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Kim Voynar

By Kim Voynar Voynar@moviecitynews.com

Sundance Review: The House I Live In

This film started out a little slow for me, and it also does two things I’m generally not fond of in documentary films: it uses a great deal of voiceover, and the director integrates himself heavily into the story. But wait, bear with me, because if you stick with this film, it pays off very well in spite of — perhaps even because of — those things. Jarecki’s a tremendously talented documentarian, and he deftly weaves together his family’s personal history and his own relationship with Nannie Jeter, the Black housekeeper/nanny who cared for him and his brothers when they were growing up, with his own growing understanding of the disparity between the paths he and his brothers took and the paths the members of Nanny’s family, with whom the Jarecki brothers grew up, into a greater tale about the War on Drugs and its disproportionate impact on African-American men.

Jarecki talks in the film about how Nannie Jeter is like a second mother to him, how her children and grandchildren grew to become like his extended family. Jarecki and his brothers came of age in a progressive household on the cusp of the civil rights movement, and this is clearly a very personal film for him that’s been percolating, probably for decades — or at least since he became aware of the way his own life and that of his brothers diverged sharply from the paths of Nannie Jeter’s family as they all got older. And the more he investigated, the more he developed what’s essentially the thesis of this film — that the War on Drugs is misguided at best and unfairly targets minorities. And Jarecki hammers his points home, with precision: There are more Blacks in prison now than there were in slavery before the Civil War. African-Americans are incarcerated at a much higher rate than whites, even for the same crime. Laws that target crack cocaine make the penalties for sale or possession of crack (which is more likely to be used by African Americans) harsher than those for cocaine in its powder form (which is more like to be used by whites).

Jarecki also puts to good use some vintage anti-marijuana PSAs, which seem laughable today, and contrasts them with the nearly identical messages we’re seeing about other drugs now. And he points out something I didn’t know, and that you maybe didn’t either: That while President Nixon targeted drug abuse as a societal ill, his focus was more on treating drug addiction as a problem that people could be helped to overcome, rather than a crime for which they needed to be locked up. And speaking of locked up, for good measure Jarecki also delves into the myriad issues surrounding mandatory minimum sentences, which tie the hands of judges in being able to truly serve justice in many cases.

It’s a great deal of ground to cover in a roughly 90-minute documentary, but Jarecki is up to the task, weaving the many threads of his story together into a very effective, very engaging and cohesive whole. My one caveat about this film is that for me, it feels like it would play better to a television audience than in theaters. That’s not a criticism of the filmmaking, nor do I see that as a bad thing; it would reach a much broader audience through that medium, and the subject matter is too important to allow it to be swept under a rug.

3 Responses to “Sundance Review: The House I Live In”

  1. Andrew St John says:

    Good for Charlotte St Films for taking on a complex and politically unpopular subject. As has been stated, the “war on drugs” is a politician’s response to social inequities that are too complicated for sound bites. (While I’m commenting, I have a problem with this review. The reviewer seems to like the film, but pans it in the first and last lines. He also omits a verb in the last line of the second paragraph. Films are a huge investment; their reviews should be accurate and clear.)

  2. torpid bunny says:

    There are some grammar slips but the review is clear. And the Voynar didn’t pan the movie. Saying the movie would work better on tv is not a pan (as Voynar herself explains). Saying the movie starts slow is also not a pan. Basically your comment amounts to saying you can’t deal with any subtlety.

  3. Kim Voynar says:

    Andrew, thanks for pointing out the missed verb, correction made. 30 films in eight days, reviewing as many as I can, some mistakes slip through. But mea culpa, and thank heavens, there are always the internet police out there waiting to point out anything that slips by me.

    That aside, his wasn’t a pan of the film at all, which I think it pretty abundantly clear. And I’m very aware that films are a huge investment, having worked on this side of the business for eight years, and recently wrapped my first film, which I wrote, directed and produced.

    Also, I’m not a “he,” I’m a “she.” Since we’re being particular about accuracy of small details and all.

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“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
James Gray

“I’m an unusual producer because I control the destiny of a lot of the films I’ve done. Most of them are in perfect states of restoration and preservation and distribution, and I aim to keep them in distribution. HanWay Films, which is my sales company, has a 500-film catalogue, which is looked after and tended like a garden. I’m still looking after my films in the catalogue and trying to get other people to look after their films, which we represent intellectually, to try to keep them alive. A film has to be run through a projector to be alive, unfortunately, and those electric shadows are few and far between now. It’s very hard to go and see films in a movie house. I was always involved with the sales and marketing of my films, right up from The Shout onwards. I’ve had good periods, but I also had a best period because the film business was in its best period then. You couldn’t make The Last Emperor today. You couldn’t make The Sheltering Sky today. You couldn’t make those films anymore as independent films. There are neither the resources nor the vision within the studios to go to them and say, “I want to make a film about China with no stars in it.”Then, twenty years ago, I thought, “OK, I’m going to sell my own films but I don’t want to make it my own sales company.” I wanted it to be for me but I wanted to make it open for every other producer, so they don’t feel that they make a film but I get the focus. So, it’s a company that is my business and I’m involved with running it in a certain way, but I’m not seen as a competitor with other people that use it. It’s used by lots of different producers apart from me. When I want to use it, however, it’s there for me and I suppose I’m planning to continue making all my films to be sold by HanWay. I don’t have to, but I do because it’s in my building and the marketing’s here, and I can do it like that. Often, it sounds like I’m being easy about things, but it’s much more difficult than it sounds. It’s just that I’ve been at it for a long time and there’s lots of fat and security around my business. I know how to make films, but it’s not easy—it’s become a very exacting life.”
~ Producer Jeremy Thomas