PAIN AND PEACE: forgiving the unforgivable

Rais Bhuiyan in PAIN AND PEACE. Courtesy of Cinequest.

The extraordinary and emotionally powerful documentary Pain and Peace begins with the story of Rais Bhuiyan. In the wake of the 9/11 attacks, an attacker who was looking to kill Muslims, any Muslims, shot two convenience store clerks to death and then entered the workplace of Bangladeshi immigrant Bhuiyan and shot him in the face with a shotgun; Bhuiyan somehow survived and then, perhaps even more remarkably, began a campaign of forgiveness for his perpetrator. What follows is an exploration of forgiveness as a necessary prerequisite to reconciliation and ending the cycle of demonizing other people.

Bhuiyan interviews other survivors of hate crimes, many of the highest profile, like the Georgia church shooting, the Buffalo supermarket shooting, the Orlando nightclub shooting, and more. It’s riveting when they retell their experiences and talk about forgiving their attackers.

Bhuiyan, as a hate crime survivor himself, brings major credibility as an interviewer and is superb as the narrator/guide of the film.

Pain and Peace also introduces us to some perpetrators of hate crimes, and that brings some surprises, too.

Pain and Peace is the first feature for director Mark Feijó.

I screened Pain and Peace for its world premiere at Cinequest. I highlighted it as one of two Must See films in my Best of Cinequest. It’s not very often that I see a movie as potentially life-changing, but this one is.

QUIXOTE IN NEW YORK: an artistic master’s bucket list

Carrete in QUIXOTE IN NEW YORK. Courtesy of Cinequest.

The charming documentary Quixote in New York follows the 82-yer-old Spanish flamenco dance master El Carrete, who wants to cap his career by performing in a major NYC theater. It’s not that easy to mount a theater production, and he doesn’t have unlimited time to pull it off.

El Carrete himself is a hoot, funny AF and even makes rehearsals fun for everybody. Director Jorge Peña Martín has the good sense to give us a big dose of El Carrete. It’s a well-crafted film, especially the cinematography.

There’s a Can’t Miss seen where El Carrete watches a projection of Fred Astaire dance, and then dances himself in front of the screen, mirroring Astaire’s moves-flamenco-style.

This is an audience-pleaser. Cinequest hosts the US premiere of Quixote in New York.

Carrete in QUIXOTE IN NEW YORK. Courtesy of Cinequest.

DEMON MINERAL: environmental justice, indigenous voices

DEMON MINERAL. Courtesy of Slamdance.

The environmental justice documentary Demon Mineral explores the impact of uranium mining on the Navajo people. In her first feature, director and co-writer Hadley Austin uses indigenous voices to tell the story, including her co-writer, environmental scientist Dr. Tommy Rock. It’s the testimony of Navajo people themselves that traces the history of uranium mining, subsequent health problems and the science connecting the dots. Some of the first-person narratives are heart-breaking.

This real life story takes place in one of the most iconic locations in American cinema – Arizona’s Monument Valley. (The Navajo themselves have complicated feelings about the legacy of John Ford Westerns made in their homeland.) Cinematographer Yoni Goldstein’s black-and-white photography soars, bringing out the majesty of the harsh landscape and imparting a gravitas to the story.

There’s even a cameo by hard right Congressman Paul Gosar, who is so stupid that he doesn’t comprehend just how stupid he is.

Demon Mineral has enjoyed a robust film festival run and won the Audience Award for Documentary Feature at the 2024 Slamdance.

DESPERATE SOULS, DARK CITY AND THE LEGEND OF MIDNIGHT COWBOY: a movie and its time

Jon Voight in his screen test for Midnight Cowboy from DESPERATE SOULS, DARK CITY AND THE LEGEND OF MIDNIGHT COWBOY. Courtesy of Kino Lorber.

The remarkably insightful documentary Desperate Souls, Dark City and the Legend of Midnight Cowboy explores the making of Midnight Cowboy and its place both in cinema and in American culture. 

Midnight Cowboy won Oscars for Best Picture, Director and Adapted Screenplay, all with an X-rating. Sure, we know Midnight Cowboy as a groundbreaking film, but Desperate Souls argues that it both reflected the zeitgeist of the moment and opened new possibilities in American filmmaking.

This was a transitional period in Hollywood and in the culture. Midnight Cowboy won its Oscars at the same Academy Award ceremony that honored John Wayne as Best Actor. Midnight Cowboy’s protagonists were completely unDukelike, one a would-be gigolo and the other an almost homeless conman.

So, we have two marginal anti-heroes and their unconventional bond, along with, shockingly, incidents of gay sex, heterosexual impotence and incontinence. The director John Schlesinger himself was a closeted gay man. Anyone who was alive in 1969 can tell you that this was extraordinarily transgressive content to penetrate the cultural mainstream.

Besides the unsettling themes, Midnight Cowboy, along with The Graduate (1967) and Butch Cassidy and the Sundance Kid (1969) pioneered the effective use of popular music on the soundtrack. Midnight Cowboy is notable for both John Barry’s Emmy-winning score and for the use of Fred Niel’s Everybody’s Talkin’, which Schlesinger used as the theme.

Filmmaker Nancy Buirski, who died in September, builds her case with superb sourcing. She hit gold with the unique perspective of Jennifer Salt, who observed her father, screenwriter Waldo Salt, and the director John Schlesinger birth the film; she also acted in the movie and came to date its star, Jon Voight. Voight himself bookends the film with emotionally powerful reflections.

Desperate Souls, Dark City and the Legend of Midnight Cowboy also includes Voight’s screen test, and I dare you to explain why the filmmakers, after watching it, said THAT’S THE GUY.

As I write, Desperate Souls, Dark City and the Legend of Midnight Cowboy is number 21 on my carefully curated list of Longest Movie Titles.

This is a strong film, and a Must See for cinephiles, especially Jon Voight’s intro and outro. saw Desperate Souls, Dark City and the Legend of Midnight Cowboy, Midnight Cowboy at the San Francisco Jewish Film Festival, and you can stream it now on Amazon, AppleTV, Vudu and YouTube.

THE LADY BIRD DIARIES: essential history

Photo caption: Lady Bird Johnson in THE LADY BIRD DIARIES. Courtesy of Hulu.

For students of 29th Century American political history, The Lady Bird Diaries is essential. In her time as First Lady, Lady Bird Johnson audio-recorded her candid observations of some of the nation’s most dynamic and turbulent years. The 123 hours of those recordings, now released after her death, have been excerpted into the core of this singular documentary.

We hear Lady Bird’s unique point of view on the JFK assassination, LBJ’s battles with depression, the infamous White House luncheon Eartha Kitt incident and RFK. And, after all, she was living in the White House with LBJ through his Civil Rights triumphs and the morass of Vietnam. LBJ’s presidency was so jampacked, we get the tiniest mention of Medicare (Oh, yeah, THAT was LBJ, too).

Lady Bird’s first-person perspective would be valuable enough in a written document, but hearing her actual voice brings even deeper insights into the events, LBJ and Lady Bird herself.

Indeed, The Lady Bird Diaries Lady Bird’s own voice is almost the entire film, annotated only by director Dawn Porter’s exceptional use of explanatory titles, archive clips and photos. Porter’s use of images is as brilliant as I’ve seen in a doc.

Lady Bird’s narration, combined with recorded phone calls between the Johnsons, makes clear Lady Bird’s involvement in her husband’s career. She gave him advice on matters both tactical, critiquing his speeches, and strategic (including whether to seek re-election). LBJ was notoriously thin-skinned, came closest to welcoming criticism only from Lady Bird. One of the most sharp and insightful segments is a disagreement between the Johnsons on how to handle the Walter Jenkins scandal (LBJ’s chief of staff caught in a homosexual haunt) days before the 1964 presidential election. Clearly, Lady Bird was determined to give LBJ her best thinking, whether he wanted it or not.

The Lady Bird Diaries also reminds us of:

  • Lady Bird’s groundbreaking work on the environment, then known as the “beautification” campaign.
  • Her gameness to campaign in a 1964 whistlestop tour through the South, facing down White voters howling about LBJ’s Civil Rights Act of 1964.
  • The toll on the Johnsons from the the unrelenting public scorn about Vietnam.

This is fantastic history and an extraordinary film. The Lady Bird Diaries is streaming on Hulu.

THE PIGEON TUNNEL: a great storyteller’s story, told at last

Photo caption: John le Carré in THE PIGEON TUNNEL. Courtesy of AppleTV.

The espionage novelist John le Carré was one of our greatest storytellers over the past sixty years, and, in The Pigeon Tunnel, the great documentarian Errol Morris cajoles le Carré (real name David Cromwell) to tell his own life story – and what a story it is.

I love the twists and turns in le Carré’s stories, which are set in the world which le Carré himself experienced in his youth as a Cold War British spy. But the underlying theme of le Carré’s work is that his characters are engaged in the highest stakes when it really doesn’t matter who wins;. The comic strip character Pogo wisely told us: We have met the enemy and he is us. The spymasters are incented by their own bureaucratic imperatives and the gamesmanship itself, not by righteousness or utility. His credo seems to be, rage against the machine, with futility.

Indeed, the title of the film stems from a most unsettling and revelatory image from the young le Carré’s trip with his father to Monaco – a grim analogy about the hopeless position of those who are pawns in the games of others.

What formed the cynical rage behind the cultured and ever so pleasant le Carré? As Morris probes le Carré’s childhood, we learn of his father, a sociopath and career con artist, a man so psychotically selfish that his mother abandoned her sons as the only way to escape their father.

Le Carré also explains the impact on him of the British traitor Kim Philby, the pivotal moment of his time in British espionage, which cemented Le Carrie’s own fascination with betrayal.

It is important for le Carré to take the measure of Morris as interviewer/interrogator. It is so interesting that le Carré/Cromwell’s storytelling (the means? the depth? the very content?) depends on whom he is engaged with.

Erroll Morris has created some of the best ever American documentary films, including Gates of Heaven and The Thin Blue Line. He is the master of the interview doc, where he uses a gizmo to photograph his subjects while they maintain direct eye contact with him; he has employed the technique to let Robert McNamara (The Fog of War) and Donald Rumsfeld (The Unknown Known) reveal more of themselves than they intended and to introduce us to the woman who kidnapped a Mormon missionary as a sex slave and later cloned her pet dogs (Tabloid) and the designer of execution techniques who denied the Holocaust (Mr. Death: The Rise and Fall of Fred A Leuchter, Jr.).

Many le Carré novels and stories have been made into excellent films, which are available to stream, including

My favorite is the 1979 Alec Guinness version of Tinker Tailor Soldier Spy, which is not currently available to stream, but you can find the DVD.

The Pigeon Tunnel is streaming on, AppleTV.

CHARM CIRCLE: you think YOUR family has issues?

Raya Burstein and Uri Burstein in CHARM CIRCLE. Photo courtesy of Cinequest.

In the superbly structured documentary Charm Circle, writer-director Nira Burstein exquisitely unspools the story of her own bizarre family. At first, we meet Burstein’s father, a sour character who inexplicably is about to lose his rented house, which has become unkempt, even filthy. He is mean to Burstein’s apparently sweet and extraordinarily passive mother, and the scene just seems unpleasant.

But then, Nira Burstein brings out twenty-year-old videos that show her dad as witty, talented and functional. We learn a key fact about the mom, and then about each of the director’s two sisters.

Some of the publicity about Charm Circle describes the family as eccentric, but only one daughter is a little odd – three family members are clinically diagnosable. Charm Circle is a cautionary story of untreated mental illness and the consequences of failing to reach out for help.

This is Nira Burstein’s first feature, and she has two things going for her: unlimited access to the subjects and a remarkable gift for storytelling. Charm Circle works so well because of how Burstein sequences the rollout of each family member’s story.

The Nashville Film Festival returns in a few days, and I attended a screening of Charm Circle, with a Nira Burstein Q&A at NashFilm two years ago. It went on to play both the San Francisco Jewish Film Festival and Cinequest, and can now be streamed on the Criterion Channel.

THE SAINT OF SECOND CHANCES: irrepressibility, ingenuity and audacity

Photo caption: Mike Veeck in THE SAINT OF SECOND CHANCES. Courtesy of Netflix.

The endearing documentary The Saint of Second Chances is about a guy who is both a character himself and the son of another character. Mike Veeck, the film’s subject, is the son of the legendary Bill Veeck, who was kind of the P.T. Barnum of baseball, known for the many gimmicks he used to draw paying fans into the ballpark. Unlike his father, Mike Veeck is not in the Hall of Fame, but he has earned his place in his self-described “family of baseball hustlers”.

This a movie about baseball people that really isn’t about baseball itself. It’s about Mike’s irrepressibility, ingenuity and audacity in conjuring up publicity stunt after publicity stunt. The story, cleverly divided into innings, traces Mike’s life through his very high highs and his very low lows. You may already know about his most famous low point – the Chicago White Sox’s “Disco Sucks Night” in 1979 that turned into a riot. That disaster drove Mike out of baseball, until, years later, he started promoting obscure minor league baseball teams with wacky novelties like the St. Paul Saints and their baseball-delivering pig, their nun masseuse and their blind radio broadcaster.

Like anyone’s life, Mike’s has had his share of heartaches, and The Saint of Second Chances‘ wistful moments are genuine and touching.

The Saint of Second Chances is co-directed by Morgan Neville, director of Roadrunner: A Film About Anthony Bourdain, Won’t You Be My Neighbor and 20 Feet from Stardom, for which he won an Oscar.

The Saint of Second Chances is streaming on Netflix.

THE LEAGUE: untold stories

Photo caption: THE LEAGUE, courtesy of Magnolia Pictures.

The League is a comprehensive documentary on the history of Negro League baseball.  As one would expect from a Sam Pollard doc, it’s well-sourced and reveals some less well known history:

  • Rube Foster, remembered as a pitching great and inventor of the screwball, was the impresario and strategic mind behind the first Negro League.
  • Effa Manley, the canny co-owner of the Newark Eagles, was a pioneering female AND African-American businesswoman with the spunk, if not the resources, to stand up to MLB.
  • The Negro Leagues’ surprisingly brief lifespan and even briefer glory days.
  • Why the immensely talented, even Ruthian, Josh Gibson wasn’t put forward to integrate MLB (like Jackie Robinson was).  
  • How MLB execs like Branch Rickey and Bill Veeck worked with the Negro Leagues (or not).
  • The painful trade-offs from the long-awaited integration of MLB.

The League is the work of filmmaker Sam Pollard, who directed the more compelling MLK/FBIThe League will appeal to those with interests in baseball and/or civil rights.  The League is streaming on Amazon.

THE ANONYMOUS PEOPLE: bringing long term recovery out of the closet

Over 23 million Americans are living in long-term recovery from addiction. How many (or how few) of us know this, is the core of the thought-provoking 2013 advocacy documentary, The Anonymous People.

We all know about Alcoholics Anonymous, where anonymity makes it possible for alcoholics to work on their recovery without stigma. Anonymity is an integral pillar of AA, but some in AA interpret this to preclude publicizing their own recoveries. The Anonymous People challenges that orthodoxy.

The anonymity of those in long-term recovery also keeps the manifestations of recovery invisible to the general public, including the addicts who need it and the policy makers who need to know about it.

The carnage of celebrity addiction, as with Lindsay Lohan and Charlie Sheen, is high profile fodder for the popular media. But comparatively few of us know the stories of Samuel L. Jackson and Russell Brand, who are open about their own long term recovery.

The Anonymous People is about the open recovery movement (or public recovery movement). We hear from John Shinholser, President of The McShin Foundation, a leader in the movement, and others in long term recovery like actress Kristen Johnson of Mom. They advocate that folks come out of anonymity to say, “I am a person in long term recovery, and for me that means that I have been sober for X years.”

After all, who needs a role model more than someone struggling with addiction?

There is a strong parallel to the AIDS activists in the 1980s who defeated the stigma of AIDS by shedding the secrecy.

I saw The Anonymous People at a special screening, in an audience with over 90% people in recovery, and they loved it; (I am what people in recovery call a “Normie”). The Anonymous People will also resonate with anyone also for anyone interested in public policy issues like treatment and incarceration.

The Anonymous People can be streamed from Amazon, AppleTV, Vudu and YouTube.