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.

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Pride

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“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch