Jane Gillooly

The death of Michael Brown, shot by a Ferguson, Missouri police officer in 2014, was national news after protests erupted there. But the history of Ferguson, a formerly whites-only "sundown town,” and the neighboring black town of Kinloch, now semi-abandoned, is not well known. Incorporating reflections of residents of Kinloch and Ferguson (including Gillooly, who grew up in Ferguson), this film explores the relationship between these two towns. Beginning with a 1960s roadblock that divided then-white Ferguson from black Kinloch, the film depicts a micro-history of race relations in America.

The death of Michael Brown, shot by a Ferguson, Missouri police officer in 2014, was national news after protests erupted there. But the history of Ferguson, a formerly whites-only "sundown town,” and the neighboring black town of Kinloch, now semi-abandoned, is not well known. Incorporating reflections of residents of Kinloch and Ferguson (including Gillooly, who grew up in Ferguson), this film explores the relationship between these two towns. Beginning with a 1960s roadblock that divided then-white Ferguson from black Kinloch, the film depicts a micro-history of race relations in America.

The death of Michael Brown, shot by a Ferguson, Missouri police officer in 2014, was national news after protests erupted there. But the history of Ferguson, a formerly whites-only "sundown town,” and the neighboring black town of Kinloch, now semi-abandoned, is not well known. Incorporating reflections of residents of Kinloch and Ferguson (including Gillooly, who grew up in Ferguson), this film explores the relationship between these two towns. Beginning with a 1960s roadblock that divided then-white Ferguson from black Kinloch, the film depicts a micro-history of race relations in America.

The death of Michael Brown, shot by a Ferguson, Missouri police officer in 2014, was national news after protests erupted there. But the history of Ferguson, a formerly whites-only "sundown town,” and the neighboring black town of Kinloch, now semi-abandoned, is not well known. Incorporating reflections of residents of Kinloch and Ferguson (including Gillooly, who grew up in Ferguson), this film explores the relationship between these two towns. Beginning with a 1960s roadblock that divided then-white Ferguson from black Kinloch, the film depicts a micro-history of race relations in America.

Tears is the story of a narcissist, Betty, whose misguided quest for self love results in a botched face. After numerous plastic surgeries gone awry, Betty and her husband, Leonard (himself a borderline who mirrors her obsession with plastic surgery in his fascination with the show Xtreme Makeover), get into a car accident in which a deer crashes through their windshield. Leonard dies, but Betty survives, albeit without a face. Waking from a three week coma, she learns from a nurse that she will require a face transplant. Worse, a doctor informs her, the face is that of a successful suicide. And finally the kicker: New life is stirring in Betty. Will she choose the fetus or her face? And how to cope with the walking dead situation of her transplant? Many quandaries, none of which are resolved.

A forbidden love story played out in a decade that would soon spawn the sexual revolution. Part historical documentary and part experimental narrative the film reconstructs a mesmerizing and erotic narrative from 60 hours of reel-to-reel audiotape discovered in a suitcase. Recorded in the 1960's by a Mid-western woman and her lover they chronicle the details of their adulterous love affair. Reliant on recording devises to document and memorialize their affair the tape recorder evolves as a confidant, witness and participant, always omnipresent creating a welcomed threesome. Mirroring the compulsion to confess ones indiscretions in today's Internet world these captivating recordings speak to an audience that can remember Bert Parks as well as one who has never set finger to a rotary phone.

Witnessing the highest rate of HIV infection in the world and the lowest life expectancy on the planet, three grandmothers in Swaziland cope in this critical moment in time.

Gerri was a tree-climbing kid who grew up on the family farm, then a spirited adolescent, a young wife, and later the devoted mother of two little girls. But she was also a battered wife who suffered years of abuse before eventually leaving her husband and returning to Connecticut. There Gerri became pregnant by a lover who agreed to perform an abortion and then left her when the operation went awry. Nine years later, in 1973, Ms. magazine published the heart-wrenching photo, which even now cries out from protest placards as a potent symbol in the struggle for a woman s right to choose.

Deep in the forest, beyond the restraints of the adult world, a group of children meet to play. The line between fantasy and reality begins to blur. A nursery rhyme becomes an incantation, and surprising things begin to happen.