Sound of Redemption: The Frank Morgan Story (Heikin, 2014)
“We were inclined to accept a little erratic behavior, given his status,” says Ron Carter, jazz bassist, “when he (Frank Morgan) played the horn, you forgot about those things.”
Category: Disclosure
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Coming Out (Peters, 2015)
Peters’ inclusion of other perspectives, as well as the universality of much of the film’s message, makes it an emotionally moving and thought-provoking 72 minutes for viewers of all backgrounds.
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The Ruins of Lifta (Daum & Rudavsky, 2016)
Lifta is described in this documentary's press materials as "the only Palestinian village abandoned during the 1948 Arab-Israeli war that has not been destoryed or repopulated by Jews."
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Miss Stevens (Hart, 2016)
Josh Wartel catches up with this award winner from SXSW film festival and is not quite as charmed as the festival jury....
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The Witness (Solomon, 2015)
The Witness is a powerfully messy film.
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An Art That Nature Makes: The Work of Rosamond Purcell (Bernstein, 2015)
If I had the film on DVD, I would be seriously tempted to play it through once with no sound, just savoring the images, and then go back and listen to the commentary.
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Fragile World (Boikian, 2014)
Fragile World maintains a childlike quality throughout, from August’s self-proclaimed Peter Pan complex to Rosalie’s haircut. Even as the film explores mental illness and homelessness, the innocence displayed by its characters and the bright, sunny shots emphasize its message of finding hope in the darkest of situations.
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Equals (Doremus, 2015)
Speculative fiction has always been allegorical. The alternate worlds, be they in the future or some alternate plane of existence, are meant to illuminate and comment on our own when the culture of the current moment does not invite the sort of commentary the author is looking to make.
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Margarita with a Straw (Bose and Maniyar, 2014)
Because it is a film about sexual identify, it avoids many of the cliches of films about disability. Because it is a film about a woman with a disability, it avoids many of the cliches of films about sexual identity.
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Last Cab to Darwin (Sims, 2015)
Darwin's saving grace is that it embeds the political arguments about right-to-die within a personal story.