By Ray Pride Pride@moviecitynews.com

True/False Film Fest Names 2017 True Life Fund Film

The indomitable Rainey family, featured in the new film Quest, have been selected as 2017’s True Life Fund recipients. The fund, True/False’s yearly philanthropic initiative, serves as a tangible way of thanking documentary subjects.

“The True Life Fund represents us completing a circuit,” T/F co-director David Wilson says. “The film subjects share their stories, and this is a small way to repay that gift.”

The Raineys’ home studio acts as a creative space and community refuge in North Philadelphia. Christopher “Quest” Rainey hosts Friday night recording sessions and mentors artists in the community. His wife, Christine’a, a.k.a. “Ma Quest,” works at a local homeless shelter.

Quest was shot by director Jon Olshefski over the course of a decade, bookended by the elections of Barack Obama and Donald Trump. We witness the Raineys raise their children, P.J. and William, while working to transform their community.

What starts as a tender portrait of an American family undergoes a slow-burn transformation into a stunning look at race, class, and community. With the country’s turmoil ever-present but muted, Quest is a testament to love, healing, and hope.

Last summer, the film was fine-tuned at the Rough Cut Retreat, organized by T/F and the Catapult Fund. Now, Quest is set to premiere at the Sundance Film Festival before coming to True/False. The film is Olshefski’s stunning nonfiction feature debut.

The Rainey family and Olshefski will attend all of the screenings at True/False. Before the fest, Olshefski will visit all of Columbia’s four public high schools. At each school, students will watch clips of the film and engage in discussion with the director.

True/False 2017 marks the tenth year of The Crossing’s sponsorship of the True Life Fund. The Crossing has committed to continuing to sponsor the fund for the next five years. The True Life Fund itself comprises thousands of individual gifts, matched through a generous grant from the Bertha Foundation. In 2017, True/False aims to raise more than $25,000 for the Rainey family. To give, visit www.truelifefund.org, text any amount to (573) 818-2151, or donate at the True/False screenings.

In 2016, Sonita Alizadeh, the star of the film Sonita, was the recipient of the True Life Fund, which raised $43,500 to underwrite her music aspirations and ongoing campaign against child marriage.

The True/False Film Fest will take place March 2-5 in downtown Columbia, Missouri. For more information, please visit truefalse.org.

Be Sociable, Share!

Comments are closed.

Quote Unquotesee all »

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