film

A Star is Born… in Chappaqua: Meet Skyla

August 24, 2020 by Beth Besen

A still from Skyla Schreter’s film, Unbecoming

During these difficult times, it’s important to come together–even when coming together is/must be a virtual reality. As a community, we can support one another and share the beauty; finding solace in that beauty, we can still enjoy our world. Enter Chappaqua’s own Skyla Schreter, dancer and choreographer, most recently with the San Francisco Ballet Company.

Skyla, daughter of Sena Baron and Daniel Schreter and older sister to Brice, grew up in town and, like most Chappaqua children, attended the local schools–in her case, Westorchard Elementary School and Seven Bridges Middle School. But, there and then, the similarities ended. Skyla, who “knew early-on what I wanted” chose and pursued a self-determined dance path when she was but ten years old.

She recalls, “I started with jazz, and I loved it. My mom suggested ballet as she understood it to be a foundation for many kinds of dance, and could provide the tools I needed to enhance the local jazz classes I was taking at the time.” Skyla says she tried a few classes here and there, but nothing felt somehow “right”, until she found Diana White in Scarsdale. With Diana, things “felt serious, structured and classic. It was like a light bulb went off for me.” So, at ten years old, she auditioned for and was accepted into the School of American Ballet (SAB) in Manhattan.

By middle school, Skyla was going in three times weekly; her parents took turns driving her in to the city and back home until she and they were comfortable with her taking the train by herself. In eighth grade, she was invited into SAB’s advanced training classes. This was another watershed moment in her young life, as the additional training time meant that her academic/dance balance would need to be revisited.

In order to make both work, Skyla transferred to the Professional Children’s School on the Upper West Side. For two years, she “took the 6:35 a.m. train with all (my) friends’ dads on Wall Street.” She’d attend academic classes from 8 a.m.–10:30 a.m., then take dance classes for two to three hours, followed by afternoon academics and then a return to dance. She’d finally take an evening train home in the 9 p.m. hour, starting her homework immediately on the return commute. Then she’d get up and do it all again.

This grueling pace finally slowed and became more manageable when she moved into the city at age sixteen, sharing an apartment with fellow dancers. Still, she’d come back to Chappaqua on weekends to spend time with her family with whom she has always been very close.

At her parents’ urging, Skyla took the SATs and completed the Common App in order to have options after high school graduation. However, as her 2013 graduation approached, she was offered a contract with the Boston Ballet in their second company and immediately accepted.

Skyla danced one season with Boston and, “almost on a lark but based on their first-tier reputation” attended an open audition for the San Francisco Ballet which was held in New York City. To her complete surprise, she was not only offered a position, but a contract with their prestigious corps de ballet. She admits that she had never thought of leaving the east coast for the west, but made the leap (or grand jete if you will) and quickly settled in to her new life there.

Skyla danced with the San Francisco Ballet for six seasons. While she had planned to retire this year to focus on choreography– “one of the things that most intrigues and inspires me about choreography is that it is self-made whereas dance is trained. Choreography is something I feel privileged to be able to share”–and move back to New York where she said: “performing arts is still best and most diverse.” The pandemic stepped up her schedule.

Pandemic Pivot

Skyla allowed that her biggest challenge is the “lack of collaboration available, at least physically.” She loves and misses the “real-time energy and ideas that happen and flow in the studio, working together with the dancers.” But creativity won out; Skyla used the initial lock-down period as one of introspection for herself and work. She began experimenting with different ideas, “taking a lot of time to explore details and nuances in my own personal movement that I normally would not allow myself the time or attention for.” She also began creating new outlines for future dance works, choreography she is “ready to translate to real bodies when the time comes.”

All that said, another challenge is the lack of audience. Skyla believes dance to “be a powerful experience not only for those who dance and create it, but for those who witness and watch it.” She found herself questioning the “point” of her work if it was no longer accessible, and determined that she must find a way to adapt dance to the virtual world. She had doubts about the power of dance on camera vs live, but “dove into creating dance that would end up not just on camera, but created for camera.” She was pleased to discover that “dance on camera can be very interesting and powerful in ways that differ from its live self.” One such dance of which she is quite proud is titled Unbecoming* and explores the many inner voices we all have, whether contradicting or difficult to face, and working to respect and ultimately accept them as part of our whole identity as individuals. It is about how these inner voices shape who we become.” Skyla also felt that Unbecoming was inspired by increased pandemic “alone time”, and the idea that alone time could provoke “a certain level of curiosity in the multi-faceted self.” She adds, “especially with all of the racial and social injustice that is finally coming to light, I feel that artists have a responsibility to speak to and mirror the times that we live in.”

Skyla rehearsing her choreography with fellow dancers of San Francisco Ballet
PHOTO BY ©Reneff-Olson Productions

Identity, Community and ‘In:Between’

Speaking of new choreography, prior to the pandemic, Skyla had planned to bring new dance works to New York: “I knew I wanted to launch my choreography by bringing it to a New York audience, and when I heard that the new Chappaqua Performing Arts Center was interested, I thought it would be the perfect anchor and springboard…In:Between was born out of much of my work which explores and deals with the space in between what we know and what we’re told. Dance can tap into a place that words can’t approach. This choreography explores the grey area between our thoughts.”

The plans included six pieces; five of Skyla’s own and one from guest choreographer and principal dancer with the San Francisco Ballet, Wei Wang. Skyla emphasized the team-effort involved with the creation of In:Between which, in addition to featuring dancers from the SF Ballet Corps de Ballet, also included 13 new costumes created exclusively for the show by both San Francisco–and NY-based designers.

In addition to dance, Skyla had lately been turning her creative energies to other artistic media–specifically, both film and painting. Her short film, A Flower, which was an official selection of the San Francisco Dance Film Festival in 2019 and the Utah Dance Film Festival in 2020) shows the journey of a flower through dance, and had been planned as part of the In:Between performance lineup. She had also planned to display her painting at the Chappaqua Performing Arts Center. “Ballet can be thought of as inaccessible or elite, but it’s really just another form of artistic expression,” she said. “I enjoy emphasizing a multi-faceted approach to artistic expression as more inclusive overall.”

Finally, and because art doesn’t just inform and inspire but can gather people for a cause, Skyla has devoted time to the New York-based non-profit Dancers Responding to Aids (DRADance.org), which is a part of the larger Broadway Cares/Equity Fights Aids program. DRA was founded in 1991 by Denise Roberts Hurlin, former Paul Taylor Dance Company member and mother of Skyla’s school-friend and fellow dancer Catherine. Skyla recalls attending annual DRA benefits at SUNY Purchase and “feeling the power, even as a kid, of everyone on stage and in the audience coming together.” She notes that “AIDS is very relevant to the performing arts community” and feels it’s important to do her part to support her community. When audience members and dancers can safely congregate again, Skyla hopes to move forward with In:Between and DRA, perhaps, even as originally planned, at ChappPac!

Encore, Encore

It was impossible to resist asking Skyla many questions, or sharing them further here:

Skyla, you’ve accomplished so much in your young life, kudos to you! People must wonder if you ever felt you were missing out…on a more typical or normal childhood?

Skyla: No, I do not. I feel privileged to have known from an early age what I wanted. My thinking was “I just love to dance!” I recognize what I gave up, but I’m ok with it. There really is no “normal.”

Have you stayed in touch with Chappaqua friends?

Skyla: I left right before high school, and high school is a time when most kids find their paths and deepen friendships, so I don’t really have those friends. But I do keep in touch with my elementary school friends; these were real childhood friendships and they have lasted.

Do you have any advice for today’s kids who, like you, discover a passion early in life?

Skyla: Don’t be afraid to take an unconventional path. It’s not scary, it’s exciting! And, with specific regards to ballet, I think kids should know that you don’t have to be a “tutu ballerina” but can also go in with gym shorts and no makeup. There is no one way to do ballet! Whatever it is you love, go for it!

Finally and before you go–though you’ve graciously shared how you’ve personally pivoted with the pandemic and found new outlets for your creativity, can you briefly discuss your thoughts on how things have changed for the dance community at large?

Skyla: Not being able to train, rehearse, and create together in person has been a huge challenge for the dance community, and not being able to perform for an audience has been such a heartbreaking loss for all of us during this time, on many levels. But dancers are creative, and determined to keep working on their craft in one form or another. I have been taking and teaching dance classes online, virtually. One good thing that has come out of the pandemic is that it has broadened and connected the dance community. What used to be clusters of dancers, kept more or less isolated in their own companies, schools or cities, has spread to become a worldwide community. For example, right now, I am teaching a long-distance “Choreography Workshop” from my apartment living room. Though teaching class over Zoom has its many challenges, I wouldn’t normally be able to connect with these students otherwise at this time! This virtual dance community has so many opportunities for new and fulfilling connections that it takes a bit of the sting away from the physical collaboration we have lost during this time.

I also think what many people miss most, other than working in-person with their friends and dancers, is having the space to move freely. I can’t say that dancing in my living room is anything like an open ballet studio or stage. It is limiting in many ways. I personally have been trying to find ways to dance outside when possible, which is why I chose to shoot my film in various places around San Francisco, all of which were uncrowded enough to be safe for Covid-19 restrictions. Dancers like to be free and expansive with their movements and I think for those who can, finding time to spend in nature in some way or another, is a common choice for helping ease that feeling of being stuck or stagnant.

It’s A Family Affair: Local Award-Winning Father & Son Filmmakers

May 31, 2019 by Ronni Diamondstein

The Kunhardts Produce Documentaries That Shape Our World and Focus on Moral Leadership

For Peter Kunhardt, a six-time Emmy and a Peabody Award winner, collaboration with family is in his DNA. As Executive Producer and Director, Peter partners with two of his sons, Teddy and George, at Kunhardt Films to produce critically acclaimed and socially relevant documentaries about the people and ideas that shape our world.

After ten years as a producer at ABC News, Peter gave up the hectic commute to New York City and founded Kunhardt Productions in Westchester in 1987. His first film project for HBO, JFK: In His Own Words, was in collaboration with his father, Philip B. Kunhardt, Jr., the longtime managing editor of Life Magazine. He had watched the toll that forty years of commuting from Chappaqua took on his father. Peter and his wife Suzy were raising their family in Chappaqua and he wanted to work closer to home.

A Family Business at Heart

“It’s definitely a family business with multiple departments,” says Peter Jr. All the Kunhardt children interned with their father. Peter Jr. worked on two Lincoln books with his father and grandfather. He is now the Executive Director of the Meserve-Kunhardt Foundation and the Gordon Parks Foundation that preserves the work of photographer Gordon Parks and educates the next generation of scholars and students on his work.

Teddy and George joined their father at Kunhardt Films in 2009. George knew as a teen that filmmaking was his future. Teddy, an artist and chef, took a slight detour and ultimately joined his father’s company. Both brought their gifts and talents.

“My skill set and interests are the creative and the technical. I’m more of the people person, in the trenches on filming and working with my crew,” says George whom his father and brother call the “peacekeeper.” “He’s the best spokesman for the company,” says Teddy.

Teddy’s skill set is the business side: deals, the budgeting and more of the legal side, dealing with the lawyers. Their father Peter is overarching, and knows everything about everything says George. “He sits back and listens and chimes in when needed when he has something appropriate or important to say.”

“I listen hugely hard to both Teddy and George. Frankly, they are taking over more and more of what I used to do, and I continue listening,” says Peter. They agree 95% of the time, but Peter will have the last word when they disagree.

While their business office is in Pleasantville near the Jacob Burns Film Center and Metro-North, which were draws for this location, most of the team is in New York at HBO.

“We are fortunate to be partners with HBO. People would be surprised to learn how long it takes to produce a film, and HBO gives us the time we need,” says Teddy. “Pleasantville is the brains, the budgeting, the pre-development side of the projects, and the heavy lifting of producing,” says George. “The HBO team is young, creative, hip and where the exciting culture of filmmaking is done.”

(L-R): George, President Bill Clinton and Teddy

(L-R): George, Hillary Clinton and Teddy

(L-R): Teddy, John McCain, George and Peter

Exploring Moral Leadership Through Film

The notion of moral leadership is always their default in selecting subjects for their films. “Years ago, we said we wanted to explore this concept of moral leadership,” says Peter. “In this day and age of what we’re experiencing now it seems to be a more and more important thing to be doing to remind people what true leadership and true moral courage look like. Fortunately, we were a little ahead of ourselves picking an important kind of theme early on. That’s why it takes us so long to pick the people.”

“And sometimes you have to wait for the hook,” says Teddy. The hook for King in the Wilderness was the 50th anniversary of Martin Luther King Jr.’s death. He was on their list in 2009 but the film did not come into fruition until 2018. “We couldn’t have found a home ten years ago, but once the anniversary was approaching it all seemed right.”

Their very personal film in 2015, Living with Lincoln chronicles their six-generation struggle to preserve Abraham Lincoln’s image for more than a century. As a love letter to Peter’s grandmother Dorothy Meserve Kunhardt, it explores the emotional and physical connection to the president starting with William Meserve and his Civil War diary. Dorothy, a quirky Lincoln scholar, is best known as the author of the beloved interactive children’s book, Pat the Bunny. It was a glorious burden for the family. “I never planned to dedicate so much of my life to Lincoln, it just happened. I felt I owed it to my father, just as he owed it to his mother, just as she felt she owed it to her father,” says Peter.

Teddy and George enjoy working with their father. “We know each other’s strengths and weaknesses. Our communication is so strong that it has been the key to our success,” says George. One of the downsides though is that they talk about their work all the time, which is fun for them, but not so much for their wives.

“We get a lot more from people because we are a family business,” says George. “When we interviewed Joe Biden for John McCain: For Whom the Bell Tolls, we got a lot more access from him. He loved that Teddy and I were brothers. He took my cellphone and called my dad, and told him how much he enjoyed working with us.”

Trust is Key

“The biggest challenge we face is gaining trust,” says Peter. “Once you gain the trust of your subject you begin getting better access, content and stories.” When they filmed Becoming Warren Buffett, Buffett gave them strict restrictions in the beginning, only one interview, but they ended up filming him for fifteen hours. “Trust comes in a few ways: for one, they have to feel that we’re not out to give you a gotcha question. We’ve never been in that business, but we’re not in the business of a soft fluffy story either.”

Storytellers at the Core

They take a deep dive into the lives of their subjects. “We’re not historians, business people or news correspondents,” says Teddy. “We’re storytellers and in order to tell the story we need to get all the pieces of the puzzle.” They often look for people who have a relationship or don’t have a relationship with their parents and explore that in the film. “That’s a unique perspective to take because we’re very interested in lineage: Fathers/sons, fathers/daughters, mothers/sons, mothers/daughters,” says George. “That’s our wheelhouse. It is fun for us to do that within a film and something we look for when we do a project.”

“When you go back to someone’s childhood you learn about strengths and weaknesses and how they came to be in a way that would be hard to imagine by just focusing on the adult period of someone’s life and their success,” says Peter. “It’s fascinating to go back and see what influenced a child, what hurt a child, what helped a child. And how they were shaped by that.”

On the Horizon

Teddy and George have brought some fresh ideas to the film company. In addition to cable, there is now the film festival route. Jim: The James Foley Story premiered at Sundance and won the Audience Award, King in the Wilderness had its world premiere at Sundance and True Justice: Bryan Stevenson’s Fight For Equality will open the AFI DOCS film festival in June. George says that one of the best things that they are doing now is the establishment of the Kunhardt Film Foundation with its mission to put their high-quality educational programs, raw interviews and teaching tools into the hands of the public and schools. “This is our future where we are heading towards. We are doing more not-for-profit,” says Peter.

Their next film, True Justice: Bryan Stevenson’s Fight For Equality will have a screening at the Jacob Burns Film Center on June 25th, and debuts on HBO the following day.

Always reflecting as well as looking forward, they are proud of their high-quality work and very thoughtful filmmaking. “We are fortunate in that we can continue to infuse values into the work we do, and pick people to tell their stories that we think have lessons,” says Peter. George sums it up well: “We’re curating an interesting perspective of people and ideas that people need to be learn about. That is what I hope people enjoy about Kunhardt Films.”

Behind the Scenes Scoop with Andrew Jupin at The Jacob Burns Film Center

March 8, 2019 by Stacey Pfeffer

Bo Burnham and Andrew Jupin in Eighth Grade
PHOTO BY ED CODY

Creating A Local & Cultural Mecca for Film Lovers of All Ages

Back in the day when I lived in the city and was child-free, I had plenty of options to see independent or foreign films. I could traipse downtown to the Angelika Film Center to catch the latest Merchant Ivory film or head crosstown to Lincoln Plaza Cinemas to immerse myself in the latest Pedro Almodovar release. There were a few other art houses and independent movie theaters that I could go to but the Angelika and Lincoln Plaza still stand out vividly in my mind.

Fast forward to a decade later and as a suburban mom with kids, I am lucky enough to live mere miles from the Jacob Burns Film Center (JBFC), a five-screen cinema offering a full range of programming from films, events, community screenings, visiting artists and special guests. I like to think of it as an art house theater with 92 Street Y caliber lectures and classes all rolled into one. And although I don’t get to go there as often as I like, I have been known to sneak in an early movie while the kids are in school or plan a date night to catch an indie film with my husband. I’ve even taken my kids to Family Saturdays at the Media Arts Lab just a stone’s throw away where they’ve made amazing hands-on projects.

Programming Reigns Supreme

“The breadth of programming is what makes us so unique,” explains Andrew Jupin, a Senior Programmer at the JBFC who started working there in 2006 as a projectionist. The movie theater landscape has changed significantly in Westchester in recent years with the Saw Mill Multiplex in Hawthorne shutting down and an anticipated closing of the Greenburgh Multiplex in Elmsford later this year. In addition, new players such as ultra-luxe iPic in Dobbs Ferry and a recently renovated Bedford Playhouse have been attracting moviegoers.

But Jupin argues that seeing movies at these places is an “anonymous experience.” And he’s right. It is not uncommon to see people milling about in the JBFC lobby post-screening discussing a film they just saw. As a programmer, Jupin also works on planning director Q & As and curating films that engage moviegoers throughout Westchester. Each year more than 200,000 people visit the JBFC to see more than 400 films from over 40 countries. Since it opened in 2001, three million people have walked through the doors of this Spanish mission-style theater to see cutting-edge cinema.

Carefully Curated Series

One of Jupin’s responsibilities is programming an ongoing series called Retro Revival sponsored by Wine Enthusiast. It is now in its third year and Jupin is passionate about selecting the films that become part of the series. We discuss a recent showing of I Am Cuba and Jupin’s excitement about the movie which he dubs a “lost treasure” is palatable. “This movie from the former USSR was virtually unseen here.” Martin Scorcese and Francis Ford Coppola were champions of the film and Milestone Films had to fight legal battles to get it shown here.” Jupin loves introducing something like this to an audience. “They [the moviegoers] trust us and our selections.” Jupin likes to choose tried and true classics like It’s a Wonderful Life to offerings that are for “adventurous hardcore cinephiles.”

And Jupin is well-qualified to make those selections. He’s an adjunct professor at the School of Film and Media Studies at Purchase College and also teaches at Westchester Community College. In his spare time, he also hosts a popular weekly podcast called We Hate Movies with several friends where they discuss terrible movies. He’s seen hundreds of “trashy films” and likes the dichotomy of working at JBFC where he gets to “bring worthwhile films to an audience.”

Jupin laments that sell out crowds for a screening are often viewed as a barometer of success. “I’ve been to film screenings where there are ten people but those ten people are blown away and they want to see more films by that director or on a certain subject and they then tell their friends.” Jupin, along with other programmers at the theater, finds it incredibly rewarding when they can open their audience to new ideas or new films not seen in a mainstream moviehouse.

Two other ongoing series at the Burns include Global Watch: Crisis and Social Action and Remix: The Black Experience in Film, Media and Art. “The films in these series are often not the most easiest to watch,” Jupin says but they hold true to board member and curator Jonathan Demme’s vision of the JBFC “as a force for social change disguised as a movie theater.”

Thought-Provoking Q & As and Lectures

As part of his programming responsibilities, Jupin also conducts Q & As with filmmakers, actors or other movie industry veterans. This past year he particularly enjoyed meeting first time director Bo Burnham of Eighth Grade and Alex Winter, the director of the documentary film, The Panama Papers. “The Q & As were so different. Burnham was a former comedian and the discussion was funny and light-hearted. With Winter, we spoke about journalism ethics.”

An Economic Engine for 10570 and Beyond

Having worked in Pleasantville for more than a decade, Jupin loves the tight-knit community aspect of the neighborhood. The Inwood resident enjoys the restaurants, book store and small local shops nearby. The JBFC has strong relationships with several local businesses offering discounts to JBFC members through a program called Reel Partners. This past summer, the JBFC released a study The Economic Close-Up showcasing how it is a cultural magnet and economic driver in the region. As we look out the windows of the Media Arts Lab, there are several multi-unit condos being built within walking distance of the JBFC. In 2018, 80 units of transit-oriented housing were under construction in Pleasantville and six new restaurants had opened within the past year.

An Exciting Future

It is an exciting time for the JBFC with a recent Regional Economic Development Council initiative from Governor Cuomo providing $506,500 to the JBFC for capital improvements. The theater requires a lot of upkeep and they hope to use some of the funds for new seating and other things that will continue to make coming to the JBFC a top-notch experience. “A flat screen TV or a film being screened on Netflix still can’t compare with seeing a film on the big screen.” Throw in the fact that the JBFC is a true cultural and community hub and you’ll know why this five-screen theater continues to be one of the most successful suburban art houses in the country.

Jacob Burns Staff

Edie Demas, Executive Director

Edie joined the JBFC as executive director in May 2014. Previously, she worked with the Wallis Annenberg Center for the Performing Arts in Los Angeles and was Director of Education at New York’s New Victory Theater, where under her direction, its education programs were honored with the Americans for the Arts award for Arts Education. She also spent several years in Ireland, where she worked as an education officer with Graffiti Theatre Company, founded UnReel, an international film festival for young people, developed scripts for children’s film and television, and served as an Associate Artist for Education and Outreach at The Abbey Theatre. Edie holds an MA and PhD from NYU’s Program in Educational Theatre.

Dominick Balletta, Managing Director

Dominick joined the JBFC in May 2008, following seven years as General Manager of NYC’s Film Forum. Since 2011, he has served as an advisor to the DeVos Institute of Arts Management. As a producer his credits include Another Telepathic Thing and I’m Carolyn Parker, both directed by Jonathan Demme, and Moisés Kaufman’s 33 Variations, starring Jane Fonda (Tony Award nomination). He has served as a grant panelist for NEA, NYSCA, ArtsWestchester, and CEC/ArtsLink.

Brian Ackerman, Director of Programming

Brian joined the JBFC as the Founding Programming Director in 2001, which followed several years in an advisory capacity assisting the planning and development of the theaters. He designed the programming template that presents over 400 films annually to include special events, new releases, documentary, foreign-language, retrospective films, as well as thematic series, under one roof. He has worked for over 30 years in the New York cinema arts scene–building, programming, and operating art houses. He also serves on juries at film festivals including SXSW and Full Frame.

Judy Exton, Director of Development

Judy joined the JBFC as Director of Development in December 2001. Prior to this, she raised money for a number of nonprofits, including New York City Ballet, Caramoor, and Boys & Girls Clubs of America. Judy holds a B.A. in Communications from The College of Wooster.

Emily Keating, Director of Education

Emily has overseen the JBFC education programs since their inception in 2001. She has consulted for non-profit film centers on the development of their school programs, and has presented at many national education and literacy conferences. She is an adjunct faculty member at Pace University’s School of Education.

Sean Weiner, Director of Creative Culture

Sean received his M.F.A. from Hunter College in Integrated Media Arts and a B.A. in Cinema Studies from SUNY Purchase, where he is now a faculty member. At the JBFC, Sean is the director of Creative Culture, an initiative connecting emerging makers to creative careers through fellowship opportunities and residency programs.

Westchester Jewish Film Festival

Mark your calendars for one of the most popular film series featured at JBFC- the 18th Westchester Jewish Film Festival. The festival from April 2-17 features 42 entertaining, thought-provoking, and engaging film from documentaries to narratives. Plus, the festival will continue its tradition of bringing some of Israel’s fantastic television programming – 12 episodes of the hit comedy series The New Black (Shababniks) and all five episodes of the dystopian drama Autonomies.

This year for the first time, the festival will kick off with not one but two unique programs. One theater will showcase the New York premiere of award-winning Israeli filmmaker Yair Lev’s You Only Die Twice, a suspenseful documentary thriller with splashes of humor at just the right moments. At the same time, in another theater, we’ll screen the first four episodes of The New Black (Shababniks).

Continuing to feature stunning new films from around the world, we’re also showing Shoah: Four Sisters by the late Claude Lanzmann, which reveals stunning footage not used in his epic 1985 masterpiece Shoah. The festival centerpiece is Golda’s Balcony, the Film, a cinematic event about Golda Meir’s extraordinary life and legacy, featuring a stellar performance by Tovah Feldshuh, who will appear at a post-screening discussion on April 6.

All this, plus a very special tribute to the Carl Reiner!

“This is our most popular series and several shows sell out, so book early,” advises Jupin.

Opening Night with RECEPTION

April 2

6:30 p.m. You Only Die Twice

7:00 p.m. The New Black (Shababniks)

‘Soul Witness’ Epic Documentary of Holocaust Testimonies: November 1 at the Bedford Playhouse

September 28, 2018 by Inside Press

SOUL WITNESS, THE BROOKLINE HOLOCAUST WITNESS PROJECT

After several sold-out Greater Boston area screenings, a documentary featuring Holocaust testimonies over 25 years old, comes to the Bedford Playhouse on Thursday, November 1, 2018

More than 80 hours of witness interviews, conducted by Lawrence L. Langer, one of the world’s foremost authorities on Holocaust testimonies were locked in a metal closet for decades and have never been seen by the general public. Now they have been finally thrust into the spotlight with the documentary film Soul Witness, The Brookline Holocaust Witness Project. In 2017, The film sold-out the 432 seat Coolidge Corner Theatre’s main playhouse within a few days of the release of its trailer and has sold out several screenings in the Great Boston area since.

A special screening of the film will be shown at the Bedford Playhouse on Thursday, November 1, 2018 at 7 p.m. The Bedford Playhouse, Home of the Clive Davis Art Center, is a recently renovated state-of-the-art film, arts and cultural center.

The documentary features a collection of interviews of Holocaust survivors, conducted in the early 1990s. Witnesses describe their lives before the war, growing intolerance; their lives during the war and the affect their experiences still had on them at the time of the interviews. Some of these witnesses survived death camps, some hid, others fought in resistance movements and many saved the lives of others.

Mark Skvirsky, Vice President and Chief Programming Office, Facing History and Ourselves on the film, “This film is important both for the stories that survivors share, but also for the way their voices are presented. The structure and tone of the film “humanizes” these individuals who might otherwise be perceived simply as victims.”

Following the film, there will be a question and answer period with the film’s writer, director and producer R. Harvey Bravman.

Director R. Harvey Bravman on the film, “These interviews contain some of the most epic and noble words I’ve ever heard. The stories and lessons from those who survived this unimaginable tragedy and who bravely shared their experiences 25 years ago provide an important message for our society. In many cases they talk directly about issues of intolerance, racism and genocide, as well as their immigrant and refugee experience.”

It is intended for a general audience with an advisory for children under 13.

Supporters of the film include the Facing History and Ourselves and the Fortunoff Video Archive for Holocaust Testimonies

Soul Witness Ticket Link

More information on the film can be found at https://soulwitness.org.

Jacob Burns Center Creative Culture Fellowship Program: An Incubator for Emerging Filmmakers

June 1, 2018 by Evelyn Mertens

Creative Culture Director Sean Weiner with filmmakers Emily Ann Hoffman, Kerry LeVielle, Leah Galant and Reginald Altidor at the premiere of the 2018 Creative Culture films shown at the Jacob Burns Film Center. PHOTO BY LYNDA SHENKMAN

A 97-year-old Holocaust survivor belts out death metal lyrics as the camera traces her every grimace and growl.

A young red-haired woman, arms riddled with bug bites, slyly challenges her tiny tormentor.

A Haitian-American teen finds nowhere to hide when he is forced to confront a parent about hugely uncomfortable truths.

These are among the moments captured on screen by eight emerging filmmakers, all participants in the Jacob Burns Film Center’s (JBFC) Creative Culture Fellowship program that premiered its 2018 roster of films on April 5. Launched in 2016 to, ostensibly, fill “a gap in support of filmmakers in the Hudson Valley,” it offers an abundance of support and resources to a new generation of Spielbergs, Spike Lees and Sofia Coppolas.

The Selection Process

Applicants to Creative Culture submit a reel with three work samples, an artists’ statement and a short film proposal. Once accepted, each fellow receives mentorship, studio space, production equipment and networking opportunities plus a stipend to fund, wholly or in part, a short film; the program helps each fellow secure independent funding for a second work.

This year, the genres range from magical realism to mixed media to poetic documentary to a claymation ballet. As Creative Culture Director Sean Weiner notes, the intent is to “select filmmakers making wildly different types” of films. He adds, “By selecting the strongest projects we end up with a diverse group.”

Sean Weiner: Creative Culture Director

Weiner is, in fact, the secret sauce behind the program’s success. Beyond his official designation as director and mentor, an unofficial dubbing could be, as fellow Emily Ann Hoffman says, “super-human.”

Weiner’s own journey began with a penchant for acting and visual arts that evolved into filmmaking, an art form that “scratched both itches.” A Cinema Studies graduate of SUNY Purchase with an MFA from Hunter College, he has taught documentary filmmaking to incarcerated persons through the Westchester Department of Corrections and helped that population discover that they are more than “what everybody says they are.”

At the Burns, Weiner formerly ran the high school program, Creators Co-op, and a one-on-one fellowship program.

Accolades All Around for Weiner and the Program

Leah Galant, a fellow, credits Weiner who “harnesses our vision and helps us execute it” and the artists who bring “talent, passion and drive.”

Reginald Altidor, a fellow, says, “Sean is the type of person every filmmaker needs by their side – to motivate them, to push them, to make them think from a different perspective to achieve different reactions from your audience which you wouldn’t have been able to attain on your own.”

What’s next for Creative Culture? Weiner hopes to have a database of talent in the film community including cinematographers, musicians, sound designers, and other film crew members become more interactive and connected.

The successes are mounting. Films produced through the program have gotten into 37 festivals including the prestigious Sundance and SXSW (South by Southwest). Several fellows are already working on feature-length films.

What does the future hold for the emerging filmmakers? Envelope please…

Portrait of the Artists

Emily Ann Hoffman of Bedford has had her films accepted at several festivals internationally and nationwide.

Emily Ann Hoffman, creator of “Bug Bites,” Bedford. Hoffman studied illustration at Rhode Island School of Design (RISD) where she discovered animation which “sparked film for me.” It allowed her “to tell a story,” and add humor to the mix.

While at RISD, she created The Emily and Ariel Show with another Creative Culture fellow, Ariel Noltimier Strauss, which was accepted into several festivals including LA, New Orleans, and Tricky Women (in Austria). The experience “helped me understand the indie film world.”

Her first Creative Culture film, a claymation film, Nevada, got into the highly competitive Sundance 2018. Funding her second film, “Bug Bites,” helped her understand the process of securing money through crowdfunding and grants. A Sundance Ignite Fellow in 2017, she is currently a screenwriting mentee with Sundance’s Feature Film program.

Leah Galant of Cortlandt Manor introduced her film at the Creative Culture premiere in April.

Leah Galant, creator of “Death Metal Grandma,” Cortlandt Manor. Galant was named one of Variety’s “110 Students to Watch in Film and Media,” while majoring in documentary film production at Ithaca College.

She was looking for a job as an usher at the JBFC when she learned about Creative Culture. “This was a project I really wanted to do – it was a perfect time in my life for this to happen,” she says.

Galant was a Sundance Ignite Fellow in 2017 and another of her short films, “Kitty and Ellen,” also about Holocaust survivors, screened at DOC NYC 2017. “Death Metal Grandma” premiered at the 2018 SXSW Film Festival and will screen at Hot Docs Canadian Documentary Festival.

Reginald Altidor of New Rochelle introduced his film at the Creative Culture premiere in April.

Reginald (“Reggie”) Altidor, “Do Not Disturb,” New Rochelle. Altidor started writing stories at eight and filmed comedy skits inspired by Dave Chappelle while in middle school. “It was the baby steps of filming,” he says.

A class in filmmaking at Westchester Community College matured his interest; he received a B.A. in film production from Brooklyn College.

Altidor praises Creative Culture for working with persons from “different backgrounds coming together for a common goal.” As each film was different it took away the competitiveness that sometimes occurs in film school. “We worked collectively, in a group,” he says.

Altidor’s first Creative Culture film was “The Jux.” He currently has three short films in post-production and is working on a feature film and freelances as a writer, director and actor.