but also celebrate the
beauty of embracing one’s true self, no matter the circumstances.
7:45 – THE DREAMER- Memorializing artist friend, filmmaker uses
art and storytelling.
A video tribute to my late friend, the wonderful artist Herb Rogoff. Herb
passed away several years ago, but his artwork and personality continue to
inspire me. None of the visual material you see here was shot for this
” memory video,” which is based on Herb’s actual medical condition and
artistic decline.
These shots of Herb were captured shortly before I moved to Bar Harbor,
Maine, many hours from the assisted-living facility in New Jersey where Herb
was living. I wanted images of him to tide me over until I saw him again. Then
the pandemic hit, and the gulf between us grew farther. I never saw Herb
again–except in my memories and in these images.
7:50 – HALLOWEEN – Tolerance, understanding, empathy and
coexistence become obsolete concepts in the Hamas/Israel conflict.
I don’t usually dabble in current-event videos, but I see this as a
necessary exception. I made this video a few weeks after the terrorist attack
on Israel by Hamas, and Israel’s military response. All of which unleashed a
new round of global anti-Jewish hatred. This Halloween, the world feels like a
much more frightening place. People on both sides are barricading themselves
behind ideology, and are refusing to see our shared
humanity. My biggest fear is that for many people tolerance, understanding,
empathy, and coexistence have become obsolete concepts.
8:PM – MANUFACTURING MADNESS
Gary Null explores moral implications of the medical industrial complex.
Shocking footage of deeply flawed decision-making.
In an honest ride thorough the history of psychiatry, from blood letting, induced epilepsy, electroshock therapy,
lobotomies and other discarded “cures”, to the latest psychotropic medication,
the “preferred” drugs of the day, Manufacturing Madness takes a deep look into
the snake pit. Who is insane, what causes mental illness and how should it be
treated? Why are approximately 22 US veterans committing suicide each day? Why
has the number of disabled mentally ill in the United States tripled in the
last two decades? Why have hundreds of thousands of people have died, as a result of using pharmaceutical drugs.
Manufacturing Madness looks at the moral implications of the medical
industrial complex, the pharmaceutical industry, drug reps, medical schools,
the journals, the media, the absence of real medical science, and the lack of
oversight by our captured regulatory agencies, private insurance firms and
lobbying influence upon our corrupted legislators. Medicine is becoming
problematic, as it claims undisputed control over the lives of of the people of this world. Is psychiatry the new
religion, as it seeks absolute compliance and decision-making power, over our
bodies and souls? Manufacturing Madness should be required viewing for anyone
who has used, is using or considering using psychiatric medicine.
Director Biography – Gary Null, Valerie Van Cleve
Gary Null has been one of the foremost voices of the health movement. A
New York Times best selling author, documentarian,
and daily radio host, Gary Null has continued to be a strong voice for the
consumer. Along with leading experts, he examines a wide range of topics from
food production, alternative healing, politics and our economic system. Gary
has aired many of his documentaries on PBS. Gary uses well-researched
scientific information to support his points of view. Gary has done an original
investigative reporting series on a regular basis and has published over 100
original investigative articles., and published over
100 books.
AUG 30-FRIDAY
7PM WHAT HAPPENED TO BOBI A grandmother’s alien abduction story at
age 22. Events that follow courageously revealed. Q&A
Three reenactments of my grandmother’s alien encounters, performed by
members of our family.
Director Biography – Ian Faria
Ian Faria is a writer, director and editor from Long Island, New York. He
directs videos for the comedy group Simple Town, which have been featured on
Adult Swim, Comedy Central and Short of the Week.
Director Biography – Ian Faria
What Happened to Bobi is an oral history of my grandmother’s alien
abduction at 22, and the unexplained events that followed throughout her life.
Family archives are played against staged reenactments of her experiences,
performed by members of our family and Bobi herself.
7:50 – BECAUSE I LOVE
YOU Perfect marriage is soured when
husband suspects wife is having an affair. Adult film. Q&A
Marco and Joanna enjoy an electric marriage, until Marco is witness to a
series of events that lead him to suspect Joanna is
having an affair with a co-worker. Starring Bob Celli (Gotham), Jennifer Plotzke (Blacklist), Dave Roberts (Blue Bloods), and
Melissa Joyner (The Morning Show)
Director Biography – Bob Celli
Bob Celli is an award winning Writer/Director and
Actor. Bob’s most recent film, MY OVER THERE, is making its festival run. The
film stars Emmy Winner Penny Fuller. Other films include The
KEEPER, a short film about a lonely woman yearning for connection who meets a
collector of art at a speed dating event. We soon realize that what they are
looking for in each other is vastly different. BROOKLYN IN JULY, the story of
an African-American WWII veteran, drawn to New York by
the promise of better life only to be confronted by the same realities, fear,
and hatred he hoped he had left behind. FIGS FOR ITALO, based on a true story
that happened to his mother during WWII and is also inspired by actual events.
GOING HOME, after a platoon is split up, a soldier attempts to defy the odds to
keep his men alive and get them home. Collectively, Bob’s films have played at
festivals in both the US and abroad, and garnered multiple awards for Best
Director, Best Actor, Best Actress, Best Thriller, Best Suspense, Best
Screenplay, Best Song, Best Score, Best Editing, Best Cinematography, Best
National Short, and Best Dramatic Short. Bob was also the recipient of a
Humanitarian Award for Outstanding Achievement for BROOKLYN IN JULY. In front
of the camera, along with starring in upcoming BECAUSE I LOVE YOU, Bob recently
co-stared on the CITY ON A HILL, FBI: MOST WANTED, BLACKLIST, and was a guest
star on GOTHAM. He appeared on The ONION NEWS NETWORK, AS THE WORLD TURNS, and
THE KEEPER, and GOING HOME. He was in the original cast of Circle, a play based
on Arthur Schnitzler’s, Le Ronde. Circle was the recipient of the OOBR Award
for best Ensemble Cast. Bob also appeared in the play Down Range, a play
dealing with how military spouses face and overcome repeated deployments. Bob
is currently developing the script into the feature film, AMIRA.
imdb.me/bobcelli
Director Statement
The initial idea for Because I Love you came to me after a discussion I
had with friends about communication and the danger of jumping to conclusions.
What happens when everything you think you know is shattered? Not too long
after that conversation, I read a true story about a relationship steeped in
jealousy that took an unexpected turn. BECAUSE I LOVE YOU takes a hard look
at jealousy and how it can propel humans to act in ways that can change lives
forever. Many of us have been bitten by the “Green Monster” at one point or
another, but we all have a choice whether or not we
act on our base instincts. The action you take defines you. BBECAUSE
I LOVE YOU is a short, sexy, slow burn part suspense, part thriller, and part
dark comedy film.
My intent was to keep the feeling of the film deeply intimate, to make the
viewer feel like a fly on the wall. We all have thoughts of good and bad. What
keeps our actions in the good lane?
8:20 NO SILVER BULLET Daughter
resorts to extreme measures when mother says “no to
junk food.”
8:22 – I’M NOT A
ROBOT Questioning future robots that
look and act human, a woman takes an online test to learn her identity.
After several unsuccessful attempts to complete a Captcha, feminist Lara
sets out to answer the disturbing question of whether she’s a robot, and
therefore bought by her own boyfriend.
Director Biography – Victoria Warmerdam
Victoria Warmerdam, born in 1991, graduated as a director and writer from
the Art School in Utrecht in 2015. In the same year, she earned the Burny Bos Talent Award at the Cinekid
Festival for her sci-fi feature concept, SpaceKees. In
2019, she wrote and directed her short film, SHORT CALF MUSCLE, which has been
showcased at over 150 festivals, including Oscar-qualifying ones such as
Leuven, St. Louis, Winterthur, Edmonton, Gijon, Foyle, Show Me Shorts, Aesthetica, and Asiana ISFFF. This short film has garnered
more than 50 international awards, with the IRIS Prize of £30,000 being the
pinnacle. In 2021, her short film
SNORRIE (MUSTACHIO) premiered at the Oscar-qualifying LA Shorts and was
featured in over 150 festivals, including Oscar-qualifying events like Leuven,
Flickers, Uppsala, Go Short, Foyle, and Gijon. This short film also earned over
50 international awards. I’M NOT A ROBOT marks her third film and had its
international premiere at Sitges IFF, where it clinched the prestigious Best
Short Film award, making the film eligible for the 2025 Oscars.
Director Statement
A short film delving into the complexities of human identity, technology,
and AI, where I explore my apprehensions about these blurred boundaries. It’s a
narrative that also touches upon themes of labeling, embracing uniqueness, and
advocating for equality and feminism. My inspiration for this story sparked
when I repeatedly encountered the ‘I’m not a robot’ captcha while trying to
access a specific website or program. After several failed attempts, a wry
thought crossed my mind—what if I actually turned out
to be a robot? The idea of my life unraveled by this revelation intrigued me.
It led me to contemplate how my existence might change if the very foundation
of my beliefs crumbled beneath me, leaving me with no solid ground to stand on.
This introspection served as the catalyst for writing this narrative, a way to
give shape to my anxieties straddling the intersection of technology and
humanity.
8:30 – HEAR ME Seven at-risk young people share thoughts on
root causes of gun violence in affluent BerkshIre
County, Western Mass. Q&A
We sat down with experts on the root causes of gun violence with seven
young people from the front lines.
Guns are the leading cause of death for Americans under 22 years of age,
and mass shootings account for less than 1% of deaths by firearms.
We rarely listen to the young people caught up in the mass proliferation
of gun violence in the US.
“Hear Me” is crafted from in-depth conversations with seven at-risk young
people in the affluent Berkshire County of Western Massachusetts. Each of our
remarkable cast members are working through various aspects domestic abuse,
neglect, and street violence. In our film they are the experts—on their own
lives, and on the root causes of gun violence.
We hear reports on mass shootings, urban street violence, and we follow
political debates on the proliferation of firearms in America. But for members
of the protected class gun violence usually feels like it happens elsewhere.
Our cast reminds us that gun violence is happening in every community. They
share wisdom, humor, creativity, and prescriptions for a way forward. They
remind us that we all share responsibility for identifying and addressing the
root causes of gun violence in America.
Director Biography – Dave Simonds
ΩDave Simonds (director) is
an actor, writer and award winning filmmaker. He
directed the docs Hear Me, The Hoy Boys, Cherry Cottage and Forgotten Farms. As
an actor, Simonds worked extensively in New York, and regionally at the
Williamstown Theatre Festival, The Long Wharf Theatre, and The Portland Stage
Company. He was a familiar face in the indie-film renaissance of the late 80s
and early 90s and his screen credits include Amateur, The Book of Life, Signs
and Wonders, The Fish in a Bathtub, Henry Fool, B Movie, among many others. He
appeared in music videos for Everything But the Girl,
Beth Orton and others. He was the co-founder of the award
winning Cucaracha Theater. The New York Times proclaimed, “Cucaracha
Theatre has become a center for some of the most interesting experimental
theatre in New York.”
AUG 31-SATURDAY
7PM THE PUPPET GROOVE Music video depicts a band whose singer
comes to reveal his trans identity. Animation.
Director Biography – Stefan Eling
Born in Cologne, Germany in 1963. – Studied Graphic Design and Illustration in Cologne. Since 1987 he’s been
an Illustrator
and Animation film producer, director, animator and lecturer.
7:20 – THE UNIFORM Lonely woman dresses up as a cop in her
search for human connection. Adult film. Q&A
THE UNIFORM tells the story of a lonely woman who has slipped through the
cracks of life and the extremes to which she will go in her search for human
connection.
Filmed in The Bronx, NY, featuring a blisteringly raw performance by
Jammie Patton (The Devil You Know, Flatbush Misdemeanors, Justified) and
stunning cinematography by Jeff Hutchens (Remember This, Maddoff:
The Monster Of Wall Street, Murder In Big Horn)… The
Uniform explores lack of human connection as a form, and a cause, of mental
illness.
Director Biography – Dylan Gary
Writer/Director Dylan Gary began his screenwriting career on the writing
staff of HBO’s critically-acclaimed series TELL ME YOU
LOVE ME. Since then he’s had his original pilot BEHIND
THE SUN was included in Sundance TV’s 2015 development slate He received a
” blind pilot” deal from Sony. Television, and was hired to do an
adaptation of a novel by Steve Buscemi’s company Olive Productions.
But film and filmmaking is Dylan’s first love and
deepest passion. And he’s recently formed Three Umbrella Films, a New York
based production company focusing on low and micro-budget features.
His short film, THE UNIFORM, is the first film under the Three Umbrella
Films banner, and the hope is that it will be helpful in attracting like-minded
filmmakers and artists to collaborate with for years to come.
Director Statement
My childhood was a peculiar one. Born in NYC, my family moved to Los
Angeles when I was quite young. And there, after a horrendously violent itching
reaction to my first SoCal sunburn, doctors eventually concluded that I was
allergic to the sun… which was problematic,because
there’s a lot of it out there.
But I suppose the sense of isolation I often felt growing up, and the
feeling of being somehow out of step with my own life, forged my most prominent
thematic preoccupation as a writer/filmmaker…The search for connection in a
disconnected world, a connection more fundamental than shared interests or
political affiliations, deeper even than race or gender. That most essential
yet often overlooked connection is shared by all of us: that we are alive
together, right here, right now. And no matter what we may be going through, we
are not alone. THE UNIFORM explores the search for this connection, and the
mangling our lives can face without it.
8PM MARRIED TO COMICS Autobiographical cartoonists lay their
personal lives to bare. A troubled marriage & testament to the power of
love. Q&A
A rare glimpse into the life and art of two giants of autobiographical
comics, who are also married. Laying their personal lives to bare in comics,
including the intimate details of their troubled marriage, Justin Green and
Carol Tyler pioneered and set the bar for one of comics’ most important genres.
In 1972, during the height of the Underground Comix movement in San Francisco,
Justin changed the course of comics with his magnum opus, “Binky Brown
Meets The Holy Virgin Mary,” about growing up
Catholic with OCD. It was one of the earliest examples of an autobiographical
comic and immediately influenced Art Spiegelman and Robert Crumb to create
their own autobiographical work, inspiring thousands more. After reading Binky,
Carol was drawn to San Francisco and to Justin, sparking a romance and
marriage. For years Carol worked to distinguish herself in comics and to get
out of her husband’s shadow. But when their marriage is put to the ultimate
test, they separate and Carol forges a path to her own comic masterpiece,
” Soldier’s Heart.” But can the marriage survive their troubled past?
” Married to Comics” is a riveting documentary that is a testament to
the power of autobiographical comics, and the resilience of love.
Director Biography – John Kinhart
Renowned for his captivating documentaries, John Kinhart
is an accomplished director with four feature films to his credit. Notably, he
served as an editor on the critically acclaimed “8: The Mormon
Proposition” (2010), which premiered at the prestigious Sundance Film
Festival. His latest documentary, “Married to Comics” (2023),
reflects his fascination with autobiographical cartooning and offers an
intimate and gripping portrayal of the art and marriage of pioneering
autobiographical comics couple Justin Green and Carol Tyler.
Kinhart’s journey into documentary filmmaking began
with the award-winning “Blood, Boobs & Beast” (2007), an intimate
portrait of Baltimore B-movie auteur Don Dohler. This
early success paved the way for opportunities, including a role as a camera
operator for the MTV docu-series “Ke$ha: My Crazy
Beautiful Life” (2013), providing a behind-the-scenes look into the life
of the celebrated pop star. Additionally, he edited “On Your Mark, Get
Set, MOW!” (2012), a captivating glimpse of the offbeat yet fiercely competitive
world of lawnmower racing. Among his directing credits is “Pigheaded”
(2016), a in-depth
exploration of the life and art of underground cartoonist Skip Williamson. In
2021, Kinhart collaborated with legendary filmmaker
Jeff Krulik on “Punk & Tomatoes”
(2021), a compelling web series documenting the unwavering passion of
Washington, DC punk enthusiast Bill MacKenzie.
Throughout his documentary career Kinhart has
interviewed such notable people as J.J. Abrams, George Stephanopoulos, Art
Spiegelman, Arianna Huffington, Robert Crumb, Tom Savini,
and Phoebe Gloeckner.
In addition to his filmmaking pursuits, Kinhart
finds fulfillment in painting, cartooning, and photography. He resides in
Silver Spring, Maryland, with his wife and two children.
News & Reviews
<![if !supportLists]>
“Their undersung art changed comics. Their marriage changed each
other.” The Washington Post https://www.washingtonpost.com/entertainment/movies/2023/09/19/married-to-comics-carol-tyler/
<![if !supportLists]>
“Intimate,
perceptive and artfully deep” Cincinnati CityBeat https://www.citybeat.com/arts/new-film-about-cincinnati-creators-of-autobiographical-comics-gets-screening-here-17349072
<![if !supportLists]>
“A fascinating look at a
complicated but durable union, and about the high price of making truly
individual art.” Washington City Paper https://washingtoncitypaper.com/article/623054/ink-stained-fingers-til-death-do-us-part/?fbclid=IwAR3oK17L7lDCKIA_T8YF92ILZZuZbALLm76jpx_PRJsb5CfGcukXBi-ZJjw
<![if !supportLists]>
“Married to Comics
is a great film, ranking right up there with Terry Zwigoff’s Crumb” The
<![if !supportLists]>
“Deeply moving
exploration of comic arts, love, tragedy, and redemption” Washington City
<![if !supportLists]>
“Kinhart tells their story in a loving and dramatic
fashion” Film Threat https://filmthreat.com/reviews/married-to-comics/
<![if !supportLists]>
SEPT 1-SUNDAY
7PM NANA
& THE BLACK MONARCHY Black women
challenge subjugation & march for liberation from sexual assault &
domestic violence. Q&A
What even is Black Girl Magic? Well it’s the
miraculous alchemy Black women and girls synthesize from the adversity, abuse
and subjugation they endure throughout their existence. Yaania
Bell’s radically profound short documentary on the slutty social worker,
@Nanagal_ and her sex positive, anti-patriarchal demonstrations, introduces
audiences to a colorful reality of BIPOC sexual assault and domestic violence
survivors. These brave young women are not cowering in the margins of society
that they’ve been socially designated to. Instead, they are courageously
marching in the streets and publicly communing together around their unified
intentions for liberation and healing.
This project is presently in post for another cut; a more comprehensive 20 minute version which should be ready for distribution by
Fall 2024.
Director Biography
Born and raised in Harlem, NYC, Yaania Bell is
an emerging documentarian and multimedia artist with a passion for community
building and archiving. Having graduated from Maysles Teen Producers Program, Yaania has been on the documentary path prior to her time
at NYU. The summer before their first year at the Kanbar
Institute, she independently produced, directed, edited and released a 42 minute documentary called, Chosen (2020). The film
explores education inequality in NYC, specifically through the lens of six
Black alumni from a private high school; a project they intend to expand into a
more comprehensive series. While at Tisch, Yaania has
written, produced, directed, and edited one short animation, four short
narrative pieces and eight short documentaries. She is presently producing,
directing, and editing her doc thesis on patriarchy, specifically rape
culture’s impact on BlPOC women and girls. Graduating
this May with a degree in film and tv and a minor in social work, Yaania plans on integrating creative media with her
community organizing efforts; collaborating with
nonprofits and unsung heroes to inspire service work as well as advocacy.
With thoughtful intention, Yaania’s technical
proficiency includes concept development and research as well as post production editing, versed in both Avid and Premiere.
Her work cultivates cultural dialogues through engaging illustrations that
remarkably subvert existing mainstream narratives and constructs. Her approach
to film is rooted in ethical, community-minded documenting, ethnographic as
well as personal reflection. As a former student organizer, Yaania
uses media as a tool for evoking social contemplation that supports individual
as well as collective education and evolution.
Director Statement
My mother is an actor, not famous but working. I grew up reading scripts,
running lines and eventually filming self tapes. I
began noticing trends in the types and sizes of roles she would get and how her
characters were written, wondering: who’s writing this stuff? I realized that
the options for BIPOC women and gender non-conforming people were sparse and
lacking. As I continued on this inquiry, I recognized
that who I am in this world, both my external and internal identity, compels me
to commit my life to liberation work. I see it as my responsibility to make art
as well as communal experiences that are accessible to all, creating space for
both inclusion as well as affinity through my work. This is what drew me to
filming: wanting to actively advocate for artists of all backgrounds by sharing
my story and helping others share theirs’. Acknowledging while not solely
focusing on oppression and adversity is at the crux of my artistic exploration; discovering and presenting various forms of
healing. Celebrating the magnetism of marginalized peoples’ endurance and
ingenuity while also emphasizing our nuanced humanity is a central component to
my artistry; ultimately analyzing the human condition through film.
Throughout my time at Tisch making short film after short film, I am most
grateful for my focused yet flexible vision; ability to ebb and flow in the
direction a project takes me while remaining true to my conceptual objectives.
This is largely due to my extensive preparation and research prior to all
productions as well as my immense consideration for filmed collaborators. Both
set a sturdy foundation for my pieces that allow me to go through each stage
with a sense of ease and clear direction. I don’t have any ‘horror stories’ on
set or fraught relationships with former participants because I’m extremely
thoughtful about who I work with and how I work with them specifically.
Communication, transparency and empathy are paramount, putting the humanity of
those I work with above the projects themselves. The relationships within these
collaborations are more important to me than the aesthetics or social
perception of the work and this is something I’m proud of. While visual
tactfulness and technical proficiency are certainly integral to my work, they
are not what motivate me. It is imperative for the conversations posed in my
work to extend past the medium of film, spreading throughout communities in the
form of dialogue as well as service-minded action.
The exploitation of the sexuality and lifestyle of lower-middle income
BIPOC queer people must end and that starts with putting those people in charge
of telling their own stories. As a Black queer woman coming from a lower-middle
income background, I don’t intend to tell the stories of others similarly or
more marginalized than me for them; but instead, plan to share my individual
perspective as well as empower and support the telling of others’ respective
truths on their terms. Finding and facilitating ways for those of us with
academic and professional privilege to share both the knowledge and resources
we’ve been exposed to with those who haven’t is a motivation behind my approach
to BIPOC & LGBTQ+ storytelling. Archiving and actively creating spaces of
joy, safety and personal investigation for BIPOC and Queer people is also
central to my artistic approach. To uplift as well as evoke critical reflection
in myself and others is at the root as well; highlighting the magnificence
within our community as well as where we have room to grow.
7:40 – THE LAST SWINGIN
SUPPER CLUB Retro Swing culture rooted
in the past. Reinvented decades later in NYC. Q&A
“Cool to Boot!” – Mike Watterson (DogBites
Radio Show)
“It drew me in right away and celebrated a diverse world!” –
Filmmaker Jeremiah Kipp (Slapface)
“A nostalgic, entertaining, and informative documentary that pulls
you into the world of Retro Swing. I immediately wanted to visit Swing
46!” – Filmmaker Patrick Rea (Nailbiter)
“Swing 46 introduced me to a subculture that I didn’t know it
existed. By the time it was done, I was sorry I missed it.” – Festival
Founder/Filmmaker Skip Shea (Shawna Shea Film Fest)
“Fantastic job! It really zapped me back to another lifetime – a very
fun and exciting (and somewhat blurry) time in my life.” – Eldon Daetweiler (Bandleader of the Alien Fashion Show)
This short documentary is A Strange Man in a Film Land Production, LLC.
production and also developed as part of the Montclair
State University Film Program (2021-2022).
Swing 46 is one of the last swingin supper clubs
out of the neo/retro swing era. Born on Restaurant Row in Manhattan, it is
still going some 27 years later. “Swing 46: The Last Swingin
Supper Club” is a short documentary developed at Montclair State University
that gives a snapshot of the overall impact of this key music venue as well as
the nationwide swing movement of music, community, history, culture, passion,
style, and humanity that brought so many together to swing out like a wildfire!
Featuring vintage and modern swing music, photos, and videos as well as live
performance footage from Swing 46, memorabilia, and interviews from 16 key
figures of the retro swing era spread across several states on the east coast
of the United States, “Swing 46: The Last Swingin
Supper Club” will have you hooked from the first beat until the final dance!
“Swing 46: The Last Swingin Supper Club”
features interview subjects including Swing 46 Founder/Owner John Akhtar and
Talent Booker/Performer Michelle Collier. Writers Ken Partridge and Ralph G.
Giordano and Dancers Jeff Griffith, Nathalie Gomes, and Paolo “Pasta”
Lanna (Lindyland). Promoter
Lenny Lounge (Leopard Lounge), Bandleader George Gee, & Musicians Michael
Hashim, Jen Jones (The Camaros), Ingrid Lucia (The Flying Neutrinos), Nick
Palumbo (The Flipped Fedoras), Dave Post (Swingadelic),
Dirk Shumaker (Big Bad Voodoo Daddy), and Ron Sunshine (Full Swing). Plus,
more!! – Director Biography – Jay Kay
Director Biography – Jay Kay
Jay “Jay Kay” Kolucki is a retro swing music
fan, award winning filmmaker, nominated radio show host (Horror Happens Radio
& Swingin from Coast2Coast), film festival
programmer, producer, staff writer for HorrorHound
Magazine, critic, educator for at-risk youth in Newark, NJ, global film
festival traveler, and a former student of the Montclair State University’s
Filmmaking Program. He has a total of six short films including “Not Your
Business,” “No Good Deed,” “[Within the Frame],”
” Don’t Eat at Dave’s,” “Death by Broadcasting,” & now
the award-winning “Swing 46: The Last Swingin
Supper Club” student short documentary. He is currently working on a
larger documentary about the impact of the Retro Swing Renaissance.
Director Statement
“Swing 46: The Last Swingin Supper Club” by Jay
“Jay Kay” Kolucki
“It’s a love letter about a special club, community, and music of a
bygone time.” – Jay Kay
Thank you so much for taking the time to watch this film which has been
more than two plus decades in the making! Swing 46: The Last Swingin Supper Club, started out as a five-minute
documentary for my “Documentary Workshop” at Montclair State University (2021)
with celebrated documentarian and Professor Beth B.
For a very long time, I have loved jazz and swing music. I grew up in a
household that was very radio based, so I discovered so much of the music on
the AM dials including jazz, big band, rock & roll, and swing. Around
1998/1999, I began working at Sam Goody being introduced to a range of music
including the retro swing sounds that had surfaced on the east coast. I would
play bands like the Royal Crown Revue, The Mighty Blue Kings, The Blues
Jumpers, Big Bad Voodoo Daddy, the complication Swing This Baby!,
& more in the store, exposing myself and others to the retro swing sound.
It became my listening mainstay in a store filled with racks and racks of every
genre of music you could think of.
I stayed a fan and collector of that music and culture for decades through
physical media/CDs/vinyl. As a collector and fan, I developed a retro swing
radio show “The Evolution of Swing” on WNTI 91.9FM (NJ) & later
on HGRNJ.org/Soundcloud podcast with the “Swingin From Coast2Coast.” I loved the musical movement which had
affected so many elements of society in such a short time including cultural,
social, personal, and musical.
Why the movement did not stay at the top for as long as I had hoped, it
still has that grassroots feel almost three decades later with the energy,
passion, power, spirit, and fun of this movement! This was a time, impact, and
influence where retro or neo swing bands/performers were influenced by vintage
culture, musicians, style, society that was re-envisioned from the classic
standards and styles of music (ska, rockabilly, jazz, big band, blues, roots
rock, etc.) as well as created new standards for a generation that would jump,
jive, dance, and swing. It was inclusive, the music had something for everyone
no matter who you were, came from, or what you looked like. Even with those
detractors or those who believed it was a fad, it was still one of the most
impactful movements in modern music history.
Living on the east coast, I followed the movement the best I could as it
developed across the U.S. and was rooted in California. Why I wish I had done
more and been more visible during that time, it greatly influenced me over the
next two plus decades including style, writing, radio, photography, and
filmmaking.
Unlike the era of retro swing where many found a place in the world
learning, connecting, and dancing in places like Swing 46 in NYC, we were all
inside during covid as I went back to school at Montclair State mostly
virtually from 2020-2022. I was accepted into the university’s filmmaking
program and took a documentary development workshop. Working through each stage
of the class with renowned documentarian and Professor Beth B, I found myself
going back to my roots of that music and my experiences to create a few mini
documentaries during the semester including one on celebrated musician Dave
Post.
I combined my love of interviewing (a combined 2000 interviews on my radio
show/podcast/written) and film with the subject of long-time bassist and Swingadelic bandleader Dave Post. As I spoke to him and
filmed the entire experience alone, I began to develop the idea of my final
student documentary about a crucial microcosm of that movement in the New York
City based “Swing 46” which was struggling to get through the pandemic like so
many other places. I realized this was my chance during a rough time for many,
to shine some light onto a place that meant so much for so many and the overall
impact of the retro swing movement which had impacted so many including myself.
I was blessed to be allowed by club owner John Akhtar to film and
interview certain key subjects at “Swing 46” during their virtual telethon in
2021. I had only visited “Swing 46” a few times over the last two plus decades
when I was in NYC. As I filmed the BTS performances, interviews, and b-roll
helping the main filming crew with additional footage, I got to spend many
hours on restaurant row in Manhattan, and within the club. The doc evolved from
a picture of survival during an unfathomable time to more of a love letter
about the club’s impact overall, origins, people involved, and a variety of
elements that had impacted the club including the overall progression of the
movement.
Over the next couple of years, it evolved once I added additional subject
interviews, footage, and music to a larger first project (17 minutes) focusing
on more than the club, but as a “sandwich doc” with “Swing 46” during the
golden years outside and the elements of the retro swing era as the middle
showing the foundation it had been built on, a snapshot of a five-year period. The
documentary features a variety of interviews conducted and shot over the last
two plus years, music, images, performances from Swing 46, and vintage footage
(all through permission, waiver, license, and/or fair use) that blend all the
elements for this perfect storm to happen, the humanity of it, and how it
connected to “Swing 46.” The featured interview subjects are figures that are
important to that era and as well as connected to the New York City area and to
“Swing 46’s” history as well as its story.
Figures like “Swing 46” Founder/Owner John Akhtar and the General Manager
Michelle Collier. Writers/Critics like Kenneth Partridge (Hell of a Hat) and
Ralph G. Giordano (Social Dancing in America). Dancers like Jeff Griffith
(ATOMIC Magazine), Nathalie Gomes Adams (Hop, Swing, & Jump), Paolo
” Pasta” Lanna (Lindyland),
and Lenny Lounge (Leopard Lounge). Also, historian and bandleader George Gee.
Musicians like Michael Hashim (Widespread Depression Orchestra), Jen Jones (The
Camaros), Ingrid Lucia (The Flying Neutrinos), Nick Palumbo (The Flipped
Fedoras), Dave Post (Swingadelic), Dirk Shumaker (Big
Bad Voodoo Daddy), and Ron Sunshine (Full Swing).
A challenging, but really wonderful project to
say the least, the story has many layers to it. The production has been
primarily a one-person crew with elements like covid, student restrictions
early on, one crashed hard drive, and budget (no funding, nearly all out of my
pocket) playing a role. As you watch this version, most of the interviews are
shot on an iPhone 11 Pro, 12, and 14 Pro with some interviews section shot on a
Panasonic Lumix GH4 4k. The visual resources and footage were amassed by me
with almost no support or help from the larger swing dance community. Most of
the sound was recorded on a Zoom H6 at locations we could get across the
country including in NY, NJ, PA, and TN. Thank you to John for letting us use
“Swing 46” for some of the shoots at no cost.
Ultimately, this micro documentary will play festivals and be a proof of
concept for a larger series about the whole retro swing movement from 1995-2002
when it was at its birth, resurgence, downfall, and impact afterwards. “Swing
46: The Last Swingin Supper Club,” is a snapshot of
the club, the New York City side of the retro swing movement, and the larger
retro swing movement.
Thank you for watching, considering, hopefully selecting and supporting my
student short documentary. It has been a blast to make and now share shining a
brighter light on a movement that was infectious, passionate, and more than a
fad… Keep swingin!
P.S. – If selected, I will work to make sure that I can attend the
screening! Ty for your time!!!
8:30 – THE CHILDREN OF
IZQUIERDO. Famous NYC costume studio
reflects an intergenerational community of artists integrating work with
play.
The Children of Izquierdo is a feature documentary about the famous New
York costume studio. The film presents an international and intergenerational
community of artists, in which teamwork and pressured deadlines are part of the
hustling work environment. Filmed in cinema verite,
viewers are immersed in a familial experience; the mise en
scene highlights the eccentric world of the
entertainment industry in New York from the past to the present. The studio
closed in March 2020 during the pandemic.
Director Biography – Marine Brun-Franzetti,
Marion Moinet
Collectif is the collaboration of two artists, Marion Moinet, costume designer, and Marine Brun-Franzetti, filmmaker and director. Marion works in the
field of theater, opera and performance. She designs and assists for the Grand
Theatre de Geneve, the Lido de Paris or the artists Jeanne Vicerial
or Nickhil Chopra.
Marine has been directing documentaries and fiction between Paris and New
York since 2015. She is starting a PhD on the indigenous gaze in documentary
cinema. She teaches documentary writing and directing at the American
University of Paris and the Sorbonne among others.
Currently based in Paris, they met in New York in 2013 and have
collaborated on several projects in France and the United States since.
Director Statement
Coming from different artistic backgrounds, we wish to put our respective
know-how within our artistic approach. Our disciplines, our sensibilities, our
points of view and our experiences enrich the narratives of our documentaries,
the choice of our topics as well as the way we treat them and present them to
the audience. Our complementarity, both artistic and technical, has led us to
explore new ways to represent the world. We are sensitive to a poetic and naive
reality.
SEPT 2-MONDAY
12:15 – FAR OUT Deadbeat pizza delivery driver is directed
to follow a dog into what appears to be an empty house. Animation.
A deadbeat pizza delivery driver, Cooper, arrives at a remote house where
no one seems to be home. He is directed to follow a large dog through the
eclectic and unusual property until he reaches the front door where the nature
of the scene brings color back into his face.
Director Biography – Rowan Walton
Rowan Walton is originally from a mountain ridge in the San Francisco Bay
Area in California. In high school, she participated in a two-year documentary
filmmaking program through which she discovered her keen interest in visual
storytelling. She recently finished a program in Classical Animation in
Vancouver, B.C. where she completed her first animated short film in 2023.
Director Statement
The story behind “Far Out” is intended to be a simple reminder
that life is full of surprises, especially if you allow yourself to slow down
to notice the little things.
12:17 – ANA
MORPHOSE A little girl reads herself
to sleep. The contents of the book transcend the printed page. Animation.
A little girl reads herself to sleep. As she dozes off, the physical world
starts melting into an alternate reality where the contents of a book rule over
the laws of physics. Ana has to escape being
swallowed by the overwhelming accumulation of printed knowledge and find her
own space in a world where nothing is what it seems.
Director Biography – Joao Rodrigues
João Rodrigues (1981, Porto) His graduation short “Black &
White” was selected for over 50 film festivals, from Cuba to India. He
directed the documentary “Alexandrino” and
” The Tile-Jail Toilet-Tale” , founded the “Instant Tanz Company”. In 2014 he directed the short film
” Fortunato- from here to S. Torcato” for Guimarães Capital of Culture.
Director Statement
Filmmaker’s note of intent
The main character of this animated movie is a little girl. This movie,
completely stripped of any dialogue or voice-over narration, is totally reliant
on action to move the narrative forward. The premise of the story is that the
little girl, while solving everyday problems and overcoming obstacles,
eventually physically transforms into the on-set materials, but every solution
brings a new problem. Conceptually, this project is artistically inspired and
aligned with the animation style and tradition of the East European countries
and such cult figures of animation like Jan Svankmajer,
where the movement of animation is subjugated to the on-stage materials. This
entails that every object’s movement is consonant with its very nature and
changes in accordance with the possible combinations amongst them. This movie
features the combination of several techniques ranging from so-called
traditional animation to stop-motion, incorporating folding paper sculptures in
the style of Li Hongbo, the sculpted books of Brian
Dettmer, which are sometimes turned into optical toys and other times serve as
the sets themselves.
In collaboration with the artist and builder Sandra Neves,we spent over a year testing materials and
creating new ways of using them so as to establish the pictorial framework and
universe that enables the creation of this movie. We built silicone dolls with
steel armors and we created animated hair and heads
with facial expressions. We built “articulated paper” and crossed optical toys
with sculptures so as to create zoetropes
sculpted with flipbooks where one can animate a character in volume, thus
originating several animation layers.
The techniques used in this project are not only means of telling the
story but are also part of the story itself. So, these distinctive animation
techniques are interwoven with the narrative content and, in line with this
aesthetic, the character will have a distinctive way of moving in each stage of
her journey.
There is also a second layer of interpretation in stark contrast with the
simplicity of the narrative. The viewer is not taken hostage by a single point
of view, but is rather given the freedom to delve into deeper considerations
about the signified/signifier or to simply enjoy what we expect will be an stimulating aesthetic.
It’s in the counterpoint between these two points of view that the
narrative lies; it’s reminiscent of Alice in Wonderland not only in the way
that the scenery is in direct confront with the reality of the character, but
also in the way the character overcomes her own physical limitations and
changes her environment while attempting to adapt to that same scenery.
In this second interpretation of the film, we intend to convey the
difficulty of representing reality and, consequently, our interaction with it.
So, when the character is watching the evolution of her world, walking to
deconstruction, she literally binds together in her way reality so as to make sense of it once more.
Reality, at the end of the day, is simple. It’s our representation of it
that is complicated.
12:30 – TRIAL OF AGES In the future, young people hunt their
elders for crimes against the environment. One young couple transcends this
policy. Q&A
In the future, young people hunt old people and put them on trial for
crimes against the environment. One young couple struggle to do the right thing
and transcend the mistakes of their elders.
Director Biography – MoJo Murphy
MoJo Murphy is a filmmaker and environmental attorney. He has
directed two feature films and multiple shorts, including Earth Day 2030, which
won Best Comedy Short at the 2020 Albany Film Festival. His film projects
reflect his interests in environmental education and policy told through
entertaining stories.
Director Statement
The story of Trial of Ages was born of climate despair and rage but
crafted to foster hope and climate action. I hope you see it and decide to do
one thing, using what you have, starting where you are.
1:20 – BEYOND THE
SHADOWS Shadow puppet film explores
Appalachian mountain mysticism and traditional folk magic.
“Beyond the Shadows” is a short hand
processed 16mm shadow puppet film. It explores a series of Appalachian family
stories Inspired by the dreams of West Virginia Native and director Steven J.
York and his father William York. The film depicts mountain mysticism,
traditional Appalachian folk magic, and dreams of life out at the old
homeplace.
Director Biography – Steven J. York, Jacob Dodd
Steven J. York is a producing director, performer and storyteller
originally from West Virginia now residing in New York.
Jacob A. Dodd is an independent filmmaker, author, and educator who
creates celluloid motion picture films. He specializes in memoir documentary
and fiction filmmaking.
Director Statement
Not that long ago Appalachia, steeped in mystery, magic and lore, was home
to a type of lifestyle and practice that many modern folks today can hardly
believe ever existed. As late as 1969, the same year man first walked on the
moon, deep in the hills and hollers of West Virginia you’d think time had stood
still. Grannies made medicines and remedies from herbs they gathered in the
woods and grandpas interpreted dreams, and worked
” by the signs” in much the same way they did 150 years before. They
engaged in elaborate and sometimes bizarre rituals from their scattered
homesteads and hand hewn cabins across the misty
topped mountains. In a very real sense, they WERE the mountain. It provided
their food, their medicine, their livelihood and their home.
It wasn’t until Billy left home for college that he discovered just how
strange and uncommon his family’s traditional mountain way of life was. A short
while later, back at home, his family was forced off their land, the ancestral
property seized via eminent domain and Grandpa Bill died, Granny Thena said “from a broken heart” … it was then
that Billy, my father, began having haunting dreams. In them Grandpa Bill told
Billy he had left something for him, out on the mountain, buried in the
ground…
Inspired by first-person accounts, this multi-disciplinary collaboration
utilizes one of the oldest forms of storytelling in the world: shadow puppetry,
along with traditional 16mm capture in extreme low light conditions,
experimental film chemistry and developing techniques and modern digital
editing, matched with an original score by a native West Virginian folk
musician to produce a short like no other. From concept to paper cut-out, to
celluloid, to debut screening in just five days. Take a journey,
and see if you can peer: Beyond the Shadows.
1:35 – NOWHERE TO GO
Young photographer is given a choice to protect his neighborhood or seek
personal gain. Q&A
Kidé is a New York kid with a camera who love to take photos
around his community. As his photos begin to gain recognition, he’s given a
choice to protect his neighborhood or go out on his own.
Director Biography – Aaron Murray Vazquez
Aaron Murray Vazquez is a prolific NYC based film director and
photographer whose work mixes natural elements, intimate moments and surreal
imagery. He’s earned 12 years of experience directing commercials, photoshoots,
music videos, documentaries, and short films for large companies and indie
groups alike. His work has been featured in the New York Times, Harper’s
Bazaar, Vogue, Rolling Stone, etc.
Director Statement
My short follows a young photographer as he navigates the difficulties of
loving and leaving a tough Brooklyn neighborhood they
grew up in. This short features up-and-comer IJ Meach
to play Jaylen to introduce a fresh new face in the scene. And
Grammy-nominated, 3x platinum recording artist, Harlem native, and my long time collaborator, Ro James
as Zeke. The original score which is an integral part of the short was created
by another Grammy award winning artist, Joao Gonzalez.
A lot of the movie is based on my personal history. Getting out of a tough
neighborhood in Texas through photography. Moving to a tougher neighborhood in New York, and learning to love it. There is so much of New
York that serves as a backdrop in this short and so much more planned on being
explored in the feature, especially with New York being its own character.
The film features vibrant colors and cinematic framing, resembling the
films of Spike Lee and Paul Thomas Anderson. But will also feature quiet
moments with humor that resembles the films of Sofia Coppola and Greta Gerwig. This short film represents a slice of the full
story that we hope to continue telling while also being a compelling story in itself.
This film at the core is an intimate coming of age introduction of our
protagonist heading in an opposite direction of his home but what makes it
standout for is his journey is set against the backdrop of his neighborhood
which has been historically underserved but is now receiving a favorable
spotlight. It allows me to explore idea of art and influence, specifically, how
does a community deal with a genius born among them being pulled away by a
bigger world? It’s a story of hope, fear, and opportunity. And what you do with
opportunity to escape when everything in the world you know is telling you you have nowhere to go.
2PM SUNLIGHT A man creates an organization to “save one
child at a time” from poverty, violence, drugs and family disintegration.
Q&A
Donald Gray’s life-long quest to save children trapped in the darkness of
economic and social despair began when he honored his spiritual and moral
convictions. Turning his back on a lucrative business career, he created an
organization to “save one child at a time” from a cycle of poverty, violence,
drugs and family disintegration.
Director Biography – Bill E Webb
Sunlight was inspired by a story about Donald Gray within Mr. Webb’s book,
” So Much Left: Adventuring, Living, Working, Loving and Creating Beyond
50,” a book of stories of people changing the rules and expectations of
living in the second half of life.
Mr. Webb began his filmmaking, writing and photography work in high school
and continued into college where he was twice editor of UNR’s award winning
yearbook “Artemisia.” Among the more interesting experiences he had
in college were being a 21 dealer at Harrah’s Reno, and an on-air personality
at KCBN/KRNO.
As an Air Force officer, he wrote for numerous magazines and publications
and produced and anchored a nightly military newscast on a local station. His
photography and videography were used by news outlets worldwide.
Two of his favorite interviews, Sylvester Stallone and Pete Rose were
published in “Japanese Playboy.”
Mr. Webb put his creative dreams on hold through a business career that
saw the explosion of the internet, electronic commerce and cybersecurity. He
also became dad, his most important career, and was deeply involved with his
two sons. When he sold his cybersecurity company SilverRhino
in 2017, he began producing commercial photography and video for commercial
clients and planning to return to his first love, filmmaking.
He describes his style as “cinematic realism,” and believes
documentaries are just a form of nonfiction film. He believes non-fiction film
can and should be just as entertaining and polished as dramatic films. He
believes a great story is at the center of both.
This is his first Feature Documenatary.