Directory of Sponsored Projects

Array
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    [ID] => 133080
    [title] => Love, Jamie
    [text] => Jamie Diaz is a 64-year-old transgender woman serving a life sentence in a men’s prison in Texas. Despite the cruelty of her environment and denial of her humanity, Jamie has built a name for herself as an artist.  

Using the limited materials available to her on the inside, Jamie creates bold and graphic paintings awash in color and symbolism. Many of them are self-portraits depicting herself as a free and proud trans woman. Pain, transformation, and liberation are common themes in her work. Over the past decade, Jamie has been sending her art through prison walls to her friend and chosen family, Gabriel Joffe. 

Gabriel, who is also trans, had come across an intricately illustrated letter from Jamie while volunteering with Black and Pink, an organization of LGBTQ+ people who are incarcerated and their “free world” allies. Hundreds of letters later, a deep and profound friendship has formed between them which has dramatically altered both of their lives. 

With Gabriel’s collaboration, Jamie had her first solo art show at a gallery in New York City in Fall 2022.

Jamie’s story is one of transformation and transcendence. It is a story of an artist who has a deep and abiding friendship with a person she has never touched. It is a story of art declaring life.
    [logline] => The story of Jamie Diaz, a trans artist incarcerated in Texas, and the enduring friendship that brought her art of pride and liberation to the outside world. 
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Array
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    [ID] => 497
    [title] => The Long View
    [text] => The Long View documentary tells the story of the sustained community organizing effort to transform schools in Oakland, California, offering a window into a decade’s worth of learning about the ebbs and flows of change in a community and school district. By following the collective efforts of students, educators, and families, the film shows how grassroots community organizing is a powerful tool for low-income communities and communities of color to rectify inequities in the education system. It provides a window into the challenges facing schools throughout the country, including changing leadership and chronic under-funding, and elevates the power of educators, families, and students to create and sustain a shared vision of student and school success.

At an Oakland screening, Dr. Linda Darling-Hammond told the audience of parents, educators, community members, and organizers: “I feel so privileged and pleased to be here because this film and all the work that you have been doing for many decades is really a testament to what we should be doing in every community in the country.”

Audiences at screenings in cities such as Philadelphia, New York, Providence, Denver, and Detroit have been moved by the stories in The Long View. In the challenges and triumphs of Oakland, they see their own struggles to advance education justice. 

“Your film not only gives voice to education stakeholders who have been unheard in the dialogue around school reform, but also spotlights the inequities that continue to plague our schools.”  Liz Davis, President, Washington DC Teachers’ Union
    [logline] => One community's struggle to create schools that work for all its students.
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Array
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    [ID] => 63718
    [title] => Libertad (Working Title)
    [text] => Alejandra, an Indigenous, transgender woman from Oaxaca, Mexico escaped violence in her hometown and fled to the U.S. 28-years-ago. Today, Alejandra prepares for several long-awaited events in her life before her first homecoming trip: her gender-confirmation surgery, completing a degree, opening a restaurant and making peace with the Catholic Church. 

Alejandra's lifelong quest for a safe place through her intersecting identities has turned her into a beacon of solidarity to many and a testament to the importance –and sometimes limits- of solidarity.

    [logline] => Alejandra, an Indigenous, transgender woman from Oaxaca, Mexico prepares to visit her hometown to reunite with her mother for the first time  after 28 years in the United States. Alejandra's homecoming journey is explored through the multiple communities she identifies with as she calls for solidarity and mutual liberation. 
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Array
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    [title] => Landscapes of Memory
    [text] => Interweaving the stories of a Holocaust survivor descendant, a Nazi descendant historian, Palestinian artists in exile, and the filmmakers’ own reckoning with her familial trauma and her father's ALS, LANDSCAPES OF MEMORY explores how collective memory is both forgotten and instrumentalized, and how the younger generation is finding new ways to confront and reclaim history. 
    [logline] => Weaving personal essay and intimate character studies, LANDSCAPES OF MEMORY explores Germany’s remembrance culture, and the uses and abuses of collective memory.
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            [link] => https://www.wmm.com/sponsored-project/landscapes-of-memory/landscapes-of-memory-still-png/
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            [date] => 2024-10-24 13:22:53
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Array
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    [ID] => 163356
    [title] => LEE: We Are Our Times
    [text] => 1970s NYC was a city in crisis. From the ashes of its lawless streets sprang an art movement that would resonate around the world. ‘Graffiti’ covered the subway trains, instigated by teenagers, who felt they had no voice. They were hunted and criminalized. Yet buoyed by their impact on the city, they pushed forward with their urgent messages.

Lee Quiñones, grew up on the Lower East Side. From a very young age, he knew he was an artist. He overcame challenging circumstances as the city’s neglect brought drugs, AIDS, and devastating loss to his Puerto Rican neighborhood.

Starting at age 13, Lee stole into the tunnels and painted trains. He was on the MTA’s most wanted list by age 16. Millions of people witnessed his cars. Lee understood his power to reach an audience and felt his paintings were a gift of New York City. Lee, always the activist philosopher, painted his city bright, bold, and full of ideas and imagination. By 1981, Lee was celebrated in museums and European galleries, becoming one of the most acclaimed NYC street artists, a pioneer in the genesis of hip-hop culture.

Lee is not only an artist but a teacher, storyteller and instigator. This is a story about his life as an artist, the Puerto Rican community he was nurtured by and his incredible journey from the streets into the fine art world. 

The film will explore his continuing impact on young people and the international street art movement.
    [logline] => Raised in a Lower East Side NYC project, Lee Quiñones’ urgency and need to express himself drove him to become one of the greatest artists to emerge from the 70s/80’s graffiti movement.
 
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Array
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    [ID] => 159676
    [title] => Life After
    [text] => LIFE AFTER is a gripping investigative documentary that exposes the tangled web of moral dilemmas and profit motives surrounding assisted dying. Disabled filmmaker Reid Davenport uncovers shocking abuses of power while amplifying the voices of the disability community fighting for justice and dignity in an unfolding matter of life and death.

In 1983, a disabled Californian woman named Elizabeth Bouvia sought the “right to die,” igniting a national debate about autonomy and the value of disabled lives. After years of courtroom battles, Bouvia vanished from public view. Sundance-winner Davenport embarks on a personal investigation to find out what really happened to Bouvia and reveal why her story is disturbingly relevant today.

LIFE AFTER brings together the missing voices of the disability community in the ongoing debate about assisted dying, uncovering chilling stories of disabled people dying prematurely. Davenport exposes the intersection of systemic failures and personal autonomy, challenging the idea that assisted dying always represents a free choice, when it can sometimes be seen as the only option.
    [logline] => A gripping personal investigation that exposes the tangled web of moral dilemmas and profit motives surrounding assisted dying. Disabled filmmaker Reid Davenport uncovers shocking abuses of power as he amplifies the voices of the disability community and raises the alarm about the "right to die."
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Array
(
    [ID] => 154123
    [title] => The Last Nomads
    [text] => Gara (59) and her daughter Nada (13) belong to an ancient semi-nomadic tribe that herds animals and forages for medicinal herbs in pristine mountains of Montenegro. They walk for days to reach the impressive range of meadows and peaks at 2,000 m above sea level, evoking Biblical landscapes from old masters’ paintings. At the same time, layers and echoes of complexity reveal the intense bond between mother and daughter. In fact, Gara is not really Nada’s mother, but her aunt. Nada was still a baby when her mother was murdered by her violent husband. The Mountain embraced their wounded souls to heal them. 

One day, the soft mountain breeze was disturbed by news that the meadows of Sinjajevina are to become a military proving ground. Without consulting the locals, the Government of Montenegro opens an international proving ground for combat shooting, within the UNESCO biosphere reserve. Gara stands up to defend the land of her ancestors by challenging the ruling government and the patriarchal tradition, hoping for the unity of locals and activists. Aware that Nada’s father will soon be released from prison, she also has to make sure the young girl is ready for the upcoming confrontation. 

While the Sinjajevina landscape is desecrated by military exercises and its animals scared by gun fire, Nada grows from child into a young woman, determined to build on Gara’s resistance and carry on the fight for her land and her identity. 
    [logline] => In the pristine mountains of Montenegro, a semi-nomadic mother and daughter defend their herding tradition and their land from becoming a NATO military training ground. A gripping family and environmental drama unfolds, as the story of violence against women echoes that of violence against nature.
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Array
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    [title] => LISTEN TO MY HEARTBEAT
    [text] => Washington, D.C. may be the political epicenter of the world, but residents beyond Capitol Hill have long battled socioeconomic disparity and fought to have their voice heard. As the city gentrifies, black residents have been pushed to the outskirts, along with their homegrown folkloric music: Go-Go.

We follow: TOB, a popular Go-Go band with a large youth following. TOB is fighting the erasure of Black people and culture through music. LIL CHRIS is the conductor of the twelve-piece band and, as the “lead mic,” he tells the crowd what is going on. FLIP, LIL CHRIS’s older brother, creates harmonizing melodies that blend with his little brother’s lyrics. People of all ages stand in line in anticipation of hearing TOB, dancing and to have their neighborhood stamped. Stamping is when a Go-Go band shouts out the name of a neighborhood, as if to say you were here and you mattered. In the face of housing gentrification and cultural erasure, this is one of a few places where Black Washingtonians are seen, recognized, and celebrated. This is one of a few places that reflects the old D.C. As the city gentrifies, many of those neighborhoods no longer exist.

While TOB fights to keep the essence of Go-Go alive many of their concerts are shut down. We follow TOB as they go from being musicians to activist fighting to save Go-Go music.Through the film we discover there have been different methods of shutting down Go-Go concerts and even tracking Go-Go bands. These methods have been pushed through local government, micro laws / bills and even noise violations.  


The story of gentrification, Go-Go, and politics collide when we meet TRAYON WHITE, a community organizer and school board member. While TOB stamps D.C. residents on the Go-Go Stage, TRAYON is working to stamp the future of D.C.’s residents through legislation. After TRAYON’s mentor - Mayor Marion Berry - died while in office, the Black residents rallied behind TRAYON to run for office to protect them from looming erasure. TRAYON is running for city council in the poorest section of the city and the last to be gentrified. TRAYON grew up on Go-Go, is an ally to the culture, and often works with the Go-Go community to get the political word out and protest unlawful developments and actions happening in the city. TRAYON is on the front lines of Ward 8, running interference between politicians, police, black residents, youth and developers who have open wallets and eyes on his community.

After years of contention between the Go-Go community, local politicians and new residents in the Spring of 2019 the story of Go-Go and Gentrification goes viral. Central Communications is a cellphone store and Washington, D.C, Go-Go landmark. The store has been playing Go-Go music outside of its store since 1990’s. The store is one of the last places in the city where you can still hear Go-Go music being played. After new residents complained about the store playing Go-Go music, a campaign / rallying cry named #dontmutedc went viral, and a change.org petition started. We follow TOB as they take to the street to protest the shutting down of the store. As TOB performed on the street, more than 3,000 people gathered to protest with the band. The protest caused Go-Go lovers and Black residents to protest and get politically active. Here we see the inception of TOB as activist.

TOB and TRAYON work alongside each other, and through their shared story we show the intersection of music, activism and politics. Amid the film we see Trayon go from community activist to politician, and we see TOB go from musicians to Go-Go activists.

LISTEN TO MY HEARTBEAT highlights the culture of Go-Go and its significance to the foundation of Washington, D.C. The film investigates the politics, the over-policing and the gentrification that have led to the displacement of the poor and working-class residents of the city and their music. This is a story of resistance. We tell the story of a community fighting for their humanity, their community, their sound and their…heartbeat. 
    [logline] => LISTEN TO MY HEARTBEAT looks at the gentrification of Washington, DC, through the lens of the city's folkloric music - Go-Go. Amid a gentrification boom, DC natives are facing erasure. The film examines a changing city and the future of the music that gave them a voice.
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    [title] => Little Sallie Walker
    [text] => LITTLE SALLIE WALKER recounts the lyrical and fantastical legacy of Black girls at play, which was once a place of power and refuge for Black women like the film's director. Born in Washington DC, Marta Effinger-Crichlow gets her first taste of freedom in childhood playing circle games, dress up, and double dutch in the late 70s and early 80s. From North to South and East to West, Marta meets Black girls and women who reveal that their shared experiences go far beyond the games they have all played and expose their traumas and socioeconomic struggles.

Through rare archival footage, vibrant home movies, and unique Super-8 recreations artfully woven with intimate vérité and tender testimonials from Alabama, the District of Columbia, southern California, Washington state, and New York, LITTLE SALLIE WALKER tells how Black women and girls use play in their fight for joy and healing.
    [logline] => How did generations of Black women and girls across America, including the film's director, find themselves fighting for joy and healing? LITTLE SALLIE WALKER, an intimate documentary, explores how their precious worlds of play collide with a unique set of traumas and struggles from both the past and present.
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