“Thank you for awarding our film, Madame Donalda, Best Documentary and Best Editing!! We are delighted with this result and with your selection and judging process, and the overall experience in championing the work of experimental film.”
THE CAPTOR, 64min., USA Directed by Sean De La Nuez An ex-soldier with PTSD decides to become the vigilante of his neighborhood, taking justice into his own hands against porch pirates.
I was inspired by the growing problem of porch piracy, and I wanted to explore the idea of vigilante justice, questioning where the line is between right and wrong in taking matters into your own hands.
What were your initial reactions when watching the audience talking about your film in the feedback video?
It was surreal and incredibly gratifying to see the audience connect with the themes of the film, and their reactions gave me a lot of insight into how it resonated with different people.
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LAND MASS, 48min,. UK Directed by Jenni Roditi, Sara Pozin A new kind of liturgy is about to begin… a Land Mass. This is a spontaneous, vocal-visual liturgy for the land, sung by a unique choir, The Improvisers’ Choir, conducted by composer Jenni Roditi, who is creating her conducting directions as the improvised music is sung.
TENDU, 2min., USA Directed by Sophie Power, Michelene Mallard Billy What happens when you grow up in a world where there was only one projected image of what a ballerina “should look like” – down to the pink nude pointe shoes?
Michelene: What I connected the dots on is that all of my motivation to create documentary films are all mainly connected to African American arts, culture and society. Contemporary as well as commercial dance was such a safe space for me. I took part in a handful of productions during my formative years. I’ve followed the world of dance since I slowed down to finish school, and I’ve always been more fascinated with those who looked like me in a mainly white centered profession. After originally shelving the idea of making a Black ballet portrait during a stressful, hectic first semester of cramming and making multiple films to meet class deadlines, Sophie encouraged me to continue to develop the film, even offering to co-direct with me.Thus,Tendu was born.
Sophie: When Michelene first pitched the project, I knew right away that I’d like to collaborate to bring it to life. I was struck immediately by her passion for showcasing Black excellence and we both shared a combined interest in cinematography surrounding the movement of dance. In development, we came across many stories of microaggressions which Black dancers faced in their professional journeys. Particularly in the classrooms/studios of their youth. Because of this, we were driven to turn our focus towards those who were shaking this up and paving a better path for the next generation. The name ‘Tendu’ coming from the French word “tense”, is a core ballet movement which “serves as a foundation for many others”. For this project, we decided to play on this analogy by seeking out a selection of talented New York dancers/ teachers who, empowered by their craft, encourage young children of color to get involved in ballet. Thereby creating a warm and welcoming base from which Black talent can grow. Micah’s portrait is the first part of this series.
