Creative Capital

Past and present collide when an Iranian American trans man time-travels through an LGBTQ+ archive on a dizzying and erotic quest to unravel his own sexual desires.

An experimental portrait of the North American commercial fishing industry through the lens of GoPro cameras placed on a fishing vessel off the coast of New England.

A 1950s Southern teen questions her faith and sexuality on the eve of her baptism when urged to repent her feelings for her best friend.

An intimate and kaleidoscopic voyage behind the closed doors of the Chinese birth tourism industry in the U.S.

A true story about a gay boy growing up in the collapsing USSR, his courageous mail-order bride mother, and their adventurous escape to Seattle in the 90s.

Filmmaker Marshall Curry explores the inner workings of the Earth Liberation Front, a revolutionary movement devoted to crippling facilities involved in deforestation, while simultaneously offering a profile of Oregon ELF member Daniel McGowan, who was brought up on terrorism charges for his involvement with the radical group.

Amidst the traditional pomp and circumstance of Filipino elections, a quirky people’s movement rises to defend the nation against deepening threats to truth and democracy. In a collective act of joy as a form of resistance, hope flickers against the backdrop of increasing autocracy.

A spate of robberies in Southern California schools had an oddly specific target: tubas. In this work of creative nonfiction, d/Deaf first-time feature director Alison O’Daniel presents the impact of these crimes from an unexpected angle. The film unfolds mimicking a game of telephone, where sound’s feeble transmissibility is proven as the story bends and weaves to human interpretation and miscommunication. The result is a stunning contribution to cinematic language. O’Daniel has developed a syntax of deafness that offers a complex, overlaid, surprising new texture, which offers a dimensional experience of deafness and reorients the audience auditorily in an unfamiliar and exhilarating way.

“In 1946, my great-grandfather murdered a black man named Bill Spann and got away with it.” So begins Travis Wilkerson’s critically acclaimed documentary, DID YOU WONDER WHO FIRED THE GUN?, which takes us on a journey through the American South to uncover the truth behind a horrific incident and the societal mores that allowed it to happen. Acting as narrator and guide, Wilkerson spins a strange, frightening tale, incorporating scenes from TO KILL A MOCKINGBIRD, the music of Janelle Monáe and Phil Ochs, and the story of Rosa Parks’ investigation into the Recy Taylor case, as well as his own family history, for a gripping investigation into our collective past and its echoes into the present day.

As a visibly disabled person, filmmaker Reid Davenport is often either the subject of an unwanted gaze — gawked at by strangers — or paradoxically rendered invisible, ignored or dismissed by society. The arrival of a circus tent just outside his apartment prompts him to consider the history and legacy of the freak show, in which individuals who were deemed atypical were put on display for the amusement and shock of a paying public. Contemplating how this relates to his own filmmaking practice, which explicitly foregrounds disability, Davenport sets out to make a film about how he sees the world from his wheelchair without having to be seen himself.

FOR OUR CHILDREN unites maternal voices of resilience and solidarity in a poignant cinematic journey. Directed, produced and co-written by Débora Souza Silva, this emotional documentary chronicles the powerful convergence of two mothers, Reverend Wanda Johnson and Angela Williams, whose lives were forever altered by the scourge of police brutality against their Black sons.