RESISTANCE OF VISION

Show Transcript

RESISTANCE OF VISION [00:00:00] Excellent. I like it. It's recording the video, but I'm only gonna use the eye. Okay.

I'm gonna, I'm gonna, I'm gonna, well, Annie, you look really great. Okay. So what is the name of this program? It's called Resistance of Vision.

Yeah. Okay. Okay, welcome to a special episode of The Fog of Truth. We are, in case you didn't know it in difficult times here in the United States, and I believe that films can help us deal with a situation that we're going through.

Um, a long time friend of mine, Anna Federer is. Developing this series of short films that are dealing with this moment, and these films are touring the United States, and it's called Resistance of Vision. And so, uh, I have Anna here and [00:01:00] John to talk about this program. So, Anna, tell me about like, knowing that this is a problem, why did you think that it would be really good to get a series of short films?

And how did you put this series of films together? Um, so I was approached by Jeff Ross who runs, uh, a number of film festivals out in San Francisco, SF Indy, SF Doc Fest, the Schwarz Festival, and a Green film festival. And, um, and there were really two, um, sort of catalysts for him, which was, uh, the election and the way the election went. Um, and also, uh, the Human Rights Watch Film Festival closing its doors after, you know, 30 plus years.

Yeah. Very, very sad. Yeah. Yeah.

So he had this idea of a traveling festival of social justice cinema, and he was using Wild and Scenic as a model, um, really, you know, liking what they were doing. Um, and so he [00:02:00] approached me to program it. So we're, we're kind of a really. Great team because I love getting up in front of people.

I love, um, you know, hosting conversations on cinema. I love programming and Jeff some more behind the scenes, you know, deal with the virtual platform and all of the logistics and the, the tech and all of that. So, um, so yeah, so he approached me and pitched me on this idea. I loved it and I was really thinking of this festival as not a traditional festival where.

You know, you're sort of appealing to film buffs, but, uh, a way to get activists and organizers into spaces together for movement building. Mm-hmm. You know, I, I was, I've been seeing obviously the, the discourse, the public discourse deteriorating for a long time. It's not just about this election.

Right. Um, and so for me, this was an opportunity to encourage people who don't necessarily put on cinema events. Um, and in [00:03:00] spaces that aren't, you know, traditional cinemas, uh, to put on this program and to get people in spaces together and to get people plugged into action. So, you know how, you know, a lot of documentary, uh, have this idea of a call to action.

Well, this is a literal call to action. It's not just, Hey, go right to your Congress person when you leave the cinema. It is, talk to a person in your community. In this space right now who's doing work on this issue and figure out where you fit in.

So how are you connecting with communities to get them to play this? I. So right now we're focusing on the in-person launch screenings. Um, uh, and then we're gonna be, you know, working on, um, pitching the, the, the traveling program wider.

Um, but one of the things that I've been doing for the screening in Cambridge, which is the one that I am sort of hosting, [00:04:00] um, is I've been building relationships locally, co-presenters, folks that are. Other organizations, um, that have national, um, uh, you know, that have national, uh, umbrellas. So like sunrise movement for example. So the Boston chapter of Sunrise movement, um, is promoting the screening, is collaborating on the screening.

And, um, and then the approach is to, to, you know, to work with national to. For example, share out the environmental program to all of their chapters across the country. Mm-hmm. So the plan is to start with these national organizations, um, that might be interested in collaborating like Planned Parenthood, you know, for our gender and reproductive justice program.

Mm-hmm. We'll be reaching out to Planned Parenthood and say, Hey. You know, are, you know, are you interested in, in collaborating on this and sharing this out, uh, as an opportunity for all of your chapters to put on events. Um, and then from there, you know, we're hoping this grows [00:05:00] organically that people find out about it, um, and reach out to us to book either in-person screenings or virtual screenings.

'cause there is a, an inventive platform. So for people who having a hard time identifies. Identifying a physical space or there's access issues, um, that's another opportunity is for a virtual screening and an opportunity to gather, gather in virtual spaces. I.

Unfortunately after Covid, we actually know how to do all that pretty easily. And um, and it also means you don't have to worry about format and how is this playing back and all these other things. I think it might be a good thing as these things are coming along, I. To pair them with one local film because if you have a local film, that will bring a lot more people and pretty much any town that would be wanting to do that, there's a local filmmaker who has made a political oriented either documentary or narrative film that I think would, would bring more people into the room and a way to sort of kick off a discussion.

And I think [00:06:00] that might be a good, good plan. Yeah, and that's up to the hosts. If the hosts, you know, however they want to present it. Um, you know, but that's definitely a, a good idea, um, you know, for hosts to, you know, who, who want to sort of create a, a more robust event, you know, and have a local filmmaker.

So, Anna, do you wanna talk about like, how you chose these films and what you know, which films you're most fond of and how that all kind of worked? And just a little bit about what people will, will see when they come to see this and, and before you do that. Uh, and I also, I also wanted to, to step in, um, because that's exactly, I wanted to go to the programming, um, and for, uh, uh. Full transparency.

Um, I'm helping promote, uh, this series and was e and eagerly came on because I'm always, um, very enthusiastic about call to action. Um, things like, you know, I worked with Rachel Boynton Civil War, uh, film, and we did a, a, a multi city, uh, thing and set up the same kind of [00:07:00] discussions that I know that Anna, you're, you are, are, are working on, um, which is call to action stuff. Mm-hmm. And, and.

That's what I wanted you to have an opportunity to talk about the difference in programming between a film that, you know, that maybe, maybe sheds a light on something, um, you know, or, or is beautifully done or what have you, versus a film that really, maybe even overtly is a call to action film. Because, because there's a vast difference, I think between the two and, you know, and, and I, I, I think the films that you've chosen, uh, for these, I mean, really point to that as films that kick off. A discussion for a subject. Yeah.

Yeah. So, um, so I started off with these four programs, right? And there's going to be a fifth, which we'll be announcing soon, hopefully. Um, but there is, um, fight the power, which is racial justice.

Um, our bodies are choice, which is gender and reproductive justice. Um, this is an emergency, which is environmental justice, climate justice. [00:08:00] Um, and then which side are you on, which is labor and housing justice. So I started with those.

Uh, I mean, I know that doesn't encompass every issue, but we were trying to, within those programs, have as many different intersecting, um, uh, concerns, social movements, um, that folks are thinking about right now. So, like, for example, in the racial justice program, um, there's an immigration film, um, that is. I'm looking it up. Oh, yeah.

Um, expanding Sanctuary, um, which is a film about, about ice, um, and about a community fighting back against ice, um, in, uh, in Philadelphia. Um, and, you know, there are some films, um, uh. Sort of more traditional, you know, either observational or sort of interview style documentaries. And then we have animated films.

Like I really, I'm really in love with, uh, some of the animated films. Actually the first film that I saw when I was programming [00:09:00] this was Feeling The Apocalypse. Mm. Um, which is a psychotherapist talking about climate grief and, and this idea of, you know, sort of seeing what's going on with our planet.

And, and, and sort of how does one cope with that psychologically? Um, and it's a really beautiful film, and what I love about it is it, it, it speaks to something that so many of us are feeling, but then it talks about. Sort of a way to, to reframe, to think about it. Um, and, and, and one that orients towards action.

Mm-hmm. So, so it talks about this person's grief, you know, and then what they do about it. How do they manage that grief? And then how do they move beyond that, toward action?

And they talk about this idea of, um, ways in which. Um, people come together to deal with these crises. Um, and that's sort of the, the mo that's where you leave the film, right? It sort of ends on this, [00:10:00] on this note of, um, I wouldn't say sort of false hope.

Right. You know, it's not a note of, oh, everything will be fine. It is. This is how we respond, this is how we respond to these issues in community, and here is sort of the way forward.

Um, so I really love that. That was the first film that I saw, the first film that I knew I was going to show. And for me, it really. Exemplified what it was that I was looking for.

It's a beautifully animated film. It's interesting, it has an unusual voice and in this short film that's only seven minutes, you kind of go on this journey. I. And I do think, you know, several of these films have animation in them, and I think that that sort of breaks it up when you see too much social issue, documentary work, it kind of puts you into this state, but the animation brings a different spirit to it that is [00:11:00] more hopeful, more playful, and kind of uses a different part of your brain.

And I think that's really great in the selection of these films. Yeah. Thanks. And there's, I mean, there, there, there are different kinds of films in here too.

You know, they're not sort of Yeah. What you'd, what you'd expect from a, a sort of traditionally constructed social issue documentary, um, uh, like Adida Zones, the reality, for example, um, is a documentary, um, uh, about, uh, activists who use. Um, sort of theater and performance art, um, to talk about issues of, um, exploitation of garment workers. Um, and so a lot of the film is filming these sort of elaborate hoaxes that they're doing in service of bringing attention to this issue.

So, you know, the films are really, um, yeah, they're, they're, they're. Stylistically, they're kind of all over the [00:12:00] map. Um, in a really good way, I think. Um, because yeah, it could get really dry to be watching several documentaries of talking heads, experts talking about, you know, the bleaching of the coral reef for, you know, melting of the ice caps.

Um, when you know, instead we have. Um, listen to Heal, which is a whole art piece. Um, it's an indigenous film and it, it talks about sort of using art, uh, to deal with changes in the climate. So yeah, there, there some, a lot of films that are hopeful, um, in a way that doesn't let us off the hook.

I think. I think there's this tendency to seek out films that are hopeful and it's like, oh. Someone else is working on this, it'll be fine. Right?

It's like, no, no, no, no. It'll be fine if you do something. If you do something, yes. If you get involved.

Um, so if somebody's listening to this and say, boy, I would like to bring this to my [00:13:00] city. What do they do? I. That is a really good question.

We haven't started, um, uh uh, um, yeah, we haven't, we haven't launched the site where people can go and book yet. Mm-hmm. Um, but they can email resistance of vision@gmail.com. That is the email address.

Um, and you know, the plan was to, to launch the in-person screenings and then really, um, uh, sort of build out the, um, the sort of menu for people who want to book, book the program. But that hasn't sort of, that isn't public yet. But anybody who wants to email resistance of vision@gmail.com and I will get back to you and, you know, people can start screening in June. You know, they can either screen one of these programs that are already put together, um, or they can pick and choose from the different programs.

They could show all of them. So there are a lot of [00:14:00] possibilities and you know, there are, there are sort of networks, organizations of organizations. Also, I think this is the kind of thing that, um. There are many churches that would be interested, progressive churches.

That would be a great place to do it. They already have screening rooms and have a body of people that would be interested in coming. I think that would be like a great target audience for these programs. Oh yeah.

First thing you said that I was thinking of the Unitarians, right? The Unitarian churches. I would say go to all the Unitarian churches 'cause they all have like these film series and this would totally fit into that. So anytime when you don't have to complete the reinvent a wheel for a series, that would be a good thing.

Yeah, yeah. No, the hope is to have, um, you know, to have, you know, community organizations that wanna host that have a built in audience, you know, that already have, um, you know, a a, a place to host and, and [00:15:00] all of that. But even if, even if folks don't, you know, can help them figure that, that piece out. And, and Anna is, is, have you been talking to Art House Convergence and maybe getting some indie theaters to do this as well?

Yeah, I mean the, the plan is definitely to, uh, to, you know, to talk about this at the Art House Convergence Conference, um, and present it as an opportunity for folks. Um, yeah, and, and, and, you know, hoping that, I mean, knowing that these Art House convergence have all of these relationships in their communities as well. Right? Right.

Um, and so it wouldn't be just sort of hosting a normal screening. It would be an opportunity for them to collaborate with all of these. Organizations locally that they're probably already collaborating with. You know, whenever they show a film on X topic, you know that they're, that these are the place people they're working with.

They, they know where to go. Yeah, exactly. John, do you have any other questions? I'm, I'm kinda loving the fact that this, this [00:16:00] turned from the interview into a coaching session.

Um, uh, but you know, but it's funny. I mean, it is one of the reasons why I was. Really, uh, I'm anxious to have a fog of truth. Um, you know, take a look at this because on the documentary front, again, we talk about one, how the spectrum of, of, of documentaries and, you know, have, have is so broad and so wide between, um, you know, uh, hybrid, uh, docs and, and, and, and, and animation and, and, you know, and, and going so far away from, from what.

Um, uh, the Maisel Brothers did and, and, uh, you know, and Frederick Weissman and what have, so it is so far expanded. And now the exhibition side. Now this is another thing where, again, like I said, you know, I, when it, when the ID was first brought to me, um, uh, uh, to from Jeff the. I had just come off a couple years ago doing the thing with Rachel [00:17:00] Boynton with Civil War, and I really loved being a part of that.

And I think I had the same kind of, of instinct and thought that Jeff had after the election of, holy crap, we have to do something concrete. You know, it's like, you know, debating on Facebook only can take you so damn far. You know? And, and, and frankly, even as important as it is, even participating in marches and things like that can only take you so damn far.

Um. But this ha you know, I, I think the, the, the spirit that Anna has with the filmmakers of like, going let them speak. And then let us join in after they speak and they show us through their lenses, um, the stuff that, that is happening out there. And, you know, and, and let, and let, let that hopefully inspire, um, agitate, um, kick off, uh, those things.

And so, you know, I think there's a, it's a real opportunity to, again, as all of us are kind of scrambling on, what [00:18:00] can we do? There has to be something to do. And, and that was kinda like the last question I wanted to ask. Uh, you know, Ann, and let have, have you have a, a chance to address this as well, is that for you, as someone who's helping orchestrate it mm-hmm.

And, and, and, and God knows you've done this before with, with, you know, uh, in, in the exhibition space or what have you, um, what, you know, and, and we're still very early on, um, you know, in the process of this project for you and Jeff, uh. Are you, how are you feeling, frankly? Are you hopeful? Are you like going, ah, I'm kind of nervous, or, you know, what?

What are you thinking? I mean, I feel like every time I talk about it, I. Um, I'm more hopeful. Um, every time I, I, I, I, I pitch it to someone, I explain it and people understand it.

I get more excited about it. Um, you know, like, like anything, I'm always nervous about people showing up. Um, particularly for these in-person screenings when it's sort of an unknown quantity, [00:19:00] right? It's one thing when other people start hosting it and they're bringing their built-in audience.

Um, but, you know, hosting a screening at the brittle. And I've got all these organizations involved, film festivals as well that are co-presenting. But it's, you know, it's, it's still kind of an unknown in lots of ways, but I think that every time I talk to someone and they are, they get it. They understand what this is about.

You know, I feel a little more confident in this endeavor that this is something that people genuinely want. Something that people are, um, you know, ready. Four in their communities. Um, I think people are feeling really disconnected and really afraid, and I think the more that we can gather with other people who are thinking the way that we're thinking, I.

The, the better folks are gonna start feeling, you know, when they, when you, when you stop dwelling on the terrible things that are happening and there are terrible things happening, you [00:20:00] know, there's no way to sugarcoat that, but it's like, okay, then what do you do with that energy? Right? How do you, I. Turn that despair into action because that's what's gonna get us through and it's gonna be gathering in our communities and finding ways to take care of each other, right?

We're not, it's some, someone isn't gonna come and save us and some politician isn't gonna, you know what I mean? It's like, it's gonna be, it's gonna be us, you know? It's our responsibility to take care of each other. Um, and so I think that it is a message that's resonating right now, and I think that people really want to.

To connect with other people who are doing things. So, um, for those of you listening who have been feeling like there's something I could or should do, this is something that you could and should do. And so what is that email address again? Resistance of vision@gmail.com.

And, and someday. [00:21:00] Someday, soon, there'll be a website. To that. Well, there's a, there's a, there's a page on the, uh, a placeholder page on the SFND website.

There's a inventive page right now, but there's not like sort of a, a fully sort of fleshed out, you know, um, a festival website. Um, yeah, we're all, we're, we're just, this is like by the seat of our pants, you know, the idea came up in November. We launched the call for entries, which was a month long, right? This is all, um, a very, um, abridged, truncated process.

Um, because we're, as someone said, actually in one of the first interviews, they called this an emergency film festival, and in a way it kind of is, we're responding to the moment and we're moving as quickly as we can and, uh, and trying to get, to get it up and running, so, yeah. There you go. And if you want to work on this and help this out, you can also send an email, like say if you have website [00:22:00] building skills and wanna build a website for this, uh, there are many things that this could you some help on. So, um, so John, thank you for bringing this to my attention.

And Anna, thank you for all the work you do about independent cinema and all the great programs that you have done in the past. Thank you. Hi. Okay.

Thank you. Thank you very much. I will hit stop now. Um, as my wife comes in.