By MCN Editor editor@moviecitynews.com

Cinema Eye Protests Department of Homeland Security’s Ongoing Harassment of Award-Winning Filmmaker Laura Poitras

FOR IMMEDIATE RELEASE:

April 9, 2012 – New York, New York – Cinema Eye, the film organization that hosts the Cinema Eye Honors and advocates for artistry and craft in nonfiction filmmaking, is releasing a statement today to vigorously protest the Department of Homeland Security’s treatment of our valued colleague, Laura Poitras.

The letter is signed by the full Cinema Eye Executive Board as well as our Filmmaker Advisory Board, of which Poitras serves as Chair.  The letter is also signed by 25 Cinema Eye nominated filmmakers, including five Academy Award winners.

Statement from Cinema Eye on Laura Poitras:

As members of the nonfiction filmmaking community, we want to express our outrage over the ongoing harassment of our colleague Laura Poitras by the US government and the Department of Homeland Security.  We call on the Obama administration to investigate this abuse of power and to bring an end to this persistent violation of America’s bedrock principle of a free press.

Laura Poitras is one of America’s most important nonfiction filmmakers, the recipient of the 2011 Cinema Eye Honor for Outstanding Achievement in Direction for her landmark film, The Oath, and the chair of our Filmmaker Advisory Board.  She was nominated for a Best Documentary Feature Oscar and twice has been nominated for an Independent Spirit Award for her work.  Her long list of credits, awards and impeccable credentials would be easy for anyone to verify.

Over the course of the last several years, as Laura has been working to chronicle the post-9/11 world and the effect of American policies here and abroad, she has been repeatedly harassed, detained, interrogated and has had her cameras and computers seized by Homeland Security officials as she attempts to re-enter her home country.

Not once in more than a dozen detentions and interrogations has Homeland Security found anything to justify this chronic abuse of power.

Within the last week, as Laura was returning from a recent trip abroad, she was once again detained.  This time, however, she was also threatened with being handcuffed for attempting to take notes during her interrogation.

Nonfiction filmmakers perform a vital role in a democratic society, serving as observers and investigators of the world around us.  It is unacceptable for any American nonfiction filmmaker or journalist to be treated in this manner.  They must be able to return to their own country without fear of arrest or fear that their work product will be seized, solely because they are investigating or chronicling subject matter that may be sensitive or controversial.

We ask other members of the nonfiction film and journalism communities to protest this affront to a free press and we reiterate our call on the Obama administration to end these draconian and un-American policies once and for all.

Sincerely,

Sean Farnel, Andrea Meditch, Esther Robinson, AJ Schnack and Nathan Truesdell

Cinema Eye Honors Executive Board

Mila Aung-Thwin, R.J. Cutler, Sam Green, Steve James, Ellen Kuras, Audrey Marrs, James Marsh, Morgan Spurlock, Jennifer Venditti

Cinema Eye Honors Filmmaker Advisory Board

Clio Barnard

Joe Berlinger

Michael Collins

Alex Gibney

Davis Guggenheim

Lixin Fan

Alma Har’el

Asif Kapadia

Lise Lense-Møller

Tia Lessin

Kim Longinotto

Jeff Malmberg

Darius Marder

Albert Maysles

Donal Mosher

Michael Palmieri

Louie Psihoyos

Bill Ross

Turner Ross

Chris Shellen

Bruce Sinofsky

Geoffrey Smith

Ricki Stern

Paul Taylor

Marina Zenovich

Online statement:

http://www.cinemaeyehonors.com/archives/press/cinema-eye-statement-on-laura-poitra

For more information on Laura Poitras:

http://www.praxisfilms.org/

http://www.nytimes.com/2010/05/09/movies/09oath.html?_r=2

http://www.salon.com/2012/04/08/u_s_filmmaker_repeatedly_detained_at_border/singleton/

About Cinema Eye:

Cinema Eye was founded in 2007 to recognize excellence in artistry and craft in nonfiction filmmaking.  The Cinema Eye Honors are the only international nonfiction award to recognize the whole creative team, presenting annual craft awards in directing, producing, cinematography, editing, composing and graphic design/animation.  The 5th edition of the Cinema Eye Honors for Nonfiction Filmmaking was held January 11, 2012 at New York City’s Museum of the Moving Image in Astoria, Queens.  More information can be found at www.cinemaeyehonors.com.

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Julian Schnabel: Years ago, I was down there with my cousin’s wife Corky. She was wild — she wore makeup on her legs, and she had a streak in her hair like Yvonne De Carlo in “The Munsters.” She liked to paint. I had overalls on with just a T-shirt and looked like whatever. We were trying to buy a bunch of supplies with my cousin Jesse’s credit card. They looked at the credit card, and then they looked at us and thought maybe we stole the card, so they called Jesse up. He was a doctor who became the head of trauma at St. Vincent’s. They said, “There’s somebody here with this credit card and we want to know if it belongs to you.”

He said, “Well, does the woman have dyed blonde hair and fake eyelashes and look like she stepped out of the backstage of some kind of silent movie, and is she with some guy who has wild hair and is kind of dressed like a bum?”

“Yeah, that’s them.”

“Yeah, that’s my cousin and my wife. It’s okay, they can charge it on my card.”
~ Julian Schnabel Remembers NYC’s Now-Shuttered Pearl Paint

MB Cool. I was really interested in the aerial photography from Enter the Void and how one could understand that conceptually as a POV, while in fact it’s more of an objective view of the city where the story takes place. So it’s an objective and subjective camera at the same time. I know that you’re interested in Kubrick. We’ve talked about that in the past because it’s something that you and I have in common—

GN You’re obsessed with Kubrick, too.

MB Does he still occupy your mind or was he more of an early influence?

GN He was more of an early influence. Kubrick has been my idol my whole life, my own “god.” I was six or seven years old when I saw 2001: A Space Odyssey, and I never felt such cinematic ecstasy. Maybe that’s what brought me to direct movies, to try to compete with that “wizard of Oz” behind the film. So then, years later, I tried to do something in that direction, like many other directors tried to do their own, you know, homage or remake or parody or whatever of 2001. I don’t know if you ever had that movie in mind for your own projects. But in my case, I don’t think about 2001 anymore now. That film was my first “trip” ever. And then I tried my best to reproduce on screen what some drug trips are like. But it’s very hard. For sure, moving images are a better medium than words, but it’s still very far from the real experience. I read that Kubrick said about Lynch’s Eraserhead, that he wished he had made that movie because it was the film he had seen that came closest to the language of nightmares.

Matthew Barney and Gaspar Noé