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Usually, after recording a podcast episode, Ranell and I would quickly say goodbye to our guests so we could get on with Saturday afternoon activities. We stayed in the Zoom room for over an hour when we recorded our episode with Jennifer Crystal Chien. When listening back, I realized the richness of the conversation. Jennifer has a unique theory of change regarding correcting systemic wrongs and harms that BIPOCs and true coconspirators in the documentary community experience. While Ranell and I loved our work at the IDA, it was consistently hampered by a work culture rooted in white supremacy, patriarchy, and anti-blackness. The demands of white male filmmakers and white female co-workers were centered on policy implementation and day-to-day operations. Post-traumatic Non-Profit Syndrome is real, and I, like many in similar organizations, became âthe problematic Woman of Color.â For more on this, check out the graphic on the COCo (the Centre for Community Organizations) website created by Safehouse Progressive Alliance for Nonviolence.
Thembe Bhebe of the European Film Mart and the Carribean Fim Academy introduced me to Jemma Desaiâs work âThis Work isnât for Usâ in 2020. It was her writing, along with the list of demands from the former and current BIPOC employees of BIPOC at the Columbia Film Society, theatre artists, as well as the mentorship, community of support of ArtEquity, Somatic Abolition practices, and my therapist, that helped me to find come to come to terms my experiences, find my voice and create the change I needed. I hope this episode will give BIPOCs and white coconspirators committed to anti-racism the strength to advocate for themselves and the filmmakers they serve.
The following discussion between myself, Jennifer, and Ranell also planted the seed for the panel Ranell planned and moderated at the International Documentary Associationâs Getting Real 2022, entitled Collateral Damage and Institutional Repair which featured Sarah-Tai Black (Critic, Programmer, and Curator), Jemma Desai (Creator of âThis Work Isn't For Usâ), Cintia Gil (Programmer), Lalita Krishna (Producer/Director), and Rachel Pronger (Curator and Producer). In the spirit of discernment and mental health, the song for this episode is Kenny Rogers' âThe Gambler.â In the documentary non-profit space, you need to know when to hold them, when to fold them, when to walk away, and when to run. If you liked this special episode, please share it with a friend dealing with Post Traumatic Non-Profit Syndrome. If you have any resources youâd like me to add to this page, please email the link.
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In this episode, I speak with filmmaker, mentor, activist, and co-founder of Re-Present Media, Jennifer Crystal Chien. During our conversation, we chatted about how she got into docs, her commitment to advocacy, and the field-building and changing work at Re-Present Media. Jennifer's theory of change for the field is rooted in liberation and the spirit of the song she picked for this weekâs episode by the late great Curtis Mayfield, âKeep On Keeping On.â
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During this conversation, I speak with the filmmaker, archivist, and the artistic director of Dox Box, Jihan El Tahri about the manifesto, “Liberate the Image.” The manifesto was a call to action to make archives more accessible to content creators living in the Global South. During the conversation we discussed:
Archival preservation of assets of those who are part of the Global Majority
Who gets to monetize archives and when does monetization make access to historical assets prohibitive
The role archivists play in the preservation of history and limitations due to limited staff, storage capacity, and adequate facilities.
Access to non-commercial archives such as museums, community organizations, and individuals
Licensing struggles across the borders
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We recognize that war, conflict, and occupation often bring destruction not only to physical bodies but to the histories, archives, and cultural identities of the people impacted. During this conversation, I spoke with artist, writer, filmmaker, and teacher Mariam Ghani about her latest project What We Left Unfinished which is executive produced by Alysa Nahamis. We discussed the necessity and importance of rediscovering history that was previously thought to be lost as well as the unique ways those subjected to occupation and conflict whether that be through war or political structures can hold on to their stories.
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In this episode, I speak with a friend, filmmaker, and professor, Jacquil Constant. During our conversation, we chat about our time working on Bridging the Divide: Tom Bradley and the Politics of Race, BADWest, and his documentary short, Haiti is a Nation of Artists. We also talk about his Haitian heritage and the festival he founded which is now in its seventh year, the Haiti International Film Festival - how he started it and how it has grown even during the past few pandemic years. Starting a film festival from scratch is no small feat and Jacquil is truly a man with a vision, that’s why this episode’s song is Nipsey Hussell’s “That’s How I Knew.” Our conversation was recorded in January 2022.
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In this episode, I speak with film director Scott Calonico and archival researcher and producer Sandy Weeding. During our conversation, we chat about our first meeting at the Ji.hlava Documentary Film Festival, Sandy’s experiences of Berlin before the wall came down, unique German archives, and their latest documentary short, Catwoman vs. the White House. The film which will screen on The New Yorker website for Black History Month celebrates a little-known moment in history when Eartha Kitt confronts Lyndon Baynes and Lady Bird Johnson with their performative initiatives for Black folks in the inner city and the problems of the Vietnam War. Soon after this encounter Earth Kitt was unofficially blacklisted in the U.S. She was fortunately embraced by Europe and the people of Franc specifically, so this week’s song is her rendition of the classic, “C’est si Bon.” Our conversation was recorded in February 2022.
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In the first full episode of 2022, I chat with the filmmaker and activist Emma Francis-Snyder about her Oscar-shortlisted short Takeover! We talk about her journey as a white person and the obligation to uncover and celebrate these hidden histories and all things Takeover! Including the history of the Young Lords, her many interactions with journalist and Democracy Now! co-host Juan Gonzalez. This week’s episode has not one but two songs! The resistance anthem “Pa’lante” by Hurray for the Riff Raff and “Que Bonita Bandera” by Pepe Y Flora, a song that celebrates the Puerto Rican flag. Here is our conversation, which was recorded in January 2022.
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In this episode, we continue our celebration of the 2021 edition of IDFA as I chat with the Senior Programmer of the festival, Laura van Halsema. We talk about how she got into docs, her nearly 20 years with IDFA, and take a deep dive into the unConscious Bias Focus program at the festival this year. The song for this episode is from the film Chelas Nha Kha which is part of the unConscious Bias strand and is entitled “Chelas City,” music by Bataclan 1950 and lyrics by Baguera, Islu, and Gohu. The film is a collaboration between Bagabaga Studios and Batalan 1950 is about the people and kids growing up in Chelas which is a neighborhood in Lisbon. During our conversation, we spoke about the anthropologist Clifford Geertz’s concept of the “webs of influence.” Laura thought of this film and about the filmmakers who live in that area as they learn to define for themselves their own realities. The first love of Bataclan 1950 is making music which is prominently featured in the film. Here is our conversation which was recorded in November 2021.
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In this episode, I speak with the film director & co-founder of Seen Films, Mostafa Youssef. We chat about his near lifelong love of film, the entertainment industry in Egypt and its impact throughout the Arab-speaking world, and the unique challenges of filmmakers on the Continent. We also get into the many artist development programs and resources that are under the Seen Films umbrella including a crowdsourced post-production unit and their magazine, Terr.so, the only online magazine and portal on cinema, audiovisual media, film criticism, and filmmaking in Arabic. Mostafa is also the producer of Homemade Stories which will have its world premiere at IDFA 2021. Mostafa is a Bruce Springsteen fan, so this weekâs song is âHello Sunshine.â
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In this episode, I speak with friend and writer, director, co-producer, Raven Two Feathers. During our conversation, we chat about when we first met and my struggle with the Seattle hills, the 4th World Media Lab, their VR project, “A Drive to Top Surgery,” which screened at ImagiNative this year. their zine “Qualifications of Being,” and their new production company, Raven and Relatives. Raven is unapologetically Cherokee, Seneca, Cayuga, Comanche and because American Thanksgiving is just right around the corner, Raven selected the Halluci Nation’s (formerly known as A Tribe Called Red) “Burn Your Village to the Ground.” The band themselves delivered the following message about the holiday:On this fourth Thursday of November, you might ask yourself: do Indians celebrate Thanksgiving? Well… Thanksgiving is a complicated holiday for Native people. In a way, each day is a day of thanksgiving to the Creator for the original people of Turtle Island. This doesn't mean that we don't enjoy turkey, pie, and family as much as the next person, but at the same time, the Thanksgiving myth largely shared in mainstream culture perpetuates a one-sided view of a complicated history surrounding this holiday.
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n this episode, I speak with the publicist and one of the founders of NOISE Film PR, Mirjam Wiekenkamp. During our conversation, we get into her publicist origin story, some of the differences between PR firms in the US and Europe, the unique ways a publicist can position documentary films in the European documentary festival landscape, and how publicist and impact producers can often build upon and support one another’s work on behalf of a filmmaker. Mirjam and NOISE Film PR are representing several films at DOKLeipzig and IDFA that are part of the Steps’ Generation Africa program. To celebrate these young filmmakers from the Continent, this week’s song is Kokoroko’s “Abusey Junction.” KOKOROKO (meaning 'be strong' in Urhobo), are a collective of young musicians brought together by a love for Afrobeat led by trumpeter Sheila Maurice-Grey. They specialize in a soul-shaking, horn fuelled sound with West African roots and inner London hues. “Abusey Junction” is a ballad written by guitarist Oscar Jerome. It was written on the roof of a compound in Gambia where the band spent time last year immersing themselves in the soundscapes of the region.
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In this episode, I speak with Mexican filmmaker and Co-Director of Video Consortium Mexico, Brenda Avila-Hanna. During our conversation, we chat about her latest feature project Libertad, the professional needs of Mexican content creators outside of urban strongholds such as Mexico City, the immigration conversation that’s happening or actually not happening in Mexico, and the educational distribution co-op New Days Films. The song for this week’s episode is PUEBLOS, by Lila Downs and Sara Currichich. The song speaks about Indigenous solidarity and strength without borders. Currichich is Guatemalan and Downs is Mexican-American with roots in Oaxaca, which feels particularly resonant to Libertad and many other themes of transnational solidarity addressed throughout the episode. As a plus, one of Libertad's Producers and DP's, Casandra Casasola, is the DP for the video to this song. Casandra is a Mexican, Indigenous (Mixteca) filmmaker.
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In this episode, I speak with Canadian producer extraordinaire, Ina Finchman. During our conversation, we chat the nuts, bolts, and knowledge needed to be a great international co-production partner, her work with the Documentary Organization of Canada, and the specific steps the organization took to ease some of the stress of pandemic for Canadian filmmakers. We also discuss some of her most recent work on films such as Laila at the Bridge, Stray, and The Gig Is Up, and her ongoing support of Palestinian filmmakers. For this episode, Ina chose a masterpiece written by her fellow Canadian Leonard Cohen, “Hallelujah.” Regarding the meaning of the song, Leonard Cohen said:
“This world is full of conflicts and full of things that cannot be reconciled. But there are moments when we can… reconcile and embrace the whole mess, and that’s what I mean by ‘Hallelujah’.
The song explains that many kinds of hallelujahs do exist, and all the perfect and broken hallelujahs have equal value. It’s a desire to affirm my faith in life, not in some formal religious way but with enthusiasm, with emotion.”
When one looks at Ina’s body of work, it is clear that documentary is the medium she has chosen to find meaning and reconcile the many contradictions that we face in life.
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In this episode, I speak with director, producer, and writer Ann Kaneko and producer Jin Yoo-Kim about their latest project, Manzanar: Diverted: When Water Becomes Dust. We chat about Ann’s very impressive matchmaking skills, their work on K-Town ‘92 and their reflections of the 1992 Rebellion, and how they successfully weaved the stories of environmentalism, the Indigenous, and Japanese-Americans into a beautiful tapestry. This episode’s song is classic, “We are the Children” by Chris Iijima, Nobuko Miyamoto, and "Charlie" Chin. The song was one of the first bits of artistry that defined the Asian-American identity. And the chorus is a call for all of us to unapologetically embrace every aspect of our beings. It reads, Sing a song for ourselves, What have we got to lose, Sing a song for ourselves We’ve got the right to choose.”
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In this episode, I speak with Oscar-Nominated, United Kingdom-born, and Canada-based filmmaker Adam Benzine. During the episode, we chat about his career in journalism, his move to Canada, his critically acclaimed work, Claude Lanzmann: Spectres of the Shoah, and his latest documentary project, The Curve, which is about the first 90-days of the COVID-19 pandemic in the United States. Because in so many ways the battles we are facing now so closely resemble those are parents and grandparents fought in the past, this episode’s song is Marvin Gaye’s timeless classic, “What’s Happening Brother.” Adam specifically connects to the following lyrics from the song, “When will people start gettin' together again? Are things really gettin' better, like the newspaper said? What else is new my friend? Besides what I read. Can't find no work, can't find no job, my friend. Money is tighter than it's ever been. Say, man, I just don't understand What's going on across this land.” Our conversation was recorded in July 2021.
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In this episode, I speak with DP and director, Ashley O’Shay. We chat about the uniqueness of Chicago filmmakers, How she discovered her love for cinematography, her work on national brands, her work on Surviving R. Kelly, and her feature debut, Unapologetic, which centers queer Black women in the Black Lives Matter movement. Because we’ve got to show love for Chi-town and It’s so important for Black folks to both stand in our righteous rage and joy this week’s song is Jamila Woods’ “Basquiat” featuring Saba.
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