By Ray Pride Pride@moviecitynews.com

Sundance Announces World Documentary Dozen

Posted Wednesday, December 3rd, 2014 - Comments Off on Sundance Announces World Documentary Dozen
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WORLD CINEMA DOCUMENTARY COMPETITION
Twelve documentaries by some of the most courageous and extraordinary international filmmakers working today.

The Amina Profile / Canada (Director: Sophie Deraspe) — During the Arab revolution, a love story between two women — a Canadian and a Syrian American — turns into an international sociopolitical thriller spotlighting media excesses and the thin line between truth and falsehood on the Internet.World Premiere

Censored Voices / Israel, Germany (Director: Mor Loushy) — One week after the 1967 Six-Day War, renowned author Amos Oz and editor Avraham Shapira recorded intimate conversations with soldiers returning from the battlefield. The Israeli army censored the recordings, allowing only a fragment of the conversations to be published. Censored Voices reveals these recordings for the first time. World Premiere

The Chinese Mayor / China (Director: Hao Zhou) — Mayor Geng Yanbo is determined to transform the coal-mining center of Datong, in China’s Shanxi province, into a tourism haven showcasing clean energy. In order to achieve that, however, he has to relocate 500,000 residences to make way for the restoration of the ancient city. World Premiere

Chuck Norris vs Communism / United Kingdom, Romania, Germany (Director: Ilinca Calugareanu) — In 1980s Romania, thousands of Western films smashed through the Iron Curtain, opening a window to the free world for those who dared to look. A black market VHS racketeer and courageous female translator brought the magic of film to the masses and sowed the seeds of a revolution. World Premiere

Dark Horse / United Kingdom (Director: Louise Osmond) — Dark Horse is the inspirational true story of a group of friends from a workingman’s club who decide to take on the elite “sport of kings” and breed themselves a racehorse. World Premiere

Dreamcatcher / United Kingdom (Director: Kim Longinotto) — Dreamcatcher takes us into a hidden world seen through the eyes of one of its survivors, Brenda Myers-Powell. A former teenage prostitute, Brenda defied the odds to become a powerful advocate for change in her community. With warmth and humor, Brenda gives hope to those who have none. World Premiere

How to Change the World / United Kingdom, Canada (Director: Jerry Rothwell) — In 1971, a group of friends sails into a nuclear test zone, and their protest captures the world’s imagination. Using rare, archival footage that brings their extraordinary world to life, How to Change the World is the story of the pioneers who founded Greenpeace and defined the modern green movement. World Premiere.DAY ONE FILM

Listen to Me Marlon / United Kingdom (Director and screenwriter: Stevan Riley, Co-writer: Peter Ettedgui) — With exclusive access to previously unheard audio archives, this is the definitive Marlon Brando cinema documentary. Charting his exceptional career and extraordinary life away from the stage and screen, the film fully explores the complexities of the man by telling the story uniquely in Marlon’s own voice. World Premiere

Pervert Park / Sweden, Denmark (Directors: Frida Barkfors, Lasse Barkfors) — Pervert Park follows the everyday lives of sex offenders in a Florida trailer park as they struggle to reintegrate into society, and try to understand who they are and how to break the cycle of sex crimes being committed.International Premiere

The Russian Woodpecker / United Kingdom (Director: Chad Gracia) — A Ukrainian victim of the Chernobyl nuclear disaster discovers a dark secret and must decide whether to risk his life by revealing it, amid growing clouds of revolution and war. World Premiere

Sembene! / U.S.A., Senegal (Directors: Samba Gadjigo, Jason Silverman) — In 1952, Ousmane Sembene, a Senegalese dockworker and fifth-grade dropout, began dreaming an impossible dream: to become the storyteller for a new Africa. This true story celebrates how the “father of African cinema,” against enormous odds, fought a monumental, 50-year-long battle to give Africans a voice.World Premiere

The Visit / Denmark, Austria, Ireland, Finland, Norway (Director: Michael Madsen) — “This film documents an event that has never taken place…” With unprecedented access to the United Nations’ Office for Outer Space Affairs, leading space scientists and space agencies, The Visit explores humans’ first encounter with alien intelligent life and thereby humanity itself. “Our scenario begins with the arrival. Your arrival.” World Premiere

The Sundance Film Festival®
The Sundance Film Festival has introduced global audiences to some of the most groundbreaking films of the past three decades, including Whiplash, Boyhood, Rich Hill, Beasts of the Southern Wild,Fruitvale Station, Little Miss Sunshine, sex, lies, and videotape, Reservoir Dogs, Hedwig and the Angry Inch, An Inconvenient Truth, Precious and Napoleon Dynamite, and through its New Frontier initiative has showcased groundbreaking media works by artists and creative technologists including Chris Milk, Doug Aitken, Palmer Luckey, Klip Collective and Nonny de la Pena. The Festival is a program of the non-profit Sundance Institute®. 2015 Festival sponsors to date include: Presenting Sponsors – HP, Acura, SundanceTV and Chase Sapphire Preferred®; Leadership Sponsors – Adobe, Airbnb, Grey Goose® Vodka, LensCrafters and Southwest Airlines; Sustaining Sponsors – Blundstone Australia Pty Ltd, Canada Goose, Canon U.S.A., Inc., Chobani, LLC, Omnicom, Stella Artois® and VIZIO. Sundance Institute recognizes critical support from the Utah Governor’s Office of Economic Development, and the State of Utah as Festival Host State. The support of these organizations helps offset the Festival’s costs and sustain the Institute’s year-round programs for independent artists.sundance.org/festival

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon