FOCUS ON: DAWNLAND

FatherandChild300dpi

Father and child, Indian Island, Maine Photo by: Ben Pender-Cudlip Courtesy: Upstander Project

 

By Shelley Sackett

DAWNLAND tells the story of the state of Maine’s effort to come to terms with a shockingly shameful part of its history, when state welfare workers removed Indian children from their families and placed them in foster care. The film follows the work of the state’s Truth And Reconciliation Commission, set up in 2012, which gathered stories from the state’s indigenous people.  It premiered at The Cleveland International Film Festival and recently won the 2018 Jury Award for Best Documentary at the Woods Hole Film Festival.

Salem Film Fest Selection Committee member Shelley Sackett had a chance to talk with co-director and cinematographer Ben Pender-Cudlip, ahead of DAWNLAND’S North Shore premiere, which will take place at The Peabody Essex Museum on Friday, September 21 at 7:00pm.

SS: How did you first get involved in filmmaking?

BP-C: In 2009 I was working in computer consulting. My company was a sponsor of a local film festival (IFFBoston), so I used our complimentary passes and saw a ton of nonfiction films. After going to a bunch of Q&As and talking to directors, I decided: I could do this! So I went to work on Monday, gave my two weeks’ notice, and started figuring out how to make films. DAWNLAND is my first documentary feature, and I’m thrilled that it has the chance to have a really robust social impact.

 

download

Georginia Sappier-Richardson sharing her story at a TRC community visit Photo by: Ben Pender-Cudlip Courtesy: Upstander Project

SS: How did you get involved with this project?

BP-C: Co-director Adam Mazo and I had collaborated on other issue-oriented documentary projects. Our friend and colleague Dr. Mishy Lesser—the exceptional learning director for the Upstander Project—heard about the TRC in its formative stages via WBUR. Adam reached out to the TRC and REACH and after 8 months of conversation we were invited to make a film about the process. I joined as co-director and cinematographer, and we ended up spending two years traveling back and forth from our homes in Boston to Maine filming the TRCs work, and gathering the material to tell the story of Indigenous child removal in the United States.

SS: What compelled you to tell this story? What about it ignited a fire in your belly?

BP-C: I didn’t know that Native children were being stolen from their homes by state agents, and I wasn’t aware of this country’s long history of separating Native families. I was shocked and wanted to learn more. I’m a non-Native person, and I feel an obligation to try to end institutional racism in the United States. DAWNLAND allows us to tell a story about a present-day investigation that sheds new light on past wrongs, exposes current injustice and contributes to healing and change.

SS: What do you hope audiences take away from this film?

BP-C: I hope audiences understand that this isn’t just a story about the past. The child welfare crisis in Indian Country is ongoing, especially in places like Minnesota where Native children are 20 times more likely than white children to be in foster care. Genocidal policies have a ripple effect from generation to generation, and whole communities are being damaged. And the same basic impulse is playing out at the southern border under the moniker of “family separation,” predicated on the same belief that families of color are worth less than white families.

 

images

Father and child, Indian Island, Maine Photo by: Ben Pender-Cudlip Courtesy: Upstander Project

 

SS: What have been some of the audience responses at screenings? Given its special place in the narrative, was the Maine screening different?

BP-C: Before releasing DAWNLAND widely, we held a series of screenings in Wabanaki communities. It was a very emotional experience to watch the film with the same people who had stared down the pain and come forward to share their stories of survival and resilience with the commission. In one community, people sang along to songs in the soundtrack. In another, we had a circle discussion afterwards and somebody chose that moment to share their story for first time. It’s our highest dream that this film will help Wabanaki people heal.

SS: Anything else you’d like to share?

BP-C: We hope DAWNLAND viewers will come to understand that Wabanaki and Native people are still here. We hope teachers will use the film and companion teacher’s guide with students nationwide, and especially in New England where this story is especially relevant. In particular, for teachers on the north shore and greater Boston, we’d love to invite them to participate in the Upstander Academy in Boston in summer 2019 to learn about genocide and human rights with the DAWNLAND team and film participants.

DAWNLAND will screen at the Peabody Essex Museum on Friday, September 21 at 7pm and tickets can be purchased here: http://salemfilmfest.com/2018/films/dawnland/

Advertisements

Mr. Fish makes a big splash at Salem Film Fest

By Shelley A. Sackett

IMG_5852

Producer Ted Collins, Mr. Fish and SFF moderator Debra Longo at the PEM post-screening Q&A.

 

Dwayne Booth wears many hats.

 

He lives in the Philadelphia area, where he is a loving family man and a popular lecturer at the Annenberg School for Communication at the University of Pennsylvania.

 

For the last 25 years, he has also been known as Mr. Fish, the controversial and enormously talented freelance editorial cartoonist whose work has been published in some of the nation’s most reputable and prestigious magazines, journals, newspapers and web magazines, currently at Harpers.org and Truthdig.com.

 

Although Fish (as he prefers to be called) has written three books of cartoons and essays and won several prestigious awards, his was hardly a household name. All that has changed with the release of the documentary feature, “Mr. Fish: Cartooning from the Deep End,” which screened last Friday evening at the Peabody Essex Museum as part of the Salem Film Fest.

 

unnamed-1

From the left: Mr. Fish (Dwayne Booth), flanked by his two daughters, producer Ted Collins and “Mrs. Fish”, Diana Booth.

 

Not your average editorial cartoonist, Fish’s radical and sometimes outrageous work brims with controversy and biting satire, drawing from politics, propaganda, religion and social taboos. His rebellious anti-establishment philosophy is a throw back to the 1960s, yet his angst is contemporary. He has been called a poet with a cartoonist’s pen.

 

Nothing is off limits to Mr. Fish — he dares us to look away and invites us to cringe all the while challenging us to examine our assumptions and question the status quo. “I want cartooning to be dangerous and to be more than ink on paper,” Fish says to the camera.

 

Director Pablo Bryant shot over 90 hours of footage over the course of five years, and his film lets its audience through the keyhole into Fish’s private family life. Against a backdrop of Fish’s art and animation, the film explores his relationships with his wife Diana and their children; the beginning of his career; his views about money, war, and environmental catastrophe; the decline of the print industry that used to publish his work, and the diminished commercial appeal of his art.

 

“Where is the threat to the dominant culture today? There’s still so much work to do. Who’s going to do it?” Fish says in the film.

 

Watching Fish effortlessly draw his cartoons is one of the film’s greatest pleasures. Bryant’s unobtrusive camera allows the audience to eavesdrop as Fish explains how he comes up with his ideas and what drives him.

 

“The fact that I use art to communicate what it feels like to be human and why it’s significant to me- I feel like I have no other choice,” he says. “A lot of people go thru life masking what it means to be a human being. I would rather use art to demonstrate the injustice of the overall society.”

 

Faced with compromising his creativity to earn a living or staying true to his artistic and moral compass, Fish is at a real financial tipping point by the film’s end, and the audience is left wondering whether Fish will have to sell out after all.

 

Luckily, Fish, his family and the film’s producer and Massachusetts native, Ted Collins, were on hand for a lively and intimate 30-minute Q&A once the near sell-out crowd stopped clapping and settled down.

 

Asked if he was receptive to being the subject of a documentary, Fish said he really didn’t care one way or the other, but credited his wife Diana (who, with their twin daughters, later joined Fish and Collins for the Q&A) with deciding to invite director Bryant to stay with them while he was filming. “For a filmmaker, it was sort of like Jane living with chimps,” Fish said, referring to Jane Goodall.

 

Asked what happens to the original art he creates if it has no current market, Fish told a story about his early career, when he was fiercely opposed to the commodification of art. He would take his cartoons to Staples, make copies and destroy the originals. When he met the famous Los Angeles gallery owner Robert Berman ten years ago, Berman asked him for the originals. “Luckily, I had a few I was too lazy to throw away,” he said as the audience laughed.

 

Fish said that since Trump was elected President, there has been a renewed interest in his art. He published a new book in 2017, “And Then the World Blew Up,” and has two more scheduled. He even has a line of skateboards.

 

“I’ve been told, ‘Now is your time. Now you have a purpose.’ My job is very hard, though. What I don’t want to do is to turn Trump into a clown or a monster. That turns it into burlesque and ignores the underlying problem,” he said.

 

When an audience member asked Fish how parent-teacher conferences went, given his known proclivity for the graphically vulgar and obscene, he invited his family to join him on stage. His daughters told a story about their 6th grade teacher who fished their lunch bags out of the trash during a field trip because he knew Fish drew cartoon portraits of the girls.

 

Diana told about the time she entrusted her husband to attend parent-teacher open house, which included attending the girls’ classes to meet their teachers. When she received a call from Fish, she asked him why he wasn’t at the open house. “He told me he was cutting their classes,” she said.

 

Salem Film Fest Program Director Jeff Schmidt knew “Mr. Fish” would be a good fit for the Salem festival. “As a programmer, I’m constantly on the look out for films starting to make their way onto the film festival circuit.  I ran across “Mr. Fish: Cartooning From The Deep End” early on and reached out to producer Ted Collins and director Pablo Bryant to encourage them to submit to the festival. Our programming team loves films with unique characters who take chances, and Mr Fish certainly fits that bill,” he said.

 

 

Salem Film Fest 2018 kicks off weeklong documentary film festival on March 22

By Shelley A. Sackett

 

Reluctant Radical

Ken Ward breaks the law in “The Reluctant Radical.”

 

For the eleventh straight year, Salem Film Fest 2018, the weeklong all-documentary film festival, arrives just in the nick of time to brighten the spirits of weary North Shore winter warriors. With a diverse program of more than 60 feature and short films, parties, discussions, and opportunities to meet visiting filmmakers in intimate settings, Salem Film Fest is the perfect antidote to those Nor’easter blues.

 

The festival kicks off on Thursday, March 22 at 5:30 pm with an opening night reception at Old Town Hall featuring a video installation by local filmmaker Elayne Cronin and a Virtual Reality film by WGBH’s FRONTLINE and NOVA.

 

Salem Film Fest runs March 22-29 with screenings in Salem at Cinema Salem, the Peabody Essex Museum (PEM), the National Park Service Visitor Center and Old Town Hall. For the first time, screenings will also take place in Beverly at The Cabot and at Endicott College’s Rose Performance Hall.

 

“Although we will always be rooted in Salem, we are excited to increase the opportunities for audiences outside the city to see these works. We want the whole North Shore to consider this their documentary film festival,” said Salem Film Fest Co-Founder and Co-Festival Director Joe Cultrera in a press release.

 

With its focus on artistically well-told stories, SFF 2018 offers a broad menu of films on subjects that range from art & music to global politics, from legal dramas to soulful journeys. During the week, audiences will have the rare opportunity to mix and match films on such eclectic topics as: Irish Big Wave surfers; the British punkers, Sleaford Mods; Fred Beckey, the mountaineering “dirtbag”; Father Divine, a black minister who claimed to be God; a subculture of women who dress as mermaids; and giant swamp rats that invade Louisiana.

 

As one of the largest all-documentary film festivals on the East Coast, Salem Film Fest prides itself on the post-screening Q&As, where filmmakers, film subjects and filmgoers engage in thought-provoking conversations that often continue beyond the theater.

 

“Audiences have a great opportunity to speak with filmmakers at Q&As after screenings, but also out and about in Salem as they take in the downtown. Filmmakers tell us all the time how much they enjoy the recognition they get and how much they enjoy interacting with our audience,” said Salem Film Fest Program Jeff Schmidt.

 

Filmmaker Lindsey Grayzel, who directed “The Reluctant Radical” and will attend its East Coast premiere screening on Sunday, March 25 at CinemaSalem at 7:20 pm, is looking forward to hearing how the audience reacts to her film. “It still thrills me to hear a group collectively giggle or sigh during certain scenes,” she said by email.

 

“The Reluctant Radical” follows climate activist Ken Ward through a series of civil disobediences as he breaks the law to fulfill his personal and moral obligation to future generations. Ward spent over 15 in Massachusetts, living in Amherst, Boston and Hull.

 

Grayzel met Ward in 2015 and found his personal history compelling. “He made me feel differently about climate change after our first conversation,” Grayzel said. Ward, whose activist journey took him from environmental organizations and lobbying to civil disobedience and direct action readily agreed when Grayzel asked if she could make a documentary film about him. “It was the one approach he hadn’t yet tried,” she said.

 

Grayzel hopes audiences will realize that they have the power to slow down and prevent the worst-case scenarios of climate change and “commit themselves to joining the fight for our future. We are not powerless to change the course ahead,” she said.

 

In addition to connecting with other filmmakers and “seeing some great films,” Grayzel is also looking forward to the post-screening Q&A. “I’m curious what kinds of questions and issues the film brings up for people, and if my themes came across clearly,” she said.

 

Filmmakers are expected to be present at more than half the screenings, including “This Is Home” and “Beauty and Ruin.”

 

“This Is Home,” a New England premiere, will screen at The Cabot on Friday, March 23 at 6:45 pm. The film is an intimate and timely portrait of four Syrian refugee families arriving in America and struggling to find their footing as they learn to adapt to challenges, including the newly imposed travel ban.

 

East Coast premiere “Beauty and Ruin” spotlights Detroit and its recent bankruptcy, which put all the city’s assets on the table, including the Detroit Institute of Art’s priceless collection. The film follows the struggle that unfolds between the retired city workers, who want the art sold to fund their pensions and health care, and the museum, which wants to preserve the city’s cultural treasure for future generations. The film screens at PEM on Saturday, March 24 at 8:10 pm.

 

Other films of special note are: “Becoming Who I Was” (a boy discovers that he is the reincarnation of a Tibetan monk and takes an epic journey with his godfather in a story of faith and unconditional love); “The Judge” (the first woman judge to sit on a West Bank Palestinian Shari’a court redefines how the law treats women); “Mr. Fish” (an outrageous editorial cartoonist tries to raise a family and maintain his defiant voice when dangerous humor has no market); and “Siberian Love” (after 20 years of living in Berlin, director Olga Delane journeys back to her roots in a small Siberian village, where she is confronted with traditional views of relationships, life and love).

 

For those who can’t wait for the March 22 kick off reception, SFF is partnering with local businesses to hold three launch parties — Notch Brewery & Tap Room (Thursday, March 15 from 4-11 pm), Far From The Tree Craft Hard Cider (Friday, March 16 from 5-9 pm) and Deacon Giles Distillery (Saturday, March 17 from 6-10 pm). SFF volunteers will be on hand to answer questions and sell tickets.

 

A complete lineup of films, listings of all events, and information on how to buy tickets is available at salemfilmfest.com.

 

 

Georgia O’Keeffe as artist, model, and designer at Peabody Essex Museum

Shelley A. Sackett

DECEMBER 28, 2017 – SALEM – Few people outside academia realize that Georgia O’Keeffe (1887-1986), the iconic artist famous for paintings of enlarged flowers and New Mexico landscapes, was an accomplished seamstress who lavished as much creative juice on her self-presentation as on her work. With the opening of its multi-disciplinary exhibition, “Georgia O’Keeffe: Art, Image, Style,” the Peabody Essex Museum in Salem opens the door to her closet.

O’Keeffe’s paintings are presented alongside her never before exhibited handmade garments and dozens of images of the artist taken by photographers, including her Jewish husband, Alfred Stieglitz. The show, first curated at the Brooklyn Museum by art historian Wanda M. Corn, is the first to explore how the renowned artist deliberately and adeptly shaped her public image and myth, creating her own celebrity fame.

The 125 works expand our understanding of O’Keeffe while underscoring her fierce determination to be in charge of how the world understood her identity and artistic values. The powerful public persona she created through her clothes and the way she posed for the camera unequivocally proclaimed her independence and modern, progressive lifestyle.

“O’Keeffe drew no line between the art she made and the life she lived,” Corn said. “She strove to make her life a complete work of art, each piece contributing to an aesthetic whole.”

Corn discovered O’Keeffe’s cache during a 1980 cross-country stopover in New Mexico on her way to Stanford University, where she taught art history. She visited O’Keeffe’s homes in the Southwest state at Ghost Ranch and Abiquiú, finding closets full of the artist’s clothing preserved in beautiful condition. Because most were without labels, she had to guess which ones the artist created and which she bought. Corn said if she could sit down with O’Keeffe, “My first question would be, ‘Was I right in my attributions?’”

Most of the clothes and desert artifacts now belong to the Georgia O’Keeffe Museum in Santa Fe, founded the year of her death in 1986.

The provocative photographs by Stieglitz (1864-1946) dominate the exhibition’s walls at the Peabody Essex. It’s hard to imagine the different path O’Keeffe’s life might have taken had she not caught his eye in 1916, when he was 52, married, and a world-famous photographer based in New York and she was 28 and still unknown.

Instantly infatuated with O’Keeffe and her art, the son of German-Jewish immigrants wooed and won her. She moved to New York and soon, he began taking nude photographs of her, one of which hangs beside an O’Keeffe painting at the Peabody Essex exhibit. The two married in 1924. For years, Stieglitz photographed O’Keeffe obsessively, teaching her how to pose and helping make her the most photographed artist of the 20th century.

In 1927, O’Keeffe visited New Mexico and fell in love with the desert landscape. Her art and clothing would change in response to it. She lived there part of the year from 1929 on, moving there permanently after Stieglitz’s death in 1946. The younger generation of photographers who visited her in New Mexico cemented her status as a pioneer of modernism and a contemporary style icon.

Sprinkled throughout the rooms of paintings, paired clothing, and photographs at the Peabody Essex exhibit are small screen films, including fascinating home movies of O’Keeffe and Stieglitz in New York and a one-minute 1977 video portrait, the only such interview the artist granted.

One standout in the exhibition’s predominantly black and ivory palette is an orange Andy Warhol diamond-dusted print that introduces the idea of “Saint Georgia,” showing a meditative, mystical, Mother Theresa-like O’Keeffe. Another is a video of the House of Dior’s 2018 O’Keeffe-inspired cruise collection that features her signature gaucho hat.

“O’Keeffe’s aesthetic legacy of organic silhouettes, minimal ornamentation, and restrained color palettes continues to capture the popular imagination and inspire leading designers and tastemakers of today,” said Austen Barron Bailly, organizing PEM curator.

“Georgia O’Keeffe: Art, Image, Style” runs through April 1 at the Peabody Essex Museum, East India Square, 161 Essex St., Salem. For more information, call 978-745-9500 visit pem.org.

Salem Film Fest presents special Thanksgiving weekend screening

FOR AHKEEM

By Shelley A. Sackett

Above: Daje Shelton in “For Ahkeem,” a documentary film directed by Jeremy S. Levine and Landon Van Soest.

BEVERLY — By the Sunday after Thanksgiving, even the most diehard football fan and Black Friday shopper should be ready to trade leftover pie for popcorn and venture out to the Cabot Theatre where Jeremy Levine, a Beverly native and Emmy Award winning documentary filmmaker from New York, will be returning home to screen his latest feature film, “For Ahkeem.”

The film tells the intimate and frank story of Daje Shelton, a strong-willed Black 17-year-old girl in North St. Louis, Missouri. The audience walks beside her as her path takes her from public school expulsion to the court-supervised Innovative Concept Academy, an alternative school for delinquent youth and her last chance to earn a diploma.

Shot over a two-year period against the charged backdrop of nearby Ferguson, we witness Daje’s struggles as she copes with academic rigors, the murders and funerals of friends, teenage love and a pregnancy that results in the birth of a son, Ahkeem.

With motherhood comes the realization that she must contend with raising a young Black boy in a marginalized neighborhood. The film illuminates the challenges that many Black teenagers face in America today, and witnesses the strength and resilience it takes to survive.

“For Ahkeem” will screen on Sunday, November 26 at 4:30 p.m. at The Cabot Theatre, 286 Cabot Street in Beverly as part of a special Salem Film Fest Presents — the documentary fest’s first cinema presentation outside of Salem. Levine will be on hand at to answer audience questions at the post-screening Q&A.

Salem Five Charitable Foundation is underwriting the screening and three local organizations are community partners: The Beverly Human Rights Committee, First Church Salem, UU and Salem No Place for Hate.

For Levine, who attended Beverly High School and worked for years as a counselor at the Waring School, the film he co-directed is more than a simple coming-of-age story. “It highlights the horrible effects of the school-to-prison pipeline, where we suspend and expel huge numbers of students — especially black and brown students — and the impact that has on girls like Daje from the time they’re five-years-old,” he said by phone from New York City, where he and co-director Landon Van Soest run Transient Productions, a full-service production company.

The film also approaches some of the most pressing social challenges facing America today — racial bias, social inequality, public education, police brutality and a biased criminal justice system.

“We wanted to tell a deeply personal story about what it means to live your life when so many systems are set against you,” Levine, an Ithaca College alumnus with a degree in Documentary Studies, said.

“For Ahkeem” has had an award-winning festival run starting in February at the Berlin Film Festival, followed by prestigious showcases like the Tribeca Film Festival, Canada’s Hot Docs, and the DMZ International Film Festival in South Korea.

While the film’s worldwide audience and awards —such as the Grand Jury Prize Award at Boston’s Independent Film Festival — thrill Levine, for him the screenings and discussions at high schools and prisons fulfill a greater mission of trying to do better for future generations of children.

In Tribeca, New York City, for example, approximately 500 high school students attended a screening. “When Daje came out for the Q&A afterwards, the kids erupted in applause,” Levine said.

The ensuing discussions included kids “really opening up about some of the challenges they face in their lives. It was really incredible,” Levine added. He is currently working to bring the film to more public high schools through a grant program.

Screenings at prisons have been equally powerful. When the lights came up at one screening for 100 inmates, all the tears in the room full of men touched Levine. “One of them wrote a poem for Daje and Ahkeem. Another man said, ‘Who knew I could learn so much about being a man from the story of a young woman?’” he said.

Levine credits the culture of Judaism and Hebrew School lessons at Temple B’nai Abraham in Beverly, “a part of my life growing up”, with imbuing in him a sense of responsibility to try to make the world a better place. “I learned about the long suffering of our heritage and the injustice of that. That kind of moral underpinning is definitely huge in the work I do,” he said.

 

“For Ahkeem” will screen on Sunday, November 26 at 4:30 p.m. at The Cabot Theatre, 286 Cabot Street in Beverly as part of a special Salem Film Fest presentation. For more information or to buy tickets, visit theCabot.org.

Salem Film Fest Turns Ten!

The “little festival that could” celebrates with a Gala

When local filmmaker Joe Cultrera, businessman Paul Van Ness and Salem Chamber of Commerce Executive Director Rinus Oosthoek gathered at the fledgling CinemaSalem’s café in 2007, they all shared a common goal: to create an event that would be fair to documentary filmmakers and attractive to audiences. They presented a week of special film programming and live events in the middle of that same winter. “That’s about as fast as a festival can be put together once you have a venue,” said Van Ness who owns CinemaSalem. “I suppose you could call it a spring training for the big league festival that would inaugurate the next year.”

The 2008 Salem Film Fest drew 1,743 filmgoers; last year, more than 6,000 attended what has grown to be both one New England’s largest and among the nation’s most respected all-documentary film festivals. Each March, the festival presents a rich and diverse collection of the year’s best work from all over the world that helps sustain cinephiles through the long, bleak slog of New England winter.

This year the festival runs from March 2-9 and will kick off its tenth anniversary with a Gala on Thursday, March 2 at the Hawthorne Hotel that will combine presentation of the 2017 SFF Storyteller Award to Frontline founder David Fanning with a live music dance party. (Visit salemfilmfest.com/2017/gala-tickets for more information).

“Come to Salem, see the world” has been the Salem Film Fest catch phrase since its inception, both as an homage to old Salem merchant ships that established trade with the rest of the world and in tribute to the dozens of countries represented by the films the festival has screened over its ten years.

With a line-up of 35 feature and 13 short documentaries from more than 25 countries, SFF 2017 covers a lot of the globe: from the largest Syrian refugee camp in Jordan (“After Spring”) to Finland’s worst cheerleading team (“Cheer Up”); from the Mississippi Delta blues (“I Am the Blues”) to Mexico’s most famous tabloid photographer (“The Man who Saw Too Much”); from Jalalabad’s child street gangs (“Snow Monkey”) to a New York City’s West Village artist community (“Winter at Westbeth”). And everyplace in between.

Besides CinemaSalem, SFF partners with Peabody Essex Museum’s Morse Auditorium (PEM) and the National Park Service Visitor Center (NPS) as additional venues. With simultaneous screenings at all three sites, the streets of Salem feel like a mini Sundance as filmgoers greet each other on the street, making their way from one film to the next.

As in past years, SFF 2017 focuses on filmmakers as much as their films, and 19 filmmakers and/or their subjects will attend this year’s post-screening Q&A sessions, which promise to be as exciting and informative as festivalgoers have come to expect. “It’s great to see the growth of the festival while we also stay true to our roots. More and more filmmakers have found the festival to be a haven of sorts for their films, and they enjoy spending time in Salem,” said Jeff Schmidt, who has been SFF program director since 2014.

Cultrera, who handed the programming to Schmidt in 2013, agrees. “The thing I look forward to every year is getting a new crew of filmmakers to the festival: spending time interacting with them; introducing them to Salem; watching friendships build between them and some of our audience, and talking shop at after-hours gatherings,” he said.

Among this year’s line-up are three U.S. premieres: “The Day the Sun Fell” (surviving Red Cross doctors and nurses remember the day Hiroshima was bombed as nuclear disaster strikes Japan again); “Mattress Man” (an Irish 60-something-year-old creates a tacky YouTube persona to boost his failing business) and “Zimbelism” (one of the last working street photographers shares stories from his dark room). Both filmmaker Matt Zimbel and his subject and father, George S. Zimbel, will be present at the “Zimbelism” screening at PEM on Sunday, March 5 at 10:50 a.m.

The programming committee started looking for SFF 2017 films last June, and the richly varied menu of films has something to please every palette. To make planning easier, SFF offers a helpful guide that organizes the films into a number of “curated itineraries” to allow the audience to review films through specific lenses.

Three films that address complex socio-political issues through one person’s story are “Almost Sunrise”, Tickling Giants” and “Death by One Thousand Cuts”.

Filmmaker Michael Collins’ “Almost Sunrise” addresses “moral injury” by following two Iraq War veterans suffering from PTSD as they trek 2,700 miles in a last ditch effort to find the healing they both seek. Collins will attend the Q&A after the screening at PEM on Saturday, March 4 at 8:35 p.m.

“Tickling Giants” examines the aftermath of the Egyptian Arab Spring by showcasing Bassem Youssef, the “Egyptian Jon Stewart” who endangers his life and livelihood when the Morsi regime doesn’t appreciate his jokes. Filmmaker Sara Taksler will be available for a post-screening Q&A. The film is at PEM on Friday, March 3 at 8:10 p.m.

In “Death by a Thousand Cuts”, a brutal murder on the Haiti-Dominican border exposes the complex consequences of killing the Dominican forests, one cut at a time. The filmmaker will attend the Q&A after the screening at CinemaSalem on Sunday, March 5 at 5:10 p.m.

On the more whimsical side, “The League of Exotique Dancers” introduces eight unforgettable Burlesque Hall of Fame inductees who share the good, the bad and the ugly about the golden age of stripping with bawdy good humor and moving insight in a film that is a guaranteed crowd-pleaser. It screens at CinemaSalem on Saturday, March 4 at 9:40 p.m.

Those most interested in the arts have plenty to choose from this year. “The Ballad of Fred Hersch” traces the foremost jazz pianist and composer’s journey from AIDS coma survivor to musical triumph (Friday, March 3 at CinemaSalem at 5:10 p.m.). “Yarn” introduces edgy, contemporary women who are revolutionizing the art of knitting and crocheting. (Saturday, March 4 at PEM at 11:50 a.m.). “I Am the Blues” gives an up-close-and-personal tour of the original southern juke joints with the aging blues musicians who still play its “Chitlin’ Circuit”. (Closing night feature on Thursday, March 9 at CinemaSalem at 7:00 p.m.).

Every year, regular attendees look forward to the premiere of “Salem Sketches”, a series of two-minute documentaries based in Salem and created exclusively for SFF by local filmmakers and SFF Planning Committee members Cultrera and Perry Hallinan. “We’re one of the few festivals that can claim to have our own original programing,” Cultrera said with pride.

SFF 2017 is also jam-packed with events, parties and the live music performances before many of the screenings at CinemaSalem by local musicians whose contributions add to the festival’s literal good vibrations.

While the community-driven, all-volunteer festival steadfastly remains true to its ideals of high-level programming and treating filmmakers like the stars they are, the “little festival that could” seems poised for even wider appeal and reach in its second decade. All agree that fundraising and broadening the volunteer base are two critical ingredients for generating this growth.

“The festival is special, but it could be on another level entirely if we had the resources and if there was a mechanism in place in Salem that better synchronized public, private and non-profit energies,” said Cultrera.

Nonetheless, the wildly popular and highly anticipated festival draws sell-out crowds to one of the liveliest and friendliest of Salem’s many festivities. Patrons return year after year and hugging reunions in the CinemaSalem lobby are commonplace. Clearly, the Salem Film Festival is about more than films. It’s also about community.

“Come to Salem, see the world. Come to Salem, meet the world,” Oosthoek said with a smile.

Salem Film Fest runs March 2-9 with screenings at CinemaSalem, Peabody Essex Museum and National Park Service Visitors Center. For more information or to purchase tickets or passes, go to the CinemaSalem box office or visit salemfilmfest.com/2017/.

Celebrating Ten Years with a Bubbly Brew

Far From the Tree Launches special Salem Film Fest Cider

far-from-the-tree

Alex Snape brewing a special batch of craft cider.

 

When Salem Film Fest, the week-long all documentary film festival that runs from March 2-9, celebrates its tenth anniversary this year, it will be even more special because of Alex and Denise Snape, co-owners of Far from the Tree, a craft cider company specializing in unique, high-quality hard cider made from local ingredients.

 

They will create a special SFF Brew (stay tuned for its official name) that will reflect the film they are co-sponsoring, “First Lady of the Revolution”, the remarkable story of Henrietta Boggs, an Alabama Southern belle who takes a life-altering journey through marriage, civil war and audacious democratic reforms to become the First Lady of Costa Rica.

 

“When we think of documentary film, we think of raw, powerful emotion and beauty in storytelling. We hope to make a cider that will boast strong flavors and a lot of personality that people will enjoy from the first sip to the last,” Alex said.

 

far-from-the-tree-cider2

 

Jeff Schmidt, SFF program director, couldn’t be more pleased with the collaboration between the two local mainstays. “I think the handcrafted artisan nature of the cider produced by Far From the Tree pairs up in a really interesting way with the artistic process of filmmaking. Henrietta Boggs is quite a character, and creating a tribute to her seems like a great fit!” he said.

 

Alex plans to launch the new cider on Sunday, February 26, days before the festival opens. He is working with the SFF committee to show the short films from the previous festivals in Far from the Tree’s tasting room that night, and he’d like to collaborate with Popped! Gourmet Popcorn in Salem to provide popcorn for his guests.

 

“Whenever we release a new cider, the response has always been very great. We hope the launch on February 26th will be just as successful,” he said.

 

Far from the Tree makes a craft hard cider based on a philosophy that respects tradition by controlling the entire production process from apple pressing straight through to bottling. The cider is made with local apples and exclusively natural ingredients. Over the almost three years they have been serving up their delicious hard cider, they have crafted other special brews, including Husk Cider, a small-batch fermentation designed to complement Island Creek oysters, and four brews inspired by inspired by the works of New England horror author, H.P. Lovecraft and released in October 2015 to coincide with Salem’s month-long celebration of all things Halloween.

 

Alex isn’t the only film fan at Far from the Tree. Erik Pudas, its head cider maker, is a former cinema projectionist who has worked at film festivals in the past and still enjoys the unique films only a festival setting can offer. Jen Tran, the tasting room manager and head of sales, has attended the festivals for the last several years. “As a growing Salem business, we have developed several connections and relationships with community leaders, volunteers and organizers, and are happy to help support them,” Alex said.

 

Salem Chamber of Commerce Executive Director (and a Salem Film Fest co-founder) Rinus Oosthoek echoes Alex’s enthusiasm. “I think the special brew is a fantastic way both to celebrate Salem Film Fest’s 10th Anniversary and to help promote the festival and FFTT at the same time. Our film fest audience will be very receptive to the idea, so we should be able to get FFTT some new customers,” he said, adding in his native Dutch, “Proost!”

 

 

Far from the Tree is located at 108 Jackson Street in Salem. For hours and more information, visit farfromthetreecider.com.

 

Salem Film Fest 2017 runs March 2-9. For more information and to purchase tickets, visit salemfilmfest.com.