MCN Columnists
Ray Pride

By Ray Pride Pride@moviecitynews.com

Sundance Day 2: World-Premiering THE INTERRUPTERS

Introducing THE INTERRUPTERS

Until a magnificent movie in the middle of the evening, the highlight of a woozy first day of Sundance was the sight of Jeff Dowd, “The Dude,” pouring a sleeve of Emergen-C into his Sundance 11 Nalgene water bottle and advising his friends, “Zinc’s better.” A day late and sleep-deprived from the get-go, I had arrived at festival headquarters three-and-a-half minutes past 6pm and failed to get my i.d. Then again, serendipity of serendipities, I would have missed my pleasing Dowd half-second on the cramped, people-jammed Marriott mezzanine.

For the third year, many documentary premieres are at the Temple Theater, an active synagogue located a few miles out, at the outer reaches of Park City. (The entrance to the auditorium, with imposingly tall doors is in the last photo, below.) There’s no parking and because of its distance, it’s essentially reachable only by shuttle bus. Friday night was the world premiere of The Interrupters, directed by Steve James and produced by Alex Kotlowitz and James. At a 9pm start and a 161-minute running time, the Q&A was necessarily short, with four or five buses packed afterwards. But there was little of the bustle or confusion of the Tokyo-packed shuttles earlier in the evening at rush hour, but for lack of a lengthier description, a communal sense of “Wow.” The press kit (but not the film) offers the subtitle, “A Year In The Life Of A City Grappling with Urban Violence.” Chicago had become a symbol of violence in U. S. cities, and the director of Hoop Dreams and the author of “There Are No Children Here,” longtime friends, had found a subject to collaborate on after Kotlowitz’s 2008 New York Times Magazine story on a group called CeaseFire, founded to stem neighborhood violence in Chicago, largely through the intervention of violence “interrupters.” The 300 hours of footage shot across the following fourteen months have been distilled into emotionally pungent, uncommonly intimate work. The language is blunt and raw, and there are bursts of on-camera violence. The most horrifying moment, a video of a killing that was broadcast around the world, is judiciously blurred yet does not lack impact, especially when The Interrupters goes to the young man’s funeral and interviews his friends and family. But the film not only suggests, but demonstrates, through the heroic investment by its subjects, day to day, that the cycle of violence can be broken, and must be broken. In the words of one, the goal is “humility and not anger.” These are powerful stories of trust, transformation, and renewal of hope in Chicago streets and the hearts of America. The closing shot is elegiac, literally dazzling, as sunset ripples golden-orange across the Chicago skyline seen from the west, not the Lake, and yet it also says Chicago, and cities, and Chicagoans, and the hope for a better nation still stand, and stand strong. It’s a powerful image, evoking one last tear, at least from this longtime Chicagoan.

Then the night, coming down. Powder, gentle, from black night sky. Shuttles shudder, disgorge. The hiss of traffic on slush simmers down to nothing. Ahead of me, boots in prior bootprints. Following the example already set.

Photos by Ray Pride: Above, an emphatic introduction by programmer David Courier. Below: Steve James, James introducing Kotlowitz and the charismatic Ameena Matthews, one of the interrupters.

Steve James
Ameena Matthews
Introducting Kotlowitz
James, Kotlowitz
Temple Theater

2 Responses to “Sundance Day 2: World-Premiering THE INTERRUPTERS”

  1. Office Kitano says:

    Great film; great review.

  2. Elmo Wertz says:

    Make sure you go on with your great blog posts, I truly like them.

Pride

Quote Unquotesee all »

“There are different signs that this is not stopping. I don’t think that anger and frustration and those feelings can go away. I hope they don’t. The attention and support for the victims needs to be continued, more than people worried about these abusers and what’s next for them, how are they going to move on — shut up. You know what? If any of these people come back, I would say, “I can’t wait to see who is actually going to support them.” That is going to be the glaring horror. Who is going to be, like, “This is a pressing issue, and we need to get them back?” If a janitor was so great at cleaning the building but also tended to masturbate in front of people, would the people at that building be like, “Yes, he masturbated, but I’ve never seen anyone clean so thoroughly, and I was just wondering when he’s going to get his job back, he’s so good at it.” No, it would be, “That’s not acceptable.” It’s fame and power that people are blinded by.”
~ Tig Notaro in the New York Times

“It’s never been easy. I’ve always been one of the scavenger dogs of film financing, picking up money here and there. I’ve been doing that all my life. This was one was relatively easy because certain costs have gone down so much. I made this film in 20 days whereas 30 years ago, it would have been made in 42.”
~ Paul Schrader