Watch the full Q&A here:

Rasmussen describes the unusual ways in which the story was concocted – having lived around the corner from his “main character” Amin’s real life host family, and forming a friendship with him at age 15. After years of curiosity, Amin finally grew comfortable enough to explain to Rasmussen why he left Afghanistan in the first place, and consenting to his story being told through animated documentary. A priority of their work was to make sure that Amin could control when and how his narrative was shared, so the utilization of the format of animated documentary was crucial to allowing Amin to maintain his privacy out of the public eye, as well as truly dive deeply into his own memories from years ago. They worked hard to balance narration and documentary format with finding a deeply human connection, by recording not just memory recollections through interviews, but also collaborating to record Amin’s modern life alongside it.  

While the topics of the film can be incredibly heavy- facing childhood trauma, homophobia, and a refugee status – the film also is able to portray the world in a hopeful light, exhibiting Amin and his current boyfriend shopping for a home and settling into a more welcoming world. Rasmussen desired to create an emotionally complex narrative that mimics reality, thus creating a much deeper emotional connection to the audience- in watching FLEE, you enter the story in full immersion, whether you connect to Amin’s life situations or not. This film reminds us that this story is not new, nor is it ancient- Amin’s story is continuous, living through history, and now through the art of film and in the hearts of its audiences.  

About the film: An animated documentary telling the true story about a man’s need to confront his past in order to truly have a future. Amin arrived as an unaccompanied minor in Denmark from Afghanistan. Today, at 36, he is a successful academic and is getting married to his long-time boyfriend. A secret he has been hiding for over 20 years threatens to ruin the life he has built for himself. For the first time, he is sharing his story with his close friend. 

Watch the Q&A here:

 A core aspect of this film is the ability to recreate internal anxieties externally, through a myriad of voices inside and out of Violet’s own mind, thus giving the audience a thorough view her life truly through her own eyes. These voices overwhelmingly shape Violet’s decisions, causing her to be fully anxiety-ridden, not allowing her to experience living outwardly as her true self. Bateman describes the ways in which she herself had experienced a transformation from fear-based living into instinct-based living, a similar trajectory to her character’s. Part of her journey had her begging the question: what if this weren’t me telling myself these things? Would I accept and validate this commentary and judgement if it were coming from someone else? And what she realized, evidently, was no, no she wouldn’t.

               Most often, living surrounded by this fear and anxiety creates an illusion of life-or-death results in much more mundane situations – irrational fears can take over your life. Living by instinct is described as a way in which we, as humans, as animals, can conquer those irrational fears and live our lives as our most authentic selves. Bateman describes how seeing something like this when she was younger really could have changed her life- stating “if I had seen it at 19 I would’ve become myself faster”. It’s a message that is so important to so many people, encouraging audiences of all ages to reconsider whether they live their life on instinct, or from fear.

About the film: There is a voice inside your head. It’s not the voice that tells you, “You can do it. Go for it!” It’s the voice that tears you down. You call it your conscience or your “committee.” It’s the voice that tells you, “Change that shirt. If you wear that to the party no one will talk to you.” Consciously or unconsciously, you register this worst-case scenario, of no-one-talking-to-you-at-the-party, and you change your shirt. You keep making those choices, trying to avoid this voice’s “worst-case scenarios.” You do it in your professional life, your romantic life, your social life, until you are so far away from being yourself that you start to forget what that is. VOILET is a feature film that follows Violet Calder, a 32 year-old film executive who realizes that The Voice has been lying to her. Her entire life. Written, directed, and produced by Justine Bateman.

Watch the Q&A here:

      In 2018, Ekkapol Chantawong, a 25 year old youth soccer coach, and his team of 12 11-16 year old kids got trapped underground in the Tham Luang Nang Non cave for over two weeks, rationing food and drinking the clean water from a cave stalactite. After 10 days, British divers John Volanthen and Rick Stanton discovered the team on a rock, and called upon the Thai military, U.S. Air Force, and British government to help rescue the boys. After 17 days of being trapped, the team and their coach were all rescued by the Thai Navy SEALs with the help of thousands of local and international volunteers.

               “The Rescue” tells the story of the rescue, featuring news footage of the event, interviews with survivors and rescuers, and recreations of the scenes within the caves. The crew describes what it was like to get those firsthand stories from survivors of the event in the Q&A, and the fascinating ways in which each story connected to one another. With the amount of volunteers, doctors, divers, military personnel that helped work to save the boys, everybody involved had their own individual experiences and perspectives that all came together like a scrapbook, every person able to provide a new piece of the puzzle that is this incredible story.

               The path to creating this inspiring documentary was certainly a journey, from getting the rights to produce the film from National Geographic to the end, from negotiating for footage rights with Thai Navy SEALs to handling certain topics such as spirituality, to answering the question of how do you tell a story when the whole world already knows how it ends? Through the twists and turns of its creation, “The Rescue” is a deeply moving and inspiring documentary that highlights the strength and willpower at the core of being human.

About the film: The latest film from Oscar®, BAFTA and multiple Emmy® Award-winning directing duo E. Chai Vasarhelyi and Jimmy Chin (FREE SOLO, MERU) chronicles the enthralling, against-all-odds story that transfixed the world in 2018: the daring rescue of 12 boys and their coach from deep inside a flooded cave in Thailand. Following its world premiere at the 2021 Telluride Film Festival, critics are calling THE RESCUE “heart-stopping”, “rousing” and “truly astonishing.” The film brings alive one of the most perilous rescues in modern times, shining a light on the high-risk world of cave diving, the astounding courage of the rescuers, and the shared humanity of the international community that united to save the boys.

Please note, during the Q&A, Pauli Murray is referred to on occasion using she/her pronouns, since, as Pauli had passed away before pronouns and gender expression became a regular part of social introductions, we do not know whether Pauli would have preferred to be referred to with she/her, he/him, they/them, or other pronouns, but Pauli’s family often uses she/her pronouns for Pauli.  

Watch the Q&A here:

   My Name is Pauli Murray aspires to tell the life story of Pauli through Pauli’s own words. In their research for Cohen and West’s previous documentary RBG, they came upon the influence that Pauli had on Ruth Bader Ginsburg and her iconic career, and they wondered why, in all their research, they had never heard of Pauli before – thus, My Name is Pauli Murray was born. The crew was able to research through Pauli’s written work through the Harvard archive, which owns not only Pauli’s legal writings, but also Pauli’s personal letters, both sent to and received from Pauli, and audio recordings. All of these documents allowed Cohen and West to craft a narrative that told Pauli’s life story from Pauli’s own perspectives.

               With all of these documents being available, however, it is even more striking to consider how little many of us knew about Pauli before the documentary. As Cohen put it, “it kind of gave me a new understanding of how much we often miss”. So many pieces of history that don’t fit into a Eurocentric, heteronormative point of view are often erased when it comes to common knowledge and teachings of history. Cohen describes how many academics, especially black women, had been writing a great amount about Pauli, but the white, male narratives often pushed in history drastically overlooked them. When asked why we don’t often know as much about someone like Pauli Murray as we maybe should, Cohen cited “Racism, sexism, [and] fear of those who appear to be gender non-conforming” as a reasoning. “It’s hard to get attention when there’s not a whole movement around your ideas.” So often the lives, accomplishments, and narratives of black women (and black non-gender-conforming people) are erased from history, and this documentary aims to at least bring one incredible human being to the forefront of history once more.

About the film: Fifteen years before Rosa Parks refused to surrender her bus seat, a full decade before the U.S. Supreme Court overturned separate-but-equal legislation, Pauli Murray was already knee-deep fighting for social justice. A pioneering attorney, activist, priest and dedicated memoirist, Murray shaped landmark litigation—and consciousness— around race and gender equity. As an African American youth raised in the segregated South— who was also wrestling with broader notions of gender identity—Pauli understood, intrinsically, what it was to exist beyond previously accepted categories and cultural norms. Both Pauli’s personal path and tireless advocacy foreshadowed some of the most politically consequential issues of our time. Told largely in Pauli’s own words, My Name is Pauli Murray is a candid recounting of that unique and extraordinary journey.

Watch the Q&A here:

Created during the rise of Coronavirus, Fauci is not only a glimpse into the sudden reality of Anthony Fauci’s rise to becoming the face of pandemic safety and public health, but a personal deep dive into Fauci as a person. Featuring interviews ranging from Bono to Bill Gates to former president George W. Bush, Fauci proves that no matter where your politics may lean, public health does not discriminate- we are all a part of humanity, and we are all susceptible to disease.

 Variety praises the film as “A documentary that merits a place in classrooms as well as theaters, as a preventative against the virus of cynicism.” Even producer Alexandra Moss, in the Q&A, that part of the goal of the film itself was to inspire young people to become scientists, doctors, and public service workers and make the positive changes that are so crucial to the public health of humanity. She explained that they are even currently planning for an impact campaign to reach classrooms to teach kids of all ages the strength and power that they can have to make a real positive difference in the world, including a partnership with Disney+. Though the world of studying – and experiencing – pandemics may seem purely depressing, Fauci presents the future in an inspirational light that will not dim.

Fauci is an in-depth exploration into the humanity of one of the figureheads of our time, examining his career from the HIV (AIDS) epidemic to Coronavirus – a 40 year span (through seven presidencies) of infectious disease research and prevention culminating in Anthony Fauci becoming a household name in terms of public health for nearly the past two years. Co-Directed by John Hoffman and Janet Tobias, Fauci is not just a portrait of a scientist, a physician, or a public servant, but instead it paints an honest the picture of the man behind it all. CNN.com raves that “Fauci makes no pretense about where its sentiments lie, lauding a figure whose critics have seemingly twisted his image beyond recognition in their attempts to demonize him.”

About the film: A glimpse into infectious disease specialist, Dr. Anthony Fauci who has led the U.S. fight against every epidemic the country has faced from AIDS to SARS to Ebola, and the ongoing COVID-19.

               Known for her stunning performances in films like Hereditary and television series’ like The Handmaid’s Tale, actress Ann Dowd paid a visit to Angelika New York to discuss her new film, Mass. Following two couples as they attempt to readjust themselves to life after one son commits a mass shooting, killing the other couple’s son and himself along with other students at their school, Mass is a deeply emotional – and thus deeply human – film. Dowd covers what it was like to prepare for such an emotionally taxing role, as well as the filming process and the importance of personal grief and healing after a tragedy.

Watch the Q&A here:

     Mass is a thoroughly emotional journey for the audience, but it was also a very involved experience for the cast. Luckily, Dowd had stated that there were instant connections among the cast, especially the four lead actors. They worked at rehearsals for several days before splitting up for three weeks prior to the shoot. Dowd cites these weeks as a moment that gave her time to really get to know her character Linda not as a written character but as a real human woman, as if she were a friend. It is so clear that the work that Dowd put into the depth and dimensions of her character, recognizing the past, present, and futures of Linda inside and outside of the script.

               The film itself was filmed over only 12 days – not even two weeks – 8 of which were spent in the church basement. Over that week, from daybreak to dusk, the actors would shoot the script alone in the room, with director Fran Kranz watching from another room in an attempt to have the most honest acting from the cast. Dowd describes the ways in which the atmosphere felt almost spiritual in its honesty as these characters search within one another for healing and closure in their grief. Not to mention the spirituality that is a given within the confines of a church basement, a place so close to worship – in the double-entendre title of Mass, exampling a mass shooting as well as a church mass: a gathering of people to heal together. As Dowd describes it, “it’s a film that, at the end of the day, is about healing. And healing is a beautiful thing.”

About the film: This explosive movie about two sets of parents who agree to talk privately after one couple’s son killed the others’ son in a school shooting, stars acting powerhouses Reed Birney, Ann Dowd, Jason Isaacs, and Martha Plimpton. Writer/Director Fran Kranz has been compared by some critics to Tennessee Williams and represented one of the most acclaimed films at the 2021 Sundance Film Festival. MASS is a powerful exploration of reconciliation and understanding and will offer audiences a chance to empathize with those who have lost.

       I Carry You With Me is a deeply important film for a myriad of reasons, at its core being representation and relatability to all whom may come into contact with it. It reflects upon love – romantic, platonic, and familial – and aspirations, and the ways in which these passions interact. The film focuses on the life and experiences of Ivan Garcia (portrayed by Armando Espitia), a gay man who dreamt of moving from Mexico to New York to become a chef, and the emotional toll it took to decide whether he should stay with boyfriend Gerardo Zabaleta in Mexico or follow his dreams to New York. The cast themselves – including star Armando Espitia – described the importance of the representation of a queer love story not entirely focused on the experience of coming out, nor a story full of pain and torment around being gay, as so many queer films do. On top of this, I Carry You With Me is a positive portrayal of the humanity and willpower of immigrants, and the strength it takes to immigrate to another country, sometimes leaving the ones you love behind to create a better life for yourself and your loved ones. This film has the power and emotional charge to truly change the world for the better.

               Director Heidi Ewing is often known for her documentary work, not her fiction work, like this film. In her work with cinematographer Juan Pablo Ramirez, producers Gabriela Marie and Mynette Louie, and editor Enat Sidi (not present in the Q&A), Ewing was able to transfer her concept of a documentary into a part-documentary, part-fictional feature film. Quoted as realizing that she “was shooting the third act of a movie” within her documentary, Ewing created a fascinating experience into the human brain with this blend of reality and fiction. The team attempted to create a cinematic experience that mimics the way the human brain works, with single moments in modernity triggering the a flashback to a memory, as if we are viewing the story not through a film, but through Garcia’s eyes in real time. This took a lot of time, patience, and practice from the crew,, but the end product was worth every second.

               If you would like to support Ivan, you can visit his restaurants Sona Rosa and Mesa Coyoacan in Williamsburg, Brooklyn!

About the film: An epic love story spanning decades is sparked by a chance encounter between two men in provincial Mexico. This Sundance Film Festival Audience Award and NEXT Innovator Award winner is based on a true story, in which ambition and societal pressure propel an aspiring chef to leave his soulmate and make the treacherous journey to New York, where life will never be the same.

How It Ends was created in the early stages of the Covid-19 pandemic- often playing a part as the first moments of socialization after lockdown for many of the cast and crew. Creative projects can serve as a way for an artist to maintain some form of control over an aspect of their lives in a time of severe chaos, but also serve as an outlet to generate positive energy. Lister-Jones cites the project – which she saw from beginning to end – as a source of joy and play in a time of high stress and anxiety. The timing of the film is deeply evident in its content and themes, taking place in the moments before the apocalypse, but also handling topics such as coping with grief and the ability to let go. Lister-Jones reflects upon the absurd dichotomy between such catastrophic events happening outside, but inside, especially during the lockdown for many people, we were “wearing sweatpants and watching Netflix”. The absurdity of a calm view over the chaos – the pandemic leading to rest and relaxation within our homes, but fear, paranoia, and anxiety outside.

               Lister-Jones describes how the film came from work with her therapist, specifically that of attempting to speak to your inner child and help yourself grow. Her character exists alongside a younger version of herself, interacting on a deeply meta level, each essentially as the voice in the other’s head. The growth and interaction summons a form of radical self-acceptance that can only come from true internal work – shown externally, in the film. This face-to-face experience with yourself has become a large theme within the pandemic- as Zoe Lister-Jones says, it’s a question of “how we face ourselves when there’s no one else to face.” What can you say when you are alone with your thoughts, alone without the influence of the outside world, alone with your reflection?

               How It Ends is a deeply cathartic experience in personal growth in a time of tragedy, a deeply touching comedy, and a brilliant piece of cinema that will warm your heart and leave you moved.

About the film: In this feel good apocalyptic comedy, freewheeling Liza (Zoe Lister-Jones) scores an invite to one last wild party before the world ends. But making it there won’t be easy, after her car is stolen, and the clock is ticking on her plan to tie up loose ends with friends and family. Accompanied by her younger self (Cailee Spaeny), Liza embarks on a hilarious journey across Los Angeles, running into an eclectic cast of characters.