On May 18, 2018, Christian Riley Garcia was among the 10 who were shot and killed in the Santa Fe high school shooting. This film will examine the impact of his heroic actions and his families fight for healing in the wakes of their loss.
Making of documentary on the set of New Zealand's first epic Utu (1983), working with little money and dealing respectfully with matters of cultural protocol. Merata Mita discusses complex issues of inter-cultural conflict.
Sounds of Love and Sorrow lets the eerie sounds of the Paiwan flutes including the nose flute, which legend says imitates the call of the deadly hundred-pace snake, mix in with the recollections of tribal elders and traditional tales to present a rich background of Paiwan life in Taiwan. Tribal elders recall the days of the youth and their romances. They tell of the creation of the Paiwan people, and lament the end of tribal life, crushed by the irresistible and contradictory forces of government policies and alien cultural influences. Talking of love, both the charm and cruelty of a traditional society are revealed. For many of the Paiwan, love may be a high point of a young life – but it is also the gateway to sorrow. But in the end, it is the high spirits, the playful romances and the family spirit of the Paiwan which shine through.
Is it ever rational to choose death? On Independence Day at Stern Ranch, 77-year-old solar energy pioneer Bob Stern finds out he’s seriously ill – possibly dying. Meanwhile, an elderly in-law is dying on artificial life support. Bob decides to cheat that fate and take his own life. His family tries to stop him. Bob sets up a video camera. Daughter Susan Stern explores “rational suicide,” the “right-to-die” and the difficult end-of-life choices faced by an aging population.
19 year-old Quannah Chasinghorse, and her mother, Jody Potts-Joseph, take a stand to defend their sacred homelands and way of life while breaking barriers in Indigenous representation.
"Some Aspects Of Cape Verdean Culture" is a re-discovered and restored documentary shot in 1975 in cape verde at the time of independence by pioneering video artist Anthony D. Ramos. This was some of the earliest video work by ramos, who received a 1975 grant from the Rhode Island Council for the Humanities for travel to Cape Verde and a sony color 1/2" reel to reel video camera . Ramos , a cape verdean american, traveled to the islands of Sao Tiago, Fogo and Sao Vicente , and was the only american camera to capture the historic end of 500 years of Portuguese colonial rule. Over eighty hours of video were shot, and efforts are currently underway to raise funds to restore and transfer the rest of videos in this valuable archive.
COMEDY CONFESSIONS takes you on a journey into the lives of three struggling comedians who have decided to pursue their dreams of careers in stand-up comedy despite the harsh realities of being homeless. For these comedians, their cars are lifesavers providing safety and shelter at night and transportation to auditions and performances during the day. Their daily struggle to avoid sleeping on the street is startlingly juxtaposed with the extravagant wealth of the opulent mansions they park in front of at night. One of them, Tiffany Haddish will achieve her dreams to become a true Hollywood movie star, the other two, Doc Jones and Steve Lolli find the lure of the spotlight takes an unforgiving toll on their hopes and ambitions. This honest and touching movie is told in their own words revealing the passions, dedication and pains that drive them.
The Pasola, a traditional jousting battle with hundreds of horses and riders, is the Sumbanese New Year celebration, and also a ritual that anticipates the rice harvest. It is staged to welcome the annual swarming of sea worms on the western beaches, since the worms are seen as representing the spirit of the rice crop. The spirit of the fertility of the seas and the land comes from the body of a sacrificed girl, and her return each year is celebrated with a dramatic display of masculine virility, courage, and horsemanship.
A celebratory documentary, with engaging scenes of fishing, cooking, dancing, cassava preparation, thatching a temple, spiritual ritual, music and dance all demonstrating the Garifuna link to the Carib-African past. Descendants of African and Carib-Indian ancestors, the Garifuna fought to maintain their homeland and resisted slavery. For this love of freedom, they were exiled from St. Vincent in the Caribbean by the British in 1797. Despite exile and subsequent Diaspora, their traditional culture survives today. It is a little known story that deserves its place in the annals of the African Diaspora. In first person Garifuna voices, this documentary presents the history, the language, food, music, dance and spirituality of the Garifuna culture.
In Tunisia, the history of stambali goes back to the arrival of the first enslaved Africans from Mali, Timbuktu specifically. Practicing their music and worship in the house of their masters, the enslaved and their musical traditions survive to this day. Stambali is a religious ritual in Tunisia, a journey with the rhythm of the "gombri" and "chkackek," traces an individual and collective hypnosis, an annual tribute that the disciples of Sidi Saad pay to their master during an initiatory journey and rite of purification that lasts three days. In "Stambali," the camera, video and film follow the rhythm of the possession, dances, and goes into a trance, in the cemetery, in an open space of grass, trees, dust and sand, in the eroticism that is released by this physical and spiritual representation.
Mammy Water is a pidgin English name for a local water goddess worshipped by the Ibibio, Ijaw, and Igbo speaking peoples of southeastern Nigeria. The water goddess traditionally gives wealth and children, compensates for hardships, and is sought in times of illness and need, especially by women. Her various cults are led, predominantly, by priestesses.
An Artist, a Musician and a Dreamer, all of them British, have moved to Rio's notorious favela communities where they build their lives in perilously-shifting political sands.
Samaki wa Dar es Salaam/Fishers of Dar is an ethnographic film about the fishermen and women of downtown Dar es Salaam, Tanzania. It explores the continuity and integrity of traditional fishing practices in new, contemporary settings
Soanin Kilangit is determined to unite the people and attract international tourism through the revival of culture on Baluan Island in the South Pacific. He organizes the largest cultural festival ever held on the island, but some traditional leaders argue that Baluan never had culture and that culture comes from the white man and is now destroying their old tradition. Others, however, take the festival as a welcome opportunity to revolt against '70 years of cultural oppression' by Christianity. A struggle to define the past, present and future of Baluan culture erupts to the sound of thundering log drum rhythms.
Among the Senufo people of northern Côte d'Ivoire, the balafon (xylophone with calabash resonators) is an emblematic musical instrument. Balafon makers are all musicians, but a balafon player isn't necessarily an instrument maker. The film shows in detail the manufacture of this musical instrument, an indispensable element in the life of the Senufo people. Each step is shown, from the initial prayer to the genies of the balafon before felling a tree, through the cutting and tuning of the keys and the resonators, to the fixing of the buzzing membranes, which give this instrument its very characteristic timbre. Nanga, the balafon maker, talks about his work and discusses different aspects with friends during a meal.
Among the Senufo people of northern Côte d'Ivoire, the balafon (xylophone with calabash resonators) is an emblematic musical instrument. The music of the balafon is a source of joy while the young men are doing collective work in the fields, at age-group ceremonies, for the poro initiatory society, for the catholic mass and during young people's dance evenings. Musicians and non-musicians, young and old, talk about the different occasions for which this instrument is an indispensable presence marking the rhythms of life for this agricultural people. Traditional balafon music is far from dying out, and its extraordinary vitality and importance are evident in the activities of the younger generations.
For these villagers, giving birth is a family affair; while a young girl is in labor, the birth attendant, mother and mother-in-law alternate between lending a hand and storytelling. Barbara Johnson studied documentary film and photography with Jerry Liebling and Elaine Mayes at Hampshire College from 1970-1974. She began working for the Smithsonian's newly formed National Anthropological Film Center in 1975. She was sent to Nepal to document early childhood socialization and daily life in a large farming village in the Kathmandu Valley.
When Geraldine Kawanka’s husband died, she and her children left their house at Aurukun on Cape York Peninsula. In earlier times a bark house would have been burnt, but today a ‘house-opening’ ceremony — creatively mingling Aboriginal, Torres Strait and European elements — has evolved to deal with death in the midst of new living patterns. Although sometimes suggesting a party, its underlying purpose is serious. This film records the opening of the house and Geraldine’s feelings about it in her informative and personal commentary.
Fate of the Lhapa is a feature-length documentary about the last three Tibetan shamans living in a Tibetan refugee camp in Nepal. Each lhapa requested that their story be filmed. Their fear was that the next heir might not appear until after their own deaths. Subsequently, with no lhapa alive to mentor the children, the documentary would be used to transmit the knowledge to the next generation. Their tales of nomadic childhoods, shamanic callings and apprenticeships, cosmologies of disease and treatments, and of their flight from Tibet during the Chinese occupation in the late 1950s is be juxtaposed with images of present-day life in the camp, current healing practices and shared concerns of the future and the fate of their tradition.