What do the religious right and the gay liberation movement have in common? Both were fortified by the efforts of one woman – Anita Bryant. Part document and part poem, I Just Wanted to Be Somebody brings us back to the late 1970’s and reflects on Bryant’s life and the impact she had. The film is comprised of news footage, commercials and Bryant’s own home movies. (Clips from I Just Wanted to Be Somebody appear in Gus Van Zant's film MILK.)

Jay Rosenblatt的实验拼贴短片，关于恐惧与焦虑。 Afraid So is about fear and anxiety. It is based on a poem where each line forms a question with the implied response being “Afraid so”. Impending doom permeates the film.

A film about fatherhood and the bond between a father and his infant daughter. The filmmaker documents the first eighteen months of the child’s life, showing the progression from newborn to infant to toddler

HUMAN REMAINS is a haunting documentary which illustrates the banality of evil by creating intimate portraits of five of the 20th century's most reviled dictators. The film unveils the personal lives of Adolf Hitler, Benito Mussolini, Joseph Stalin, Francisco Franco and Mao Tse Tung. We learn the private and mundane details of their everyday lives, their favorite foods, films, habits and sexual preferences. There is no mention of their public lives or of their place in history. The intentional omission of the horrors for which these men were responsible hovers over the film. HUMAN REMAINS addresses this horror from a completely different angle. Irony and even occasional humor are sprinkled throughout the documentary. This darkly poetic film is based entirely on fact, creatively combining direct quotes and biographical research. Though based on historical figures, HUMAN REMAINS is contemporary in its implications and ultimately invites the viewer to confront the nature of evil.

An old man reflects on his life. How quickly it all goes by.

"The Smell of Burning Ants" looks at the underbelly of what it calls "male socialization and boyhood cruelty." At one point the narrator says that boys "become boys, in large part, by not being girls. The ones who don't figure this out are the same ones who get beat up." One of the problems that the film is probing is the vacuum of clear social edification; boys get their identity through social cues which are mediated with large distortion. Men who are already fragmented find themselves inexplicably angry, unable to cope with a mechanized society that pigeonholes masculinity as automated and repetitive violence (verbal and physical). The anger gets loosed on the family, and the children internalize this as both being directed toward them and a pattern to mimic. Masculinity is a poisoned bloodline but is the only one transmitted. Boys must reject the creative anima in place of loyalty. If there is a social genealogy the film tracks then it is sired by brute strength and alienation. A lot of the footage is found footage, but it is cut and manipulated enough (optical printing, slowed framerate) that it feels like fiction rather than a documentary. It's a highly charged fiction though, given a haunting soundtrack and a narrative voice that lisps just enough to undercut the seriousness of the tone. It teeters between art and melodrama. It's my favorite Rosenblatt of the bunch I've seen and should get a receptive audience at kg.

A hypnotic, apocalyptic examination of false choices, double binds, vulnerability and faith.

A gloomy, almost apocalyptic vision playing out in a direct sequence of scenes showing hopeless situations and moments when something is headed towards its inevitable conclusion, no matter how far away it still is.

Each year, a father films his daughter on her birthday, asking her the same questions. In just 29 minutes, we watch her grow from a toddler to a young woman with all the beautiful and awkward stages in between. Each phase is fleetingly captured but leaves an indelible mark. Her answers to her father’s questions are just a backdrop for a deeper story of parental love and, ultimately, independence.

The death of my seven-year-old brother when I was nine remains a painful and haunting memory. My parents did not know how to cope with the loss of their child and the entire family experienced indescribable pain. Phantom Limb uses this personal story as a point of departure. Whether it is a loss through death or divorce, the stages of grieving are the same. Individuals often go through denial, anger, bargaining, depression and, ultimately, some kind of acceptance, in order to heal. The film is loosely structured according to these stages. Interspersed throughout this poetic documentary are interviews with a cemetery owner, a phantom limb patient and an author of a book about evidence for life after death. Phantom Limb reminds viewers that while grief is painful and isolating, it is a reminder to each of us that life is impermanent. - Jay Rosenblatt

A mind-boggling “coincidence” leads the filmmaker to track down his fifth grade class – and fifth grade teacher – to examine their memory of and complicity in a bullying incident fifty years ago.