Where Are You, Jay Bennett?

From Gorman Bechard, the director of ‘Pizza: A Love Story‘… comes the story of a musical prodigy who left us way too soon. Explored is the music, life & passions of the rock n roll genius, from Wilco through his solo career to his untimely and tragic death.

A feature-length documentary about Jay Bennett, the legendary musician and recording studio savant who, as a member of Wilco, was a large part of the genius behind their three seminal albums (Being There, Summerteeth, and Yankee Hotel Foxtrot — he co-wrote most of Summerteeth and YHF with Jeff Tweedy), as well as the Mermaid Avenue/Woody Guthrie sessions with Billy Bragg. Bennett went on to a critically acclaimed solo career, before dying tragically at the age of 45.

“Jay Bennett is one of the least known geniuses of popular music. His name should be mentioned in the same breath as Brian Wilson and Brian Eno, but he has been unfairly cast, by an earlier documentary film, as the necessary villain of the early Wilco story. A poignant, moving, celebration of a true innovator in music who tragically passed before his time. Where Are You, Jay Bennett? is the product of 10 years of work, and it shows. I’ve just attended the world premiere and I can say, without doubt, that this is a story that needed to be told.” – Kris Basile, IMDB

Jay Bennett wore so many musical hats, virtually all of them, from guitar to the Hammond, from electronics to songwriting and performance. His talents were ultra far reaching and knew no bounds.

The physical DVD/Bluray Combo set features extensive bonus material including:

  •     The Ken Coomer interview
  •     World Premiere interview with directors moderated by Andy Leech of the Rock & Roll Hall of Fame
  •     Commentary from co-director Gorman Bechard
  •     Jay’s Mom Remembers
  •     The Billy Bragg Interview
  •     Jay Bennett Tribute Concert
  •     Ketchup, Ketchup, and More Ketchup
  •     Deleted Scenes
  •     Interview with filmmakers conducted by Brian Otting

105 minutes / 2021 / 2 discs (Bluray – DVD Combo) / A film by Gorman Bechard.

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Woodlands Dark and Days Bewitched: A History of Folk Horror

“An all-encompassing history of the cinematic sub-genre of Folk Horror, it is, to say the least, a definitive work that has already won multiple awards.” – Mark Hudson, Film Critic.

Woodlands Dark and Days Bewitched explores the folk horror phenomenon and its culturally specific manifestations in international horror, from its first wave in the 1970s to today. Clocking in at a whopping 192 minutes, the film has been hailed as “stunning” (Diabolique Magazine), “brilliant” (AV Club) and “mind-blowingly epic” (Film Threat), and stands as perhaps the definitive genre documentary of our time.

From writer/director/co-producer Kier-La Janisse comes “a seductive mega-text” (Indiewire) through the history of folk horror featuring clips from over 200 films and interviews with more than 50 filmmakers, authors and scholars that explore the rural roots, occult creeds and cultural lore that continue to shape international cinema. The film presents this “astounding achievement” (Screen Anarchy) – also featuring an original score by Jim Williams (A Field in England), animation by Ashley Thorpe (Borley Rectory) and collage sequences by Guy Maddin (My Winnipeg) – that Rue Morgue calls “an unprecedented journey into where folk horror has been, where it’s going and ultimately what it says about humanity.”

Among its awards are:

  • SXSW Film Festival: Midnighters Audience Award Winner
  • Winner: Best Documentary at the Chattanooga Film Festival
  • Winner: Gold Audience Award for Best Documentary at Fantasia International Film Festival

“Janisse’s feature debut is a remarkable effort that’s on par with the thoughtful analysis she’s put into horror through other mediums. It’s a wide-ranging probe into a subgenre that offers insight for even the most studied genre academic.” — Meagan Navarro, Bloody Disgusting

Janisse conducted over 50 interviews with filmmakers, actors/actresses and more during the production. Included, but certainly not limited to, are segments including:

  • Kevin Kölsch (Director: Pet Sematary)
  • Dennis Widmyer (Director, Editor, Writer: Starry Eyes)
  • Piers Haggard (Director: Venom)
  • Alice Lowe (Black Mirror: Bandersnatch)
  • Amanda Reyes (Tales of the Uncanny)
  • Kate Ellinger (Writer: The Birth of Hammer Horror)
  • Gail-Nina Anderson (Sleepworking)
  • Mariano Baino (Director: Dark Waters)
  • Richard Blackburn (Writer: Eating Raoul)
  • Lawrence Gordon Clark (Director: The Dick Francis Thriller: The Racing Game)
  • Mattie Do (Director: The Long Walk)
  • Ian Ogilvy (I, Claudius, Wuthering Heights)
  • Winnie Cheung (Digital Image Technician: Scare Package)
  • Chad Crawford Kinkle (Director, Writer: Jug Face)
    • The incredible list of those involved goes on…

“For those aching for the return to the frenzied energy, passionate arguments, and exuberant love of cinema that in-person film festivals casually offer, WOODLANDS DARK & DAYS BEWITCHED is a sensational substitute!” — Kristy Puchko, RogerEbert.com

Documentary / 2021 / 192 minutes / A film by Kier-La Janisse

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THEY CALL ME ZARKO

Digital licenses available now / DVD w/PPR avail mid-April 2022.

They Call Me Zarko is the true story of Ghazaros Demirdjian.

The son of displaced Armenian immigrants who had escaped the genocide (1915-1923), Ghazaros knew there was a better life out there for him. He loved John Wayne movies and dreamed of moving to America. With a developed sixth sense (which he credits to have learned from Romanian Gypsies), he knew it could be done, and finally embarked on a journey fraught with such peril that only the most determined could have survived.

From imprisonment in both Iraq and Iran, to the honor killing of a Turkish infidel, to arson in a fight with the mafia, this is the true story of how an Armenian born into abject poverty somehow made it to Hollywood and created a fortune in the American trash business.  He achieved the American Dream, his dream, of a successful business, a full table, and a loving family who now bask in the glow of his love and legacy.

This is his story as told by his wife, children,  grandchildren and family. And, of course, by Zarko himself!

“Everyone enjoys an underdog story, and this documentary is just that.” – SJ Portelli, Film Critic.

2021, 70 minutes, color and black & white / 16×9 HD, English Language, A film by Ron Small (I Danced for the Angel of Death, Circle Unbroken).

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Zarko Trailer FINAL 10/26/21 from Anchor Media Group on Vimeo.

SOUMAYA

“Soumaya is a compelling, thought-provoking film that will stay with you long after the powerful final scene.” – Lois Alter Mark, Alliance of Women Film Journalists (AWFJ.ORG)

Even if you reclaim your story, can justice be won?

“It is a bold, daring debut requiring nuanced conversations that seldom occur in the social media realm, where one’s beliefs must be crammed into 160 characters or less.” – Film Threat

One day, Soumaya – a woman of color, a practicing Muslim, a mother, and an executive at an airport transportation company in Paris – is fired from her job of fourteen years without explanation or warning. Later that night, while watching TV, she learns that certain media outlets are linking her, through speculation, to jihadist circles. This all occurs only days after Soumaya’s apartment, where she lives with her young daughter, is raided by police.

Shaken but not about to sit by in silence, Soumaya decides to exercise her right of reply in court – where her legal team demonstrates that she was fired only as a result of discrimination.

Based on real events, SOUMAYA shines a light on the devastating repercussions of anti-terrorist policing and Islamophobia in the wake of the November 2015 Paris attacks.

A MULTI-AWARD-WINNING FESTIVAL FAVORITE, Soumaya has received wide critical acclaim. Festival play includes:

  • WINNER, Best Lead Actress, Anatolia International Film Festival (Istanbul)
  • WINNER, Best Actress, Festival International Cinéma et Migrations d’Agadir (Morocco)
  • WINNER, Best Actress, Hollywood International Diversity Film Festival
  • WINNER, Grand Jury Prize, Best Feature, Universe Multicultural Film Festival
  • Official Selection: Lebanese Independent Film Festival
  • Official Selection: Cinemigrante (Argentina)
  • Official Selection: Festival International du Film Panafricain de Cannes
  • Official Selection: Festival Régional et International du Cinéma de Guadeloupe
  • Official Selection: San Diego Arab Film Festival
  • Official Selection: DC Independent Film Festival
  • Official Selection: Rated SR Socially Relevant Film Festival

“An unprecedented look at the state of emergency in France from the viewpoint of the victims, whose experience often goes unacknowledged.” — Middle East Eye

“Fear is the undercurrent that drives this film. The fear of Soumaya’s daughter after the search. The fear of the society that was embodied in the State of Emergency. The fear of neighbors who would call authorities for things like headscarves or praying. Trying to instill fear in a section of the populace. The fear of losing basic rights. The fear of losing our souls for the sake of feeling safe. While this film is about fears in France, it is also very applicable to American society.” – Screen Fish

Features Soraya Hachoumi, Sarah Perriez and Khalid Berkouz.

2019 / 100 minutes / Foreign Drama (French w/English subtitles) / A film by Waheed Khan and Ubaydah Abu-Usayd

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When Liberty Burns

As broadcast on WLRN-Miami.

On December 17th, 1979… after failing to stop for a traffic light, Miami police officers gave chase to Arthur Lee McDuffie, a 33-year-old African American insurance agent and former Marine. When McDuffie surrendered, he was beaten until he lost consciousness.

That beating by four police officers resulted in his death.

After the officers were tried and acquitted on charges including manslaughter and evidence tampering, riots broke out in the black neighborhoods of Overtown and Liberty City on the night of May 17.

Those riots continued until May 20, resulting in 18 additional deaths.

While “When Liberty Burns” highlights the life and death of Arthur L. McDuffie, his story is simply a launching point for a far grander historical examination of the context in which the city of Miami developed during America’s Jim Crow era.

The film traces the dynamics of race relations in the city and uses this analysis as a microcosmic examination of what is happening across the nation… still… today.

By looking at the history of the friction between White and Black America in 1979 Miami through the eyes of those who were there, the viewer is provided with context toward a better understanding of today’s America, an America in which there continues to be an epidemic level of race violence.

Featured in the film are:

  • Frederica Watts McDuffie / Widow of the late Arthur Lee McDuffie
  • Forestine Reid / McDuffie Family Matriarch
  • Elder Shederika McDuffie Johnson / First born of Arthur Lee McDuffie
  • Marc McDuffie / Son of Arthur Lee McDuffie, a gospel music Minister.
  • Luis McDuffie / Older Brother Of Arthur L. McDuffie
  • Gwendolyn Anderson / Childhood friend of Arthur Lee McDuffie
  • Perman Anderson / Childhood friend of Arthur Lee McDuffie, retired City of Miami firefighter
  • Lonnie Lawrence / Retired Public Information Officer and Former Director of Miami-Dade County Corrections Department
  • Linda Saunders / Former Internal Affairs Investigator, Miami-Dade Police Department
  • Sam Stubbs / Former Motorcycle officer, City of Miami Police Force
  • Marshall Frank / Former Homicide  Investigator, Miami-Dade Police Department
  • Valeria Bland Thomas / Former Counsel for City of Miami-Dade Police Department
  • Floyd Jordan / Retired firefighter, City of Miami
  • Willie Logan / former Mayor of the City of Opa-Locka
  • Dr. N.D.B Connolly / author of “A World More Concrete: Real Estate and the Remaking of Jim Crow South Florida”
  • Dr. Marvin Dunn / Author of several books including “A History of Florida Through Black Eyes”.
  • Dr. Tameka Bradley Hobbs / author of “Democracy Abroad, Lynching at Home: Racial Violence in Florida”
  • WINNER: Knight Feature Film Award, Miami Film Festival (2020)
  • NOMINATED: Knight Documentary Achievement Award, Best Documentary, Miami Film Festival (2020)

Production Year: 2020 / 111 Minutes / Color / English / 16×9 HD / A film by Dudley Alexis

HOW TO ORDER:

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When Liberty Burns Trailer from Epyllion Studios on Vimeo.

Dinah East

In 1970, Shakespearean actor and Royal Academy of Dramatic Arts faculty member Jeremy Stockwell starred in this way-ahead-of-its time camp-now-classic film.

Set in 1950s Tinseltown, Stockwell took on the then cutting edge role of a transvestite who fooled the world into believing he was a glamorous movie diva!

The short synopsis reads as follows: In 1950s Hollywood, a transvestite fooled the world into believing he was a she – and more to the point a glamorous movie diva. When he dies, the secret is out, and the film proceeds to tell the story of his relationships with friends and intimates, including a lesbian wardrobe designer, a gay matinee idol (whom he had an affair with), a protective lawyer, and a washed-up prize fighter who became her chauffeur!

“…hilariously camp on one level and poignant chronicle on the other. Beyond that it [the film] works as an outrageous satire on Hollywood, loaded with inside references and laced with dialog and scenes lifted from old movies” – Kevin Thomas, Los Angeles Times

“Comes off as far ahead of its time in its empathetic depiction of gays, lesbians, and transgender.” – LeCinemaDreams

Stockwell is a freelance theatre director and performer. He has been a member of RADA faculty for over 20 years and teaches acting, improvisation, clown, and physicality in performance. He has directed and devised new work at RADA and for the National Theatre and BAC, among others.

1970 / 90 minutes / Satire / English / A film by Gene Nash

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We Are Not Princesses

The Syrian refugee crisis is not the fallout of the inevitable violence of war, but an intended outcome of a deliberate strategy by the Assad regime to shift responsibility for his citizens to the rest of the world. Those who have fled the violence are not opportunists seeking handouts and social services in the West, but part of a massive humanitarian crisis that is the tool of a political agenda.

In “We Are Not Princesses”, Antigone, the ancient Greek heroine, ignites the spirits of 4 Syrian women living as refugees in Beirut.

In this world-wide, critically acclaimed feature documentary, Feminine wisdom, passed through the ages, connects the inner lives of a group of women providing them with a sense of belonging.  Through intimate verite footage, the film illustrates that which is invisible to the eye: The thoughts, memories and dreams of these mothers, sisters and wives as they grapple daily with past traumas and future uncertainty.

The women featured in “We Are Not Princesses” are living as refugees in Beirut. Four women are highlighted in the film, but others wanted to tell their stories. Their families would not allow them. Creative production animation was used to permit the denied to participate without revealing their identities.

The four featured women are:

Fedwa, 60, is the mother-figure of the group. Despite having lost two sons in two years, she remains determined to hold her family together. Paradoxically, she identifies with Sophocles’ flawed leader, Creon, because of his obstinacy and desire to keep order at all costs.

Heba, 27, Fedwa’s daughter, has, like Antigone, gone through the pain of losing both of her brothers, one of whom she never had the chance to bury as he was shot by a sniper coming out of a Damascus mosque.

Isra’a, 22, believes she is Antigone through and through. She is vocal about how the war has offered an opportunity to liberate Syrian women. She sings a rap of her story of fleeing Yarmouk camp, along with thousands of others, while wearing 4-inch high heels.  Isra’a is self-confident and the other women admire her for it.

Mona, 30, when her son was dying was unable to get him to the hospital in time because of shelling. Now in Beirut, Mona is racked with guilt. Mona is the narrator leading the viewer through the film with her poetic reflections on life in the camps and on Antigone.  Her reflections speak to the universal truths of the film, such as choice and how to regain a sense of self when all that you’ve known has been ripped away.

The film brings forth a unique structure. Built around the development of a theater workshop and the rehearsals for the performance, the structural foundation of the film, “We Are Not Princesses” is not an observational documentary about the putting on of a play. Instead, the film explores how these newfound tools of expression taught in the workshop play out in the lives of the women outside of the rehearsal  and performance space.

The personal experiences and stories of the actresses, as well as their reaction to the play itself, are woven into the structure of the overall experience. Following the four women, we explore the theater space, the domestic space, and the public space of Beirut through an intimate narrative guided by the women’s voices.

ABOUT THE FILMMAKERS

Bridgette Auger (Co-Director/DP/Producer): Bridgette is an artist and filmmaker strongly committed to using art for social change. She has lived and worked in the Middle East for over 12 years, covering the Arab Spring in Egypt and Libya as well as the refugee crisis as a result of the war in Syria. Bridgette sought out intimate stories to raise complex questions about sensitive issues. Her credits include The Guardian, New York Times, Die Zeit and the short film “This Is Not Me هاد مو أنا: Enduring Syria’s War”. Bridgette holds a degree in Photography and Imaging from NYU’s Tisch School of the Arts, and a Masters degree in Social documentation from the University of California, Santa Cruz.

Itab Azzam (Co-Director/DP): Itab is a London-based Syrian filmmaker. She won a BAFTA in 2017 for her work producing the BBC Two series Exodus: Our Journey to Europe, and is also a winner of a British Broadcast award and a Liberty Human Rights award. Itab has extensive television experience including the BBC’s Syrian School; the series East West; and Bizarre Foods: Syria for the Travel Channel. She co-founded Sabbara, a Syrian social enterprise empowering women through economic employment and psychological support, and also co-founded the Open Art Foundation, an arts charity that works with marginalised communities around the world.

2018 / 74 Minutes / Color / 16×9 / Arabic with English Sub-titles / A film by Bridgette Auger and Itab Azzam

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WATCH THE TRAILER

WANP_Trailer from sara maamouri on Vimeo.

Don’t Look at Me That Way

“Intriguing, enigmatic and in a way revolutionary” – Fipresci

Themes of femininity and identity come into view as a chaotic love drama foments between Iva, Hedi, and Iva’s father.

Hedi is the new neighbor of Iva who raises her daughter Sophia by herself. The two women start a love relationship and Iva is desperately in love. Suddenly Iva’s father appears, to whom Hedi feels strongly attached. It seems that only one world exists for Hedi: her own.

Themes of femininity, identity, sexuality, and adulthood all courageously collide in this German-Mongolian love drama.

“Resolutely abstract from its beginning, Uisenma Borchu’s Don’t Look at Me That Way is a compelling examination of female roles, the power of sexuality and alienation between cultures. Combining a naturalistic style with an ever-present air of the surreal…” – Cineuropa

“It’s a dramatic story with strong performances, and while it won’t be for everyone, cinephiles who like material that’s a little more challenging may want to seek it out.” – San Antonio Express News

  • Winner, Best Direction, Bavarian Film Award
  • Winner, Fipresci Prize, Munich Film Festival
  • Winner, International New Talent Competition, Taipei Film Festival
  • Nominated, Best Film, Tallinn Black Nights Film Festival
  • Nominated, Grand Prix Prize, Osaka Asian Film Festival

The film features a wonderful international cast including Director Uisenma Borchu (who also wrote the screenplay), the debut of Catrina Stemmer, Josef Bierbichler (The White Ribbon), Anne-Marie Weisz (The Garden) and Katja Brenner (Euphoria).

2015 / Drama / 88 minutes / German w/English sub-titles / A film by Uisenma Borchu (Asphaltgorillas)

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Public Performance and Digital Site Licenses are available through Soundview Media Partners. To inquire or to place an order, write to info@soundviewmediapartners.com or simply choose from the options below:


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WATCH THE TRAILER