Bagages opens as a performance, but then turns the spotlight on newly arrived teenage immigrants studying at Paul-Gérin-Lajoie-d'Outremont High School in Montréal.The film offers fresh and open insights into passage, arrival, and assimilation into a strange and foreign environment—in this case, into our neighbor to the north, Canada. In Migration, by artist Yeon Jin Kim the camera is located in a small model train and travels through a desolate world. Although devoid of human presence, we see many different kinds of animals and slowly, as events develop, a possible narrative begins to emerge.
Dwelling in Greece, Dutch filmmaker Joost Conijn managed to worm his way through a hole in the fence of a migrant camp guarded by soldiers at a deserted airfield. Then in France, outside the notorious Calais ‘jungle’, he waited in a dark field with some newfound acquaintances for trucks going to England. Conijn boldly lives with and follows the inhabitants of several refugee camps—embracing no agenda or preconceived plan.
In Modified, filmmaker Aube Giroux and her mother embark on a personal and poignant investigative journey to find out why genetically modified organisms (GMOs) are not labeled on food products in the United States and Canada, despite being labeled in 64 other countries around the world. Shot over a span of nine years, the film follows the citizen-led movement to label GMO foods.
A fascinating cinematic journey with the brilliant British land artist Andy Goldsworthy—whose maxim “You can walk along the path, or you can walk through the hedge” conveys his urge to know nature more intimately—reveals his latest artistic interventions with natural phenomena near his home.
Join us for brunch as Professor Peter Rutkoff (Kenyon College) once again leads a post-screening dialogue following the 28 minute film. A documentary on (arguably) the most important anti-Vietnam war demonstration of the 1960s, is focused on the march to the Pentagon in 1967.
An exceptional work of humanist cinema—witty and warm, while at the same time gently mocking his own countrymen and delivering some distressing facts about immigration and asylum seekers. Young protagonist Khaled, fleeing Syria, ends up in Helsinki in a shelter with fellow refugees. When his plea for refuge is rejected, Khaled goes on the lam.
Dutch landscape designer Piet Oudolf is one of the leading figures in the New Perennial movement, a recent trend in garden design encouraging the planting of herbaceous perennials and grasses to convey a naturalistic, casual appearance—a philosophy that evokes a more direct link with nature. Filmmaker Tom Piper in person
Legendary Grande Dame of French filmmaking Agnès Varda teams up in Faces, Places with the hipster installation artist JR to create one of the most uplifting cinematic expeditions of the year. (The New York Film Critics Circle voted it Best Non-Fiction Film of 2018.)
All This Can Happen follows the footsteps of the protagonist as he walks through his entire day—small adventures, reflective moments, and chance encounters. A short cinematic poem, Wilderness is based on the writings of naturalist, author and environmental philosopher John Muir—an ode to wilderness, filmed in the Scottish Highlands.
In Lovers of the Night, seven aging monks in a small rural Cistercian monastery in Ireland strive to keep their spiritual life and their fragile community going. Rendered Small reveals delicate structures to an audience that would not otherwise get to see them, while also conveying, in the words of the collectors, what it’s like “to live amongst so many treasures and, as a married couple, with each other’s obsessions.”
At the age of 85, Justice Ruth Bader Ginsburg, the second woman appointed to the U.S. Supreme Court, has cemented her status as a widely revered legal mind and cultural icon. A Brooklyn native of humble origins, Ginsburg was one of only nine women in her class at Harvard Law School and eventually made the university’s prestigious Law Review.
“In 1946, my great-grandfather murdered a black man named Bill Spann and got away with it.” So begins Travis Wilkerson’s critically acclaimed documentary, Did You Wonder Who Fired the Gun?, which takes us on a journey through the American South to uncover the truth behind a horrific incident and the societal mores that allowed it to happen.
Filmmakers Brian Kaufman and Kathy Kieliszewski in person
12th and Clairmount powerfully documents the 1967 Detroit riots—by all accounts the fiercest of the civil disturbances that occurred in America during the “long hot summer of ’67.” Using a massive range of archival newsreels, home movies, contemporary photographs, artwork, and interviews recorded on the spot, the film’s director, Brian Kaufman, creates a vivid portrait of a city on the edge of harrowing change.
Drawing on a rich archive of material from the period, along with riveting oral histories and the on-camera insights of scholars, writers, musicians, artists, religious leaders, and ordinary American travelers, the film explores the genre of travel literature aimed at helping black travelers navigate Jim Crow America.
The famed Chinese artist and activist Ai Weiwei shot his footage for Human Flow using iPhones and drones and other accessible technologies, while traveling and shaping this evolving narrative on the vast topic of human migration. Ai Weiwei witnessed the human drama over the course of a year, in camps and open spaces through twenty-three countries—from the Kenyan refugee crisis to encampments in Bangladesh, Turkey, and Afghanistan, to the border between Mexico and the United States. His purpose in undertaking this enormously challenging project was in part to better grasp the complexities of the global refugee situation and to speculate on how mass migration is changing the world. The resulting film is not only powerful, it is constructed as a boldly poetic statement on injustice and impermanence, and on civilization itself. “I was a child refugee, I know how it feels to live in a camp. . . Refugees must be seen to be an essential part of our shared humanity.” (Ai Weiwei, 2017, 140 minutes)
Through the eyes of seven of these felines, the history and intensity of the city’s relationship with these complex animals unfolds. Far from any resemblance to typical cat footage, however, Kedi presents a brilliantly photographed and choreographed exposé, a sort of philosophical treatise of the concept of home.
Thirteen-year old Aisholpan, a member of the Mongolian Nurgaiv clan, practices the ancient art of eagle hunting just as the men of her family have done for generations. The fact that she happens to be the family’s first female eagle huntress has outraged older members of the Kazakh community, even though her father supports and teaches her, and takes great pride in her skill.
Foreman Kun, his family, and their helpers (a family of migrant workers) run a plastic-recycling factory on the fringes of an industrial wasteland in China. Their dwelling is simple—their days are spent mostly on mounds of dirty imported plastic waste—but they raise a family here, decorating with colorful bits of wrapping and discarded papers and engaging in the quotidian chores of running a household, discussing school, and dreaming of new luxuries.
A quiet Midwestern town about an hour’s drive from Indianapolis, Columbus, Indiana is home to a surprisingly large concentration of modernist architectural masterpieces. From the mid 1940s on, architects like Eliel and Eero Saarinen, I.M. Pei, Richard Meier, Robert Venturi, Susana Torre, Kevin Roche, Deborah Berke, and others were commissioned to design its banks, churches, houses, schools, and other civic buildings.
Four shorts explore the theme "Home": My Deadly Beautiful City (Victoria Fiore, 2016, Russia, UK, USA, subtitled, 11 minutes), Minka: A Farmhouse in Japan (Davina Pardo, 2012, USA, 16 minutes), Winter’s Watch (Brian Bolster, 2017, USA, 14 minutes), and Palmerston Blvd. (Dan Browne, 2017, Canada, 14 minutes).
Produced in the late 1930s when the industrial cities and towns of America were polluting the atmosphere at an incredible rate, The City, commissioned by the American Institute of Planners, promoted a romantic vision—the building of planned green cities such as Greenbelt, Maryland—and thus tried to encourage an exodus from overcrowded and “evil” cities to peaceful suburbs (following the film’s logic, these should emulate New England towns).
Tickets may be purchased at the door.
Ricky Baker (Julian Dennison) is a rebellious orphan whose world is rocked after he’s placed in a foster home in the middle of nowhere in his homeland of New Zealand. After tragedy strikes this new family and he’s threatened again with abduction by a well-meaning but clueless social services agency, Ricky flees into the New Zealand wilderness.