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.
Photo caption: Aline Kuppenheim in CHILE ’76. Courtesy of Kino Lorber.
Chile ’76 is a masterfully understated thriller set in the first days of Pinochet’s coup in Chile and the resultant reign of terror.
Carmen (Aline Kuppenheim), the wife of a prosperous Santiago physician, is away at the family’s beach house when she is approached by the small coastal town’s priest. Knowing that she has medical training, the priest asks her to secretly nurse a young man (Nicolás Sepúlveda) with a gunshot wound. The priest says that he is hiding the young man because he had become a petty criminal through hard luck and deserves a break; but Carmen is savvy enough enough to know that the young man must be a leftist who is hunted by Pinochet’s secret police. To care for the young man would be taking a grievous risk. If discovered, the consequences for Carmen, and perhaps for her family, would be unspeakable.
Carmen embraces the risk, and the tension simmers. The audience follows her, knowing that her secret could be uncovered at any moment. All the time, she is carrying on the appearance of a privileged matron, directing servants and focused on interior decorating and the children’s birthday cakes.
Chile ’76 is the first feature for director and co-writer Manuela Martelli. What Martelli achieves in Chile ’76 is a remarkably subtle suspenser, without jump scares or on-screen violence. Instead, Martelli builds tension in the minds of the audience, as we wonder if her phone is tapped and if she is being followed. Carmen’s each chance encounter becomes more sinister. Even the meticulous tissue wrapping of new store-bought shoes is chilling. Without seeing it, we are ever conscious of the horrors of merciless repression.
Aline Kuppenheim and Nicolás Sepúlveda in in CHILE ’76. Courtesy of Kino Lorber.
Aline Kuppenheim is excellent as Carmen, a cipher who seems so confident in her role as affluent doctor’s wife and grandmother. She likes her cigarettes and a drink, and lets others lead the cocktail party banter. Her family takes her presence for granted and would never suspect her of going on a potentially deadly secret mission.
So, why is Carmen doing this? There are clues. Although she is not overtly political, she doesn’t embrace the rightwing sentiments of her peers. She is a bit of a do-gooder, volunteering to read to the vulnerable. Because of her gender, she wasn’t able to choose a career more important (or dangerous). The answers are behind Carmen’s impassive affect. Still waters run deep.
Chile ’76 is all about how Kuppenheim’s Carmen navigates her situation. In deciding “where to look from”, Martelli says that she and cinematographer Yarará Rodríguez adopted a “rule…to always be with her, sometimes to look at her, and sometimes to look at what she was looking.”
(Back in 2004, Martelli was one of the kid actors in the fine coming of age film Machuca.)
Chile ’76 is now playing in select theaters, including in LA and the Bay Area.
Photo caption: Zbigniew Cybulski in ASHES AND DIAMONDS
Coming up November 15 on Turner Classic Movies, a masterful director and his charismatic star ignite the war-end thriller Ashes and Diamonds, set amidst war-end treachery. It’s one of my Overlooked Noir.
It’s the end of WW II and the Red Army has almost completely liberated Poland from the Nazis. The future governance of Poland is now up in the air, and the Polish resistance can now stop killing Germans and start wrestling for control. Maciek (Zbigniew Cybulski) is a young but experienced soldier in the Resistance. His commanders assign him to assassinate a communist leader.
Maciek is very good at targeted killing, but he’s weary of it. As he wants out, he finds love. But his commander is insisting on this one last hit.
This is Zbigniew Cybulski’s movie. Often compared to James Dean, Cybulski emanates electricity and unpredictability, Unusual for a leading man, he often wore glasses in his screen roles. He had only been screen acting for four years when he made Ashes and Diamonds. Cybulski died nine years later when hit by a train at age forty,
Zbigniew Cybulski in ASHES AND DIAMONDS
Andrzej Wajda fills the movie with striking visuals, such as viewing Maciek’s love interest, the waitress Krystyna (Ewa Krzyzewska), alone amidst the detritus of last night’s party, through billows of cigarette smoke. Wajda’s triumphant signature is, literally, fireworks at the climax; the juxtaposition of the celebratory fireworks with Maciek’s emotional crisis is unforgettable.
Ewa Krzyzewska in ASHES AND DIAMONDS
Wajda adapted a famous 1948 Polish novel into this 1958 movie. In the adaptation, the filmmaker changed the emphasis from one character to another.
Ashes and Diamonds was the third feature for Andrzej Wajda, who became a seminal Polish filmmaker and received an honorary Oscar. US audiences may remember his 1983 art house hit Danton with Gerard Depardieu.
Ashes and Diamonds can be streamed from Amazon and AppleTV. It was featured at the 2020 Noir City film festival.
Photo caption: Charlbi Dean and Harris Dickinson in in TRIANGLE OF SADNESS. Courtesy of NEON.
The biting satire Triangle of Sadness is very funny and is at its best in the first, most subtle moments. Yaya (Charlbi Dean) and Carl (Harris Dickinson) are a couple, both professional models. Because of Yaya’s status as an influencer, they are comped a cruise on a luxury yacht. This puts them amidst a boatful of superrich fellow passengers, and Triangle of Sadness, like Parasite and Knives Out is Eat-The-Rich cinema. It’s fun to laugh at the rich, with their entitlement, tone deafness and absurd customer requests.
The cruise starts going horribly awry, even before the formal captain’s dinner is scheduled during a ship-tossing storm. Eventually, things get all Lord of the Flies. The tone of Triangle of Sadness evolves from pointedly witty to all-out comic mayhem, a la the Marx Brothers, I Love Lucy or The Hangover. As the humor gets broader, there are belly laughs, but the humor is no longer as smart. And Triangle of Sadness would be more watchable if it were shorter than 2 1/2 hours, too.
The sly beginning of the film is brilliant, with a memorable and telling scene about picking up the check in a restaurant. And funny little Easter Eggs abound, like the first names of an elderly British couple and the dramatic express delivery of a mysterious case that we learn contains jars of Nutella.
Triangle of Sadness was written and directed by Ruben Ostlund. His first notable film, Force Majeure, was a masterpiece of subtle humor. Having lessened the subtlety, his next two inferior satires, The Squareand Triangle of Sadness have each won the Palme d’Or at the Cannes Film Festival. Go figure. Anyway, I recommend that you watch Force Majeure on Amazon, AppleTV, Vudu or YouTube.
The cast is very good. Charlbi Dean is excellent as the vivacious, frivolous and admittedly manipulative Yaya; (Dean died suddenly of a viral infection before the film’s theatrical release). I really admired Harris Dickinson’s performance as the dim and spineless Carl. Vicki Berlin is very good as the put-upon head steward. Zlatko Buric soars as a Russian fertilizer magnate, the self-described “King of Shit”. Woody Harrelson is very funny as the yacht’s alcoholic, Marxist captain, who does not suffer fools.
The most memorable performance is by Dolly DeLeon, who plays a character almost invisible until the final act, when she becomes pivotal and gives DeLeon the movie’s best opportunity for a killer line reading. She nails it.
I enjoyed most of Triangle of Sadness, less so as it became broader (and longer). It’s always fun to kick the rich, and Ruben Ostlund is a caustic observer of their frailties.
Photo caption: A SONG FOR CESAR. Courtesy of Juno Films.
A Song for Cesar is a rich documentary on the role of music and the arts in the critical years of Cesar Chavez’s United Farm Worker movement – so rich that it’s much more than that. There’s a time capsule of the turbulent 1960s, the story of emerging Chicano identity and a meditation on the role of arts in political activism – all embedded in a compelling history lesson.
A Song for Cesar shows us how music and the UFW uplifted each other. Anthems were used in mobilizing, and benefit concerts were a major pillar of UFW fundraising. In the other direction, Cesar Chavez and the movement inspired a generation of Chicano musical artists. We hear directly from a veritable Who’s Who of Chicano musicians from Malo, El Chicano, Tower of Power, War, Santana and Los Lobos through Ozomotli. The memories of UFW allies like Taj Mahal and Joan Baez are also central to A Song for Cesar.
It’s not just only about music, either – the importance of murals and theater are highlighted. We hear from Luis Valdez, founder of Teatro Campesino, about the beginnings of Teatro and its place in the movement.
A Song for Cesar captures the zeitgeist of the time. The UFW’s organizing campaign coincided with (as well as inspiring) new Chicano identity and pride. As Tower of Power’s Emilio Castillo says, “People were ready to protest for social change.They weren’t going for the old okey-doke no more.”
A Song for Cesar reminds us of the mass casualty tragedies that galvanized the Farm Worker movement, along with the low pay, wage theft, horrid working conditions and exploitation. (A personal reflection: when I think of the cruelty, disrespect and social control embodied in the short handled hoe, I still get pissed off.) Exceptionally well-sourced, A Song for Cesar presents first-hand recollections of Chavez family members, UFW leader Dolores Huerta and other participants. The UFW history is deep enough to acknowledge the overlooked role of Filipinos in the UFW, with Larry Itliong as a co-founder of the union.
The Farm Workers had to face goon violence from the growers and infiltration by racist law enforcement. It becomes all the more relatable when Luis Valdez describes facing the violence with non-violence in very personal terms. A Song for Cesar is solid history and an important document of the times.
A Song for Cesar is filled with cool tidbits, like how Cesar Chavez was himself a big jazz fan, who would comb record store bins whenever he had the chance. Who knew?
A Song for Cesar opens this weekend, and will have March 18-24 runs at the Opera Plaza and the Smith San Rafael.
On January 12, Turner Classic Movies brings us George Wallace, with its brilliant performance by Gary Sinise. Sinise captures the character of the driven, morally flexible Alabama Governor, whose political opportunism took him to personify the defense of racial segregation in America. His wild personal journey included presidential campaigns, becoming paralyzed by an assassination attempt, and mellowing in a redemption-seeking epilogue.
Originally a 1997 TV miniseries, this three-hour work was based on the fine Marshall Frady biography and was directed by the legendary John Frankenheimer (The Manchurian Candidate, Seven Days in May).
Mare Winningham plays Wallace’s first wife Lurleen, who succeeded him as Alabama’s Governor, and Angelina Joie plays his second wife Cornelia. Sinise, Winningham and Frankenheimer all won Primetime Emmys.
George Wallace is not available to stream and is rarely broadcast, so set your DVR.
Photo caption: Zbigniew Cybulski in ASHES AND DIAMONDS
Coming up tomorrow night on Turner Classic Movies, a masterful director and his charismatic star ignite the war-end thriller Ashes and Diamonds, set amidst war-end treachery. It’s one of my Overlooked Noir.
It’s the end of WW II and the Red Army has almost completely liberated Poland from the Nazis. The future governance of Poland is now up in the air, and the Polish resistance can now stop killing Germans and start wrestling for control. Maciek (Zbigniew Cybulski) is a young but experienced soldier in the Resistance. His commanders assign him to assassinate a communist leader.
Maciek is very good at targeted killing, but he’s weary of it. As he wants out, he finds love. But his commander is insisting on this one last hit.
This is Zbigniew Cybulski’s movie. Often compared to James Dean, Cybulski emanates electricity and unpredictability, Unusual for a leading man, he often wore glasses in his screen roles. He had only been screen acting for four years when he made Ashes and Diamonds. Cybulski died nine years later when hit by a train at age forty,
Zbigniew Cybulski in ASHES AND DIAMONDS
Andrzej Wajda fills the movie with striking visuals, such as viewing Maciek’s love interest, the waitress Krystyna (Ewa Krzyzewska), alone amidst the detritus of last night’s party, through billows of cigarette smoke. Wajda’s triumphant signature is, literally, fireworks at the climax; the juxtaposition of the celebratory fireworks with Maciek’s emotional crisis is unforgettable.
Ewa Krzyzewska in ASHES AND DIAMONDS
Wajda adapted a famous 1948 Polish novel into this 1958 movie. In the adaptation, the filmmaker changed the emphasis from one character to another.
Ashes and Diamonds was the third feature for Andrzej Wajda, who became a seminal Polish filmmaker and received an honorary Oscar. US audiences may remember his 1983 art house hit Danton with Gerard Depardieu.
Ashes and Diamonds can be streamed from Amazon and AppleTV. It was featured at the 2020 Noir City film festival.
Dedication of the Robert E. Lee statue in Charlottesville, Virginia
C.J. Hunt, in his insightful and thought-provoking documentary The Neutral Ground, explores the lie of the Lost Cause, which is still embraced by many White Southerners and is the rationale for preserving Confederate monuments. That myth is that that the Civil War was about a principle of “States Rights” somehow divorced from slavery, and that the Southern cause in the Civil War was romantically heroic.
At one point, Hunt observes,
“The founding documents of the Confederacy talk so obsessively about slavery, the real mystery is how so many people came to believe that Confederate symbols have nothing to do with it.”
Not only is Hunt dead right, but you can read the actualdeclarations of the causes of secession yourselves. The truth is inescapable – the South fought the Civil War PRIMARILY to continue slavery.
The SECOND SENTENCE of Mississippi’s declaration is “Our position is thoroughly identified with the institution of slavery”.
Texas identified this grievance against the Northern States:
“based upon an unnatural feeling of hostility to these Southern States and their beneficent and patriarchal system of African slavery, proclaiming the debasing doctrine of equality of all men, irrespective of race or color– a doctrine at war with nature, in opposition to the experience of mankind, and in violation of the plainest revelations of Divine Law. They demand the abolition of negro slavery throughout the confederacy, the recognition of political equality between the white and negro races, and avow their determination to press on their crusade against us, so long as a negro slave remains in these States.”
One of South Carolina’s grievances against the northern states was, without irony, “They have encouraged and assisted thousands of our slaves to leave their homes.”
It is clear from reading the official actions of the Southern states AT THE TIME that the only relevance of “States Rights” was to continue and expand slavery. Baby Boomers recall that “States Rights” was code for “racial segregation” in the 1950s and 1960s. Same thing.
The Neutral Ground also documents that, after the subversion of Reconstruction in the last quarter of the 19th Century, Confederate statues were intentionally placed to impose terror and demonstrate White supremacist power. See the photo (above) of the dedication of the Charlottesville, Virginia, statue of Robert E. Lee during this period. The dedication is ringed by robed and hooded Ku Klux Klan members. Everybody AT THE TIME knew what was going on,
Unfortunately, Southern Whites have lived in a Lost Cause echo chamber for a century. It has become more offensive to tell them that the Civil War was about slavery than to suggest that Jesus was not the son of God.
The German people embraced a “stab in the back” lie to explain their defeat in WWI. That, of course, led to the Nazi regime, a second world war, mass genocide and the destruction of Germany itself. Today’s Germans know that they can be proud of their contributions to world culture, industry and science and still accept that following Hitler was a grievous mistake. Good luck finding a contemporary German who will say, “Hey, none of us actually believed all that stuff about a Master Race”.
Benjamin Netanyahu in KINGS OF CAPITOL HILL. Photo courtesy of JFI.
The Israeli documentary Kings of Capitol Hill traces the history of an American political institution, the American Israel Public Affairs Committee (AIPAC). Founded as a lobby group to advocate for the interests of Israel, AIPAC has grown in power and has shifted (and narrowed) its mission.
AIPAC is controversial because the policies of the recent right-wing Israeli governments, supported by AIPAC, and those of most Jewish-Americans have diverged.
Kings of Capitol Hill highlights two pivotal moments. The first came in 1984 when Paul Simon unseated Charles Percy as US Senator from Illinois, and AIPAC was given the credit and the accompanying political fearsomeness. The second came a decade later, when AIPAC abruptly rejected bipartisanship to become a mouthpiece for the Israeli Right and the US Republican Party.
For 60 years, AIPAC leaders have refused to be interviewed about the organization. Israeli filmmaker Mor Loushy has secured the oral histories of many of AIPAC’s top leadership from its founding and fashioned them into a compelling story.
Note: The film was completed before both Donald Trump and Benjamin Netanyahu, two of Kings of Capitol Hill’s villains, were unseated in the past nine months.
I screened Kings of Capitol Hill for this year’s San Francisco Jewish Film Festival, which opens on Friday. You can peruse the festival’s program and schedule at SFJFF, and here’s my own SFJFF preview. Here’s where you can stream Kings of Capitol Hill.
THE BOYS IN RED HATS. Photo courtesy of Shark Dog Films.
Remember the resulting frenzy when the Kentucky prep school boy at the Lincoln Memorial smirked at the indigenous tribal elder? Documentarian Jonathan Schroder is an alum of that very prep school – Covington Catholic or “CovCath”. In The Boys in Red Hats, his point of view shifts as he peels back the onion on what really happened. It comes down to insights into media, social media and, especially, White privilege.
Like most of us, Schroder was initially outraged at the boys; as more facts emerged, he became sympathetic to what seemed like mistreatment of the boys in social media. Don’t give up on this movie as a whitewash – as the story gets more complicated and Schroder becomes more reflective, his needle sways back and forth until the final payoff.
This was a Rorschach event at the Lincoln Memorial. One thing is for sure, these privileged kids and their chaperones, confronted by a crazy hate group (Black Hebrew Israelites), were unequipped to deal with a momentary convergence of disorder and diversity.
To put my own cards on the table, I am not disposed to sympathize with rich kids who were comfortable in being shipped to an anti-choice rally, wearing MAGA hats. In The Boys in Red Hats, the journalist Anne Branigan’s perspective most resonated with me.
Schroder gives plenty of rope to a professional conservative talking head, two CovCath dads and the school’s alumni director, none of whom display a modicum of sensitivity or empathy to those less rich, less white or less male than they.
Schroder sees the significance when one of his CovCath buddies says, “I like my bubble”.
I screened The Boys in Red Hats for its world premiere at Cinequest, and it made my Best of Cinequest 2021. The Boys in Red Hats releases in theaters and streaming on Virtual Cinema on July 16.
