R100 one was a midnight favorite at the American Film Institute’s AFIFEST 2013. I ventured out with a Japanese exchange student/cohort. We were in stitches and the audience was rollicking. I went on to review the film initially at the Santa Barbara City College SBCC Film and Media Studies site before posting it here earlier this year. In addition, at a recent Art Cinema Seminar/Class led by Santa Barbara International Film Festival Program Director Michael Albright, R1oo, received noteworthy mention. This is a film I highly recommend from a nationally renowned and esteemed Japanese director, Hitosi Matsumoto. Please enjoy the excerpt from Austin360.com!
Editor’s note: This article was originally published September 26, 2013.
Drafthouse Films, the film distribution arm of the Alamo Drafthouse Cinema, has acquired of North American rights to Japanese director Hitoshi Matsumoto’s “R100,” a lunatic tale of male self-destruction. R100 premiered at Toronto International Film Festival’s Midnight Madness section and made its US premiere at Fantastic Fest last weekend. A VOD/Digital and theatrical release is planned for 2014.
It is not suprising that Drafthouse is picking this one up. Drafthouse and Fest founder Tim League introduced the completely gaga “R100” himself, nothing that it was the last film booked but that League, a huge Matsumoto fan, wasn’t going to let it get away. “If you don’t like this movie, you are (expletive) stupid,” League said…
“R100” (The title is itself a play on the Japanese movie ratings R-15 and R-18) is an almost early-Woody Allen-esque comedy (think “Without Feathers” era or “What’s Up, Tigher Lilly?”) about Takafumi Katayama (Nao Ohmori, the star of “Ichi The Killer” fame) whose life has gone a bit pear-shaped. His department store job is mindless, his father-in-law is helping Katayama raise his young son while his wife is in a coma in the hospital and things are just looking kind of rough for the guy (the color palette for much of the film is all browns, tans and neutrals, washed out and quite 70’s looking in spots).
No wonder the guy feels the need to contact a dominatrix service and gets more than he bargained for. To wit: he never knows exactly when the doms (called “Queens,” each with a special, uh, talent) are going to show up to beat or humiliate him. At first, things seem to go fine. Then the wheels start to come off and things start to get very, very strange.
Matsumoto masterfully switches tones, almost from scene to scene. There are quiet, tender scenes that could hail from an earnest indie movie. There is old school silent movie boffo comedy. There are a couple of solid runs at the fourth wall. As League noted in his introduction, Matsumoto takes his time to set up a joke, but the payoffs are tremendous. And it features the best use of the “Ode to Joy” since “Raising Arizona.”
The one and only Martin Scorsese visited the AFI Campus recently to discuss making his spiritual epic SILENCE (an AFI AWARDS 2016 Official Selection), the master filmmaker’s decades-long labor of love that explores apostasy and crises of faith in 17th-century Japan. The film features Andrew Garfield and Adam Driver as Jesuit missionaries dispatched to Japan to locate a fellow priest gone rogue, played by Liam Neeson.
“Obviously, these themes and ideas and concepts are very much the foundation of my life. The formation began, in a way, at a very early age, so I’ve never really lost interest in that or the urge to keep searching,” Scorsese told AFI Conservatory Fellows, referencing his religious films THE LAST TEMPTATION OF CHRIST (1988) and KUNDUN (1997). SILENCE is based on Shūsaku Endō’s 1966 novel of the same name. “Reading the book… The whole idea of this apostasy, why did it seem like a victory rather than a defeat?” Scorsese said, explaining one of the film’s central questions.
Watch a clip below in which Scorsese discusses how he was forced to re-think how to film a particular scene in SILENCE.
Scorsese also discussed the future of cinema with Fellows. “I do feel that cinema, for the first hundred years, has been within this proscenium…but that doesn’t mean it has to stay that way,” he said. “You have this unlimited technology; you can do anything. I’m the product of a certain place in time. You’re younger, it’s very different, and it’s up to you to reinvent it and use any form you want… The one thing that keeps you human is your story, and it has to be from a personal vision. It has to come from a personal truth that is different from making a product.”
The American Film Institute (AFI) released an official statement on Iranian Filmmaker Asghar Farhadi. Farhadi’s latest film, The Salesman, is nominated for an Oscar for Best Foreign Language Film. However, due to the recent travel restriction implemented by the United States via executive order, Farhadi will not be attending this year’s Oscar ceremony.
From AFI:
Asghar Farhadi has served as Artist-in-Residence for the past two years at the AFI Conservatory, and his classes had a profound impact upon the 250 young men and women who attend AFI from around the world.
The AFI Conservatory stands with artists and filmmakers who find the power of creation through freedom of expression and freedom of movement. We believe that any form of censorship — including the restriction of travel — to be against all values we cherish as a community of storytellers.
We look forward to welcoming Mr. Farhadi back to AFI in the fall.
Alumni of the AFI Conservatory belong to an elite and special family – they are the storytellers that entertain, educate and inspire audiences around the world.
Their talents and accomplishments are the reason the AFI Conservatory is consistently named one of the top film schools in the world.
AFI invites alumni to stay connected with their artistic family and to preserve the legacy they have helped to create.
AFI ALUMNI BENEFITS
AFI continues to be a resource for alumni after graduation through the following benefits and privileges:
Alumni receive the AFI Alumni Connection, the official monthly AFI alumni e-newsletter, special offers, invitations to exclusive alumni events and are given opportunities to join and participate in seminars and groups.
Alumni receive access to the AFI Backlot, an online resource for personal and professional networking and an easy way to stay connected.
Alumni receive advance notice for tickets to screenings and galas for AFI FEST presented by Audi, as well as discounts on festival passes and packages.
Alumni receive application fee waivers when submitting a film for consideration to AFI FEST and AFI DOCS.
Alumni receive discounted rates for the Ted Ashley and Mark Goodson Screening Rooms on the AFI Campus.
Alumni are extended borrowing privileges from the Louis B. Mayer Library.
Be sure we have your current contact information on file to receive these benefits, updates and invitations. For more information, email alumni@AFI.com.
*Alumni benefits are subject to change without advance notice.
ALUMNI NETWORK
In addition to official AFI events, there are other ways to connect with fellow alumni to network, find and post jobs, reconnect and meet friends:
The AFI Backlot is an online platform exclusive to the AFI community. Sign up at AFI.com/Backlot and put your AFI network to work for you!
AFI Alumni Google Group is an email listserve moderated by alumni. To join, contact nameebaijal@gmail.com.
Reel Grit is a weekly genre movie screening on the AFI Campus. Hosted on Sunday nights, the event is open to alumni and special guests. To be added to the mailing list, contact alumni@AFI.com.
LEND A HELPING HAND
Do you want a deeper connection to AFI and have some time and resources to commit? Consider involvement in the following programs:
ALUMNI MENTOR PROGRAM: CONNECT
Created by alumni, the program matches Fellows with alumni to gain the benefit of advice — professional and personal — as they look toward graduation and beyond. If you are interested in becoming a mentor or receiving information regarding the Alumni Mentor Program, please contact alumni@AFI.com.
INTERNSHIPS: PROMOTE
AFI Conservatory Fellows look for internships during fall, spring and summer terms. As alumni, you know first-hand the drive and work ethic of AFI Fellows. If you or someone in your company or production office can use the creative support of talented Fellows, please contact alumni@AFI.com with your internship opportunities.
PROGRAM INITIATIVES: VOLUNTEER
Alumni volunteers serve as leaders in effecting the continued growth and development of AFI programs and initiatives. Volunteer opportunities include participation in applicant outreach and recruitment, script reading and evaluation, workshops, regional networks, committees and special campaigns.
SUPPORT THE ALUMNI FUND: GIVE BACK
A nonprofit organization, AFI relies on financial contributions from its alumni to support the ongoing work of the Conservatory. Gifts to the Alumni Fund provide financial aid, support faculty positions, renovate facilities and upgrade equipment. All gifts count toward participation, an important expression of alumni commitment to today’s Fellows.
Following a rigorous selection process, AFI selected 25 alumnae from the AFI Conservatory and the AFI Conservatory Directing Workshop for Women (DWW) to advance to the next phase of the Fox Filmmakers Lab. From a previous post, the Lab is a partnership between Twentieth Century Fox Film and AFI, who will together work to increase the number of female directors working on major studio films by giving the alumnae opportunities to direct short films based on the studio’s film franchises and titles, such as: ALIEN, CHRONICLE, DIE HARD, ERAGON (Fox 2000), THE FLY, THE MAZE RUNNER, THE OMEN, PLANET OF THE APES and PREDATOR.
The 2017 Fox Filmmaker Lab directors/AFI alumnae are:
Joey Ally
Gillian Barnes
Shaz Bennett
Meredith Berg
Aubree Bernier-Clarke
Christine Boylan
Jan Eliasberg
Rachel Goldberg
Anne Hamilton
Tannaz Hazemi
Courtney Hoffman
Mako Kamitsuna
Alexis O. Korycinski
Jean Lee
Erin Li
Maggie Mahrt
Manjari Makijany
Rosita Lama Muvdi
Mia Niebruegge
Jane Pickett
Deborah M. Pratt
Lisanne Sartor
Thoranna Sigurdardottir
Devi Snively
Valerie Weis
Following the conclusion of Lab Week at Fox — which provided participants with tremendous access to the process of studio filmmaking — the filmmakers were celebrated at a cocktail party kickoff event in Beverly Hills, CA on Thursday, January 12, with Stacey Snider (Chairman and CEO of Twentieth Century Fox Film) and Bob Gazzale (President and CEO of AFI) in attendance in support of this groundbreaking partnership and to welcome the incoming filmmakers to the program.
In the Spring, following further mentored development of their material, the directors will pitch their franchise or reboot ideas to Fox executives. One or more filmmakers will be chosen to make their concept into a short film.
Fox is committed to providing significant resources to the projects, to reflect the quality and scale of the films that they support. The filmmakers will be able to add the projects to their portfolios and pitch Fox feature films unrelated to the shorts in the future.
AFI asked Amy Adams, Mel Gibson, Donald Glover, Chris Pine, Martin Scorsese, Denzel Washington and many other artists what they’d like to be remembered for about their movies and TV shows, and why movies and television matter now. This AFI AWARDS 2016 video almanac serves as that part of film history. To see photos click here.
The interviews were filmed at the AFI AWARDS luncheon, where each year the entertainment community celebrates the creative ensembles behind the year’s most outstanding films and television shows.
In order of appearance:
Martin Scorsese (SILENCE)
Jay Cocks (SILENCE)
Clint Eastwood (SULLY)
Denzel Washington (FENCES)
Amy Adams (ARRIVAL)
Mandy Moore (THIS IS US)
Donald Glover (ATLANTA)
John Lithgow (THE CROWN)
Kenneth Lonergan (MANCHESTER BY THE SEA)
Shawn Levy (ARRIVAL, STRANGER THINGS)
Eric Heisserer (ARRIVAL)
Damien Chazelle (LA LA LAND)
Matt and Ross Duffer (STRANGER THINGS)
Jeff Bridges and Gil Birmingham (HELL OR HIGH WATER)
Dan Cohen (ARRIVAL, STRANGER THINGS)
Saniyya Sidney (FENCES)
Taylor Sheridan (HELL OR HIGH WATER)
Cuba Gooding Jr. (THE PEOPLE V. O.J. SIMPSON: AMERICAN CRIME STORY)
Mahershala Ali (MOONLIGHT)
Andrew Garfield (HACKSAW RIDGE, SILENCE)
Susan Kelechi Watson (THIS IS US)
Mel Gibson (HACKSAW RIDGE)
Vince Gilligan (BETTER CALL SAUL)
Chris Pine (HELL OR HIGH WATER)
Milo Ventimiglia (THIS IS US)
Brian Tyree Henry (ATLANTA)
There are no winners or losers at AFI AWARDS. Instead, AFI recognizes all of the creative ensembles behind the year’s most outstanding storytelling in film and television. The talented members of these teams gathered in Beverly Hills yesterday to be honored at the AFI AWARDS 2016 luncheon. Guests at the event included the best of the best in the entertainment community, such as Clint Eastwood, Ryan Gosling, Naomie Harris, Chris Pine, Michelle Williams and more.
This is one of my all-time favorite holiday films!
TheWrap takes a look at some fun trivia about “It’s a Wonderful Life” directed by Frank Capra, courtesy of Alonso Duralde, IMDb and Old Hollywood biographer Robert Matzen in his new book, “Mission: Jimmy Stewart and the Fight for Europe.
From Beatrice Verhoeven and Alonso Duralde, provided by The Wrap
According to Alonso Duralde’s book, “Have Yourself a Very Movie Christmas,” Uncle Billy actor Thomas Mitchell was actually considered to play Mr. Potter, but Lionel Barrymore got the role because of his popularity after radio versions of “A Christmas Carol.”
Jimmy the Raven appeared in Capra’s “You Can’t Take It With You” (1938) and other post-“Wonderful Life” Capra movies.
The film was such a financial disappointment that it busted Capra’s production company, Liberty Films.
“It’s a Wonderful Life” was the first and last time Capra produced, financed, directed and co-wrote a film.
The original screenplay began with a scene in Benjamin Franklin’s workshop in heaven.
Yes, Bert and Ernie from “Sesame Street” have the same names as the cop and the cab driver in “It’s a Wonderful Life.” But it’s just a coincidence, “Muppet” insiders have claimed.
It’s a Wonderful Life” was Jimmy Stewart’s first picture after 20 months on the front lines of WWII. He was suffering from Post Traumatic Stress Disorder while filming.
According to IMDb, “It’s a Wonderful Life” was ranked as the #1 Most Inspiration Movie of All Time by the American Film Institute in 2006.
It is also the only film in history to originate from a greeting card.
James Stewart has said that while filming the scene in which George prays in the bar, he began to sob and later, Capra re-framed the now much closer shot to capture his expression. That’s why the shot appears grainy compared to the rest of the film.
Nick the Bartender (left) in a scene from It’s a Wonderful Life. (Photo via Bostonhassle.com)
Actor and producer Sheldon Leonard said that he only agreed to play Nick the bartender so he could buy baseball tickets with his paycheck.
Robert J. Anderson said H.B. Warner really was drunk in the scene in which Mr. Gower slaps George. The real slaps caused real blood to ooze out of Anderson’s ear. After the cameras stopped rolling, he comforted Anderson.
The 2016 AFI FEST presented by Audi showcased movies from 46 countries around the world, and many cultural supporters came to the festival to celebrate the filmmakers and their films. These guests included consul generals, cultural agency representatives and filmmakers representing 17 countries, proving that the love of world cinema can speak one language. Organizations and consulates from Belgium, Canada, China, Denmark, Finland, France, Germany, Iran, Israel, Italy, Japan, Mexico, Netherlands, Poland, South Korea, Switzerland and Turkey all contributed to the success of AFI FEST.
AFI FEST celebrated more than 25 Francophone films and co-productions with our Francophone Reception. Partners included the Consulate General of Belgium in Los Angeles, ELMA (European Languages Movies America), the Consulate General of France in Los Angeles, Lacoste, Québec Government Office in Los Angeles, Consulate of Switzerland in Los Angeles, Telefilm Canada, TV5MONDE, UniFrance and Wallonie Bruxelles Images.
(L to R) Paul Verhoeven; Isabelle Huppert; Consul General of France, Christophe Lemoine at the ELLE after-party (Getty Images for AFI/Gabriel Olson)
AFI FEST hosted a Tribute to Isabelle Huppert for her decades of work, accompanied by a conversation with the world-class actress and a showing of her film ELLE. The conversation discussed Huppert’s career and approach.
The Filmmaker Brunch, hosted by Christophe Lemoine, Consul General of France in Los Angeles, took place at the Résidence de France. This celebratory event was attended by Isabelle Huppert, several AFI FEST 2016 filmmakers, multiple cultural supporters, diplomats, industry representatives and press.
The festival welcomed Japan House Los Angeles, Japan Foundation Los Angeles and the Consulate General of Japan in Los Angeles in their support of the films HARMONIUM, MIFUNE: THE LAST SAMURAI and THE RED TURTLE. MIFUNE: THE LAST SAMURAI honors legendary Japanese actor Toshiro Mifune, who also posthumously received a star on the Hollywood Walk of Fame.
AFI FEST hosted a Screen Education program, where over 500 students from 12 schools attended a Special Screening of Disney’s MOANA. Jared Bush, the screenwriter of MOANA and Leo Matsuda, the director of INNER WORKINGS, engaged with the students in a visual presentation and Q&A. This experience was supported by the Latino Film Institute Youth Cinema Project, The Brotman Foundation of California and the Department of Cultural Affairs.
(L to R) Rafael Agustin (Executive Director, Latino Film Institute Youth Cinema Project); Jared Bush (screenwriter, MOANA); Leo Matsuda (director, INNER WORKINGS); Jasmine Jaisinghani (AFI FEST); Garth Burkhard (Walt Disney Animation Studios)
This year, the festival also celebrated new Iranian cinema in conjunction with the Farhang Foundation, with a reception following A DRAGON ARRIVES!, directed by Mani Haghighi. Dignitaries and filmmakers alike attended the private event to honor this world cinema artistry.
(L to R) Alireza Ardekani (Executive Director, Farhang Foundation) and with Ali C. Razi (Chairman of the Board, Farhang Foundation) attend their reception celebrating Iranian Cinema.
AFI FEST partnered with Luce Cinecittà, ITA (Italian Trade Agency), the Italian Consulate in Los Angeles and IIC (Istituto Italiano di Cultura Los Angeles) in presenting the World Cinema Masters in Conversation event at the Egyptian Theatre on the last night of the festival with Gianfranco Rosi, director of Italy’s official Academy Award® entry for Best Foreign Language Film, FIRE AT SEA. As part of the inaugural World Cinema Masters in Conversation section at AFI FEST, renowned documentarian Rosi sat with Alberto Barbera, Director of the Venice Film Festival, for an in-depth conversation about one of the year’s most lauded documentaries.
L to R) Courtney Love and Francesco Carrozzini (Director, FRANCA: CHAOS AND CREATION) attend the screening of his documentary. Cultural Support provided by Luce Cinecittà; Italian Trade Agency; Consulate General of Italy; Istituto Italiano di Cultura
The partners also joined in the curation of a selection of Italian films playing at the festival, including the World Premiere screening of the 4k restoration of IL SORPASSO (DIR Dino Risi) in the Cinema’s Legacy section. The restoration work was supported by Luce Cinecittà, Cineteca di Bologna, Surf Film and Janus Films, the U.S. rights-holder. Additionally, FRANCA: CHAOS AND CREATION, an incisive documentary by director Francesco Carrozzini in which he creates an intimate portrait of his mother — Franca Sozzani, the legendary editor-in-chief of Italian Vogue — screened at AFI FEST.
See more photos below.
(L to R) Isabelle Huppert; Paul Verhoeven; Consul General of Switzerland, Emil Wyss; Pascal Ladreyt (Executive Director, ELMA); Elena Alexandra; Patrice Courtaban (COO, TV5MONDE USA); Arie Wyss; Aneta Campbell at ELLE after-party(L to R) Guest; Daouda Coulibaly (Director, WÙLU); Severine Madinier (Executive Director, French Film &TV Office) at ELLE after-party(L to R) Sebastien Cauchon (UniFrance); Nicolas Schaller (Le Nouveau Obs); Romain Blondeau (Vanity Fair, France); Jasmine Jaisinghani (AFI FEST); Aude Hesbert (UniFrance) at ELLE after-party(L to R) Xavier Dolan (Director, IT’S ONLY THE END OF THE WORLD); Nancy Grant (Producer, IT’S ONLY THE END OF THE WORLD); Gaspard Ulliel (Actor, IT’S ONLY THE END OF THE WORLD) at the Francophone Reception(L to R) Gaspard Ulliel (Actor, IT’S ONLY THE END OF THE WORLD); Jacqueline Bisset (Actress); Xavier Dolan (Director, IT’S ONLY THE END OF THE WORLD); Houda Benyamina (Director, DIVINES) at the Francophone Reception(L to R) Deputy Consul General General of Belgium, Veronique Siklosi; Jacqueline Lyanga (Director, AFI FEST); Consul General of Belgium, Henri Vantieghem at the Francophone Reception(L to R) John Laing; Jacqueline Bisset; Martine Laing; Elena Alexandra; Patrice Courtaban (COO, TV5MONDE USA) at the Francophone Reception(L to R) Elizabeth MacKay (Québec Government Representative) and Pierre Leloup at the Francophone Reception(L to R) Consul General of Switzerland, Emil Wyss; Jasmine Jaisinghani (AFI FEST); Consul General of France, Christophe Lemoine at the Francophone Reception(L to R) MJ Peckos (Dada Films) and Brigitte Hubmann (Telefilm Canada) at the Francophone Reception(L to R) John Laing; Nancy Harris (COO, AFI); Jacqueline Bisset at the Francophone ReceptionHouda Benyamina (Director, DIVINES) at the Francophone Reception(L to R) Daouda Coulibaly (Director, WÙLU) and Eric Neveux (Composer, WÙLU) at the Francophone Reception(L to R) Jasmine Jaisinghani (AFI FEST) and Maria Elena Cabezut (Director of Cultural Affairs, Consulate General of Mexico in Los Angeles) at the Francophone Reception(L to R) Michael Barker (Sony Pictures Classics); Ingrid Bisu (actress, TONI ERDMANN); Sandra Hüller (actress, TONI ERDMANN); Peter Simonischek (actor, TONI ERDMANN); Janine Jackowski (producer, TONI ERDMANN). Cultural Support provided by German Films.(L to R) Raoul Peck (Director, I AM NOT YOUR NEGRO) and Cameron Bailey (Artistic Director, Toronto International Film Festival) arrive for World Cinema Masters in Conversation. Cultural Support provided by Telefilm Canada.L to R) Yang Chao (Director, CROSSCURRENT) and Robert Chi (Programmer, China Onscreen Biennial). AFI FEST presented CROSSCURRENT in partnership with the China Onscreen Biennial, a curated showcase of Chinese film and media arts presented by a consortium of distinguished film and educational institutions.AFI FEST’s Screen Education screening of Disney’s MOANA supported by Latino Film Institute Youth Cinema Project, The Brotman Foundation of California and the Department of Cultural Affairs. Over 500 students were in attendance from over 12 schools.Students in attendance, coordinated by the Latino Film Institute Youth Cinema Project with Jared Bush (screenwriter, MOANA); Leo Matsuda (director, INNER WORKINGS).(L to R) Rikiya Mifune, Shiro Mifune and family; Steven Okazaki (Director, MIFUNE: THE LAST SAMURAI) attend Toshiro Mifune’s posthumous star on the Hollywood Walk of Fame(L to R) Sakiko Okada (Japan House Los Angeles); Yuko Kaifu (President, Japan House Los Angeles), Koji Fukada (Director, HARMONIUM); Mariko Ban (Japan House Los Angeles); Tomoko Beadle (Japan House Los Angeles); Lisa Nakanouchi (Japan House Los Angeles)(L to R) Camilla Cormanni (Luce Cinecittà) and Eleonora Pratelli attend FRANCA: CHAOS AND CREATION(L to R) Angela Missoni and Francesco Carrozzini (Director, FRANCA: CHAOS AND CREATION)(L to R) Mani Haghighi (Director, A DRAGON ARRIVES!) with festival guests(L to R) Roxane Mesquida (Actress, MALGRÉ LA NUIT) and Philippe Grandrieux (Director, MALGRÉ LA NUIT). Cultural Support provided by CalArts, UniFrance, TV5MONDE and the French Consulate.(L to R) Tiia-Maria Taponen (Consulate of Finland) and Heidi Luukkonen Creative Industries & Communications Coordinator, Consulate General of Finland) attend the Filmmaker Welcome Party and Tech Showcase Preview.
*Featured image: Pictured at top: (L to R) Roberto Cicutto (President, Luce Cinecittà); Gianfranco Rosi (Director, FIRE AT SEA); Jacqueline Lyanga (Director, AFI FEST); Alberto Barbera (Director, Venice Film Festival)(Source:blog.afi.com)
Posted by Larry GleesonSix documentary projects that screened at AFI DOCS 2016 in Washington, DC, have been selected to receive funding from the AFI DOCS/NBCUniversal Impact Grants.Now in their second year, the grants will support the outreach and social action campaigns for these six documentary projects that participated in the AFI DOCS 2016 Impact Lab, a two-day filmmaker workshop sponsored by NBCUniversal and presented in partnership with Picture Motion.
The 2016 Impact Lab took place in Washington, DC, from June 21–22, 2016, during AFI DOCS, the American Film Institute’s international documentary film festival held annually in the nation’s capital — with the goal to inspire change by bringing together the nation’s leaders and leading artists. Led by Heidi Nel (formerly with Picture Motion in Washington, DC), the Lab introduced participants to policymakers addressing a range of issues from the moral injury of American military veterans to caregivers, LGBT youth, gun violence, education and juvenile incarceration, and imparted filmmakers with the skills to engage with those policymakers at a grassroots level to catalyze lasting social change.
Spanning some of the most critical and urgent problems facing the world today, the projects supported by these grants demonstrated their ability to leverage distribution in 2016. The documentary projects receiving a total of $75,000 in support from the 2016 AFI DOCS/NBCUniversal Impact Grants are:
ALMOST SUNRISE
ALMOST SUNRISE Michael Collins, Director
Two young Iraq War veterans hike a 2,700-mile course from the Midwest to the California Coast to raise awareness for those like themselves who struggle with memories of combat. Along the way, they meet other vets and supporters and talk through their traumas in this inspiring journey toward healing.
CARE
CARE Deirdre Fishel, Director
Millions of elderly Americans depend on compassionate caregivers to provide the support they need to age in place. These health care workers offer love and kindness to the elderly, but often don’t earn enough to keep a roof over their heads. With compelling stories of caregivers and those in need, CARE opens our eyes to the fragile human infrastructure that supports an aging America.
CHECK-IT
CHECK IT Toby Oppenheimer, Director Dana Flor, Director
In the heart of the nation’s capital, the Check It is a street gang comprised of gay and transgender teens who support each other in the face of outside bullying, attacks and discrimination. The group struggles with an existence underscored by violence, poverty and prostitution, but when a young mentor comes into their lives, he endeavors to help them find a more productive outlet: through the creative world of fashion. Finally faced with a better option, the Check It members must now attempt to beat the odds by getting off the street and working toward lives of purpose and accomplishment.
NEWTOWN
NEWTOWN Kim A. Snyder, Director
On December 14, 2012, a 20-year-old gunman forced his way into Sandy Hook Elementary School in Newtown, Connecticut, and murdered 20 schoolchildren and six educators. In the aftermath of the killings, filmmaker Kim Snyder traveled to Newtown and trained her lens on a grieving community, following several families who came face to face with tragedy. NEWTOWN reveals both the indelible scars gun violence leaves behind and the resilience of people who come together to heal.
RAISING BERTIE
RAISING BERTIE Margaret Byrne, Director
Filmed over the course of seven years, RAISING BERTIE is a sensitively made portrait of three African American teen boys living in the rural community of Bertie County, North Carolina. When the supportive community school they attend is forced to close, the boys must navigate a path of their own, which they hope will lead them away from the cycles of racism and poverty that threaten to engulf their lives.
THEY CALL US MONSTERS
THEY CALL US MONSTERS Ben Lear, Director
This fresh look at juvenile justice follows three Latino teens awaiting sentencing for violent crimes as a legal debate rages on imposing life sentences for minors. The young men find their voice thanks to a teacher who helps them write, cast and produce a film based on their life experiences. The boys are complex, surprisingly lovable characters whose paths diverge as they enter a capricious court system, making a strong case for juvenile justice reform.
“R100” (The title is itself a play on the Japanese movie ratings R-15 and R-18) is an almost early-Woody Allen-esque comedy (think “Without Feathers” era or “What’s Up, Tigher Lilly?”) about Takafumi Katayama (Nao Ohmori, the star of “Ichi The Killer” fame) whose life has gone a bit pear-shaped. His department store job is mindless, his father-in-law is helping Katayama raise his young son while his wife is in a coma in the hospital and things are just looking kind of rough for the guy (the color palette for much of the film is all browns, tans and neutrals, washed out and quite 70’s looking in spots).
