After Innocence, 2005, USA
95 min.; director: Jessica Sanders
An examination of the lives of seven men whose convictions for heinous crimes such as murder and rape were overturned years later because of DNA evidence. The focus is on the difficulties these men encounter, first in overturning their convictions and then in making the transition back into society. Despite having served time for crimes they did not commit, these men do not find a warm welcome awaiting them: meaningful jobs are hard to come by, criminal records take a long time to be expunged, and compensation for wrongful imprisonment is almost unheard of. Unlike paroled prisoners, who have a network of social services to help them re-enter society, the exonerated receive little guidance or support.
Why It Matters: This film confirms many of our worst fears about the American criminal-justice system. But here, the bitterness, despair, and even rage that you might expect in the men is tempered by a sense of gratitude for their seemingly miraculous reprieve. You should not miss this film, made in collaboration with the Innocence Project, www.innocenceproject.org.
Amargosa, 2000, USA
93 min.; director: Todd Robinson
This documentary follows the trials and tribulations of Marta Becket, who, at forty-three, threw over a life as a dancer of middling talent in New York to follow her dreams in the once-prosperous California mining town of Death Valley Junction, population ten. Originally known as Amargosa—the home of bitter waters—the town boasted an opera house, which Becket bought and used to shape her life’s work. Becket wanted to dance, but there was no audience in Death Valley Junction, so she hand-painted one on the walls. Before long, her opera house performances were packed and she was a phenomenon. Watch for ex-clown Tom Willet, who happened by Amaragosa and joined Marta’s act, bringing a sense of lightness and humour to her later years. And when Marta’s old New York dance friends come to see her perform, they are stunned by the 76-year-old’s accomplishments and how alive she is. Neither the heat of Death Valley summer nor the arrival of infirmity can dim her flame.
Why It Matters: This is a passionate exploration of the courage necessary to follow one’s dreams and live a life whose art is overcoming obstacles. It’s about living from the inside out, letting oneself be guided by the spiritual, and coming to the end feeling that one’s life has been well-spent.
Jesus Camp, 2006, USA
87 min., directors: Heidi Ewing and Rachel Grady
One of this year’s Oscar nominations for best feature documentary, this is the riveting story of Pastor Becky Fischer and the evangelical Christian summer camp she runs in Devil’s Lake, North Dakota. Kids on Fire teaches children the rudiments of becoming soldiers in “God’s army,” crusaders against the liberal forces that have brought America down and warriors who will “reclaim America for Christ.” Here children are indoctrinated and groomed to change the world—a world in which Harry Potter is evil and the traditional Protestant churches are seen as “dead churches…where Jesus doesn’t visit.” At home, the majority of these youngsters are homeschooled by parents who teach creationism and dismiss science, assuring them, for example, that global warming is not true. You will appreciate the way the filmmakers never comment directly on what is happening but leave you to decide how much manipulation is taking place at the hands of parents, church, and community.
Why It Matters: This film takes us into the inner workings of the Christian conservative movement, which appears to differ little from the much-publicized Al-Qaeda madressa schools that indoctrinate young Islamists and prepare them for holy war. As Fischer sees it, these children will be marching at the forefront of a culture war that is already supported by some thirty million Americans. If you want to widen your understanding of the current fight for America’s soul, this is an important film.
A Peck on the Cheek, 2002, India
123 min.; director: Mani Ratnam (subtitles)
Tamil director Mani Ratnam tells the story of the civil war in Sri Lanka through the eyes of Amudha, an adored and precocious little girl living a happy life in an upper-middle-class Indian household. On her ninth birthday, she learns that she was adopted, an orphan from a Sri Lankan refugee camp. Shocked and disbelieving, Amudha wants to find her real parents. In the search, the whole Indian family ends up traveling to war-torn Sri Lanka, where the lens turns to the larger canvas of civil war. Indian films mean to entertain, and they do this by employing the genre conventions their vast audience expects. This film is no exception, using the magic of song and dance to deepen the emotional subtext of the dialogue. In this case, the exuberant musical interludes are the best that a big budget can buy, providing a feast of colour and rhythm.
Why It Matters: This director is known for his studies of the human condition as it unfolds from personal, intimate stories into vast, panoramic epics. The approach showcases his extraordinary ability to bridge the gap between serious art and popular entertainment, between personal stories and issues of social and political importance. The universal themes of war and adoption will strike a chord with many viewers. It may not be a genre of cinema with which you are familiar, but it is highly recommended as musical entertainment and an exploration of civil war. It’s not often you can see both in one film.
Zen Noir, 2004, USA
71 min.; director: Marc Rosenbush
A nameless cipher from a noir detective novel is brought out of his existential funk by a mysterious phone call in which he is asked to investigate a death in a local Zen temple. Awakening from a nightmare that continuously replays the death of his wife, the detective finds the temple death equally inscrutable, and he discovers is the zendo so weird he can’t wait to get back to the reassuring familiarity of his telephone, his whiskey, and his nightmare. Eventually, with help from the beautiful Jane, a committed lay practitioner, he arrives at the point where “you wake up one morning and reality’s on fire, and you don’t know who you are.” He’s ready to become a detective of the mind.
Why It Matters: Despite its rough edges, this no-budget, minimalist movie is quite clever. And although it is sometimes pretentious, it’s also amusing. The idea of taking the detective role and flipping it on its head, so that the lead character has to use his native talents to discover the dharma, is smart, but you may find it slow and hard to follow initially. Like working with your mind, we recommend you stick with it.
