Captured over two years, my film Daddy Don’t Go tells the story of four disadvantaged dads in New York City as they struggle to defy the odds against them. I wanted to pay homage to every disadvantaged father who negates the “deadbeat dad” stereotype with a deep love for his children. These men, much like my own father, are often trying to be the dads they themselves never had. I made the film to bring new and positive images of fatherhood to a national audience.
I remember when we were filming one of our subjects in criminal court and the judge asked him if he was willing to let us continue to film him there, assuring him that it was completely up to him if our cameras stayed or left. I held my breath. I knew that if he said yes it would be a huge act of trust on his part. He turned around, looked at me and then nodded to the judge. I knew in that moment that so much of my hard work had paid off.
Daddy Don’t Go seems to be very moving to dads and parents who struggle. One of our screenings was held in the Bronx for the homeless men of the “Ready, Willing and Able” program– 70% of whom are fathers. I saw misty eyes and heard a few sniffles during the screening. No one moved to get up after it ended. I got dozens of handshakes, hugs and thank you’s as the men left the room. Screenings like that make you feel like all your efforts are worthwhile.
Filmmaker Lisa Gossels calls it “The Explosion” – the moment when people from two sides of a conflict can no longer hide behind small talk. Pain roars to the surface and reconciliation seems impossible. Gossels witnessed that moment in making her film My So-Called Enemy, about Palestinian and Israeli girls engaged in dialogue through a leadership program in the United States. “There’s a trigger or a meltdown, a point of no return,” she says. “And that is when real change can occur.”
In these complex and uncertain times, when our country seems more polarized than ever and many of us are walled off in separate political camps, three New Day Films point to another way of being. They profile individuals acting against instinct to reach across a divide, engage with the “other” and even reconcile with an entrenched enemy. They offer hope in our current climate of fear, anger and misunderstanding.
In Concrete, Steel & Paint, the conflicts aren’t political. They are deeply personal. Filmmakers Cindy Burstein and Tony Herizatell the story of men in prison, victims of crime, and an artistic partnership that helps break down barriers between them. As prisoners, victims, and victim advocates collaborate on a mural about healing from crime, their views collide, sometimes harshly. Most challenging, says Burstein, was for “each side to listen with empathy to the pain of the other side.” But as the project progresses, mistrust gives way to surprising moments of human connection and common purpose. “People got to know each other more as individuals and engaged as human beings,” she recalls. “We learned that most people, despite their differences, have the capacity to connect.”
Ellen Frick’sAnother Side of Peace spotlights the transformative efforts of Roni Hirshenzon, a 60-year-old Israeli man who has suffered as much as any parent can imagine. Both of his sons died at the age of 19 as a direct result of the conflict in the region. Putting hatred and anger aside, Roni co-founded the Parents Circle, a support group for bereaved families, Israelis and Palestinians alike. The film follows Roni’s efforts to reach reconciliation and come to terms with the deaths of his sons. He works with Palestinian partners to connect with other bereaved families in Israel and the Palestinian Territories. Their message is simple: No More Death. As Frick notes, Another Side of Peace “reminds us that humanity can supersede politics.”
The Israeli/Palestinian conflict is also the backdrop of My So-Called Enemy, but Lisa Gossels’s subjects are at a very different stage of life. As teenagers, six Palestinian and Israeli girls meet in the United States in a leadership program called Building Bridges for Peace. The film then follows them for seven years as they return to their homes. Through the girls’ coming-of-age narratives, audiences see how creating relationships across emotional, political, cultural, religious, and physical divides are first steps towards resolving conflict. “I truly believe you can’t meet the ‘enemy,’ the ‘other’ or someone you don’t know and not change,” says Gossels. “All it takes is asking a few questions. When you do, you will find that no one wants to, or deserves to be stereotyped, and that we often have more in common than what divides us.”
From now until May 1, receive 20% off your purchase of Concrete, Steel and Paint, Another Side of Peace, and My So-Called Enemy with the promo code PEACE20.
Visit New Day’s full collection of films on Peace and Conflict Studies here.
India, in partnership with PBS’s Women and Girls Lead Global to engage men and boys as champions for gender equality. Using a film-based gender sensitization curriculum, the ‘Hero Academy’ engaged young men in the mission to make communities and homes safer for women and girls across India.
Shalini Kantayya’s Catching the Sun was named a 2016 New York Times Critics’ Pick and won Best Feature at the San Francisco Green Film Festival. It is the part of the American Film Showcase to be screened at U.S. embassies and diplomatic missions around the word. Actor Mark Ruffalo called it “a must-see film. An eye-opening look at workers and entrepreneurs on the forefront of the clean energy movement that will transform, and enliven the way you see the future. What is clear is the wonderful opportunity the transition to clean energy represents.”
This year, public school districts in Florida, New Jersey, Missouri, New York, Maryland, and Virginia, as well as France and Guatemala, connected the stories of the five young new Americans in I Learn America to their students and community. With director Jean-Michel Dissard, they worked to trigger “homegrown” in-school events to amplify the voices of immigrant youth in our schools and to increase empathy and welcoming for young immigrants through personal storytelling/exchange of shared experiences.
nabbing Best Documentary Awards from UrbanWorld, ABFF and eight other film festivals. The film also has been connecting with audiences through outreach screenings. At the Osborne Association, one of the participants shared, “I see myself in all these men and it inspired me to really step up for my son. I think every father, and every parent, should see this film because it moved me to tears.”
Filmmaker Alice Elliott was invited to the Orange County, North Carolina Human Rights celebration to show her film, The Collector of Bedford Street. Over two days she screened the film and then met with educators, designers and advocates to envision what it would take to make the Raleigh-Durham area the most accessible place in the United States to people with disabilities. The first step in the action plan was incorporating a curriculum on disability rights into the grade schools.
At the International Documentary Association’s recent Getting Real Conference, Ann Kaneko was approached by a visiting filmmaker from Perú, who described her admiration for Against the Grain: An Artist’s Survival Guide to Perú. She said that she often refers to the film and that it continues to impact the country–it is an important reference for Peruvians about their history.
California’s Glendale Unified School District bought more than
25 DVDs of Jonathan Skurnik’s Youth & Gender Media Projectseries on trans youth inclusion to train their entire school district on how to create inclusive schools for trans and gender nonconforming students. They also brought in the filmmaker to screen the films for district personnel to launch the initiative.
Following a standing-room only public screening at the University of Hawai‘i of Marlene Booth‘s Pidgin: The Voice of Hawai‘i, an audience member was moved to speak about his experience growing up speaking Pidgin English in Hawai‘i. Though he was taught to be ashamed of his mother tongue, he told the filmmakers, “Your film gave our language respect.”
grandmother Phyllis, premiered on PBS this year, AARP declared, “An 89-year-old starlet is born!” Juli and director Alicia Dwyer and worked with partners to host about 90 community and educational screenings around the country. While the story of fierce Phyllis and the tough decisions faced by a family struggling to care for older loved ones hit home for many viewers, 75% of respondents to post-screening surveys said they were more optimistic about discussing their wishes for end-of-life care. As one woman wrote, “It’s something that has to be talked about. I’ll be sharing this screening with my family tonight for sure!”
Directly after the passage of North Carolina’s anti-transgender bathroom bill, Out Run had its World Premiere at the Full Frame Documentary Film Festival in Durham, NC. Filmmakers S. Leo Chiang and Johnny Symons used the screening to educate the crowd about the injustices of the new law and mobilize the audience to take action against it through social media. Out Run continues to screen at film festivals around the world, inspiring viewers to join the fight for LGBTQ rights and representation in international politics.
I’ve been making films for over 10 years, and while it can sometimes be a struggle I’m always brought back to the fundamental reason for why I do it. I believe that films have the power to inspire and spark social change and respond to important issues that are facing our society. Maybe that’s why I’ve often found myself documenting protests and grassroots movements. But more recently, I have become increasingly aware of what the impact of this type of filmmaking can mean.
One night I happened to be filming a protest when I noticed the police recording the license plate on my car. A few weeks later a police officer pulled me over while I was stopped at a traffic light. When I asked the officer what was wrong, he said that my vehicle was on file as being stolen. This was odd as I’ve been its sole owner. Maybe these two incidents were just coincidences, but it definitely got me thinking about the recent disturbing trend of arrests associated with filmmakers and journalist documenting activism.
On September 3 of this year, Amy Goodman, executive producer and host for Democracy Now!, was reporting on a protest at aDakota Access Pipeline construction site. This $3.7 billion project, which has received little attention by mainstream media until late, intends to transport crude oil between the Bakken oil field in Dakota to a refinery in Patoka, Illinois, spanning over 1,172 miles. It has also sparked the fierce opposition of members of the Standing Rock Sioux tribe, other indigenous nations, and non-natives. They say that the pipeline poses significant environmental threats to water supplies, sacred land sites, and fails to comply with federal laws and native treaties.
Goodman’svideo showed security guards working for the Dakota Access Pipeline using dogs and pepper spray on protesters. Viewed more than 14 million times on social media, the footage was rebroadcast by many major news outlets. Five days later, Goodman was charged with a complaint for “criminal trespass.” When this charge proved untenable, it was changed to “riot charges.” Thankfully a month later a North Dakota judge rejected Goodman’s arrest, saying it lacked probable cause. A similar arrest was issued to actress Shailene Woodley. In a livevideo Woodley recorded of herself while being arrested at a Standing Rock protest, she suggests that she has been singled out by the police because of her public profile. Her video proceeded to reach an audience of more than 40,000.
Then in October, filmmakers Deia Schlosberg and Lindsey Grayzel and cinematographer Carl Davis, were arrested for filming activists shutting down pipelines across the country. Grayzel and Davis were charged with up to 30 years in prison for 2 felony counts and a trespassing offense. Schlosberg was charged a maximum potential sentence of 45 years in prison for 3 felony charges related to conspiracy. The extreme nature of her punishment even compelled NSA whistleblower Edward Snowden to tweet, “This reporter is being prosecuted for covering the North Dakota oil protests. For reference, I face a mere 30 years.”
In astatement Schlosberg released following her arrest she says, “When I was arrested, I was doing my job, I was reporting. I was documenting. Journalism needs to be passionately and ethically pursued and defended if we are to remain a free democratic country.”
What Schlosberg makes clear is the way in which she and many other filmmakers have been denied their rights under the First Amendment. As documentary filmmakers I feel this is something fundamental to our practice especially if we are to share stories with the world that are often untold or repressed. Perhaps the only good thing to have come out of these arrests is the attention it has cast on the issues being reported and the importance of free speech and a free press.
For civilians filming and sharing incidents of unjustified police aggression, a similar trend of arrests has emerged. In July, civilian Chris LeDay was jailed 24 hours after he uploaded a video of Alton Sterling, an African-American man, being shot and killed by a white police officer. At first police declined to say the reasons for LeDay’s arrest and eventually announced it was related to parking fines. Abdullah Muflahi, the owner of the store where Sterling was killed, was also detained after filming the event and has since filed a lawsuit against the Baton Rouge police department.
The very next day when Philando Castile was shot and killed by a white police officer in St. Paul, Minnesota, his partner Diamond Reynolds who had filmed and shared online a video documenting the incident, was also handcuffed and detained for several hours. Speaking at a gathering after the event in support of the Black Lives Matter movement, shereportedthat the police “treated me like a criminal… like it was my fault.”
In a direct response to these arrests, a group of more than 40 documentaryfilmmakerscalled on the Department of Justice (DOJ) to investigate the targeting of filmmakers and civilians who record episodes of police violence. One of the organizers of the campaign, filmmaker David Felix Sutcliffe, wrote an openletter to the documentary community declaring that it was “vital we defend the rights of these individuals who use video as a means of criticizing unjust police activity.” Similarly Goodman’s arrest in North Dakota has galvanized several climate action groups to make public statements calling on the DOJ to investigate unjust arrests. Josh Fox, the director of a film that Schlosberg produced, has spoken publicly about his support for Schlosberg and has written an op-ed for theThe Nation titled, The Arrest of Filmmakers Covering the Dakota Pipeline is a Threat to Democracy and the Planet.
At times standing up for what we believe in can be daunting and for some of those filmmakers on the front line, it has come with great personal sacrifice. But seeing the way a film can move audiences and show a new perspective makes me think it is all worth it. I implore you to check out ourcollection today.
About the writer
Award-winning filmmaker Briar March has released three documentaries through New Day. Her most recent workSmoke Songsis about a Diné (Navajo) punk rock band. The film shares personal insights from band members on what it is like to be an activist fighting for environmental and indigenous issues.There Once Was an Islandexplores the impact of climate change on a small Pacific island community, andMichael and His Dragontells the story of a returned U.S. veteran suffering from post-traumatic stress after the war in Iraq.
New Day Films is excited to announce the launch of its fully
integrated streaming platform. Customers can now stream films and order DVDs directly from the New Day website — with streaming licenses that range from two weeks to seven years.
Our distribution co-op has remained committed to maintaining an independent streaming platform for almost a decade. Back in 2007, when Netflix moved into streaming, New Day Films also decided to stay ahead of the curve by launching its own streaming initiative. With the help of Seattle Community College TV (SCCTV), it developed New Day Digital: a website that allowed higher education institutions to stream our independent social issue documentaries.
In 2014, when we received the news that SCCTV was pulling out of the streaming game, we saw this transition moment as an opportunity to offer our customers an even more enhanced streaming experience. With the help of new streaming partner CMI, we decided to merge New Day Digital with New Day Film’s freshly revamped website. Filmmaker Paco de Onís headed up the small team of New Day filmmakers tasked with overseeing this integration. As he notes, New Day Films has always seen an independent streaming platform as vital to its future as a digital distributor. He writes, “As independent filmmakers, having our own platform empowers us in a way that makes it possible for us to continue making fiercely independent social issue documentaries. This has been New Day’s primary mission since 1971.”
New Day’s new and improved streaming platform is the product of two years of careful research and development. Customers with older licenses purchased through New Day Digital should continue to experience uninterrupted service. As with New Day Digital, the new integrated platform emphasizes our capacity to deliver customized solutions on a customer-by-customer basis, backed up by our easy to reach and responsive customer service team. Streams are delivered via IP authentication or from a user panel on our site — making it easy for students and professors to watch our films from school or home. And New Day customers will have more to look forward to in the future! In Phase 2 of the streaming upgrade, currently in development, customers will be able to access new tools to enhance their viewing experience, including searchable video and the ability to “quote” parts of the film by clipping. They will also have the option to stream a thematic collection of films within New Day, or to stream the entirety of New Day’s rich archive.
If you need assistance with the new purchasing process, or have any other questions about the upgrade, please feel free to contact us at firstname.lastname@example.org.
I am a New York City-based filmmaker from a blue-collar background interested in illuminating stories and histories that are seldom taught. My film Hunting in Wartime profiles Tlingit veterans from Hoonah, Alaska, who saw combat during the Vietnam War. They talk about surviving trauma, relating to Vietnamese people, readjusting to civilian life, and serving a government that systematically oppresses native people. Their stories give an important human face to the combat soldier and show the lasting effects of war on individuals, families and communities.
The main impetus behind this project was to support, document and preserve Tlingit history. There isn’t a great deal of documentation regarding Tlingit history because the Tlingit community uses verbal storytelling. The film is only a piece in what we hope is a lasting historical media presence for Hoonah’s Vietnam veterans and a broader transmedia project that explores racism, history and war from a uniquely Native American perspective.
I was also drawn to the story partly because the Vietnam War has always intrigued me—as a student, activist, and filmmaker. I was born while the war was still taking place and my family watched the carnage nightly on television. Those images must have left an indelible effect on me.
The process of making the film was an emotional one. The most significant moment in the production process was when fellow producer Christie George and I interviewed Tlingit Veteran Kenny Austin in Hilo, Hawaii. He gave us a very long and intense interview. We took him out to dinner afterwards and when we gave him a ride home, we realized he had walked over two miles to meet us for the interview. At the time Ken was close to 80 years of age and not in the best of health. The experience confirmed how important it is for the veterans to have their stories heard. We knew we had to tell this story as best as we could.
November is also Transgender Awareness Month, a time to raise visibility of and expose challenges faced by transgender and gender non-conforming people. New Day’s catalogue includes a number of films about trans people. In Prodigal Sons, a trans woman returns home to Helena, Montana, and confronts her complicated relationship with her brother, opening the doorway to a journey of revelations. Trinidad acquaints viewers with three trans women whose paths cross in Trinidad, Colorado, the “sex-change capital of the world.” The Year We Thought About Love is a story about a queer youth theater project, and includes the coming out process of a young black trans woman.
November is Native American Heritage Month, and New Day has many films that celebrate the cultures and histories of those who were here before the colonization of Turtle Island (aka North America), and those who survive and continue to build futures for their children. Tracing Roots follows master weaver and Haida elder Delores Churchill on a journey to understand the origins of a spruce root hat discovered alongside a 300-year-old traveler in a retreating glacier.
Shellmound is the story of how one Bay Area location changed from a sacred burial ground to a toxic late-stage capitalist consumer zone.
In Whose Honor? follows the story of Charlene Teters, a mother and activist who went up against the University of Illinois to ban the use of a racist mascot. Check out these films and more here.
Holiday time is approaching, making November the perfect time to explore National Family Caregivers Month. Caring for disabled and older family members is an important part of our development as adults and can be some of the most meaningful work we do. At the same time, this vital work is also often undervalued and many family caregivers lack the support they desperately need, whether it is financial support or time for self-care. These issues have been gaining national attention recently, with both U.S. presidential candidates promising to provide benefits for family caregivers. New Day’s excellent collection of films, including those mentioned below, are powerful tools for addressing family caregiver issues that affect the more than 65 million people in the U.S. who provide care for a chronically ill, disabled or older family member or friend during any given year.
A brand new addition to the New Day collection is filmmaker Sophie Sartain’s Mimi and Dona, which premiered nationally on the PBS series Independent Lens, and was named one of the Best TV Shows of 2015 by The New York Times. A longtime documentary writer and editor, Sartain went very personal with her directorial debut, entering the world of her grandmother and developmentally disabled aunt. She beautifully captures dynamics that have resonance for the 855,000 Americans with intellectual disabilities living with a caregiver over the age of 60. Exploring the deep connection between a mother and daughter, and tackling the question of what happens when the aging caregiver becomes ill, dies, or for whatever reason can no longer care for that person, Mimi and Dona spotlights the challenges of aging caregivers—and details the ripple effects of Dona’s disability across three generations of a family.
Debuting earlier this year on PBS, the award-winning short film Nine To Ninety also follows an aging caregiver – the fierce and irreverent Phyllis Sabatini, who at 89 is helping to care for her 90 year-old husband Joe in the home of their daughter Sarah. But as Phyllis and Joe’s health problems escalate, caregiving falls more and more on the shoulders of their children. Like one out of every eight Americans, daughter Sarah is part of the “sandwich generation,” and in her case she’s caring for everyone in her household from nine to ninety years old. Director Alicia Dwyer captures the three generations with intimacy, subtlety and humor as they face a very difficult decision whether to split up Phyllis and Joe after 62 years of marriage in order to care for them with modest resources. Revealing the shocking gap in support for family caregivers, Nine To Ninety is accompanied by a thoughtful discussion guide and functions as a wake up call to start critical conversations about caregiving– from the most personal level with our own families to the policy debates that are bubbling up on the national stage.
Winner of multiple festival audience awards,States of Grace intimately captures the profound transformation of revered physician Dr. Grace Dammann and her family after Grace is involved in a devastating car accident. With dry humor and brave candor, Grace, her partner Nancy “Fu” Schroeder, and their teenage daughter Sabrina recalibrate their lives. Family dynamics are turned upside down as each of them must negotiate new roles and responsibilities. As the only able-bodied person in their household, Fu becomes the primary caregiver to Grace while also taking on a more active role as parent. Filmmakers Helen Cohen and Mark Lipman reflect that, “After screening States of Grace, we’ve had many people comment about the power and honesty of the caregiver/care receiver relationship and thank us for showing the frustrations and challenges that many individuals face as they care for older adults.” Robert Saper, MD, MPH, Associate Professor of Family Medicine, Boston University School of Medicine calls it “an amazing film that poetically captures the many layers of triumph and struggle experienced by both patients and caregivers.”
Andy Abrahams Wilson’s classic film Hope is the Thing with Feathers traverses unexpected places in the emotional journey of caregiving for a loved one who is dying. A lush and lyrical film built around a poem which San Francisco poet and artist Beau Riley wrote as his lover of twelve years lay dying, the film shows one man plumbing the depths of his sorrow to find meaning through the strength of his mind, imagination, and devotion to his partner. “The [film’s] images and words define life, disease and death with utter sincerity, elemental simplicity, brave spirituality, and great beauty… an important film,” writes Philip Yenawine, Former Director of Education at the Museum of Modern Art in New York. Not shying away from the messiness and desolation of the dying process, Hope is the Thing with Feathers discovers the spiritual side of caregiving, as Beau finds the magic in the most difficult of life’s journey and, from this palate, creates an art of remembrance, forgiveness, and moving on.
Hispanic Heritage Month runs from September 15 to October 15, coinciding with the anniversaries of independence of several countries including México, Chile and Guatemala. New Day offers an excellent collection of films that tell powerful stories from these countries, and celebrate the contributions
of Hispanic and Latino Americans to the United States. Stages: Intergenerational Theater on the Lower East Side follows a group of older Puerto Rican women as they work with urban youth to create a play out of the stories of their lives, while Abrazos tracks the transformational journey of a group of U.S. children who travel 3,000 miles from Minnesota to Guatemala to visit their parents’ homeland.
October also brings the opportunity to focus on our communities with two more special commemorations. National Community Planning Month honors the role of planners and planning in our communities. New Days films Land of Opportunity and Made In Brooklyn both take a look at the impact of planning in cities like New Orleans, Durham, Albuquerque, Burlington and New York.
National Disability Awareness Month is a time to educate about disability issues and to celebrate the contributions of Americans with disabilities. In The Key of G, we learn about a uniquely successful model of supported living for people with physical and developmental disabilities. In Sins Invalid, a film and performance project conceived and led by disabled people of color, normative paradigms of “normal” and “sexy” are challenged, offering instead a vision of beauty and sexuality inclusive of all individuals and communities.
I am a writer and filmmaker based in Los Angeles. My film Mimi And Dona is a personal documentary about my grandmother Mimi and my aunt Dona, who was diagnosed with an intellectual disability as a child and lived with my grandmother her entire life. When Mimi was 92, she finally admitted that she could no longer care for Dona, then age 64. This set in motion the events chronicled in Mimi And Dona.
When I first went to Dallas to film Mimi and Dona, I wasn’t sure if I was making a home movie, or a larger film. I mainly wanted to capture their life together. They were sweet and quirky Texas characters. My brothers and I often wondered if Dona could have lived a more independent and potentially “bigger” life away from home; on the other hand, she and Mimi were happy. They had a lot of fun together and were close companions for decades. We wondered if a move away from Mimi was the right thing for Dona. Would Mimi fall apart without her?
Back in Los Angeles, whenever I told people about Mimi and Dona’s situation, they would chime in that they knew someone in the same predicament—a cousin, a neighbor or a friend’s sibling, some with developmental disabilities, others with mental illnesses, all struggling to find appropriate care and housing for a loved one. This was an untold story happening all around us, with aging caregivers like my grandmother facing agonizing decisions, often with little support or guidance.
The response to Mimi And Dona has been amazing. After a national broadcast on PBS’s Independent Lens, it was named “One of the Best TV Shows of 2015” by Neil Genzlinger of The New York Times, who called it a “beautiful portrait of parental commitment.” Viewers identify with the characters and say that the film stays with them long after they watch it. Equally gratifying has been the response from professionals who work with people with intellectual and developmental disabilities. They appreciate the film’s intimate and honest look at the dynamics within a family, something they don’t normally see if they interact with individuals outside the home. They are also grateful for the film shining a spotlight on an issue they come across frequently in their work – finding appropriate care and housing for a vulnerable population that is aging, right along with their caregivers.
October is Disability Awareness Month, and it’s the perfect time to make sure that Disability Studies, Art, Culture and Politics are
integrated into any topic you are teaching. Whether you’re teaching Social Work, Medicine, Gender Studies, Black History, Performance Studies, or Early Childhood Development, examining and learning from a disabled experience will provide a fuller and deeper understanding of the course materials for your students. Below are some guidelines to help integrate the perspectives of people with disabilities into your classroom.
DON’T perpetuate the myth of the “tragic cripple.” You know, the story where someone is disabled and miserable, and everything they do is so hard, and everyone around them is brought down by their struggle, and then maybe they almost achieve happiness but then… they die. Learn to identify this trope so you can call it out when you see it. DO offer stories and examples of people with
disabilities who are living complex, full lives, who are in reciprocal relationships, who make choices and have life journeys.Mimi and Dona, one of New Day’s recent acquisitions, documents the symbiotic relationship between an aging mother and her disabled daughter, offering a useful jumping off point for analyzing dynamics of inter/dependence. The Key of Gis another film that shows a disabled person growing and changing in the context of a community who loves them.
DON’T teach our stories solely through the lens of the medical establishment, or assume that all people with disabilities want a cure. DO examine complexities of access to health care,
allocation of resources, and how these privileges break down along race/class/age/gender lines. Fixed is a useful documentary for examining the politics of “human enhancement” and the impetus toward “fixing” people’s bodies rather than taking care of people’s basic needs.
DON’T succumb to the false-positive messaging of ‘inspiration porn’ – you know, the story about the amazing disabled person who, despite all their hardship
s is still able to rise above and overcome their circumstances, inspiring able-bodied people to say, “If they can do it, what’s my excuse?” This narrative centers the able-bodied experience and perpetuates competitive, ableist constructions of “success” and “failure.” DO share materials created by people with disabilities where we frame our own experiences.Who Am I to StopItis a compelling documentary about three artists with traumatic brain injuries, made by a filmmaker with disabilities from brain injury.
DON’T hold up one type of disability as the “true” disability. Disability is an intentionally broad category that includes people with mobility impairments, people who belong to sensory minorities, people with psychiatric disabilities, chronic illnesses, learning disabilities, cognitive challenges, chronic pain, and more. DO
encourage awareness of the ways our society disables us by stigmatizing the ways we show up in the world. Michael and His Dragonand When I Came Homeboth follow soldiers who return from Iraq with Post Traumatic Stress Disorder. Twitch and Shoutis about people with Tourette Syndrome, a neurological condition that is often misunderstood.
DON’T perpetuate unconscious use of ableist language that frames disability as bad. This includes words like “crazy” when you mean abusive, “lame” when you mean uncool, or “blind” when you mean ignorant, or even words like “weak” or “stupid” that imply ableist hierarchies. DO examine the use of identity labels, including “disability” itself – how are these words used by people who identify with them? Identify nuances of language that differentiate between what we want others to call us, and what we call ourselves. In
DON’T feed into stereotypes of disabled people as sexless and childlike. People with disabilities have desires, are desired by other people, enjoy sex (solo, partnered, in groups…), have relationships, and experience all the ups and downs and ins and outs that come with being an embodied being. People with disabilities are also at high risk of sexual assault, so sex education is crucial to understanding what is happening and knowing that we have a choice. DO promote work by disabled people that explores sexuality. Sins Invalidfollows the eponymous Disability Justice performance project and movement-building organization that creates work around disability and sexuality, centralizing artists of col
or and queer and gender-variant artists with disabilities.
DON’T isolate disability from other identities, or play ableism against other forms of oppression. There are disabled people in every demographic, so any struggle for justice and liberation also affects people with disabilities. DO share examples of people navigating simultaneous experiences of racism, ableism, sexism, and more. Making Noise in Silence looks at intersections of deafness, youth, immigration, and race in the lives of two young deaf Korean students. E Haku Inoa: To Weave a Name
looks at the impact of colonization on a mother’s mental health.
DON’T assume that people with disabilities are always in the position of receiving but not giving. Many of us who are disabled are also caregivers, therapists, parents, medical professionals, teachers, and healers. DO look at the ways our lives change over time and how the amount and type of care we receive and offer fluctuates at different moments. States of Gracefollows the story
of Dr. Grace Dammann, a pioneering AIDS specialist whose near-fatal car accident changes her perception of self and relationship to her body and family.
DON’T assume that nobody in the classroom has the disability you’re discussing. Disabled people are not a separate group – “they” are part of the “we” that you’re speaking to. DO model accessibility in the classroom by providing opportunities for access needs to be identified, including bio breaks, seating options, lighting changes, large print, captions, audio description, scent-free space, or whatever the individuals in your class might need in order to participate. Most New Day Films are closed captioned, and a number of them including Fixed, Sins Invalid, The Key of G,and Who Am I to Stop It are audio described fo
r blind audiences. For more thoughts about classroom accessibility issues, Read Me Differentlyis a powerful New Day film about a young woman’s learning differences.
DON’T imagine that you will always be able-bodied! Everybody experiences some type of disability in their life, whether it’s a temporary injury or surgery, a chronic illness, an accident, or just getting old and losing abilities over time. DO co-create a world that recognizes and respects the many ways we live in our minds and bodies.
Explore New Day’s rich collection of films on Disability here.
August 6 and 9 mark the anniversary of the Hiroshima and Nagasaki atomic bombings. New Day filmmaker Bob Richter shares his thoughts on the continuing legacy of these attacks.
This past May, I was deeply moved to see President Barack Obama embrace a 91-year-old survivor of the nuclear attack in Hiroshima. The scene of the survivor with the President brought back powerful memories about the city’s attack—the first time an atomic bomb was used to destroy people.
It was only a few years ago that my co-producer Kathleen Sullivan and I had joined survivors in Nagasaki, where the second and last atomic bomb was dropped. Thousands of residents, government officials, and religious leaders gathered collectively to remember what happened in that city at 11:02 a.m. on August 9, 1945. At an exhibit at the Nagasaki Atomic Bomb Museum, where a Japanese-language version of our documentary The Ultimate Wish: Ending the Nuclear Agehad premiered a few days earlier, we viewed mangled clocks frozen at that precise moment.
The temperature during the commemoration was so fiercely hot that we draped our necks with ice-cold cloths that had been passed around the large outdoor tent where we were sitting. Hardly worth complaining about, as the temperature from the detonated bomb was several thousand degrees, instantly incinerating an estimated 70,000 men, women, and children. A bell tolled at 11:02 a.m. at the Peace Park—Nagasaki’s Ground Zero—and we stood silently to pay tribute to the moment that forever changed history.
I met many atomic bomb survivors while Kathleen and I were producing The Ultimate Wish: Ending the Nuclear Age. Our film finally came to settle on the remarkable testimony and life of Sakue Shimohira, who at the age of ten was left to hide in a Nagasaki shelter when the bomb dropped. In one of the film’s most powerful moments, Sakue describes her sister’s suicide ten years after the end of World War II. While her sister found “the courage to die,” Shimohira-san found “the courage to live” and has since dedicated her life to abolishing nuclear weapons. We follow her in the company of two Japanese students as they talk with students in London, New York and Nagasaki. We also see her in a gripping encounter with a Holocaust survivor.
Our film strives to cast new light on events that are too easily relegated to a tragic segment of history. We show how there were US military leaders that challenged the belief that Nagasaki was essential for military victory—a prevailing belief that even I had bought into before the making of the film. Through a highly regarded Japanese journalist, we learn about the Press Code imposed by the U.S. occupation government, that for years prohibited him and other members of Japan’s media from reporting on the bomb or its health effects. And we also touch upon the Atomic Bomb Casualty Commission, a U.S. agency that gathered data from thousands of survivors and sent that data to the U.S.—not Japan—and did not attempt to ameliorate the health problems of the survivors.
Other films in the New Day collection also touch upon the costs of living in a nuclear age. In the Academy Award-winning documentary Deadly Deception, filmmaker Deborah Chasnoff juxtaposes GE’s rosy “We Bring Good Things To Life” commercials with true stories of workers and neighbors whose lives have been devastated by GE’s involvement in building nuclear bombs. It tells a powerful story of how consumer activists can challenge corporations causing harm.
In How To Prevent A Nuclear War, Liane Brandon takes a refreshingly upbeat and compelling look at the kinds of activities that Americans engage in to lessen the threat of nuclear war, whether it be visiting their local representative or starting a Concert for Peace. It is a film about grassroots democracy in action, featuring unforgettable vignettes of people working for peace in their communities.
In our film The Ultimate Wish, a nuclear expert explains that there is a strong, but rarely mentioned, link between nuclear weaponry and nuclear power, and we briefly document the burgeoning movements to end both. One of our characters Takako Shishido, who was living in Fukushima at the time of the March 2011 nuclear power plants’ triple meltdowns, tells us what happened and what she would like to see happen now. Filmmaker Suzan Berazasimilarly takes a look at the impact of using nuclear energy in America in her critically acclaimed documentary Uranium Drive-In. The film follows a proposed uranium mill in Colorado—the first to be built in the U.S. in 30 years—and the debate pitting a population desperate for jobs and financial stability against an environmental group based in a nearby resort town. Without judgment, both sides of the issue are brought to life in heart-wrenching detail as the film follows conflicting visions for the future. The film offers no easy answers but aims instead to capture personal stories and paint a portrait of the lives behind this nuanced and complex issue.
I have made several different films covering nuclear issues since the 1970s and the threats are still very much with us. Today, nine countries in the world possess at least a total of 15,375 nuclear weapons, each many times more destructive than the two used at Hiroshima and Nagasaki. The United States seeks to monitor and decrease nuclear arms in other countries, as it simultaneously works to modernize its own stockpile. While new vital concerns justifiably dominate our media headlines, learning and remembering nuclear history is fundamental to our existence. We cannot ignore the voices demanding the ultimate wish: ending the nuclear age.
On June 12, 2016, an attack on a gay nightclub in Orlando, Florida, became the worst mass shooting in modern US history. For three filmmakers at New Day, the tragic massacre was deeply personal. Having worked previously on films about hate crimes targeting the LGBTQ community, they felt compelled to take immediate steps to engage others in discussions about homophobia and the process of healing.
When New Day member Tami Gold heard of the attacks, she was devastated. She writes, “It was a heart-wrenching reminder of the escalating levels of violence gay, lesbian, queer and transgender people face throughout the United States.” For Gold, the incident brought back painful memories of a hate crime that she had documented in her film Puzzles: When Hate Came to Town. Co-directed with David Pavlovsky, the film documents the impact of a 2006 shooting in a LGBTQ bar in New Bedford called Puzzles. The young perpetrator attempted to shoot three bar patrons and later killed himself and two others. Gold and Pavlovsky purposefully include a wide range of voices – from members of the perpetrator’s radical gang, to victims and their families, as well as gay and straight patrons of the bar. These multiple perspectives viewed over several years allow Puzzles to reveal how a culture of hate and fear can eventually lead to violent acts.
After the Orlando tragedy, Gold decided to make her film available for free online. She says the broad reach achieved, including two local broadcasts and several media interviews, has been very encouraging. Gold has also invited audiences to share their responses on her website and Facebook pages. She explains,
“If there was ever a time to tackle this crisis, it is now, and we want to be part of this discussion.”
Viewers have expressed immense gratitude: “Watching Puzzles was the antidote to the sense of despair I felt,” says one woman on Gold’s Vimeo page. Another remarks, “I still hurt over the people murdered in Orlando, but it helps me to talk about this with friends everywhere… it’s a great way to generate a conversation.”
Another New Day film that explores the impact of hate crimes on a community is New Day member Beverly Seckinger’s documentary Laramie Inside Out. In it, Seckinger returns to her hometown to make sense of the tragic murder of Matthew Shepard, a gay student who was brutally beaten and left to die in 1998. The murder put Laramie into the media spotlight and sparked a nationwide debate. As Seckinger confronts her own closeted youth in Laramie, she interviews different community members. While the “God-hates-fags” Westboro Baptist Church continues to condemn Shepard and all LBGTQ people, Seckinger is heartened to see that many people have started speaking out and taking action.
“I realized then that a history lesson was in order, and that my film might provide some desperately needed perspective and inspiration.”
While Puzzles and Laramie Inside Out document the aftermath of LGBTQ hate crimes on communities, Yun Suh’s film City of Bordersprovides a hopeful message about peace and unity. Set inside the only gay bar in Jerusalem, Suh introduces us to five Israeli and Palestinian patrons who have found common ground and a sense of community.
Shortly after 9/11, Suh noticed a growing trend in the media to demonize Muslims, who were often depicted as violent fanatics. Compelled to show another perspective, Suh chose to follow Israeli Palestinians who are proud to be gay and Muslim. She writes, “I was so inspired by the courage of the young people who chose to break the cycle of hatred and violence that they were taught and chose to love and laugh in spite of all the threats that surrounded them just outside their sanctuary.”
In the aftermath of the Orlando tragedy, Suh was struck by the media’s focus on the gunman’s alleged connections to terrorism and radical extremism. She notes, “The Orlando tragedy surfaced the widespread Islamophobia and xenophobia that exists in this country. When the shooter, Omar Mateen, was identified as Muslim, the mainstream media and politicians were quick to push their anti-Islam bias and label this massacre as an act of terrorism rather than a hate crime.”
Amidst all the incendiary headlines and rhetoric, City of Borders provides a voice of reason, reminding viewers that it is possible for a community to find peaceful connections despite war and differences in religion and ideology. As with Gold’s and Seckinger’s films, there is still a chance to take action and inspire social change. Suh writes,
“There is far greater power and beauty in our diversity and unity that remains untapped.”
While many of us are still trying to recover from Orlando’s tragedy, these three powerful films offer up a glimmer of hope. From now until September 1, view them online for free. Simply click on the appropriate film below, add a 3-day streaming license to your shopping cart, and apply the following promo code: NEWS716.
Learn more about the rest of New Day’s award-winning LGBT titles here. And for ideas on how to teach LGBT issues in the classroom, have a look at this excellent blog post by New Day filmmaker Nomy Lamm.
Lesbian, Gay, Bisexual and Transgender Pride Month (LGBT Pride Month) is currently celebrated each year in the month of June to honor the 1969 Stonewall riots in Manhattan. The Stonewall riots were a tipping point for the Gay Liberation Movement in the United States. New Day has a strong collection of films on LGBTQ topics, including award-winning new releases Out in the Night, about the justice struggle of four young black queer women known as the New Jersey Five, and The Year We Thought About Love, about a Boston-based queer youth theater company.
I have been working for 25 years in the film industry and am proud to now have two titles in the New Day collection. My newest work is A Chance To Dress, a documentary that explores the complexity of gender expression through the story of MIT Professor Emeritus and open cross-dresser Dr. John “Tephra” Southard. The film follows the difficulties in coming out to his friends, neighbors and colleagues, but also his sense of liberation after a lifetime of secrecy.
My curiosity motivated me to make this film: I had so many questions about the nature of cross-dressing. When I discovered that many others had the same questions, I set out to find some answers. Few people understand that cross-dressing is not the same as being transgender, so my goal was to explore the phenomenon of cross dressing and bring it into conversation. Cross-dressing is very much a part of the fabric of our society and it should be understood as yet another way of expressing one’s gender identity.
The community of cross-dressers is still hidden – trying to locate cross-dressers isn’t as easy as, for example, finding the gay and lesbian community, or even now the transgender community. They tend to want to remain “stealth” as much as possible. So the fact that we were able to film inside the Tiffany Club (a private club for cross-dressers and transgender people) was a big deal, and I think we were able to do so on the strength of my previous film, Thy Will Be Done: a transsexual woman’s journey through family and faith. It was the first time the Club allowed filming inside – ever – so that was a great opportunity that really enriched the film.
The film has made an impact by validating the desire of men who occasionally enjoy dressing in women’s clothing. But to my great delight, it has also had an unexpected impact on the wives of cross-dressers. The film profiles John Southard’s wife Jean, an “A+ wife,” who is caring, understanding, and a “willing accomplice.” She is a role model and inspiration to those who may be having a hard time embracing the lifestyles of their partners or aren’t sure how best to support them.
In a recent interview in the New York Times, President Obama, quoting an unnamed source, stated, “Every man is either trying to live up to his father’s expectations or make up for his father’s mistakes.” As we celebrate Father’s Day this month, we call attention to award-winning New Day Films that pay homage to the strong influence fathers have played in our lives. They are guardians of memory, carriers of our culture, inventors and innovators, and front line players in redefining gender roles. And they are also deeply complicated individuals struggling to balance personal issues with the responsibilities of fatherhood.
Eva Ilona Brzesk’s haunting and lyrical film This Unfamiliar Place chronicles the story of her father, a child survivor of the Holocaust who kept his memories hidden for fifty years. As Eva asks her father to speak of his experiences, we witness the terrible inadequacy of words. Reflecting upon the film years later, Eva says, “I set out to understand something about my father’s history and this film taught me that there were things I could not understand.” The film celebrates the commitment to life and family as a father unlocks his pain to connect to his daughter.
FilmmakerIndira Somaniandco-producer Leena Jayaswal confront loss in their film, Crossing Lines. After the death of her father, Indira travels to India where she comes to terms with her bi-cultural identity as an Indian-American. She writes, “My father had a big impact on me in understanding Indian culture, Hinduism, and maintaining our immigrant culture while living in the U.S.” By traveling back to his motherland, she finds a way to honor her father’s memory, family, and traditions.
Grief, memory, and identity form the foundation of Mark Lipman’s intimate film Fatherʻs Day. Through home movies and interviews with relatives, Mark tries to make sense of what caused his fatherʻs apparent suicide when he was only 17 years old. Mark reflects, “Father’s Day was over 20 years in the making, part of a very long effort to come to terms with the sudden death of my father when I was a teenager. Filmmaking gave me a tool to explore hidden areas of my life and an excuse to ask questions that might never have found the light of day.”
Filmmaker Susan Stern also explores the issue of suicide from a different perspective. Her film The Self-Made Man examines the death of her father through the right-to-die, “rational” suicide movement and the concept of manhood. “My father was a real tough guy,” Susan writes. “He chose to take his own life rather than be dependent in old age and disease. It is, arguably, the curse of maleness.”
Gender roles, interracial adoption, and the redefinition of the family are at the heart of Johnny Symons’s candid, first-person film Daddy and Papa, an exploration of, in Johnny’s words, “why and how gay men are choosing to parent.” As Johnny and his partner navigate the joys and struggles of raising two adopted African-American sons, he shows us gay fatherhood in three other families, shedding light on foster care, surrogacy, and the complexities of gay divorce. “Ultimately,” says Johnny, “it’s a film about the universal desire to raise children, which completely transcends sexual orientation.”
As Father’s Day approaches, these five films not only pay tribute to fathers but also invite us to think about the complex role they play in our lives, and how our understanding of that role often changes over time. For more on these films and others that challenge and enrich our notions of family, please visit New Day’s collection here.
My filmOut In The Night tells the true story of a group of young African-American lesbians who are out one night in 2006, in New York City’s gay-friendly neighborhood of Greenwich Village, when they are sexually confronted by an older man. After they brush off his advances and state that they are gay, the man becomes violent and threatens to “f**k them straight.” He spits and throws a lit cigarette at one of the women, causing a fight to break out. The women are subsequently arrested, charged and convicted with gang assault, assault and attempted murder. Out in the Night reveals how race, gender identity and sexuality are criminalized in the mainstream news media and in the criminal legal system.
Immediately following their arrest, I became interested in the case. I read the many salacious headlines like “Attack of the Killer Lesbians,” “Gal Gang,” “I’m a man, lesbian growled” and on and on. However, it was the first of many New York Times articles that really gave me pause: “Man is stabbed after admiring a stranger.” I was outraged. I didn’t think the journalists from the NYT would have written the article from the harasser’s point of view had the women been white. A man does not ‘admire’ teenage girls on the street at midnight. At best, that is harassment.
Originally, I believed that this was a story that shouldn’t be told by a white director. After two years of advocacy, however, as their appeals were approaching, I couldn’t stop thinking about this story. I was still just as passionate, but the media attention had severely died down. I didn’t want it to be swept under the rug. I wrote to each of the women in prison and asked if I could come visit to discuss the possibility of a documentary. I spoke with their family members to see if they were also interested. From there we began a long interview process, seeing whether we were a good fit. After many months of getting to know each other, we began filming.
Out in the Night has now screened in close to 150 film festivals, winning over a dozen awards, and kicked off the 2015-2016 season of POV on PBS with a simultaneous broadcast on the Logo Network. Out in the Night continues its partnership with the United Nations’ Free and Equal Campaign to decriminalize homosexuality worldwide. According to RogerEbert.com, “This film could help influence the ongoing LGBT civil rights struggle. Everyone should see it.”
Mental Health Month raises awareness about mental illnesses, such as depression, schizophrenia, and bipolar disorder. New Day has a rich collection of films that lift the veil of silence over mental health issues. In Mind/Game: The Unquiet Journey of Chamique Holdsclaw, the WNBA’s “female Michael Jordan” battles personal setbacks and stigma to become an outspoken mental health advocate. In Split, children weigh in on the emotional and psychological impact of living through their parents’ divorce. View New Day’s entire collection of mental health films here.
Older Americans Month is a time to celebrate the contributions of older adults to our nation. Several new additions to the New Day catalogue highlight such achievements. In Nine To Ninety, a family’s matriarch boldly leads her family in making difficult end-of-life decisions. In States of Grace, a celebrated doctor recovers from a devastating accident to create a holistic pain clinic. Tracing Roots follows the adventures of a native elder as she strives to find the origins of a curious relic in a retreating glacier. For more New Day films on aging and gerontology, click here.
Asian American and Pacific Islander Heritage Month honors the culture, traditions, and history of Asian Americans and Pacific Islanders in the United States. Two new films in the New Day collection shed new perspective on the Asian-American experience. In Top Spin, Chinese-American ping-pong prodigies set their eyes on Olympic gold. In Making Noise in Silence, two high school students must balance being both Korean immigrants and members of the Deaf community. For more titles exploring Asian-American and Pacific Islander life, click here.
In honor of LGBTQ Pride Month this upcoming June, queer New Day filmmaker Nomy Lamm offers up a list of suggestions on how best to approach queer and gender-variant issues in the classroom.
Know our history and embrace our elders. Learning about our
legacy helps us understand who we are. For example, the film Reporter Zerotells the story of Randy Shilts, the first openly gay journalist in the mainstream media, who covered the AIDS crisis when few others would. Before You Know Itoffers a loving portrait of gay elders, their wisdom and at times alienation from the culture they helped create, while Beauty Before Agelooks at the emphasis on youth and beauty in gay male culture. The CampaignandOne Wedding and a Revolutionboth share histories of the battle for gay marriage, and the trailblazers who paved the way.
Don’t forget the “T.” Trans people have been here since the
beginning, yet are often left out of the conversation about LGBT communities. Currently, anti-trans legislation is sweeping the country, making the world that much less safe for those of us whose existence lies outside the binary. Learn more about the lives, perspectives, and unique experiences of trans people in New Day films including Trinidad, Prodigal Sons, and The Family Journey: Raising Gender Nonconforming Children.
Be Intersectional. When we talk about the liberation of LGBTQ
people, we must center the perspectives and experiences of LGBT people of color, queers with disabilities, and those of us who are living at the crossroads of multiple identities, and therefore are most impacted by systems of oppression. Pariah, Sins Invalid, and Mind/Game: The Unquiet Journey of Chamique Holdsclaw each tell stories of the often overlapping gifts and struggles of being queer, black, brown, and disabled.
Look beyond the U.S. The layers of identity, experience,
oppression and resilience are mirrored and contrasted when we look beyond the borders of the United States. City of Bordersis set in the only gay bar in the city of Jerusalem, exposing the homophobia faced in a conservative religious city, as well as power dynamics and alliances between Israeli and Palestinian queers. Tales of the Wariahighlights trans women in Indonesia, home of the world’s largest Muslim population, and the pressures of family, religion, money, and aging, as they strive to be true to themselves and find love.
Honor our youth. Queer youth are some of the most vulnerable
and most dynamic members of our community, and they have much to teach us. While homophobia and bullying can isolate our youth and make them believe they have no options, the empowerment of queer youth voices is a balm for our collective spirit. The Year We Thought About Love, Gay Youth, and I’m Just Annekeeach reveal some of the hardships faced by queer youth, including the threat of violence, homelessness, and suicide, as well as the healing that is possible through storytelling, community, art, activism, and belief in oneself.
Bear witness to the violence and discrimination that LGBTQ
people are subjected to. The LGBTQ community has earned hard-won advances and a sense of pride, but often these victories come in the face of devastating loss and violence. Laramie Inside Outwrestles with the legacy of Matthew Shepard’s murder, while Puzzlesteases out contributing factors of a violent hate crime in Massachusetts. Out at Workillustrates what happens when LGBTQ people are not protected from workplace discrimination. Out In The Night shows how interpersonal and institutional homophobia and racism compound each other, when four Black lesbian youth end up serving time in prison and facing assault charges for fighting back against an assailant.
Encourage students to examine their own homophobia. It’s