Coming on PBS: The Women’s List, With Margaret Cho, Madeleine Albright, Betsey Johnson, Shonda Rhimes, and More

Posted on August 25, 2015 at 8:00 am

The Women’s List is coming to PBS as a part of the American Masters series on September 25, 2015, featuring:

Madeleine Albright, U.S. Secretary of State, 1997-2001
Gloria Allred, lawyer
Laurie Anderson, artist
Sara Blakely, entrepreneur
Margaret Cho, comedian
Edie Falco, actor
Elizabeth Holmes, scientist and entrepreneur
Betsey Johnson, fashion designer
Alicia Keys, singer-songwriter
Aimee Mullins, athlete and fashion model
Nancy Pelosi, politician
Rosie Perez, actor
Shonda Rhimes, writer-producer
Wendy Williams, talk show host
Nia Wordlaw, pilot

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Gurukulam

Gurukulam

Posted on August 23, 2015 at 12:04 am

B
Lowest Recommended Age: Middle School
MPAA Rating: Not rated
Profanity: None
Alcohol/ Drugs: None
Violence/ Scariness: None
Diversity Issues: Diverse characters
Date Released to Theaters: August 22, 2015

It is hard to think of a form of communication more contrary to the internal stillness and oneness of meditation than a movie. Meditation seeks to remove our minds and spirits from the distractions of the outside world to free us from the non-essential. And movies are noisy, with images that are never still and scenes that stop and then start up again in another place and time, while meditation transcends time and place.

And yet the documentary Gurukulam, directed by Jillian Elizabeth and Neil Dalal is so gentle a window into the world of a traditional Advaita Vedanta ashram in Tamil Nadu, India that it is itself a kind of meditation.

https://vimeo.com/113890428

The film is reminiscent of 2007’s Into Great Silence, where Philip Gröning lived in a monastery for six months in near-complete silence, filming the monks’ daily prayers, cores, and rituals. As in that film, the inherent contradiction of making a film about a secluded community to share their world with outsiders is overcome at least in part by the quiet, unassuming, open=hearted approach of the filmmakers.

And it is, of course, fascinating to get a glimpse of this secluded world. We see members of the community perform various everyday tasks and the movie trusts us enough to expect that we will not find it boring, at least not for long, because the rhythms of the film illuminate the essential oneness — there is no separation between chores and worship. We meet people coming to the ashram and learn a little bit about what brought them at this moment and what they are looking for. And we hear some of Swami Dayananda’s lessons. One of the pleasant surprises of the film is how much laughter there is. There is seriousness of purpose, but the members of this community feel and convey a constant sense of joy that is as important a lesson for us as the commentary on the nature of reality.

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Interviews: Jewish Views on Sex and Intimacy in “The Lost Key”

Posted on August 14, 2015 at 3:48 pm

“The Lost Key” is a documentary that explores contemporary society’s confusion of sex and intimacy, and how the ancient principles from Jewish theology can restore the holy connection between husbands and wives. I spoke to director Ricardo Adler, whose own divorce inspired him to explore these traditions, and Rabbi Manis Friedman, who introduced him to Kabbalah’s ancient secrets to attain the highest form of intimacy. The film portrays the dramatic transformation of Ricardo’s new marriage, and the reactions of other couples to this revolutionary way to sexual connection. Adler says that “‘The Lost Key’ reveals forgotten wisdom that could inspire society to rediscover intimacy, one bedroom at a time.”

I asked Adler how he got started with this project.

Adler: I grew up in just a regular, modern, traditional, secular Jewish home. And at some point when I was getting divorced, as the film says, I just decided to start exploring different things, and I ended up discovering that in my own Jewish roots there’s all the answers I need in life. In fact, a lot of the things that I discovered in Judaism and in Kabbalah include some of the ideas that I used to like about other belief systems. You know, Buddhism, Taoism, and etc, so that was kind of nice. And then that process, you start going to school and meeting rabbis and talking to different types of people. After about a year of having started that process, the local Chabad house here in Venezuela organized a shabbaton with Manis Friedman. So he came down, and I must say, I was fascinated by him and his talks and just the way he conveys the knowledge. In fact, he gave one talk where he answered a question I was asking myself for over 20 years, which is,
“What’s the purpose of life? Why are we here?” In one hour, he answered a 20 year search. So I just loved him. So I proposed the idea to him and to my surprise he said yes. And here we are.

https://www.youtube.com/watch?v=9ogZMUCX3lA

What is the difference between sex and intimacy?

Rabbi Friedman: So the difference is a number of things. Number one, what we’re referring to generally, casually to as sex is impersonal. It’s an activity, it’s a performance, it’s a thing. It’s something you do. And this thing can be good, it can be bad, it could be better, it could be worse, like anything. Intimacy means connecting person to person beyond all things. So if we have to put it in a simple phrase, the lost key is the ability to connect to a person beyond all things, which is really what we all want and need.

Why do we get so many contrary messages?

Rabbi Friedman: Actually I think that the experts of the mental health field very recently are saying that it was a mistake to emphasize the pleasure of the relationship and to make people paranoid about whether they’re getting the maximum pleasure, the greatest pleasure, the 25 new secrets to greater sex, constant, constant bombardment, when in fact, people don’t really need more pleasure, they need closeness. Because with all the freedom that we have, and with all the openness on the subject, I think Americans are pretty much, and even so-called happily married couples, the moment they’re quiet and sober, they would admit that they basically feel alone. It’s a very lonely society. Even though we’re very social and we’re very cosmopolitan and we’re outgoing, everything is open, everything is free and casual, but in the end, we feel alone. Because until relate intimately, we really are isolated and alone.

Adler: I think this started with the so-called sexual revolution of the 60’s which emphasized pleasure-based sex and you should have sex with as many people as you want and all this stuff. And then that led to a sexual invasion of society. Sex is used to sell everything. And so that’s what sells because it’s an emotional directive. They are talking to something that is very dear, very important and intimate to any human being, and that’s the pleasure of sex. So it sells, it works, that’s who we are today. The story’s not over. Here we come, hopefully, with a different message. And it’s not just us. I think there’s a lot of people that are really looking at sexuality views today and just saying there’s something wrong here. I mean, if sexuality is your number 1 cause for divorce, along with financial issues, there’s something going on, right? We have a new thing called sexual addictions we didn’t have before. Something’s going on. You have all these young people with these self-esteem problems; something’s going on. We think it’s the lack of intimacy in sexuality.

The adults in the film seem to know very little about intimacy. Who should teach kids and teenagers about this? And when?

Rabbi Friedman: It should be the parents or the teachers. It shouldn’t be a secret subject, a taboo subject that you have to find an expert to talk to your children about it. It should be a natural part of life. You don’t sit your children down and your child and say, “We’re going to have the talk. Now you’re old enough or whatever it is and we’re gonna have the talk.” That sends a bad message. Why don’t you just talk about it the way you talk about anything else in casual conversation? I don’t mean make it casual. It’s not different from the rest of life. You don’t have “the talk” about money, you don’t have “the talk” about jobs, about career, it comes up in casual conversation—you talk about it. So you hear a story of kids who got in trouble or whatever, so you talk about it. It’s not “the talk”. Don’t treat it like something other than life itself.

In the film you talk about not having any devices like phones or television in the bedroom. How do couples create physical and emotional space for intimacy?

Rabbi Friedman: If the bedroom is sacred, then walking into the bedroom actually supports the intimacy that you’re going to engage in because it promotes that feeling of intimacy. You set it aside for that purpose and that kind of generates that kind of energy. So when a husband and a wife walk into a bedroom and close the door, it creates an intimate atmosphere, an intimate mood that supports the emotions that you’re supposed to feel but you can’t always. So you come into a bedroom with all sorts of concerns and distractions, and you’re worried about your bills and you’re worried about your job and you’re worried about your extended family, and now all of a sudden you have to focus to become intimate? That’s not easy. So if you can have some support from the room, from the environment, from the atmosphere, it’s very helpful. I mean, you need help. You do. We all need help to achieve intimacy.

Are there lessons in the film for those who are not Jewish?

Adler: The film is for any married couple. The idea is that you are one before you got married and you can reclaim that oneness within marriage. So intimacy is for any couple whether you are Jewish or non-Jewish, old or young, black or white etc. etc. If you are married you can be intimate. You can have a beautiful healthy marriage and this is one way to get there.

Rabbi Friedman: Absolutely, absolutely. I mean, just thinking about the benefits to the children born from the relationship. When husband and wife are truly focused on each other, it invites the baby into a world in a much healthier way than if the baby is an afterthought. Nothing you get from your spouse can be more important than your spouse. And that includes love, the love you get from him is not as important as him, otherwise you’re married to love. And it includes the physical pleasure of intimacy, because if that’s what you’re looking for, then you’re married to it, not to him. And also, the difference between sex and intimacy is that after sex, you feel a little diminished. You feel a little loss of dignity or self-respect or respect for the person you’re with. It’s just the nature of the behavior of the act that it takes you down a little. Whereas intimacy, after you’ve experience intimacy, each time you feel more innocent than before. Because to be intimate, you have to get past all things to just be you and I, the I and thou, and that is the most innocent part of ourselves.

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Trailer: Drunk Stoned Brilliant Dead: The Story of the National Lampoon

Posted on August 12, 2015 at 8:49 pm

The smart alecks behind the Harvard Lampoon magazine parodies of Cosmopolitan and Time created their own magazine, the National Lampoon, in 1970, and it was like taking everything the Baby Boomers loved about the subversive humor of MAD Magazine and making it dirty, nasty, and offensive. Its most notorious cover featured a gun pointing at a dog’s head and the headline “Buy This Magazine Or We’ll Kill This Dog.” This documentary about the magazine will be in theaters, on iTunes, and on demand on September 25, 2015.

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Interview: Nancy Porter and Harriet Reisen on Louisa May Alcott

Interview: Nancy Porter and Harriet Reisen on Louisa May Alcott

Posted on August 6, 2015 at 3:34 pm

No writer has influenced me more than Louisa May Alcott, and it runs in the family. My mother’s name is Josephine, like Alcott’s most famous (and most autobiographical) character, and she was inspired by Little Women to insist on being called “Jo” — and to become a writer. And her grandchildren call her “Marmie,” inspired by “Marmee,” the mother of the little women. I loved the PBS show American Masters: Louisa May Alcott – The Woman Behind Little Women and am delighted that is is now available on DVD through PBS.

Copyright PBS 2015
Copyright PBS 2015

I enjoyed talking to the women who made the documentary about Alcott, Nancy Porter and Harriet Reisen, who also wrote a book, Louisa May Alcott: The Woman Behind Little Women.

Porter lives in Lexington, not far from Concord, where the Alcott family lived along with their contemporaries and friends, including Ralph Waldo Emerson and Henry David Thoreau. She said, “We decided to try to make a film about her because there hadn’t been a film about her at all, number one and number two there had not been a biography about her in 30 years. So we felt that this was a good time to do it and so we started a very long process of applying for grants and fund-raising which began with the National Endowment of the Humanities, which gave us a large grant and then the American Masters series and a few others gave us the rest of our money.” It took five years to raise the money. But they were determined to tell her story, which will come as a surprise to those who think of Little Women as non-fiction. “She was no little woman and her life was no children’s book. In fact she was almost 6 feet tall it seems. She was very, very tall and so were all the others which is not how I think of them but they are.”

In Little Women, Jo, the headstrong, independent second daughter who grows up to be a writer, at first tries very dramatic, adventurous, even gothic stories to make money but then, guided by the man she will later marry (unlike Alcott, who never married), Jo writes from her heart, and it is her autobiographical novel about her family, written for children, that brings her true satisfaction as well as success. But the documentary makes it clear that it was the other way around. Reisen acknowledged that Alcott herself created the myth that she was Jo. But in reality she got more pleasure from her more bloodthirsty tales, many of which are collected in Behind a Mask: The Unknown Thrillers of Louisa May Alcott. Porter said, “I think she thought she was writing “moral pap for the young” and she was bound to support her family because she certainly had came from rags to riches. She had many, many jobs and lived in 30 houses and she had this idealist father and her siblings and needed to keep this whole machine going.”

Reisen described her contribution to “a series called the No-Name Series, after the success of Little Women. It was a series of anonymous books by famous authors, anonymously. She wrote one called A Modern Mephistopheles and it’s quite heavy duty. The devil character gives the heroine opium in it and she had a wonderful trip on this drug. So I think she loved writing all the thrillers just to take her to those places.” That story won a prize, and no one believed she had written it.

Reisen and Porter knew that they would have to create re-enactments of some of the elements of Alcott’s story.  “First of all, there was almost no images,” said Porter.  “So to spin a story about her using archival material was virtually impossible. The other way to do it was to do a more stylized approach, skirts on stairs and shots of the woods, but we really felt like what we needed to do was introduce Louisa to our audience and to make her a living breathing person.”  “And modern,” added Reisen.  “Somebody who if she had dinner with you, you might not realize she was from the 19th century. Her voice was contemporary.  But we were concerned about re-enactments. So every word that the actors speak comes from primary sources. And then we had the scholars and interviewees and for that we had no narration. We wanted them to tell the story feeling that they were primary sources, too.”

https://www.youtube.com/watch?v=TYtrnMWzVDw

Geraldine Brooks, who was awarded a Pulitzer Prize for her novel based on the character of the father from Little Women and the real-life Bronson Alcott who inspired him, appears in the documentary as well. Reisen said, “I think the thing that really struck me about her was a comment she made that everybody says Louisa couldn’t deal with her father, which is why he is gone for much of the book, but she understood as a novelist why that was the only choice.”

Porter and Reisen talked about what made Alcott’s work so successful when it was first published and why it endured. “She is funny and I think girls identify with one of the characters, usually Jo but sometimes Amy or Beth. And all these girls have faults, serious faults and flaws and they work with them and they seem really imperfect but beautifully drawn female characters and they do silly things sometimes but none of them are silly,” Reisen said. “It’s told very well with a great female character and there aren’t that many written at that time,” added Porter. “It’s a classic coming of age story, too.”

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