From the makers of Beyond Elections, this new feature-length documentary FILM: Crossing the American Crises: From Collapse to Action takes us across the country amidst the economic collapse, to the grassroots solutions in the hands of the people.
Join us for the DC premier screening of this new film, followed by an interactive panel discussion that will include the filmmakers, Silvia, Michael, and John Schmitt, senior economist with CEPR (who appears in the film).
We will appreciate a suggested donation of $5 help us cover the cost of the event but no one will be turned away for lack of funds.
Co-sponsors: IPS’ Inequality and the Common Good project, Faith & Money Network, Code Pink, Center for Economic Policy Research, Empower DC, and Common Security DC.
On September 15, 2008, the United States fell into the worst financial crisis since the Great Depression. The same day filmmakers Sílvia Leindecker and Michael Fox set out on a trip around the country to ask the American people what they had to say about it. In 2010, they went back to see how things had changed. While financial forecasters say the recession is over, Leindecker’s and Fox’s Crossing the American Crises: From Collapse to Action shows that the reality is otherwise.
The featured stories reveal desperation, indignation, hope, dreams and a disastrous economic breakdown; chaos generated by a system of inequality. The film also shows that the financial meltdown is just one of several human rights crises now shaking the United States—in housing, education, health care, etc. and that the solutions to “Crossing the American Crises” are in the hands of the people.
Source: Institute for Policy Studies
I knew she would never let you oil people piss on that land even it meant losing it to me.
Robards to Oil Speculator
Whose the top dog little sister?
The one who fights the hardest.
Farnsworth to Fonda
Man, do I love this film. I am watching one of my very favorites, Comes A Horseman, starring Jane Fonda, James Caan, Jason Robards, and Richard Farnsworth. It’s a about a woman battling oil interests over her cattle ranch.
When Farnsworth is thrown from his horse after explosions from oil exploration goes off, it just chaps my hide. When he struggles to mount his horse one last time, that says it all about a dying way of life. But the ending makes an unequivocal statement — you must fight for what you believe is right. And protecting the land from oil exploitation is the right thing.
Check it out over at Hulu:
Richard Farnsworth received an Oscar nomination for this 1978 film, directed by the late Alan J. Pakula. He plays an aging ranch hand in the late 1940s, working for Jane Fonda. She’s being pressured by her greedy neighbor, Jason Robards, to sell him her land–this after he has had her father murdered to expedite the sale. Robards wants the land because he knows it’s full of oil, but he’s not about to tell her that. Rather, he relentlessly strong-arms her and the rest of his neighbors, resorting to violence and killing when he doesn’t get his way, knowing he’s already bought the cooperation of the law. But Fonda, aided by returning World War II veteran and cowpuncher James Caan, stands up to Robards, setting off an almost biblically violent confrontation. Comes a Horseman was sumptuously photographed by Gordon Willis, who captures the true sweep of the wide open spaces, and strong acting overcomes what charitably could be described as a stately pace. As for Farnsworth, he brings a tastily understated quality to the role of the old cowpoke who knows he’s signed on for his last roundup but has the grit to stick it out. –Marshall Fine
Just as visual artists understand the relationship between positive and negative space in their work, France’s master filmmaker Henri-Georges Clouzot (Diabolique) understood–and set about demonstrating via The Mystery of Picasso–the relationship between creation and destruction in the artistic process. In 1955, Clouzot teamed with his friend Pablo Picasso to capture as many aspects of the brilliant painter’s working methods as possible. Clouzot innovatively placed the camera in front of Picasso while the latter worked, thus capturing astonishing reverse images of brush strokes and “bleeding” inks in volatile motion. The result is that Clouzot’s film–the screen, the frame–become Picasso’s canvas, and we find ourselves inside his prodigious genius as works of beauty spontaneously burst forth and are instantly crushed beneath the weight of new images, new ideas. A viewer would be forgiven if, more than once, he felt like screaming at such nonchalant carnage. –Tom Keogh
Like a matador confronting a bull, the artist approaches his easel. As he wields his brush, the painting dances into being before our eyes. Pablo Picasso, the most influential artist of the 20th century, is making art, and famous French director Henri-Georges Clouzot (Diabolique, The Wages of Fear) is making a movie. This entirely new kind of art documentary captures the moment and the mystery of creativity; for the film, the master created 20 artworks, ranging from playful black-and-white sketches to widescreen color paintings. Using inks that bled through the paper, Picasso rapidly created fanciful drawings that Clouzot was able to film from the reverse side, capturing their creation in real time. When the artist decided to paint in oils, the filmmaker switched to color film and employed the magic of stop-motion animation. By contract, almost all of these paintings were destroyed when the film was completed. Unavailable for more than a decade, “The Mystery of Picasso” is exhilarating, mesmerizing, and unforgettable; it is simply one of the greatest documentaries on art ever made. The French government agrees; in 1984 it declared the film a national treasure.