Garrett Bradley: What 2017 Films Meant to Me
von Clayton Davis
Awards Circuit reached out to several of this year's awards contenders and asked them to write the answer to the question, "What did 2017 films mean to me?" Through the lens of actors, writers, filmmakers, and craftsmen and women, we will hear directly from the talent themselves and have them reflect on a year that has proven both successful and challenging.
"What did the film year 2017 mean to you? AND what do you hope to see in 2018?"
by Garrett Bradley (Director of "ALONE" the short subject documentary contender and Sundance Grand Jury Prize winner)
Jamaica Kincaid is one of my most beloved authors. I’ve taken solace in her writing, always so perfectly clear its complexity. To reflect on 2017, I am reminded of Kincaid’s question, taken from her 1990 novel Lucy, “Why is a picture of something real eventually more exciting than the thing itself?”
This quote urges us to ask how the events of 2017, devastating and revealing, present more exciting, more manageable and innovating promises for our future? How the documentation and re-telling of this past year will establish a useful reckoning for 2018? Our role as filmmakers is always in one way or another, addressing this question, hinting at the potential for new ways of understanding humanity and the choices we make in everyday life.
My work is invested in creating visible lines between our past and our present both immediate and historical. The political and social choices we make as individuals, as Americans, will always be connected and in response to our past. 2017 presented an opportunity to re-examine the progress we lack and to make use of this reality in the best way possible. I saw this in a range of work this year from Dee Rees’s Mudbound to Jordan Peele’s Get Out and Yance Ford’s Strong Island.
Aloné and Desmond’s story in many ways reflects our country’s history of slavery, in particular for how it mirrors the chronic possibility of separation for enslaved people through the sale of family members. The prison industrial complex is an extension of American slavery and we see this truth, we make this line visible through a personal portrait of one woman’s life and her journey of love in New Orleans, Louisiana.
The films we have made and have seen over the course of the past year, function as a testament to the choices we have made but also serve as a reminder of the exhilarating possibility of getting better.
Watch "Alone" - https://www.nytimes.com/video/opinion/100000004798478/alone.html
Follow @AwardsCircuit on Twitter and Instagram and LIKE us on Facebook
Read the full article
"What did the film year 2017 mean to you? AND what do you hope to see in 2018?"
by Garrett Bradley (Director of "ALONE" the short subject documentary contender and Sundance Grand Jury Prize winner)
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Jamaica Kincaid is one of my most beloved authors. I’ve taken solace in her writing, always so perfectly clear its complexity. To reflect on 2017, I am reminded of Kincaid’s question, taken from her 1990 novel Lucy, “Why is a picture of something real eventually more exciting than the thing itself?”
This quote urges us to ask how the events of 2017, devastating and revealing, present more exciting, more manageable and innovating promises for our future? How the documentation and re-telling of this past year will establish a useful reckoning for 2018? Our role as filmmakers is always in one way or another, addressing this question, hinting at the potential for new ways of understanding humanity and the choices we make in everyday life.
My work is invested in creating visible lines between our past and our present both immediate and historical. The political and social choices we make as individuals, as Americans, will always be connected and in response to our past. 2017 presented an opportunity to re-examine the progress we lack and to make use of this reality in the best way possible. I saw this in a range of work this year from Dee Rees’s Mudbound to Jordan Peele’s Get Out and Yance Ford’s Strong Island.
Aloné and Desmond’s story in many ways reflects our country’s history of slavery, in particular for how it mirrors the chronic possibility of separation for enslaved people through the sale of family members. The prison industrial complex is an extension of American slavery and we see this truth, we make this line visible through a personal portrait of one woman’s life and her journey of love in New Orleans, Louisiana.
The films we have made and have seen over the course of the past year, function as a testament to the choices we have made but also serve as a reminder of the exhilarating possibility of getting better.
Watch "Alone" - https://www.nytimes.com/video/opinion/100000004798478/alone.html
Follow @AwardsCircuit on Twitter and Instagram and LIKE us on Facebook
Read the full article
Clayton Davis
Keine Verbindung
Verbindung wird wiederhergestellt
Etwas ist schiefgelaufen
Wir sind gleich wieder da