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Marshall Curry’s Point and Shoot, winner of the Tribeca Film Festival’s Best Documentary Award and a nominee for the upcoming Gotham and IDA Awards, is in theaters now!

The film follows Matt VanDyke, a timid 26-year-old from Baltimore and his unlikely journey to the front lines of the Libyan revolution against Gaddafi. With a gun in one hand and a camera in the other, Matt fought in—and filmed—the war until he was captured and held in solitary confinement for six months. It is a harrowing and sometimes surprisingly humorous story of a young man’s search for political and personal transformation.

In this guest post, two-time Academy Award nominated filmmaker Marshall Curry discusses why he decided to make the film.

Point and Shoot

Marshall Curry:

Two years ago, I got an email from Matt VanDyke. He introduced himself, said he had seen my films, and told me he had recently returned from Libya where he had gone to help rebels overthrow dictator Muammar Gaddafi. He said he had hundreds of hours of footage from the experience and thought it would make a good documentary.

I was intrigued, but explained that I only worked on projects where I had complete creative control and independence, and he agreed to that. A few weeks later he came to New York and spent an afternoon telling his story to my producing partner, Elizabeth Martin (who is also my wife), and me.

Matt was a fascinating person, hard to pin down. His story was rich with questions about adventuring, passion, crossing cultures, chasing adulthood, and the way we craft ourselves. After he left, my wife and I talked for hours, turning over his story and the issues it had raised.

Point and Ahoot

Stimulating those kinds of conversations is the reason I make documentaries. So we thought, “Let’s make a film that replicates the experience we just had—where the audience simply sits down with a stranger and hears his amazing story—and then walks out of the theater to grapple with it.”

As a documentary filmmaker, one of the things that struck me about Matt’s story was the role that cameras played, not simply in documenting his life, but in shaping it.

Inspired by an Australian proto-reality TV show, he sets off—not just to have an adventure—but to cast himself as a character in an adventure movie. Salman Rushdie has said that telling stories about our lives gives us control over them. And today, we often tell these stories with our cameras, posting “selfies” on Facebook and Instagram and Twitter to shape our identities. Matt explains early in the film that he was doing this as well.

And he soon discovers that he isn’t the only one using a camera to shape himself. In the film we see American soldiers in Iraq trying to shape their images for his camera. (As Matt says, “They wanted to be filmed acting like soldiers, even though that’s what they actually were.”)


Matt creates a braver, more confident version of himself whom he plays in his movie, and he even gives the character a tougher sounding name—Max Hunter. But what is so interesting to me, is that he isn’t just “image making.” Matt explains that he actually started to become the character that initially he was simply playing on film.

The Libyan soldiers, also, were shaped by the movies they had seen, and the presence of the cameras in their midst. Even as they were engaged in the most dangerous, high-minded acts of self-sacrifice, they wanted to have footage of themselves looking like Hollywood heroes. And at the end of the war, there were rebels who filmed gruesome “selfies” as they killed Gaddafi.

As I edited through the hundreds of hours of footage, I began to notice the power of home-made images in almost every scene. Activists in the Arab Spring use ubiquitous cell phones to document—and drive—their revolutions. Matt uses his camera to control his Obsessive Compulsive Disorder: putting a frame around an experience somehow turns it into something he can control. And toward the end, Matt explains that—even though he had been a part of the rebellion for months—it was seeing himself on national news that truly validated his role as a rebel fighter. Seeing it on television made it true.

The film doesn’t answer the questions it raises. I wanted, instead, to invite the audience to engage with and wrestle with those questions on their own. After our premiere at Tribeca, I walked across the street to have dinner and overheard two different tables where people were yelling at each other about issues we had raised in the film—which was music to a documentary filmmaker’s ears!

Margaret Brown’s The Great Invisible is at New York’s Village East Cinema through Thursday 11/6. Find tickets here and more screenings across the country here.

When the Deepwater Horizon oil rig exploded and sank in 2010, 11 workers were killed and the ensuing spill was an environmental disaster for the Gulf of Mexico. The Great Invisible follows up on the long aftermath of the devastating accident, talking to survivors, the families of those killed, and the residents of communities still affected by the spill.

We asked Margaret what she looks forward to discussing but rarely gets asked by audiences; her Qs and As are below. Ask these, or your own probing questions, at Saturday’s 2pm screening with Margaret in attendance.

The Great Invisible

Q: Has making The Great Invisible inspired you to make any changes in your day-to-day life?
I’m surprised I don’t get asked more often whether I put my money where my mouth is. When my used Volvo sedan that I’ve had since college started breaking down on the long trips along the Gulf coast, I did decide to go with a more fuel efficient diesel VW wagon. And I’ve spent a small fortune trying out different reusable water bottles. But the biggest change in me is that I just think all the time about how much petroleum we use, and how to use less of it, on a daily basis. It impacts everything.

I often think about the amount a filmmaker flies to promote her film — is it less wasteful to do a Q&A over Skype? Or is that personal connection with your audience too important to pass up? It has really problematized a lot of things that I take for granted (I love traveling, love flying) but it’s also kind of fun to figure out the workarounds. To really change things, I know it would take a systemic overhaul that we’d have to embark on together… really as a planet. I hope that my film helps people understand the connection between filling up our cars and what it takes to get the oil to the pump — then we can start talking about change, once we truly understand how the energy system functions.

TGI Poster

A: How did your crew react to what was unfolding in front of the camera and did that influence how the film was taking shape as you worked on it?
When you are a filmmaker watching your own film on the screen, you often see the “ghost film” in your head — the things that happened that day when you were shooting — you remember what the crew thought about a certain character, how much sleep you got the night before, the argument you had with the cinematographer about the lens choice…

I remember when we shot the scene with the oil executives drinking whiskey and smoking cigars, the whole crew afterward was pretty ​taken ​by the things that the executives had said. They were surprised by how much these executives were thinking about all the things that we think they don’t think about. They do care about the destruction caused by environmental disasters. They don’t oppose alternative energy. It was also intriguing to hear them observe that Americans value convenience above all. ​In addition to just getting schooled on how the system works and what people think behind the scenes, I don’t think the crew was expecting to hear so much thoughtful reflection. They were excited to eavesdrop on that conversation, and kind of shake loose a stereotype. I remember that was one of the nights that everyone lingered much longer over their food, wanting to talk about what they had just witnessed. I knew we had gotten something good, but seeing how it moved people in the moment helped confirm it. Of course, you never really know how a particular shoot fits into the film until it fits, but I felt like my hunch that this element was missing from the film (what people in the industry thought vs. what survivors and victims of the spill thought) was really important to the balance of the film.

Cinereach grantee E-TEAM is in theaters and on Netflix now!

We asked filmmakers Katy Chevigny and Ross Kauffman for a story about their film’s creation and they shared how — with the help of their editor David Teague — they found the missing link that pulled their story together. More below from Katy and Ross:

Ross Kauffman and Katy ChevignyFrom the beginning, the goal for both of us was to make a film that was compulsively watchable, that really felt like a “movie”. We were following human rights investigators whose work was as dramatic as the stuff of fiction and we wanted to bring these characters to light as vividly as we could.

We were lucky to have our cameras rolling when some dramatic events took place in Libya and Syria while we were filming E-TEAM. This was a fantastic first step toward making a strong film. But just capturing that footage wasn’t enough to make the film really feel like a movie. That had to happen in the edit room.

We were lucky again, in that we had a great post-production team. David Teague, our editor, took on this project with gusto, and he had Jamie Boyle, our Associate Editor, and Michael Peterson to assist him as he sorted through 350 hours of footage in multiple languages. Editing this film was not for the faint of heart, to say the least!

To make things somewhat manageable, we pointed David toward our strongest footage and said: Look at this footage first and see what you think. So he watched some of the best of Anna Neistat and Ole  Solvang investigating alleged human rights abuses in Syria at the beginning of the civil war there. Then he watched some of the strongest material we had of Peter Bouckaert and Fred Abrahams exploring abuses in Libya by both sides as Qaddafi fell from power.


David and his team put together a lengthy assembly of this footage. So now we had most of our most dramatic footage in a cut. But there was still a lot of work to do. We had to shape the story and also make the characters come alive. These are two different tasks, but both equally important. David had an idea for how to tackle both tasks at once. After editing for a few months, he started pestering us to go to Berlin, where Fred Abrahams, the father of the E-TEAM, now lived. David had seen the archival footage of Fred testifying against Milosevic in 1999 at the Yugoslav War Tribunals and he loved it.

E-Team Edit

Hell, we all loved that archival. It was one of the reasons we wanted to make the film in the first place. David urged us to film some more with Fred and talk to him about his experiences in Kosovo so that we could add emotional depth and context to the archival footage of Fred facing off with Milosevic. Marilyn Ness, our steadfast and smart producer, got on board with the idea and worked it out so that we could fly to Berlin for a few days to film Fred at home. Going to Berlin was a leap of faith because we weren’t positive this idea would work. But it was worth a shot.

Fred Abraham

When we came back with the Berlin footage, David dug into it and intercut it with archival footage of Fred doing investigative work in 1999 in Kosovo, and with Fred’s nervous and impassioned testimony to Milosevic at the war crimes tribunal. To David’s credit, the intercutting worked. Now we had a three-dimensional character in the form of Fred – hallelujah – and we also had deepened the story of this investigative work by reflecting on this seminal moment in the history of the Emergencies Team.

We all worked together to figure out the best placement of this new thread in the film – we were now jumping back in time and including a new location – but over the next few months we finally figured out how to locate this material in the film for maximum impact. After that, we went back through the cut and added material that helped you really “feel” the characters.

Sometimes, in the effort to make the film move quickly, there can be a tendency to edit out those small moments that illustrate character but are not technically “necessary” to the story. Both of us felt that character was king (and queen) in E-TEAM and so we spent lots of time salvaging those small moments and finding space for them in the film. These are aesthetic choices that were specific to our sensibilities, to what we were looking for in the film.

You never know which shoots are going to yield a great solution to some of the puzzles of constructing a film. Experience had taught us that sometimes you have to just say “Ok, let’s get on a plane and shoot that and see where it goes.” If you listen to the contributions and strong suggestions of a great team, you’re likely to find good ideas that make the film stronger.

Watchers of the Sky in Theaters

Edet Belzberg’s feature documentary Watchers of the Sky opens Friday in NYC’s Lincoln Plaza and in LA at Royal Theatre and Town Center 5. The film interweaves four stories of remarkable courage, compassion, and determination, while uncovering the forgotten life of Raphael Lemkin – the man who created the word “genocide,” and believed the law could protect the world from mass atrocities. Inspired by Samantha Power’s Pulitzer Prize-winning book, A Problem From Hell, Watchers of the Sky is a provocative journey from Nuremberg to The Hague, from Bosnia to Darfur, from criminality to justice, and from apathy to action.

Edet will be at Lincoln Plaza for Q&As during opening weekend and producer Amelia Green-Dove will be at the LA screenings with special guests. In preparation for the filmmakers’ conversation with audiences, we asked Edet if there was a particular question she doesn’t often get asked but welcomes the opportunity to discuss. This was her reply:

“It’s interesting, but people often don’t ask to know more about Raphael Lemkin. He is the heart and soul of the film, but questions tend to focus on our living characters (Samantha Power, Luis Moreno-Ocampo, Benjamin Ferencz, and Emmanuel Uwurukundo). Lemkin was an incredible person, and someone really worth learning more about. In addition to the chapters on him in Samantha Power’s book A Problem From Hell (which inspired the film), someone has actually just pulled together his previously unpublished autobiography. It’s called Totally Unofficial and was edited by the amazing Donna-Lee Frieze.

“And if you are ever in New York I also recommend checking out the Raphael Lemkin papers in the New York Public Library Archives & Manuscripts division on 42nd Street. Lemkin’s notebooks inspired the film’s animation – not only the animated writing but also the more lyrical and ephemeral animated sequences. He had the heart of a poet and was something of an artist himself, even drawing in the margins of his papers. When I first looked through his papers at the library he came alive for me. It was then that the idea to animate parts of his story really took root.”



Grantee PJ Raval’s Before You Know It opened May 30th, 2014 at New York’s Quad Cinema and continues to screen across the country. We asked PJ to share how he made it happen with a guest post on our blog. Find the film near you here

A guest post by PJ Raval

Who says gay seniors can’t be hip and sexy?!

Well…most people actually. And when you tell someone you’ve made a documentary about gay seniors and the aging community, you’d be surprised how many folks like to tell you — though they personally believe that gay seniors certainly should be an amazing and engaging topic — they believe that OTHER PEOPLE believe that gay seniors ARE NOT a “hip and sexy” topic. Somehow “hip and sexy” has become the film watching qualifier for what most people are expected to like, sometimes replaced by the all encompassing “entertaining,” or for documentaries, a “hot topic.”

So when embarking on the distribution of our film Before You Know It (spoiler alert, it’s a documentary about gay seniors!) this was a big barrier to striking a deal with a major distributor. But even without one in our corner, we still believed these stories would resonate with a general audience (as well as “niche” audiences) and we were confident there were theater goers waiting to walk in someone else’s shoes, learn something new about the world, and maybe themselves. But without a major theatrical distributor how could we reach them?

Thankfully, we are living in the era of “creative distribution,” and filmmakers are fully embracing any and every opportunity available to get a film out to audiences. The tools are in place to bypass traditional distributors altogether, by crowdfunding distribution campaigns on Kickstarter or Indiegogo, using online distribution platforms like Vimeo or VHX, and offering theatrical screenings on demand via Gathr or Tugg (just to name a few). In some cases these filmmaker driven options may actually serve a film better – after all, no one will get your film out there the way you would want it done, right? You’ve lived with this film for so long, know it inside and out, and know exactly who your audience is. Who better to steer the course?

As you might have guessed, distribution is a very hard, expensive, and all consuming road. Even as I type this I’m tweeting about our release in NYC, trying to upload our latest trailer to several websites (thank you iTunes!), and replying to various text messages and email from my producing team. Distribution is an unruly full-time job, and by that I mean it functions on a 24/7 clock and there’s no breaks and certainly no paid over time.

Whether or not you get that golden ticket from a traditional distributor, if you want your film to get seen, it’s imperative that you understand the commitment you’ll need to make during distribution. So from someone who is in the thick of it all right now (Before You Know It releases in select theaters starting today, May 30th!), I have a few words of advice for my fellow filmmakers:

1) Embrace “Creative Distribution.” I recently attended a conversation with media maverick and “dealmaker” John Sloss at the Sundance Artist Services workshop (you can read my post about it here), where Sloss argued perhaps traditional distribution models are no longer needed nor preferred. With resources like #ArtistServices, filmmakers finally have the means to get their films directly out to audiences and cut out the “middle man.” The popular model of carving out rights to multiple distributors also allows filmmakers to work with each distributor within that distributor’s expertise. We too are embracing this model for Before You Know It and have broken our rights down into: theatrical, theatrical on demand, educational, broadcast, home video and digital video/on demand. Just make sure you’re aware of each deal’s requirements as holdbacks may interfere (i.e. find a great lawyer for contract review!)

05 Ty and SAGE_WEB

2) You don’t need MOST PEOPLE, you need your “core audience.” Hopefully you’ve done the work of spreading the word near and far and have started that Facebook page, passed around email newsletter sign-up sheets during your early screenings, and completed a crowd funding campaign not only to raise much needed funds but also to help create your fan base. Fans! These people are invaluable because they are part of your marketing team. With every “like,” “share,” and re-tweet they are getting the word out for you. If you have a crowd funding campaign they may also be a major funder. And now with theatrical on demand models they can be your bookers, too! It is imperative that you not only find and identify these people, but involve them in the distribution process as well. Talk to everyone. I can’t tell you how many times someone has asked me about my film and unbeknownst to me they gave me a suggestion, tip, or even a contact for someone who also helped me greatly. Answer every question and respond to every email. I also very much believe in scheduling formal consultations as well as taking friends out to lunch to “pick their brains.” Knowledge is key here and gathering information and ideas from anyone is to your advantage.

3) Be your biggest fan. If I had stopped working on this film the moment anyone in the film industry expressed doubt or disinterest, this film would have been dead in the water at the idea phase. If you don’t find your film amazing how can you expect anyone else to? People love to tell you what they think about your film (good or bad) and of course everyone is entitled to their opinion. But don’t let the bad comments discourage you. Have faith in your vision. Of course constructive criticism can always be helpful if it’s just that, constructive.

06 Dennis camera_WEB

4) It takes more than a village, it take a great dedicated producing team. I can’t imagine (nor do I want to) what this experience would be like if I didn’t have my amazing producer, Sara Giustini, and co-producer, Annie Bush, working tirelessly on getting our film out there. There’s not enough time, energy or sanity for one person to distribute a film solo, so surround yourself with talented, smart, hard working people who believe in the project just as much as you do. The last thing you want are producers who jump ship the moment it feels overwhelming, because it’s always overwhelming. Find cohorts who are fearless, inventive and have a strong vision of their own because what they bring to the table will be invaluable. Also I cannot tell you enough the importance of interns. Thank you interns! Along with good producers usually come great interns who get the work done.

5) Keep your goal in mind, or more importantly, what exactly is your goal? Not every film has the same goal and therefore not every film has the same distribution strategy. It’s crucial that you and your producing team figure out what’s important for you and the film early in the process. Is your goal to reach the largest audience? Get the film into theaters? Hit international markets? Though different opportunities arise for each film, lack of time and money is constant for all, so keeping your main goal at the front of your mind helps you make the best possible choices for allocating resources. It’s easy to get sidetracked and it’s easy to doubt yourself, but if you keep your goal in mind hopefully all your choices will make perfect sense to you. For Before You Know It our goal is to reach the largest amount of viewers possible through traditionally booked theatrical engagements in major markets (The Film Collaborative) as well as theatrical on demand and community screenings (Gathr) to cater to cities with underserved LGBTQ populations. In order to raise the funds to do this, we launched a 30-day Kickstarter campaign (a necessary step to reach our ultimate goal).

6) Hire a good publicist. A very good friend of mine early on told me great publicity goes a long way. Getting the word out is key, so why not work with someone who knows this territory? A good publicist will not only know how to speak about the subject of your film, they’ll also know how to make it a news worthy story and who will be interested in that story. Hopefully you’ve budgeted for them because they don’t always come cheap, but they are worth every penny.

7) Make work mobile; embrace technology. I can’t imagine distributing a film and not owning a smart phone. It’s worth getting that laptop, iPhone or tablet to help you get the work done on the go. I suddenly love plane trips with Wi-Fi because I see it as an opportunity to get through some email. Stuck in line at the grocery store? Might as well use the time to re-tweet or share a post about your upcoming release. There’s never enough lead up time for a release so every moment becomes useful.

8) Embrace social media and an online presence. A friend recently told me they were committing social media suicide and deleting themselves from Facebook and the like. Since then they’ve missed many events, to say the least. Whether or not you enjoy social media, the rest of the world embraces it so it’s to your advantage to embrace it too. And social media sites can be incredibly effective. With one tweet you can reach thousands of people in a short amount of time (hashtag activist anyone?). Just because you have a Facebook account doesn’t mean you’re required to post funny cat photos (though it’s a nice break for everyone if you’re only posting about your film!). But the right post at the right moment can get the word out about a screening. And the right “boosted” post can reach even more folks, so make sure to include Facebook ads in your marketing budget as well. And if you’re not using social media but wish to launch a crowd funding campaign, then I wish you the best luck because you’ll need it!

9) Calling people actually works. Sometimes cold calling is much more effective than an unsolicited email that might get glossed over or end up in someone’s spam box. Many filmmakers who self-book limited theatrical engagements can attest to this. In an email over-loaded world, human conversation can be much appreciated and sometimes it’s simply easier to convey your passion for the film through a conversation where you can also answer any questions.

04 Dennis and PJ_WEB

10) Follow up. In this industry most of us follow the rule if you don’t hear back you can take that as an answer, but the reality is most people are just as busy as you are and need a reminder. Following up can help bump you up in priority or in some cases show the other person your confidence and continued interest.

This list could go on and on and I’m sure another filmmaker’s list will be completely different, but these 10 simple points have gotten me further than I could have ever imagined. On the day of our theatrical release I’m feeling great and more importantly we’re reaching our goal of bringing an unheard story to audiences in theaters alongside X-Men and Maleficent. Maybe gay seniors are hip and sexy after all.

View the trailer for Before You Know It here.

To request a screening in your city, click here.


PJ_HeadshotAbout PJ Raval    Named one of Out Magazine’s “Out 100 2010” and Filmmaker Magazine’s “25 new faces of independent film 2006,” PJ Raval is an award-winning filmmaker whose credits include Trinidad (Winner, Best Documentary Cleveland International Film Festival 2009, Showtime, LOGO), the Christeene video collection (SXSW), and Before You Know It his latest documentary following the lives of three gay senior men (SXSW world premiere). Slant Magazine hailed Before You Know It as an “…exemplary example of a documentary that successfully puts human faces on wider issues, eschewing polemics in favor of the personal.” indieWIRE described the film as “…a crucial new edition to the LGBT doc canon.” Raval is also currently developing a feature fiction narrative with acclaimed screenwriter and playwright Prince Gomolvilas and recently directed a segment called “Rantings” as part of the 2011 remake of Richard Linklater’s indie classic Slacker. Also an award-winning cinematographer, Raval’s work has earned him awards such as the ASC Charles B. Lang Jr. Heritage Award as well as the Haskell Wexler Award for Best Cinematography. PJ has been featured in American Cinematographer and shot the 2009 Academy Award nominated and 2008 Sundance Film Festival Documentary Grand Jury Award Winner Trouble the Water produced/directed by Fahrenheit 9/11 producers Tia Lessin and Carl Deal. In his spare time PJ likes to try and take small naps and pretend he knows ballet.

If you’re attending any of these festivals this spring, here are some Cinereach supported films to keep an eye on.


These festivals wrapped earlier this month:

True/False Film Fest in Columbia, MO (2/27 – 3/2)

» E-Team by Katy Chevigny & Ross Kauffman

» The Vanquishing of the Witch Baba Yaga by Jessica Oreck – World Premiere

» Rich Hill by Tracy Droz Tragos & Andrew Droz Palermo


The Great Invisible

SXSW in Austin, TX (3/7 – 3/16)

» Evolution of a Criminal by Darius Clark Monroe – World Premiere

» The Great Invisible by Margaret Brown – World Premiere, Documentary Grand Jury Award Winner

And these are happening now or coming up soon:
The Vanquishing of the
Witch Baba Yaga

New Directors New Films in New York, NY (3/19 – 3/30)

» The Vanquishing of the Witch Baba Yaga by Jessica Oreck



Cleveland International Film Festival (3/19 – 3/30)

» Before You Know It by PJ Raval 

» Bluebird by Lance Edmands

» The Kill Team by Dan Krauss

» Marmato by Mark Grieco 

» Rich Hill by Tracy Droz Tragos & Andrew Droz Palermo

» War Story by Mark Jackson 

» Watchers of the Sky by Edet Belzberg

Evolution of a Criminal

Full Frame Documentary Film Festival in Durham, NC (4/3 – 4/6)

» E-Team by Katy Chevigny & Ross Kauffman

» Evolution of a Criminal by Darius Clark Monroe

» The Great Invisible by Margaret Brown

» The Hand That Feeds by Rachel Lears & Robin Blotnick – World Premiere

» Rich Hill by Tracy Droz Tragos & Andrew Droz Palermo


Tribeca Film Festival in New York, NY (4/16 – 4/27)

» Gabriel by Lou Howe – World Premiere

» Garnet’s Gold by Ed Perkins – World Premiere

» Point and Shoot by Marshall Curry – World Premiere

» Zero Motivation by Talya Lavie – World Premiere


HotDocs in Toronto, CA (4/24 – 5/4)

» Bugarach by Ventura Durall, Sergi Cameron & Salvador Sunyer

» E-Team by Katy Chevigny & Ross Kauffman

» The Great Invisible by Margaret Brown

» Point and Shoot by Marshall Curry

» Rich Hill by Tracy Droz Tragos & Andrew Droz Palermo

» The Vanquishing of the Witch Baba Yaga by Jessica Oreck

» The Watchers of the Sky by Edet Belzberg


It Felt Like Your Cold Teenage Smiling Faces

What’s a quadruple feature audience appreciation gift-athon?

It’s when you tweet us (or post on our Facebook wall) a photo of all four ticket stubs after you see Teenage, The Cold Lands, It Felt Like Love and Hide Your Smiling Faces in theaters, and we send you personalized gifts from the filmmakers. Each gift is a one-of-a-kind surprise, and is prepared especially for you.

If you live in New York, be sure to catch these films during their opening week engagements:

March 14: TEENAGE at Landmark Sunshine and THE COLD LANDS at IFC Center*
March 21: IT FELT LIKE LOVE at IFC Center
March 28: HIDE YOUR SMILING FACES at Cinema Village

If you live elsewhere, find more screenings on each film’s web site:


Indie releases unite! These four films are teaming up to inspire you to get out to the theater and support their openings, inspired by David Lowery’s August 2013 quadruple feature giveaway.

- Photos must be submitted to Cinereach on Twitter or Facebook by April 31st, 2014.
- You must include at least two ticket stubs in your photo to enter. The more films you see, the more gifts you receive.
- The film title and date on your tickets must be visible in your photo.
- There is a limit of one photo submission per person.
- Filmmaker gifts are distributed on a first-come-first-served basis while supplies last.

Tweet any questions @cinereach.

*The Cold Lands has now left IFC, but more screenings will be posted here in the future.

March 14th is a landmark day for Cinereach. We’re launching two new films in our hometown of New York City, on the same day, within blocks of each other! Are we insane? You decide.

We hope you’ll join us for this double-feature weekend. If so, we’ll see you on our sprints between IFC Center, where Tom Gilroy’s The Cold Lands is playing, and Landmark Sunshine for Matt Wolf’s Teenage.

The Cold Lands   Teenage Poster

More on both films below.


Teenage is a mesmerizing and unconventional documentary about the birth of youth culture. The film, being released by Oscilloscope Laboratories, is a living collage of rare archival material, filmed portraits, and voices lifted from early 20th Century diary entries. It depicts the struggle that erupted between adults and adolescents, between 1904 and 1945, to define the idea of youth that still pervades today.

Bradford Cox’s exhilarating soundtrack is on sale via iTunes.
Find the film here.



When his fiercely self-reliant mother dies unexpectedly, eleven year-old Atticus is wary of the authorities and flees deep into the forests of his Catskills home. His sheltered, off-the-grid childhood is over, and a new life on the move has begun. As Atticus wanders the woods in a daze, relying on whatever food and shelter he can find, the line between reality and fantasy begins to blur. When he encounters Carter, a scruffy, pot smoking drifter who lives out of his car and sells necklaces at music festivals, Atticus latches on. The two form a wary alliance, and as their dependence upon each other grows, neither is quite sure he is making the right decision.

Find the film here.

Cinereach is off to the 2014 Sundance Film Festival. Here are some of our thoughts as we kick off this new year of film, and the projects we’ll be in Park City to celebrate.

Change can be scary. At times, the challenge to adapt can feel insurmountable. But change isn’t a new phenomenon for independent film. The Sundance Institute was founded, over 30 years ago, during a time when technology was evolving and new models for filmmaking were emerging. For Sundance, change meant opportunity, and building a community to harness new approaches unleashed a powerful wave of independent cinema. Then as now, change did not threaten independent film. Change defined it.

We also believe in another kind of change: the power of film to transform how audiences experience the world. Whether we’re exploring Syria with a team of daring human rights abuse investigators, or hijacking an oil tanker from a small boat off the coast of Somalia, films immerse us and move us in ways we can perceive right away, and ways we may never recognize.

Every film’s journey is full of unique challenges. Adaptability, determination, creativity, and above all, collaboration, are essential.  We salute the filmmaking teams and organizations behind these films. They have joined forces to make stories that complicate, resonate, and inspire. In short: vital stories, artfully told.

Drawing inspiration from what Sundance stands for, Cinereach is striving to make opportunity from the change around us. We’re embracing new strategies, re-imagining how we support filmmakers, finding new paths to audiences, and seeking new ways to collaborate with you. We’re excited for the year ahead and the change that will drive it.


E-Team (U.S. Documentary Competition)

E-Team is driven by the high-stakes investigative work of four intrepid human rights workers, offering a rare look at their lives at home and dramatic work in the field.

Directors: Katy Chevigny & Ross Kauffman

Cinereach grantee

Screening Times



Fishing Without Nets (U.S. Dramatic Competition)

A story of pirates in Somalia told from the perspective of a struggling, young Somali fisherman.

Director: Cutter Hodierne

Cinereach Project at Sundance Institute grantee 

Screening Times


Marmato (U.S. Documentary Competition)

Colombia is the center of the new global gold rush and Marmato, a historic mining town, is the new frontier. Filmed over the course of nearly 6 years, Marmato chronicles how the townspeople confront a Canadian mining company that wants the $20 billion in gold beneath their homes.

Director: Mark Grieco

Cinereach grantee

Screening Times

Wisconsin – birthplace of the Republican Party, government unions, “cheeseheads” and Paul Ryan – becomes a test market in the campaign to buy Democracy, and ground zero in the battle for the future of the GOP


Rich Hill (U.S. Documentary Competition)

Look inside the homes and lives of small-town, rural America, where isolated kids confront heart-breaking choices, marginalized parents struggle to survive, and, despite it all, families cling to the promise of equal opportunity and a better life.

Directors: Tracy Droz Tragos & Andrew Droz Palermo

Cinereach Project at Sundance Institute grantee 

Screening Times

War Story (NEXT)

A war photographer returning from the conflict in Libya where she was held captive retreats to a small town in Sicily.

Director: Mark Jackson

Cinereach grantee

Screening Times



Watchers of the Sky (U.S. Documentary Competition)

Interweaving five stories of remarkable courage, Watchers of the Sky takes you on a journey from Nuremberg to Rwanda, from Darfur to Syria, and from apathy to action.

Director: Edet Belzberg

Cinereach grantee

Screening Times



Whiplash (U.S. Documentary Competition)

Under the direction of a ruthless instructor, a talented young drummer begins to pursue perfection at any cost, even his humanity. 

Director: Damien Chazelle

Cinereach Project at Sundance Institute grantee 

Screening Times




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