Rooftop Films (NYC) and the International Film Festival Rotterdam (IFFR) have joined forces to present two remarkable films from IFFR 2009 in Rooftop's Summer Series. Blind Pig Who Wants to Fly by Edwin (Indonesia) and Los Herederos by Eugenio Polgovsky (Mexico) will be screened on July 17 and 18, 2009 with the filmmakers and IFFR director Rutger Wolfson attending. Q&As with the filmmakers will be hosted by Rooftop Films Founder and Artistic Director Mark Elijah Rosenberg.
The collaboration, a pilot project between the International Film Festival Rotterdam and Rooftop Films, sets out to raise the profile and track record of both films in the US. The films screened at IFFR and have been supported financially by its Hubert Bals Fund.
Also that weekend, Rooftop Films will host a forum with film industry leaders about the future of independent, alternative film exhibition.
Blind Pig Who Wants to Fly, a dark comedy from Indonesia about the local Chinese community, was made by first-time feature filmmaker Edwin (who uses only his first name as his artist name). Los Herederos, by Mexican filmmaker Eugenio Polgovsky, is an impressive and artful documentary about child labor.
Rooftop Films' 13th Annual Summer Series runs every weekend from May 15-September 20. Programming for the 2009 Summer Series includes feature-length films and programs of shorts--all new, all independent. Rooftop screens films outdoor in unique locations, with live music before each screening, filmmaker Q&As after the screening, and after-parties for all in attendance. Rooftop creatively matches the film, the music and the venue, connecting films with communities and artists with audiences so that each event is unique and memorable.
The IFFR is interested in exploring new ways of finding an audience for independent cinema and therefore is glad to collaborate with Rooftop. Rooftop Films Founder and Artistic Director Mark Elijah Rosenberg said of the partnership, "Both our festivals are dedicated to supporting truly independent filmmakers who are making daring films, and in finding unique new ways to produce and exhibit these films. It's an honor for Rooftop and the Rooftop Filmmakers' Fund to be working with Rotterdam on this new venture."
For screening dates, locations, visit www.rooftopfilms.com. To buy tickets, click here.
Edwin's film premiered November 2009 in Pusan's New Currents section, then went on to compete in Rotterdam's VPRO Tiger Awards Competition and there was honored with the FIPRESCI Award of the international film critics' jury.
Edwin (1978, Indonesia) studied graphic design in Surabaya and film in Jakarta. Besides short fiction, Edwin makes music videos and documentaries. In 2005 his film Kara, the Daughter of a Tree became the first Indonesian short film ever invited to the Directors' Fortnight at Cannes. For the IFFR, Edwin made the short film Hulahoop Soundings (2008), a kind of remake of Joel Coen's graduation film Soundings. Blind Pig Who Wants to Fly (2008) is his feature début.
Rooftop Films Summer Series screening date and location of Blind Pig: July 17, 2009, on the roof of the Old American Can Factory. Address: 232 3rd St. @ 3rd Ave. (Gowanus/Park Slope, Brooklyn). Doors open at 8:00pm. Live music at 8:30pm. Film at 9:00pm. BUY TICKETS.
Rooftop Films Summer Series screening date and location of Los Herederos: July 18, 2009, On the roof of El Museo Del Barrio. Address: 1230 Fifth Ave. @ 104th St. (East Harlem). Doors open at 8:00pm. Live music at 8:30pm. Film at 9:00pm. BUY TICKETS.
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On Saturday, June 20th, Rooftop Films will be screening Jennifer Maytorena Taylor's film New Muslim Cool on the roof of El Museo del Barrio. Get tickets now before it sells out.
Jennifer Maytorena Taylor is a director, producer, photographer, and narrator. Her latest feature film , New Muslim Cool, chronicles the personal journey of Puerto-Rican American rapper Hamza Pérez. Pérez ended his life as a drug dealer 12 years ago, and started down a new path as a young Muslim. Now he's moved to Pittsburgh's tough North Side to start a new religious community, rebuild his shattered family, and take his message of faith to other young people through his uncompromising music as part of the hip-hop duo M-Team. But when the FBI raids his mosque, Hamza must confront the realities of the post-9/11 world.
Rooftop's Julia Friedman discussed the film with Jennifer. Here's the scoop:
ROOFTOP FILMS: Give us a brief description of your film for those who haven't seen it yet.
JENNIFER MAYTORENA TAYLOR: After the FBI raids his community's mosque, Puerto Rican American Muslim hip-hop artist Hamza Pérez must confront life in post-9/11 America, and himself. NEW MUSLIM COOL, shot over three years in Pittsburgh, PA and other locations around the US, follows Hamza's ride through the streets, projects and jail cells of urban America, following his spiritual journey to some surprising places -- where we can all see ourselves reflected in a world that never stops changing.
RF: Hamza's background, as a Puerto-Rican, Muslim American is truly representative of the American "melting-pot." Was this part of what drew you to focus on him as a character?
JMT: My work often focuses on Latino characters and themes (I'm partially of Mexican descent) so that was a point of connection that served us well at many points in the production process, especially with the rest of the Perez family. Our principal DP, David Sarasti, is from Columbia, so that also added some good Latino flavor to the production team.
And definitely, Hamza's multiple affiliations represent the complex cultural identity that so many of us share in the melting-pot, and I think help underscore that we can be many things at once and still share a national identity and set of common values.
RF: The movie focuses on the FBI's persecution of Muslim Americans, especially under The Patriot Act. Under the Obama administration, do you think that some of this persecution has subsided, or are Muslim citizens still being harassed and denied rights?
JMT: We never intended to focus on this issue when we set out to make the film, indeed I intentionally did not use 9/11 and its aftermath as a frame for the film's story because I didn't want that to be the only point of reference. I was so tired of only seeing Muslim stories in that context that I tried to start with a fresh slate.
But of course when the surveillance issue emerged and then the raid happened, we had no choice but to make that part of the film. Even so, the action that unfolded after the raid had much more to do with Hamza and his community's emotional and spiritual responses to the event. I actually looked for them to do something more typically dramatic but that is not how they chose to respond, and so the film ends up with a much more subtle and quiet storyline.
Also I should say that Hamza and the other folks in the film, while being understandably very upset about the raid, did not really see themselves so much as victims. Partly that is because many of them grew up with a lot of police presence in their communities, partly because they try really hard to take a lot of responsibility for themselves and their responses, and partly because they are sophisticated about the ways in which others may see them. That's what Hamza and Suliman's song So Clear is about, which they'll perform at the Rooftop Films show.
Finally, I am not sure what may have changed in the last few months with regard to the PATRIOT Act and treatment of the Muslim community in the US, but I'm hopeful.
RF: The role of hip-hop and poetry in the film functions as both artistic expression and social statement. In your opinion, and perhaps in Hamza's as well, are art and music the most effective means of changing public opinion?
JMT: I'm not sure if they are the most effective of all but I think they are certainly one of the most effective ways of moving mass opinion. I think the thing is to make people feel empathy and a personal connection and not just treat issues in the abstract.
RF: The film focuses on Hamza's spiritual journey of personal growth. Did you as the filmmaker experience a similar transformation during the making of the film?
JMT: I think I have more respect and understanding now for people who choose to follow organized forms of faith of all kinds --- when they are motivated to make society better and respect that others have different beliefs (including no religious affiliation) but can still have common values.
RF: Are you a full-time filmmaker? If not, what else are you up to?
JMT: I've worked full-time as a producer and filmmaker for about 10 years, and in addition to making long-form independent documentaries often work as a producer in current affairs and arts at the San Francisco PBS affiliate, KQED.
RF:Tell us about your next project.
JMT: We're launching a lot of components of NEW MUSLIM COOL over the next few months, including an expanded soundtrack album hosted by Q-Tip. This fall we're going to kick off a campus and prison screening tour with the film to sound that theme, and also plan to work with several youth civic engagement projects through the next couple of years. We'll be preparing a special DVD for use in correctional facilities with extra features and discussion guides that jail staff can use with inmates of different faith backgrounds, to both help the interfaith relationships among the inmate population and also to encourage self-reflection.
Another idea that we are developing and fundraising for is a video game aimed at pre-teens and teenagers, based on the drug dealing prevention program Hamza, Suliman, and Luqmon have developed. We also hope that we might be able to support the work being done by non-profit organizations that help young people start small legitimate businesses through micro-loans and training.
Also as I was making NEW MUSLIM COOL I also co-produced and co-directed a feature documentary (with Marianne Teleki) called SPECIAL CIRCUMANSTANCES. It's about Marianne's husband Hector -- a Chilean exile searching for the people who killed his friends after the 1973 coup -- and will be out on national PBS in the fall in the Latino series Voces.
And for my next production I'm going to finally have time to make the film I've had rattling around my laptop for a long time, a short musical comedy extravaganza called STOP! WAIT! THAT'S MY TACO TRUCK!
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INSTRUCTIONS
As you plan your video, consider our Uncommon Economic Indicator categories: housing, employment, behavior, commerce, swindlers or bright spots. On the submission form, enter your name and email (in case we need to contact you), assign a category and add a title. Because your submission can appear on our map, make a note of where you shoot and enter the address. After you upload your video to YouTube (never did that? get help here) an icon will appear on our map. Click there to see your video, or you may also view it as an entry in our Your Uncommon Economic Indicators 2009 Video Contest.
Contest Period: The Brian Lehrer Show's Uncommon Economic Indicators video contest begins at 10:00:01 a.m. Eastern Time on May 26, 2009 and ends at 11:59:59 a.m. ET on June 21, 2009.
Prize: The winning video will be screened this summer by Rooftop Films. Finalists will receive a WNYC gift bag and an appearance before a live audience to screen the winning video with Brian Lehrer in the new Jerome L. Greene performance space.
Requirements: Add your YouTube video to the WNYC Group, complete the contact information form and enter the video URL on Your Uncommon Economic Indicators.
Your video should be no longer than one-minute and should show your take on an Uncommon Economic Indicator. You get extra points during the judging if one of these 6 category icons from our project appears somewhere in your shot:
+ Behavior--Piggy Bank
+ Bright Spots--Sunshine
+ Commerce--Bank
+ Employment--Handshake
+ Housing--A white house
+ Swindlers--Skull & Crossbones
Tips: What Makes a Better Video?
+ A steady hand. If you don't have a tri-pod, do all you can to support your arm (keep it close to your body, support with other hand, short takes).
+ Lighting matters! If you don't have good light, find some or shoot at a different time.
+ Sound matters! Be aware of the mic on your camera and be sure to get close if you conduct an interview.
+ Have fun!
Please keep your video under one minute. Don't forget a title!
VOICES FROM EL-SAYED
In this smart and charming documentary, the world's largest community of deaf people is suddenly given a gift that threatens to disrupt local heritage.
Address: 232 3rd St. @ 3rd Ave. (Gowanus/ Park Slope, Brooklyn)
Directions: F/G to Carroll St. or M/R to Union Ave.
Rain: In the event of rain the show will be held indoors at the same location
8:00PM: Doors open
8:30PM: Live music presented by Sound Fix Records
9:00PM: Films
11:00PM-12:30AM: Reception in courtyard including free sangria courtesy of Carlo Rossi
Tickets: $9-$25 at the door or online
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SATURDAY, JUNE 13
Venue: On the roof of the Old American Can Factory
Venue: On the roof of the Old American Can Factory
Address: 232 3rd St. @ 3rd Ave. (Gowanus/ Park Slope, Brooklyn)
Directions: F/G to Carroll St. or M/R to Union Ave.
Rain: In the event of rain the show will be held indoors at the same location
5:00PM: Panel discussion: "Message Vs. Craft," outside in courtyard
6:30PM: Panel discussion: "Filmmaking Strategy," outside in courtyard
7:30-9:00PM: Reception in the courtyard including free sangria courtesy of Carlo Rossi
8:30PM: Live music by Nutria NN presented by Sound Fix Records
9:00PM: Film
Tickets: $9-$25 at the door or online
Presented in partnership with: Cinereach, New York magazine, IndiePix, Shooting People & XØ Projects
MAP
Message vs. Craft: The Art of Effective "Issue" Storytelling
When a filmmaker takes on a topic related to social justice or human rights it is often with the hope of influencing public opinion and inspiring action. To achieve that, a film must reach and engage the right audience, in the right numbers. It must also portray the human impact of the issue or problem persuasively. How does a "social issue" filmmaker balance the need to educate with the public's desire to be entertained? How does he/she move past preaching to the choir and make a film that can become a catalyst for real change? This panel will provide advice on the above from documentary and fiction filmmakers including Fabio Wuytack (Director of Persona Non Grata) and Paola Mendoza (Entre Nos), whose work successfully walks the issue/entertainment line. Leah Sapin of Arts Engine (which specializes in production and outreach for socially relevant films), and New York magazine film critic Bilge Ebiri will join the discussion, to be moderated by Lina Srivastava.
Panelists include:
Lina Srivastava (consultant to non profit media companies working for social change) - moderator
Justin Schein (Co-director of No Impact Man)
Fabio Wuytack (Director of Persona Non Grata)
Bilge Ebiri (film critic from New York magazine)
Paola Mendoza (Director of Entre Nos)
6:30-7:30pm
Filmmaking Strategy:
Tips, Tools and Wisdom to Help You Make the Right Decisions For Your Film
Filmmakers have to be both artists and strategists to get their films made and seen and this is the case now more than ever as changes in funding and distribution force filmmakers to shoulder more of the crucial decisions on their own. This panel will help you learn how to be the best advocate for your film by asking all the tough questions that you will have to ask along the way. For example: How much work (and what work) do you need to achieve on your own before approaching a funder? And how can you tailor your pitch to communicate your vision to a foundation vs. an equity investor? What other funding options are there? How do you balance traditional outreach to festivals, sales agents, broadcasters, and distributors with the need to also create your own fan base? Which distribution deals do you accept? How do know when a deal is a good deal? How do you hope for the best but plan for the worst?
Ingrid Kopp (Shooting People) - moderator
Adella Ladjevardi (Cinereach)
Janet Brown (Cinetic)
Liz Ogilvie (B-Side)
Simon Kilmurry (POV)
Tia Lessin (Co-Director of Trouble the Water)
Andy Bichlbaum (Co-Director of The Yes Men Fix the World)
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THE SCREENING WILL GO ON RAIN OR SHINE, EITHER INDOORS OR OUT, SO GET YOUR TICKETS NOW.
All in attendance will be welcome at the after-party at Matchless Bar, with free drinks courtesy of Radeberger Pilsner.
Just Food will get people involved in their "make bee keeping legal in NY campaign", the Greenmarket will do a local foods cooking demonstration, The NY Office of Recycling will do a "what can you recycle/what can you not recycle" game, the LES Ecology Center will demonstrate how to use a compost kit, Artistic Evolution will bring their "bike blender" to make environmentally friendly lemonade, and the students of Automotive High School will demonstrate their bio-diesel cars and distribute organic produce grown on school grounds. Audience members who make personal pledges to change aspects of their lifestyles will be entered into a raffle to win various prizes.
The Hungry March Band, New York's legendary political street brass march band, will help create a festive atmosphere as they perform in the anarchic style that has become their trademark.
This promises to be one of the most crucial Rooftop events ever, so come on by!
The pledges Rooftop, Fledgling and No Impact Man himself are asking you to make are:
1. Save the world by improving your diet. Really! All you have to do is stop eating beef. Worldwide, beef production contributes more substantially to climate change than the entire transportation sector. Plus, a diet with no or less beef is better for you. The carbon footprint of the average meat eater is about 1.5 tons of CO2 larger than that of a vegetarian. Cutting beef out of your diet will reduce your CO2 emissions by 2,400 pounds annually.
2. Get your drinking water for free. You can save money and your environment by giving up bottled water. The production of plastic water bottles together with the privatization of our drinking water is an environmental and social catastrophe. Bottled water costs more per gallon than gasoline. Plus, the health consequences of drinking water from plastic are not clear.
3. Observe an eco-sabbath. For one day or afternoon or even hour a week, don't buy anything, don't use any machines, don't switch on anything electric, don't cook, don't answer your phone, and, in general, don't use any resources. In other words, for this regular period, give yourself and the planet a break. Keep your regular eco-sabbath for a month. You'll find that the enforced downtime represents an improvement to your life. Every hour per week that you live no impact cuts your carbon emissions by .6% annually, commit to four hours per week that's 2.4%, do it for a whole day each week to cut your impact by 14.4% a year.
4. Tithe a fixed percentage of your income. Currently, many of our societal health and welfare services are tied to consumer spending which, in turn, depends upon planetary resource use. But the idea of buying stuff to help people is crazy, especially when you consider that our consumption is harming the habitat that we depend upon for our health, happiness and security. If you want to help, don't go shopping. Just help. Commit to tithing part of your income to the non-profits of your choice. If an average family contributes 1% ($502.33) of their annual income ($50,233) to an environmental non-profit, they could offset 40.7 tons of carbon dioxide per year.
5. Get there under your own steam. Commit to getting around by bike or by foot a certain number of days a month. Not only does this mean using fewer fossil fuels and creating less greenhouse gasses, it means you'll get good, healthy exercise and we'll all breathe fewer fumes. A city with pedestrian and bike traffic is a lot more pleasant to live in than a city filled with vehicles. If you can stay off the road just two days a week, you'll reduce greenhouse gas emissions by an average of 1,590 pounds per year.
6. Commit to not wasting. Wasting resources costs the planet and your wallet. Don't overheat or overcool your home--a few degrees make a huge difference. Let your clothes hang dry instead of using the dryer. If your old cell phone works, consider not getting another. The list goes on and on. In the summer, for every degree above 72 F you set your thermostat, you save 120 pounds of CO2 emissions per year and if you wash your clothes with cold water you can cut your laundry energy use by up to 90%.
7. Build a community. Play charades. Have dinners with friends. Sing together. Enjoying each other costs the planet much less than enjoying its resources. Let's relearn to joke around and play in ways that cost nothing to our pocketbooks or our planet. It's hard to put an exact number to this but the benefits are priceless.
8. Take your principles to work. The old adage "the cost of doing business" can no longer hold true. We must act as though we care about the world at work as much as we do at home. A company CEO or a product designer has the power to make a gigantic difference through their business, and so do the rest of us. In commercial buildings lighting accounts for more than 40% of electrical energy use, a huge cause of greenhouse gas production. Ask your employer to consider installing motion and occupancy sensors, which can cut this use by 10%.
9. Dedicate a day's worth of TV viewing to eco-service each week. The average American watches four and a half hours of TV a day. Take one day off from the tube each week and joining with others to improve our planet. Voluntary eco-service is a great way to find community who support your values and a great way to learn about environmental issues and the quality of life issues that go along with them. Spend three fewer hours each day sitting in front of your plasma television and you will reduce your carbon emissions by 550 pounds each year.
10. Believe with all your heart that how you live your life makes a difference to all of us. We are all interconnected. We make a difference to each other on many different levels. Every step towards living a conscious life where we consider the consequences of our actions provides support to everyone else--whether you know it or not--who is trying to do the same thing. We are the masters of our destinies. Let's act as though it is so.
COME SEE NO IMPACT MAN AND MAKE A DIFFERENCE IN YOUR LIFE AND WORLD, WHILE HAVING FUN DOING IT.
Address: 50 Bedford Ave. @ North 13th St. (Williamsburg, Brooklyn)
Directions: L to Bedford Ave. or G to Nassau Ave.
7:30: Eco Carnival: A celebration of environmentally-friendly activities, including bike blenders, raffles, prizes.
9:00: Film
11:30-1:00: After-party: Free Radeberger Pilsner at Matchless
Tickets: $9 at the door or online at going.com
Presented in partnership with: The Fledgling Fund, Cinereach, New York magazine, IndiePix, Shooting People, Council Member David Yassky & Automotive High School
BUY TICKETS | PROGRAM NOTES | MAP | SOUND FIX | THE HUNGRY MARCH BAND | NO IMPACT MAN BLOG
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CORY MCABEE: Stingray Sam is a musical sci-fi western. It's written and designed for screens of all sizes.
RF: The film references the classic good guy/bad guy dichotomy. What about this dynamic interests you?
CM: I was using classic Americana themes while drawing on today's modern American environment as a landscape. It's obvious who the heroes are and who the villain is, but at the same time my good guys are violent thieves and ex-convicts while my bad guy is sheltered and immature.
RF: The film has an underlying feminist commentary. With the future of genetic engineering and cloning, is it possible that we'll encounter "powerful, upper-class" men who will simply want to reproduce themselves? Just how sexist is our society?
CM: The upper-class has always wanted to reproduce itself. That's why it's a strict tradition in some countries to marry within ones own class. In the US we are much more sly when it comes to drawing such lines, but we do draw them. As to how sexist our society is that would depend on what you would use as a gauge. If you compare us to some countries we're doing pretty good. If you try to figure it out by looking at the publicized issues of modern American feminists, then you're looking at the upper class again. The focus is usually on female executives competing for money with male executives. You never hear about the single mothers working in diners without any benefits or struggling on welfare so they can raise their own kids. Looking at how we treat poor women is the best way to gauge how sexist our society is.
RF: In the late 1940's, 50's, and 60's, the genres of musical and western existed simultaneously, then both faded out. Why revive both, and why, using both a historical and cinematic perspective, combine the genres into one movie?
CM: I like musicals, with the exception of most of them. I think it's a genre that can still be explored. Westerns tend to reflect the styles and ideas of when they are made. The trend of the singing cowboy was huge in its day. There were a lot of them, but it's not part of today's collective conscious. It was the product of what we now view as a naïve America. The whole idea of a singing cowboy fits perfectly into what I was trying to do.
RF: Like other science-fiction comedies, Stingray Sam uses humor to examine current social and scientific topics and comments on what society might look like if the technology ran amok. Do you feel that technology such as cloning and genetic engineering represent a threat to future society?
CM: I'm pretty sure that some of their uses will.
RF: Are you a full-time filmmaker? If not, what else are you up to?
CM: Right now I'm scheduling Stingray Sam at festivals and accompanying it whenever I can. We're also setting up an online store for all of our past film and music releases. We have a lot of new music that we plan to release as well.
RF: What is your next project?
CM: I'm hoping my next film will be one that I've written and storyboarded called Werewolf Hunters of the Midwest. I also have a couple other screenplays. I'll have to wait and see what happens.
If you come to a show that is held indoors because of rain, you get a free ticket to another show. Same great movies, new great deal.
A hilariously disquieting 1980s-style mash-up of sci-fi kid's shows, video games and Euro soft core porn, featuring pop culture references as playfully childish but resolutely indefinable visual signifiers, creating a story that's essentially indecipherable yet achingly familiar, effective and fun. peppermelon.tv
FRIDAY, JUNE 5
TRAPPED INSIDE THE MACHINE - BUY TICKETS
A fun, frantic, fantastical program of films about losing your grip on reality & reality losing its grip on the world.
FREE OPEN BAR after the films
Venue: on the roof of the Open Road Rooftop
Address: 350 Grand Street @ Essex (Lower East Side, Manhattan)
8:00PM: Doors open
8:30PM: Sound Fix presents live music by Bottle Up and Go
9:00PM: Films
11:30PM - 1:00AM: Open Bar at Fontana's (105 Eldridge St), courtesy of Radeberger beer
Tickets: $9-$25
No refunds. In the event of rain, the show will be indoors at the same locations. Seating is first come, first served. Physical seats are limited. This means you may not get a chair. You are welcome to bring a blanket and sit picnic-style, howvere NO ALCOHOL IS PERMITTED.
MAP | SOUND FIX
There you are. Living a quiet, suburban, stick-figure life. Watching TV. Waiting for a promotion. Coolly cruising the galaxy at something less than light speed. But things are not quite right. This simple pencil is leading you astray. That promotion's not coming, and you snap. A fungus in the shower compels you to perform diabolically crass comedy. And pretty soon you're lost in a world of cinema semiotics, upside-down in a confusion of water and air, and pregnant with the illegitimate love child of an indifferent red cube.
Why did this happen? What does it all mean?
These films--comedies, dramas, animations, visual experimentations and mental games--highlight some of the wild, weird and wonderful ways that cinema can alter your world. There are times when freaking out is better than calming down. Times when the madness of the world is best met by individual psychosis. Times when the machine's got you trapped, and you're either the madman running it or the wrench inside of it, because someone's getting sent back in time, shrunk down to snail size, and suckered into an endless pit of pixels, and hell, it might as well be you. Beats striking out on an alien date with a spaceship full of dreary Canadians.
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After the stunt, Stan hung out with adoring fans, talking about his stunts and the movie, taking photos, and signing autographs (including one on a Rooftop ticket--we're so flattered!) The sold-out crowd then moved on to an after-party with free beer at Crunch Gym, where Stanless also had t-shirts available. The shirts bare his killer slogans...
Learn more about the Levy's feature-length documentary, which will have its official New York premiere later this year, at www.strongmanfilm.com
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