Bata-Ville: We Are Not Afraid of the Future
New York Premiere!

A feature-length documentary by Karen Guthrie & Nina Pope
The online box office will close between 5 and 6 PM on the day of the show after which time tickets may be purchased at the door.

Thursday, September 14, 2006
8:30 - LIve Music by PG6
9:00 - Showtime
TRT: 1:33:00

On the roof of Downtown Community Television (DCTV) | DIRECTIONS
87 Lafayette, 2 blocks below Canal btwn Walker & White, Tribeca, Manhattan

Bata-Ville: We Are Not Afraid of the Future
This fascinating and charming film is part road trip documentary, part ideological exploration. And for a work of art commissioned as public history project, it is startlingly funny, heartwarming, and humane. At Rooftop Films, we never imagined a bus-trip across Europe with a group of retired shoe-factory workers would be so enjoyable.

Co-Directors Karen Guthrie and Nina Pope write: "In 1894 Tomas Bata founded a footwear company in the Moravian town of Zlin. By the outbreak of the second world war the company had fulfilled Tomas' ambition to become 'shoemakers to the world,' with factories in 30 countries including two in the UK - at Maryport in Cumbria and East Tilbury on the Thames Estuary.

"Early Bata factories were at the heart of progressive model townships of homes, shops and community facilities based on the original Bata town of Zlin.

"In 2004, artists Nina Pope and Karen Guthrie hosted Bata-ville, a journey which took former workers from Maryport and East Tilbury to Zlin, now in the Czech Republic.

"Accompanied by other passengers, they went in search of the spirit of Bata and the legacy of its charismatic founder. The film Bata-ville, We are not afraid of the future documents this journey.

"Bata-ville can be seen as a document of a journey—rather than a documentary—a film developed by two artists out of a public art commission. It's a sad film, but in many ways it's subject matter is optimism. It essentially takes the form of a road movie, but the towns at the heart of the film: East Tilbury, Maryport and Zlin, are all 'nowhere' places, linked only by past connections to the Bata shoe empire and future government-led regeneration agendas.

"In real terms, the 42 people who make the journey to Zlin have little in common, yet by the end of the film they describe themselves as "the Bata on the bus." Few people outside of the Czech Republic have heard of charismatic entrepreneur Tomas Bata—yet the film becomes almost a pilgrimage in search of the origins of his utopian vision—a journey to see if this vision might still be relevant for the artists, the passengers and their home towns."