Check out more information about these films, and others, here.

The Rashomon Effect
Directed by Lyric R. Cabral (Accelerator Lab 2017) and produced by Jessica Devaney (Impact & Innovation Initiative, 2016)
What happened when unarmed Black teen Michael Brown was fatally shot by White police officer Darren Wilson?**

Mississippi Red
Directed by Kelly Duane de la Vega (Application Cycle 2013)
Mississippi Red looks at American feminism through the lens of race, religion and the political establishment as a pair of bipartisan allies fight to pass an equal pay bill in one of the most conservative states in the union.**

Going to Mars: The Nikki Giovanni film
Directed by Michèle Stephenson (Breakthrough Filmmaker Award, 2016) and Joe Brewster
Through intimate vérité, archival footage, and visually innovative treatments of her poetry, Going to Mars: The Nikki Giovanni film pushes the boundaries of biographical documentary film to reveal the enduring influence of one of America’s greatest living artists and social commentators.**

Untitled Religious Activism Documentary 
Directed by Penny Lane (Breakthrough Filmmaker Awards, 2017)

*  = From Catapult Film Fund About Us page.

The project is particularly relevant in the wake of the grand jury decision not to indict the Staten Island police officer who killed Eric Garner. The turmoil the country now faces after repeated incidents of racial violence gone essentially unchecked powerfully demonstrates the unfinished business of confronting lynching. My goal is that Always in Season will move viewers to begin dialogues in their communities about not only ways to address the historical racial violence of lynching, but also strategies for stopping the killing of unarmed people of color by police and vigilantes that is occurring in numbers comparable to the rate of lynchings per week, at its height, across the country.

The emotional intensity of the subject matter is definitely challenging. When I first began to look at the collection of photographs of men, women and children posing with the tortured bodies of lynching victims, it was deeply troubling. But, if I’d refused to look closer, I wouldn’t have learned who the people were in those scenes. Just as importantly, I’ve gotten to know inspiring people who are featured in the film, like Olivia Taylor, who witnessed a lynching at the age of 3, and is part of a multiracial group of amateur actors who reenact the 1946 lynching of two couples annually in Monroe, GA, (outside of Atlanta) on the very spot where the violence happened. And, Rev. David Kennedy, who has spent almost two decades fighting to close the shop that sells KKK robes and neo-Nazi memorabilia right in the middle of downtown Laurens, SC, and less than a mile from where his great-uncle was lynched in 1913. In Duluth, MN, three men were lynched in 1920 with two thousand spectators watching. The film goes there to follow Don Clariette, a cousin of one of the victims, along with Warren Read and Mike Tusken, relatives of some of the perpetrators, as they attempt reconciliation after the first-ever memorial to lynching victims was erected. These stories, of descendants and others taking action to acknowledge the victims, repair the damage, and reconcile, light a path towards healing.

It also doesn’t get any more motivating than the support I’ve received from Chicken & Egg Pictures. We finished principal filming and have begun fundraising to create a rough cut. In the earliest days of production, shortly after using up my own funds to shoot test interviews, Chicken & Egg awarded us an I Believe in You Grant. The name says it all! Not only did they provide funding at exactly the right time to make it possible for us to film, but Chicken & Egg also continues to support the project, most recently granting funds for editing earlier this year. Mentorship workshops, like the one I attended last spring and co-sponsored by another valuable project funder, Catapult Film Fund, are just as important and have prepared me for the editing that lies ahead with critical feedback on character development and structure from fellow filmmakers. In fact, my editor, Michaelle Stikitch, and I used notes from that workshop to revise the work-in-progress by June, and that cut of the film screened at the Cucalorus Festival last month.

Cucalorus was outstanding! The festival gave the project exposure and the team more input as the film screened several times at different venues during the week to audiences of students and educators, community organizers, filmmakers, and more. The experience showed me that Always in Season resonates with a broad audience eager to see the film completed.

If you would like more information on the Always in Season project, or if you would like to support the project, visit www.alwaysinseason.net.