Daughters is Natalie Rae and Angela Patton’s odyssey documenting Patton’s program that empowers girls of incarcerated Men yields insight through the subjects themselves – carefree tweens enjoying their chance to just be kids.
10.01.2024 - 17:47 / variety.com
Caroline Brew editor Subject Matter will award a grant of $25,000 to “Daughters” by Angela Patton and Natalie Rae. The documentary will have its world premiere in the U.S. Documentary Competition at the 2024 Sundance Film Festival.
The nonprofit organization Girls For A Change, led by Patton, will also receive a $20,000 grant. “The ‘Daughters’documentary has been an 8-year journey, and every day of hard work and dedication has been worth it,” Patton said in a statement. The grant from Subject Matter will help with the film reach more audiences.
Per the release, “Daughters” tells the story of “four young girls as they prepare for a special Daddy Daughter Dance with their incarcerated fathers, as part of a unique fatherhood program in a Washington, D.C. jail.” “The wisdom of these girls — a sense of healing for themselves that can transcend to their fathers, is at the core of this film. Whether they have known each other for their whole lives, are saying goodbye for 30 years, or meeting for the first time — the intuitive nature of these girls inspires us all.
They remind us we have the ability to feel, heal, and forgive,” Rae said in a statement. The Daddy Daughter Dance shown in the film is a program within Girls For A Change, which was created by Black girls to connect with their fathers on their own terms. The nonprofit’s programs aim to empower Black girls as leaders and catalysts for change by helping them understand their world, celebrate their identity and heritage, become advocates for their rights and discover connectivity through sisterhood while strengthening the connection to their community.
Daughters is Natalie Rae and Angela Patton’s odyssey documenting Patton’s program that empowers girls of incarcerated Men yields insight through the subjects themselves – carefree tweens enjoying their chance to just be kids.
In Black Box Diaries, director Shiori Ito confronts abuse but also a deeply flawed legal system. Her quest for justice begins in spring 2015. Then a young intern at Thomson Reuters, Ito found herself in a nightmarish situation with Noriyuki Yamaguchi, a prominent media figure with political connections in Japan. At the time, he worked at the Tokyo Broadcasting System Television, and was the personal biographer for Shinzo Abe, the former prime minister of Japan.
Filmmakers Julian Brave NoiseCat and Emily Kassie deliver a multilayered film that invites audiences to confront questions about morality and justice, and to bear witness to the lasting intergenerational trauma of the Williams Lake First Nations (Secwepemc or Shuswap Nation) people from the residential school system which included forced family separation, physical and sexual abuse, and the destruction of First Nation culture and language. Drawing on their backgrounds in activism and journalism — as well as NoiseCat’s own personal connection to the story and community — the filmmakers deftly weave together multiple strands to form this compelling, heartbreaking narrative.
Kieran Culkin is opening up about what was happening with Jesse Eisenberg at the 2024 Sundance Film Festival!
The 2024 Sundance Film Festival is almost at an end, but there are still films to screen in the online portion of the festival and, almost as importantly, awards to hand out to happy independent filmmakers. The big winners at this year’s awards ceremony were Alessandra Lacorazza’s “In the Summers” which won the Grand Jury Prize U.S.
The 2024 Sundance Film Festival is almost at an end, but there are still films to screen in the online portion of the festival and, almost as importantly, awards to hand out to happy independent filmmakers. The big winners at this year’s awards ceremony were Alessandra Lacorazza’s “In the Summers” which won the Grand Jury Prize U.S.
Diego Ramos Bechara editor Apple announced plans to provide grants to the Sundance Institute Indigenous Program and the Smithsonian’s National Museum of the American Indian, as a part of the company’s Empowering Creatives program. The grants aim to “continue Apple’s work to support and partner with Indigenous communities” by “supporting organizations that help people in underinvested communities unlock their creative potential.” Per Apple, both grant recipients are “dedicated” to amplifying the voices and experiences of Native and Indigenous peoples.
After seeing its Martin Scorsese pic Killers of the Flower Moon, depicting the “Reign of Terror” in Osage territory, score 10 Academy Award nominations including Best Picture, Apple has announced new grants to the Sundance Institute Indigenous Program and the Smithsonian’s National Museum of the American Indian, in support of Indigenous storytelling and the preservation of Native American history.
Being (The Digital Griot) audience members were encouraged to discuss various issues with an AI bot, including patriarchy and racism. One audience member reportedly shouted, “Fuck this AI.”The film’s creator, Rashaad Newsome responded: “I’m not here to be cursed out and I’m not going to have my AI child be cursed out either.”Newsome also reportedly refused to take part in the post-screening Q&A session until action was taken against the audience member.The incident led staff to remove the audience member from the auditorium.
At the height of their failure, every day was Altamont for the Brian Jonestown Massacre, the San Francisco outfit founded in 1990 by Anton Newcombe, the Klaus Kinski of psychedelic rock. Just in time for this 20th anniversary overhaul of Ondi Timoner’s breakthrough documentary, the BJM were back in the news as recently as November 2023, when the first night of an Australian tour ended in a riot. That the riot was confined to the stage, and played out in front of a dumbfounded audience, is DIG! XX in a nutshell, a welcome return for a film that no less an authority than Dave Grohl calls, in a specially filmed new intro, “the greatest rock’n’roll documentary of all time”.
Glen Powell is getting some very special support at the premiere of his new Netflix movie!
Pending Woody Allen’s final and absolute cancellation, few directors have emerged to take his place as an erudite and literary artist whose work combines snappy wordplay, base sex jokes and a philosophical willingness to stare into the abyss. Jesse Eisenberg staked a tentative claim to that throne with his 2022 debut When You Finish Saving the World, an amiable but scrappy political satire about a left-wing mother and son, but his follow-up makes a stronger case, being much more adult, less broadly scripted, and as depressing as Woody Allen circa Stardust Memories (which his sophomore film as director obliquely resembles, with its talk of chance, fate and irony).
Addie Morfoot Contributor In 2013, Angela Patton gave a TEDWomen talk that described a father-daughter dance for incarcerated dads and their daughters. That talk was viewed over a million times and inspired the documentary “Daughters,” which has its world premiere Monday at the Sundance Film Festival. In the film, Patton, who in the past decade has helped arrange approximately 15 Daddy Daughter Dances across the nation, and co-director Natalie Rae follow four young girls preparing for the event with their fathers in a prison in Washington, D.C.
In the realm of zombie-themed films, a genre often filled with clichés and predictable plot lines, Handling the Undead aims to stand out as something different.
Sundance has a long history of screening films that tackle issues of race in the U.S. from every possible angle. Some are angry (Birth of a Nation, 2016), some satirical (Dear White People, 2014), and some quite gonzo (Sorry to Bother You, 2018).
Saoirse Ronan is stepping out to promote her new movie.
Directed by Steven Soderbergh and penned by David Koepp, the haunting psychological thriller Presence follows a fractured family as a mysterious supernatural force infiltrates their new home that has taken interest in their daughter Chloe. The film is written by David Koepp and stars Lucy Liu, Chris Sullivan, Callina Liang, Eddy Maday, West Mulholland, and Julia Fox.An unsettling presence permeates the home of Chris (Sullivan) and Ruth (Liu) before they even move in. This supernatural entity is a witness to the family’s most vulnerable moments. It has a particular focus on the couple’s young daughter Chloe (Liang), who is always at odds with her mother and Brother Tyler (Maday). However, the young girl is in mourning because of her two girls, one of them her best friend Nadia, died recently.
Julia Fox is revealing future plans for her book “Down the Drain”!
For some reason the films in the Midnight strand at this year’s Sundance Film Festival haven’t actually been screening at midnight. This is probably good news for Greg Jardin’s ingenious horror-thriller, which, while perfect for a late-night-crowd, has perhaps too much meat on it to digest past the witching hour. But its complexity is also its allure, and there’s so much going on beneath its many surfaces that it could conceivably become a bona fide cult hit. A Sundance launch is a mixed blessing when it comes to this, so it’s hard to say right now whether It’s What’s Inside has the crossover immediacy of a Blair Witch Project or the long-haul slow-burn of a Donnie Darko. Whichever way it turns out, this is first-class genre filmmaking and an impressive calling card for everyone involved.
Anyone with more than a passing interest in the weird and wonderful will have seen, if not heard of, the Patterson-Gimlin footage, the cryptoozological equivalent of the Zapruder film. Shot in 1967 in the forests of Northern Carolina, it purports to show a large, ape-like creature with an elongated forehead striding purposefully into the trees. Unlike an ape, the creature walks upright, and, unlike the furtive behavior of any other forest creature, it has the casual air of the average human being popping over to the 7-11 to pick up a gallon of milk. Most people who see the footage wonder what the hell this damn thing is, but the sibling directors of Sasquatch Sunset have a couple more questions that they’d like answered. Like, where is it going? And what does it do all day?