Here’s a great example of a perfectly imperfect film imbued with cleverness, uniqueness, charm and poignancy delivered in an unexpected way. This the latest from renowned and brave Iranian filmmaker Afar Panahi who several years ago was banned from making movies by the government. As a result and ever since the ban, he has taken personal and political risk in forging ahead creating art and telling relevant stories. “It Was Just an Accident” is no exception to he and his cast and crew’s artistic stance and putting out this relevant story of moral dilemma and revenge.

Randomly in the middle of one fateful nigh, mechanic, Vahid (Vahid Mobasseri) believes he has  reencountered his torturer, Eghbal (Ebrahim Azizi), from years ago while he was under government detainment. Until he can get confirmation of the alleged tortuer’s identity, Vahid decides to kidnap and gag Eghbal, stuffing him into a box in the back of his van. He then seeks out and is referred to a few individuals who too had been in the same prison and may be able to successfully tell him whether or not this is the monster from their past and whose actions continue to haunt their dreams. It is in the enlisting of their help, with Eghbal in tow, that weird and wacky series of events are unleashed. Thought this dark comedy thriller, all involved, including a bride and groom and their photographer, feel an unquenchable thirst for answers and for revenge. Along the way, they are challenged with moral complexities of revenge murder and the risks involved for themselves if they let their captive go.

There are times through the film, where the pacing is uneven and a couple scenes are repetitive and over-written, but never to the point of losing the audience or detracting from it’s overall creative brilliance. Throughout, Panama deftly balances an intriguing sense of danger, with unexpected and welcome humor, and the cherry on top is the uproarious cast of characters in the hands of a bodacious ensemble of actors.

Director: Jafar Panahi
Writer: Jafar Panahi
Stars: Vahid Mobasseri, Mariam Afshai, Ebrahim Azizi
Country: Iran, France
Languages: Persian, English
MPAA rating: PG-13
Runtime: 1h 45m
Production companies: Jafar Panahi Films, Les Films Pelleas

The prestigious New York Film Festival 63 recently wrapped things up while simultaneously launching the greatly anticipated awards season. Given its opening at the end of September (9/26- 10/13), combined with its limited and highly curated roster, the NYFF can often seem like the “greatest hits’ of the European festival line up. For those of us reviewers and cinephiles who don’t get to make the European festival circuit, that’s not such a bad thing, especially given NYFF also manages to sprinkle in a few world premier films as well.

A House of Dynamite (Paula’s Pick)- If you liked “Hurt Locker” and “Zero Dark Thirty”, you won’t be disappointed with this latest film by Kathryn Bigelow. “A House of Dynamite” explores the military and political protocols launched when a foreign missile is detected and targeted for the United States, specifically Chicago. It is filmed from the point of view of three different agencies and/or people and in three segments, and headed up by a fantastic cast, including Rebecca Ferguson (“Silo” and “Dune”), Idris Elba and Tracy Letts. Time is of the essence, with only minutes available for the agencies/representatives, including the president, played by Idris Elba, to make life and death decisions. A response to a global catastrophic event is in the hands of a select few, most importantly the president.

“A House of Dynamite” is shot in the raw and kinetic style that Bigelow is known for, making audiences feeling as close to the mounting tension as possible. It is a political/military thriller that will have audiences on the edge of their seats from the first frame to the last… and more than likely shouting at the screen when all is said and done. The pervasive feelings are intrigue and fear, once hit with the awareness that this is a plausible scenario.

Director: Kathryn Bigelow
Writer: Noah Oppenheim
Stars: Idris Elba, Rebecca Ferguson, Tracy Letts
Country: United States
Language: English
Production companies: First Light, Netflix
MPAA rating: R
Runtime: 1h 52m

After the Hunt- from Luca Guadagnino, the prolific director who brought us masterpiece award winning films (“Call Me By Your Name” and “I am Love”) - is a provocative drama featuring a star-studded ensemble cast that includes Julia Roberts, Ayo Edebiri, Andrew Garfield, Chloe Sevigny and Michael Stuhlbarg. Roberts portrays Alma Olson, a confident, ambitious Yale University philosophy professor whose comfortable, yet questionable personal life, and prestigious academic world are shaken to the core after her protege, Maggie (Edebiri) accuses Olson’s colleague and friend/sometime lover, Hank (Garfield) of sexual assault. The film centers on each character’s personal issues and histories and their responses, while navigating complex contemporary issues. Although in general it is commendable to explore multiple social issues, it became a bit problematic with the intersectionality of race and privilege.

“After the Hunt” is an example of an over-hyped film that under delivers. For the most part, the performances are searing and compelling, especially Ms. Roberts whose Alma   although pinned up and cold, is layered and somewhat interesting. The movie’s downfall has less to do with performances and off-putting nature of each character, than writing and editing. It is the actual script by first time screen writer, and Guadagnino, which is over-written, over ambitious and the film is under edited. “After the Hunt” is a two hour movie that feels more like three.

Director: Luca Guadagnino
Writer: Nora Garrett
Stars: Julia Roberts, Ayo Edebiri, Andrew Garfield
Country: United States
Language: English
Production companies: Big Indie Pictures, Imagine Entertainment
MPAA rating: R
Runtime: 2h 19m

Getting selected as a key cast member of the original production of the musical “Hamilton” would be hitting the jackpot for any actor, but for Renée Elise Goldsberry the opportunity ushered in a roller coaster of issues and emotions. These contradictions are at the center of the new documentary movie, “Satisfied.” One might interpret the movie’s title as Goldsberry either being satisfied with her seemingly charmed life and theatrical success, or that she’s striving to get to a point of satisfaction while navigating through her career and life path. The actuality of its meaning is somewhere in between. The film has the feel of, as Goldsberry describes her rare social media videos, journaling on camera or a memoir. It’s not a bio-pic, although we are given some perspective of her childhood. It’s an intimate glimpse into a profound moment in time for the Tony Award-winning actress.

“Here are some of my battles, lost and won,” Goldsberry reflects. With that she ushers the audience into her life at a pivotal crossroad.

“Satisfied” opens with the star’s admission that since childhood she always had two dreams: “To be a mother and to have a successful film and theater career.” Later she acknowledges that maybe it was naive of her to think she could obtain both easily. Not long after she gave birth to her son, Benjamin, she and her husband, Alexis Johnson tried for a second child. It was something they very much wanted for each other, and for Benjamin. After years of trying with no success they decided to adopt a child, and even that process was long and exasperating. But in the winter of 2014, before “Hamilton” the musical was known about and just before its Public Theater acquisition, the couple met Hagaria Alexis Johnson who they adopted from Ethiopia. All of them were ecstatic about the addition to their family, and Goldsberry was content to lighten her work load to focus on being a mother of two, with all its adjustments. But the acting gods had other plans.

Not long after introducing their baby girl her new world, Goldsberry received a call to audition for a workshop of a new show by Lin Manuel Miranda. She initially turned down the opportunity- several times- because she believed to take time away from her family was not worth it for a workshop, especially given the slim odds of being selected to go with it for the actual production. Between much prodding from her manager and hearing the play’s demo tape, Goldsberry realized this was something special, an opportunity of a lifetime. With her husband’s support, she dove into the “Hamilton” workshop as the eldest Skylar sister. Not only did she go on to be picked for the Public Theater’s production of the show, but Miranda would also include Goldsberry to reprise the role on Broadway. All of which was a great honor, a lot of work while also big fun. It would eventually lead her to a Tony Award, and other subsequent big life changes and decisions. Along the way though, “Hamilton” proved to be all consuming, and at that time, she was the only mother in the cast. She credits her husband with wholly supporting her decision and picking up the slack at home with their children, but she was conflicted. On one hand she was undeniably and understandably thrilled with this monumental career opportunity, but on the other hand she was experiencing regret and depression over being what she felt was an absentee mother.

It is this conflict that drives the story of “Satisfied.” The viewers’ the story’s real-life heroine battling exhaustion and expectations as she navigates motherhood and her groundbreaking role in one of the most successful (if not the most) productions in the history of Broadway. Throughout we are given rare behind-the-scenes access to the show’s process and progress, along with insights from cast members, including Miranda.

When not getting snippets of the musical, and although the main character, so to speak, is projecting anxiety, there is a welcome quietness to the documentary, with its first-person contemplative accounts. It is small and intimate, yet not boring. In today’s movie landscape mostly littered with noisy or intense offerings vying for attention on numerous streaming platforms, documentaries are definitely getting the short end of the stick. Even at that, most have to be political or social issues themed to be noticed, or get made. “Satisfied” is a welcome departure, both life affirming and inspiring- we can make those big life decisions and be better off on the other side of personal conflict. I’m going to say it, “Satisfied” is a satisfying watch.

Directed by: Chris Bolan, Melissa Haizlip
Stars: Renée Elise Goldsberry, Alexis Johnson, Benjamin Johnson, Brielle Johnson, Ariana DeBose, Lin-Manuel Miranda
Country: United States
Language: English
Production company: Stick-Figure Productions, Amblin Documentaries
MPAA rating: ?
Runtime: 1h 24m

Mischief, mayhem and laughs abound in the newly launched and greatly anticipated still free Shakespeare in the Park production at the Public Theater’s Delacorte stage in Central Park. After 85 million dollars, and an eighteen month hiatus while the Delacorte was being renovated, the long awaited reopening of the park’s Theater has arrived. The theater is more beautiful, sustainable and accessible than ever. The most noticeable changes being the gigantic stage, additional seating and the smell of Redwood trees. No, they didn’t ship in giant trees from California, but they did use reclaimed Redwood trees for the paneled perimeter along the seats and aisle ways.
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Under the leadership of the Public’s artistic director, Oskar Eustis, the company decided to kick things off with a bang in the form of one of the Bard’s most beloved and familiar comedies, “Twelfth Night.” The production, under the stars features a star-studded cast, including Sandra Oh (Olivia), Lupita Nyong'o (Viola), Peter Dinklage (Malvolio), and Jesse Tyler Ferguson (Andrew), just to name a few.“Twelfth Night” is the beloved Shakespeare romp portraying a timeless story of unrequited love and gender bending characters. Twins Sebastian and Viola who are all the family they have, are separated by a shipwreck. They survive it, as well as revenge plots, and the trick doors of love. Arriving in Illyria first, Viola creates a false sense of self, hiding her gender in order to maintain life in a foreign land- a timeless immigrant story of surviving and thriving. Eventually, Sebastian will make his way too to Illyria and reunite with his sister, but not before both are swept up in the unintentional mayhem of mistaken identity and romance. How great that the twins are played by Lupita Nyong’o and her real-life brother, Junior. Of course, Viola/Lupita has the heftier role, off and on stage from the opening sequence to the close, sparring throughout with Olivia, Antonio, Andrew A and Malvolio.

This 2025 rendition of “Twelfth Night” directed by Shaheem Ali takes you pleasantly by surprise with its unabashed modern flare. Actors maintain the original script and old English vernacular, but incorporate some contemporary expressions, mannerisms and tunes. The set design is as minimal as it is modern, with gigantic lettering lining the back of the stage (“What You Will”), a hot tub that occasionally emerges from the stage flooring, and a decorative canopy that reminds one of an exclusive seating area of a night club. Likewise and for the most part, the production clothing aesthetic is pure 21st century, combining common folk street wear and upper class after-five attire and suits. That said, the fashion takes a dramatic turn and ups the ante for the show’s finale, as does the overall theatrical energy. This is an unexpected curtain call that gets the audience on its feet, sparking joy and awareness as you head out into the late night commute back home.

Given the current political and social climate, in addition to the actual intense climate (heatwave) of this summer along the East Coast and in NYC specifically, it’s no wonder the Public decided to celebrate its face lift and its return with something light-hearted and entertaining. “Twelfth Night” is pure Shakespearean escapism, and with an exceptional and wonderfully diverse cast. Normally, with all star ensemble cast such as this, stand outs don’t stand out necessarily, but Oh, Dinklage and Ferguson shine in their comic lanes. They, along with the only singer, Moses Sumney as Feste, and the grand finale number, make the play worth the price of admission. In this case, yes, it’s FREE but it will cost theater goers a lot of time and effort as the free admission comes at the price of queuing up/sitting in the park for hours before tickets are distributed 9two tickets per person) at 1:00 pm. For this production, this cast, this unveiling of the new and improved theater, word is folks start lining up as early as 5:00 am.

Get in line soon as this is a limited run production now through September 13th. Learn more about the revitalization here, and for more information about The Public’s annual summer celebration of Shakespeare for the City. Free. For All. Forever, go here.

Made a few years prior to the tragic events of October 7, 2023, the documentary “No Other Land” by journalists/filmmakers Yuval Abraham, Basel Agra and Hamden Ball helps to lay some current day groundwork for political and social issues in Palestine. This is an Israeli-Palestinian collective project that highlights the the destruction of the occupied West Bank's Masafer Yatta by Israeli soldiers in the region, while showing the existence and importance of allyship. I first experienced this documentary at its U.S. premier at the New York Film Festival 2024, and it has stayed with me since.

To be sure, this is not an easy film to watch, but it is compelling, crucial, informative, and should be watched regardless of personal politics. Agra’s family is one of many in the region that are poor, mostly sheep farmers that live in shack-like housing and to whom poverty and no claim to a homeland is the norm. Also normal are daily invasions and devastations at the hands of the Israel Defense Forces (IDF). Taking their directives from Israel’s political leadership, the IDF are shown to have gone into the West Bank, demolishing house and schools; killing livestock in attempts to drive the countryside inhabitants into the city. It is occupation at its worst. Instead of moving out, the unarmed families often resisted and created makeshift homes from caves.

In one scene, Agra’s uncle who is an activist, yells at the soldiers as they are taking away the family’s generator, their only source for electricity in the cave. In his attempts to retrieve the generator, a soldier shoots him. As a result, he is paralyzed and within a few months of not being able to receive medical treatment, he dies. This is just one of many heart wrenching eye witness accounts. Probably just as alarming is the Palestinians’ capacity for love, forgiveness and humor through such atrocities. I sat in the theater unable to hold back tears, as much from the victimization of the Palestinians as from their unfathomable capacity to display love and maintain hope. How many times in my capitalist, Western mentality have I whined over the seemingly simplest issues. Yet Palestinians, most of which have no association with Hamas or any act of terrorism, manage to cling to loved ones and hope in the face of displacement, racism and marginalization.

Abraham, a journalist from the other side of the border, has turned his ally-ship for his neighbors and friendship with Agra into a cry for help and an uncovering of the truth. He regularly traverses the border to assess and film the situation and check up on his friend and Agra’s community. One time after staying there for a week or so, he informs his companion that he must return to spend time with his mother. Agra sympathizes but does so with an air of heaviness. When Abraham inquires as to his friend’s sadness and reminds him that he will be returning, Agra explains that he understands, but that he too would like to be able to move freely and travel at will. Abraham tries to console his friend. “It will be so nice one day with stability. You can come visit me instead of me always visiting you.”

Early on in the film, Agra matter of factly proclaims the this is a situation and story of power, implying who has it and who wields it for good or evil. I would add to that, it is also a story of resistance and resilience. Although “No Other Land” got selected for one of the world’s most prestigious film festivals (NYFF), that did not guarantee it distribution. In fact, it has since gone on to garner the Academy Award for Best Documentary feature (2025), but still has no distributor. Instead, the filmmakers have pointed out the obvious prejudice against the film’s messaging to the extent that no distributors will touch it for fear of appearing to be antisemitic. Despite that, the film’s quality and important messaging has prevailed, gaining an audience through self-distribution and word-of-mouth promotion. As such, you are urged to seek “No Other Land” out at an art house screening or online streaming. It is a film that will not only move you, but change you. #FreePalestine

In the world of cinema and amongst cinephiles of New York, if autumn is synonymous with the New York Film Festival (NYFF), then New Directors/New Films (ND/NF) means spring is in the air and a new season of the potentially future best and brightest is about to be ushered in. Taking place April 2 through April 13, the over 50-year-old festival of emerging new filmmakers also marks the long lasting collaboration between hosts, Museum of Modern Art (MoMA) and Film at Lincoln Center (FLC). Although for many of the FLC festivals throughout the year, such as the prestigious NYFF and Rendez-Vous with French Cinema they include some new talent, it is only the highly anticipated New Directors/New Films that is dedicated solely to revelatory new works and their fearless leaders (filmmakers), with an emphasis on “distinctive visions and risk-taking works highlight the vitality and potential of cinema.” To be sure, over the many decades history of ND/NF that standard has been met, with directors such as Win Winders (1972), Peter Greenaway (1978), Spike Lee (1983), Guillermo del Toro (1992), Jim McKay (2003) and Sarah Polley (2012), just to name a very few, that are boasted among the festival’s alumni. 

While this year the “risk-taking” criteria is definitely upheld, the quality level of writing and storytelling, and in some cases, execution, gave one pause. Is it the selection committee? Is it the submissions they had to choose from? Is it a lack of funding for aspiring directors? Or maybe it’s reflective of a generation of filmmakers influenced by quick hits from social media. Whatever it is, this reviewer and frequent festival goer was at times hard pressed to find plots and well-crafted stories and character development in some of this year’s selections that was previewed (Full disclosure: While I saw many of the films, I did not see everything selected).

There are a few very noteworthy exceptions. As such, this overview will focus on a couple of them.

“Stranger” by Zhengfan Yang is a collection of compelling vignettes that make one fantastic movie you won’t want to end. Any one of the shorts would probably make a good feature film and is worth the price of admission, but collectively, what a treat. From the opening story of two men being interrogated by agitated police for seemingly bogus reasons, you’re intrigued. Next, a personal favorite of a post-wedding photo session in which the groom indulges a major secret. Another vignette features a husband quizzing his very pregnant wife as to how to get through U.S. airport security questions under the guise of short-term travel. These and other scenarios unfold in “Stranger”, which makes commentary on China’s social, political, and economic identity while exploring themes of where and what is home. Yang uses long takes, without context no less, that manage to continuously captivate, surprise and delight. In fact, the last of the vignettes has absolutely no dialogue. The long continuous, probably one-take scene is of an apartment building in which the audience sees all the tenant’s front window and their various activities. It is all about the visual storytelling, with a bit of natural background sounds. 

Zhengfan seems as much a visual director as an actors director. He makes it hard to believe this is his first film. He is truly one to watch.

Stranger
Director/Writer: Zhengfan Yang
Stars: Jin Jing, Liguo Yuan 
Country: U.S./China/Netherlands/Norway/France, 113m
Language: Mandarin, Cantonese, and English with English subtitles

Another noteworthy selection hails from Lithuania/Latvia. “Drowning Dry” starts off as one thing- in the middle of a mix martial arts match and the locker room afterwards as the winner (Lukas) is surrounded by his family and close friends and their various reactions to his victory- leading viewers to assume it could be a story about the athlete, his sport and his wife’s anguish over it. But soon all the characters, made up of Lukas’ young family and his wife’s sister’s family, are at their shared vacation house in the country and the scene is set for fun, bonding as well as unexpected setbacks and eventual tragedies. Although not much seemingly happens beyond house cleaning, sparse jovial conversations, eating and swimming at the nearby lake, things take a turn, with a couple more twists for good measure.

Writer-director Laurynas Bareiša, an ND/NF returning participant, shoots in a non-linear format, which can be both confusing at times, but also intriguing and interesting. Through it, he presents certain characters’ experiences and their different memories of those experiences.

Title: Drowning Dry 
Director & Writer: Laurynas Bareiša, 2024, Lithuania/Latvia, 88m
Stars: Gemlike Glemzaite, Agne Kaktaite
Language: Lithuanian with English subtitles
Production company: Trickster Pictures

This year’s ND/NF will present 24 features and nine short films, including 20 North American or U.S. premieres. More information on New Directors/New Films and additional film selections can be found here: 

 A Classic Film Festival of New French Films
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If you can’t have springtime in Paris- as in actual Paris- Film Lincoln Center’s (FLC) Annual French film festival can give you the next best thing. Rendez-Vous With French Cinema, co-sponsored by Unifrance, is a welcome breath of fresh air showcasing a wide variety contemporary movies of French filmmakers, both new and emerging as well as established and revered. The 23 movie lineup over 10 days (March 6-16), covers multiple genres, but has a particular focus on drama, comedy and thrillers.

Some of the featured highlights include festival opener, “This Amies”/ “Three Friends” by Emmanuel Mouret. The film explores the complexities of friendship and romantic relationships through the perspectives of three close friends (played by Hair, Camille Cottin, and Sara Forestier). Each friend is experiencing specific life and romance milestone and enlists one another’s advice and support. On the surface and certainly through this film’s trailer, it appears to be almost a light hearted romp, but in actuality, “Three Friends” is a tender and poignant drama that both surprises and delights. In more of the thriller category and a personal favorite is “Les Fantomes”/ “Ghost Trail” directed by Jonathan Millet and featuring a quiet and powerful performance by Adam Bessa. Recently released from Syrian jail, Hamid (Bessa) is seemingly just going through the motions of life, working in construction in Strasbourg, but haunted by his taunted by his past in prison and obsessed by the man who tortured him. As a result, he strikes out to find him and exact revenge by joining a small unofficial network of like-minded people looking for justice for war crimes. Making its U.S. premiere is the six-episode documentary miniseries “DJ Mehdi: Made in France,” an in-depth and pulsating examination of the legacy of this huge talent and star. “DJ Mehdi” is directed by one of Mehdi’s closest friends, Thibaut de Longeville who, not surprisingly, got incredible access and footage.

In the category of quietly arresting is “Hiver à Sokcho”/ “Winter in Sokcho”. Twenty-something Son-ha (Bella Kim) works in a rustic hotel in a small Korean town.Having never met her French father, new emotions arise in her when artist Yan Kerrand (Roschdy Zem) arrives to stay at the hotel. The half-Korean literature student and the French outsider strike up a rapport, but Son-ha thinks she wants more and knows she needs answers regarding her father. This is an intimate and utterly alluring drama set against the rugged and wintry  background of this quiet sea-side town.

Also in the lineup is “Hors du temps”/ “Suspended Hours,” a new release and partially autobiographical movie from seasoned director Olivier Assayas (“Summer Hours”). Taking place during Covid lockdown of 2020, filmmaker Paul Berger (Vincent Macaigne) retreats to a family house in the country, along with his music critic brother and their romantic partners. The brothers endure the stress of a global pandemic while navigating their current relationships and family memories and the arts. This seemingly has all the elements of a meaty family drama similar to Assayas’s masterpiece, “Summer Hours,” but unfortunately it falls short of that. Although at times charming and delightful, and other times a bit dramatic, the somewhat bland writing and one-dimensional characterizations make it difficult for the film to find its footing or its way to strike the right tone.

Other films directed by Rendez-Vous returning favorites that are sure not to disappoint, include the U.S. premiere of In “His Own Image” by Thierry de Peretti, a film where politics and romance meet at the intersection of a noble fight for justice and independence; “When Fall Is Coming” is the latest from legendary filmmaker François Ozon. It is a dark thriller about a retiree whose simple life in the country is not reflective of her complicated past. Just as welcome as returning directors to the festival are festival and French film favorite actors such as the great Vincent Lindon in not just one festival entry, but three: “Le Croix”/ “Cross Away,”“Jouer avec le feu”/ “The Quiet Son” and “The Second Act” / “Le Deuxième Acte” Also participating in the Rendezvous is Isabelle Huppert- small in stature but a giant of French cinema. She stars along with Hafsia Herzi, (“The Secret of the Grain), a relatively new actress with an already big appeal and acclaim. The two are paired up in “La Prisonniere de Bordeaux”/ “Visiting Hours”. This is a moving drama from Patricia Mazuy. Alma (Huppert) is an affluent housewife who meets working-class single mom, Mina (Herzi) during their visits to a prison where both of their husbands are serving time. Despite their different backgrounds, the two forge a bond, with Alma inviting Mina to move her family temporarily with her. It doesn’t take long before their friendship and trust are put to the test. This cinematic pairing is worth the price of admission.

With this being the festival’s 30th season, there seems to be no love lost between New York film goers and French cinema. Likewise, FLC has no plans to stop this annual showcase of beloved filmmakers and their art. Florence Almozini, Vice President of Programming at Film at Lincoln Center, said, “French cinema remains as inspiring as ever, with the strength, vitality, and depth of the films featured in the 30th edition of Rendez-Vous with French Cinema serving as a testament to its enduring power… Film at Lincoln Center is proud to mark 30 years of presenting new French films to New York audiences, in collaboration with our long-standing partners at Unifrance.”

As with all the FLC festivals throughout the year, the directors and/or cast members will be in attendance and on hand for Q & A sessions after most screenings. There are also some festival talks that are free to the public and available online. For more festival information and tickets, go to https://www.filmlinc.org/festivals/rendez-vous-with-french-cinema/#films

A haunting tip prompts a Los Angeles Times reporter to discover that as many as a half a million barrels of toxic waste had been dumped into the ocean in the 50s through the early 60s. Thus begins the career-defining investigative reporting work from Los Angeles Times environmental journalist Rosanna Xia. In 2020, she was the first to break the story of DDT chemicals dumped into the Pacific Ocean, just off the coast of Southern California. The alarming and important journalistic series has gone from the pages of the newspaper now to big screens throughout the country as the independent documentary, “Out of Plain Sight.” DDT was once a heralded and frequently used pesticide, particularly known for controlling insects and vectors of disease, like malaria. While many at the time assumed the dumped chemicals would just be absorbed by the water, having little or no impact, quite the opposite is the case, with the dangerous effects lingering, if not rearing its ugly head all these decades later. To contradict an old turn of phrase that reporter Xia brings up in the film, dilution is NOT a solution to pollution.
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One of the earlier scenes from the documentary is of a wildlife veterinary team rescuing a sea lion washed ashore on a Southern California. It is one of many rescues of late in which the symptoms are the same: a sickly, middle-aged sea lion whose body is racked with cancer. As team member/veterinarian and cancer researcher, Alissa Deming explains how troubling these rescues and finding are. “When you say that 25 per cent of the sea lions we see in our hospital have cancer, that would be a ridiculously high rate even in a human hospital. It’s very abnormal to have a wildlife species, especially these young adults developing a cancer at such a high prevalence. They’re telling us something is going on in the environment.” What’s been going on, as the documentary reveals, is long term effects of the DDT toxic dumping by California Salvage as hired by Montrose Chemical Corporation.

Also early on in Xia’s exploration, are the questions she poses to herself and her editor that serve as catalyst for the investigation. “Is this (toxic dumping) an unknown chapter of history or a forgotten chapter of history?” She, along with the audience, quickly realize that this was not at all a secret. In fact, it was legal and sanctioned. If anything was a secret or unknown until recently, is the fact that what was originally thought of barrels of the chemical used for the dumping, was actually more of a measurement. In reality, the DDT waste was directly poured into the ocean. Since the uncovering of the DDT-related marine issues, a combination of federal and state funding has been dedicated to studying the full scope of the issues at hand. Next steps will involve research for solutions.

Xia who also serves as the film’s producer/director, takes viewers along as she interviews various scientists and experts that are gathering information on the situation and looking for solutions. Soon after the LA Times agreed to partner on the project, Xia joined forces with director Daniel Straub and a small, but experienced film team “with a track record of documenting issues with compassion and nuance.” According to Xia, they came up with a unique approach. “We agreed to approach each filming day as journalism first, which allowed my reporting to open doors that would otherwise have been impossible. Most notably, to bring the audience to hard-to-reach spaces across the silos of science, we pared down the film crew to only three people: myself, Straub and our cinematographer, who doubled as our film editor and deftly operated just one camera in the field.”

While there are a lot of academic-like, science-y type interviews, as to be expected, that at times can pull the average, non-science viewer out for just a bit, they are, thankfully, not done in the traditional “talking heads” format. Instead, the interviewees are in their environment talking things over with and explaining issues to Xia. The viewer gets the sense of following a reporter in the midst of uncovering the story. “We transcended the conventional documentary approach by replacing the sit-down interview with deeply-felt reflections that were captured at sea, in the lab, and during the process of my reporting. We spent entire weeks learning the rhythms of wildlife – and felt their suffering firsthand as we sought to give their lives meaning beyond death,” describes Xia. The film’s style and approach, coupled with the disturbing, yet invaluable information, and shot in way that is richly layered and deeply engaging, make for a vital addition to environmental storytelling. “Out of Plain Sight” is a documentary worth seeking out when at an independent theater and film festival near you, or when available for streaming.

April 21 - Roxy Theater,  Missoula, Montana  at 7:15pm, with filmmakers Q & A to follow.
April 23 - Roxy Theater,  Missoula, Montana  at 7:45pm, with filmmakers Q&A to follow
April 25 - San Diego Asian Film Festival/Ultrastars Cinema Mission Valley at 7pm

Directors: Rosanna Xia & Daniel Straub
Country: United States
Language: English
Run time: 1 hour 34 minutes
Production companies: LA Times Studios, Sypher Studios
Trailer - https://www.outofplainsight.com/about#trailer

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