Ross McElwee

Distressed over his teenaged son's addiction to the Internet and fearful that the developing boy has grown detached from the real world, documentary filmmaker Ross McElwee takes a journey back into his own adolescence by returning to St. Quay-Portrieux in Brittany, France, which he visited as a teen, and attempting to track down the photographer who gave him his first job, and the girl who once stole his heart.

Distressed over his teenaged son's addiction to the Internet and fearful that the developing boy has grown detached from the real world, documentary filmmaker Ross McElwee takes a journey back into his own adolescence by returning to St. Quay-Portrieux in Brittany, France, which he visited as a teen, and attempting to track down the photographer who gave him his first job, and the girl who once stole his heart.

Distressed over his teenaged son's addiction to the Internet and fearful that the developing boy has grown detached from the real world, documentary filmmaker Ross McElwee takes a journey back into his own adolescence by returning to St. Quay-Portrieux in Brittany, France, which he visited as a teen, and attempting to track down the photographer who gave him his first job, and the girl who once stole his heart.

Documentary film by Ross McElwee.

Documentary film by Ross McElwee.

Ross McElwee travels through the North Carolina tobacco belt in search of the ancient southern traditions associated with tobacco growing and use, while comparing his filmmaking to commercial cinema, represented by Bright Leaf, a melodrama directed by Michael Curtiz in 1950, starring Gary Cooper, apparently based on the life of his great-grandfather.

Ross McElwee travels through the North Carolina tobacco belt in search of the ancient southern traditions associated with tobacco growing and use, while comparing his filmmaking to commercial cinema, represented by Bright Leaf, a melodrama directed by Michael Curtiz in 1950, starring Gary Cooper, apparently based on the life of his great-grandfather.

Ross McElwee travels through the North Carolina tobacco belt in search of the ancient southern traditions associated with tobacco growing and use, while comparing his filmmaking to commercial cinema, represented by Bright Leaf, a melodrama directed by Michael Curtiz in 1950, starring Gary Cooper, apparently based on the life of his great-grandfather.

Ross McElwee travels through the North Carolina tobacco belt in search of the ancient southern traditions associated with tobacco growing and use, while comparing his filmmaking to commercial cinema, represented by Bright Leaf, a melodrama directed by Michael Curtiz in 1950, starring Gary Cooper, apparently based on the life of his great-grandfather.

Ross McElwee travels through the North Carolina tobacco belt in search of the ancient southern traditions associated with tobacco growing and use, while comparing his filmmaking to commercial cinema, represented by Bright Leaf, a melodrama directed by Michael Curtiz in 1950, starring Gary Cooper, apparently based on the life of his great-grandfather.

Hailed by some as a cinematic genius, a feminist voice and a true maverick of American cinema, dismissed by others as a voyeuristic fraud and the "world's worst director," Henry Jaglom obsessively confuses and abuses the line between life and art. Featuring scores of interviews (including Orson Welles, Dennis Hopper, Milos Forman and Peter Bogdanovich) and rare behind-the-scenes footage, this hilarious documentary explores the fascinating question of Who Is Henry Jaglom?

Filmmaker Ross McElwee trails characters whose stories have been fodder for television news and takes their tales of loss and longing further than the requisite sound bite. In the process, he examines how the medium works and exposes its limitations.

Filmmaker Ross McElwee trails characters whose stories have been fodder for television news and takes their tales of loss and longing further than the requisite sound bite. In the process, he examines how the medium works and exposes its limitations.

Filmmaker Ross McElwee trails characters whose stories have been fodder for television news and takes their tales of loss and longing further than the requisite sound bite. In the process, he examines how the medium works and exposes its limitations.

Filmmaker Ross McElwee trails characters whose stories have been fodder for television news and takes their tales of loss and longing further than the requisite sound bite. In the process, he examines how the medium works and exposes its limitations.

Filmmaker Ross McElwee trails characters whose stories have been fodder for television news and takes their tales of loss and longing further than the requisite sound bite. In the process, he examines how the medium works and exposes its limitations.

After documentarian Ross McElwee gets married, a series of misfortunes follow: his grandmother dies, his wife miscarries, and then his father dies less than a week later. Shaken by the sudden string of deaths, McElwee becomes depressed. After spending time with his friend and former high school poetry teacher, Charlene, he goes to meet his brother, a doctor. In a series of interviews, McElwee contemplates his morbid preoccupation with death and tries to figure out how to shake it off.

After documentarian Ross McElwee gets married, a series of misfortunes follow: his grandmother dies, his wife miscarries, and then his father dies less than a week later. Shaken by the sudden string of deaths, McElwee becomes depressed. After spending time with his friend and former high school poetry teacher, Charlene, he goes to meet his brother, a doctor. In a series of interviews, McElwee contemplates his morbid preoccupation with death and tries to figure out how to shake it off.

After documentarian Ross McElwee gets married, a series of misfortunes follow: his grandmother dies, his wife miscarries, and then his father dies less than a week later. Shaken by the sudden string of deaths, McElwee becomes depressed. After spending time with his friend and former high school poetry teacher, Charlene, he goes to meet his brother, a doctor. In a series of interviews, McElwee contemplates his morbid preoccupation with death and tries to figure out how to shake it off.

After documentarian Ross McElwee gets married, a series of misfortunes follow: his grandmother dies, his wife miscarries, and then his father dies less than a week later. Shaken by the sudden string of deaths, McElwee becomes depressed. After spending time with his friend and former high school poetry teacher, Charlene, he goes to meet his brother, a doctor. In a series of interviews, McElwee contemplates his morbid preoccupation with death and tries to figure out how to shake it off.

In 1986, Ross McElwee (Sherman's March) and Marilyn Levine were making a film about the 25th anniversary of the Berlin Wall, when the imposing structure was still very much intact as the world’s most visible symbol of hardline Communism and Cold War lore. They thought they were making a documentary on the community of tourists, soldiers, and West Berliners who lived in the seemingly eternal presence of the graffiti emblazoned eyesore. But in 1989, as the original film neared completion, the Wall came down, and McElwee and Levine returned to Berlin, this time to capture the radically different atmosphere of the reunified city.

In 1986, Ross McElwee (Sherman's March) and Marilyn Levine were making a film about the 25th anniversary of the Berlin Wall, when the imposing structure was still very much intact as the world’s most visible symbol of hardline Communism and Cold War lore. They thought they were making a documentary on the community of tourists, soldiers, and West Berliners who lived in the seemingly eternal presence of the graffiti emblazoned eyesore. But in 1989, as the original film neared completion, the Wall came down, and McElwee and Levine returned to Berlin, this time to capture the radically different atmosphere of the reunified city.

In 1986, Ross McElwee (Sherman's March) and Marilyn Levine were making a film about the 25th anniversary of the Berlin Wall, when the imposing structure was still very much intact as the world’s most visible symbol of hardline Communism and Cold War lore. They thought they were making a documentary on the community of tourists, soldiers, and West Berliners who lived in the seemingly eternal presence of the graffiti emblazoned eyesore. But in 1989, as the original film neared completion, the Wall came down, and McElwee and Levine returned to Berlin, this time to capture the radically different atmosphere of the reunified city.

Ross McElwee se propone hacer un documental sobre los efectos persistentes de la marcha de destrucción del General Sherman por el Sur durante la Guerra Civil, pero se ve continuamente desviado por las mujeres que van y vienen en su vida, sus sueños recurrentes de holocausto nuclear, y Burt Reynolds .

Ross McElwee se propone hacer un documental sobre los efectos persistentes de la marcha de destrucción del General Sherman por el Sur durante la Guerra Civil, pero se ve continuamente desviado por las mujeres que van y vienen en su vida, sus sueños recurrentes de holocausto nuclear, y Burt Reynolds .

Ross McElwee se propone hacer un documental sobre los efectos persistentes de la marcha de destrucción del General Sherman por el Sur durante la Guerra Civil, pero se ve continuamente desviado por las mujeres que van y vienen en su vida, sus sueños recurrentes de holocausto nuclear, y Burt Reynolds .

Ross McElwee se propone hacer un documental sobre los efectos persistentes de la marcha de destrucción del General Sherman por el Sur durante la Guerra Civil, pero se ve continuamente desviado por las mujeres que van y vienen en su vida, sus sueños recurrentes de holocausto nuclear, y Burt Reynolds .

Ross McElwee se propone hacer un documental sobre los efectos persistentes de la marcha de destrucción del General Sherman por el Sur durante la Guerra Civil, pero se ve continuamente desviado por las mujeres que van y vienen en su vida, sus sueños recurrentes de holocausto nuclear, y Burt Reynolds .

Documentary film maker Ross McElwee returns to his family home in Charlotte NC. In filming his family, he captures a microcosm of Southern society.

Documentary film maker Ross McElwee returns to his family home in Charlotte NC. In filming his family, he captures a microcosm of Southern society.

Documentary film maker Ross McElwee returns to his family home in Charlotte NC. In filming his family, he captures a microcosm of Southern society.

This short film, made with my friends and filmmaking partners, Michel Negroponte and Alex Anthony, was commissioned by PBS's innovative TV Lab in 1980. The three of us saw Kazem Ala, an Iranian student and political exile, briefly interviewed on a local cable access show in Austin, Texas and were very moved by his story. We spent a month filming his day to day life in Houston, during the Iranian-American hostage crisis of 1980. The film was meant to describe in subtle ways what it is to be a political exile in times of political crisis. PBS found it to be a little too subtle, and declined to air it nationally, but the film was televised on various individual PBS outlets, and seeing it recently, I was struck by how, a generation later, we're still dealing with this same situation - the clash between Islam and the West. The Presidents and Ayatollahs may have changed, but politically, things are still at crisis level. - Ross McElwee

This short film, made with my friends and filmmaking partners, Michel Negroponte and Alex Anthony, was commissioned by PBS's innovative TV Lab in 1980. The three of us saw Kazem Ala, an Iranian student and political exile, briefly interviewed on a local cable access show in Austin, Texas and were very moved by his story. We spent a month filming his day to day life in Houston, during the Iranian-American hostage crisis of 1980. The film was meant to describe in subtle ways what it is to be a political exile in times of political crisis. PBS found it to be a little too subtle, and declined to air it nationally, but the film was televised on various individual PBS outlets, and seeing it recently, I was struck by how, a generation later, we're still dealing with this same situation - the clash between Islam and the West. The Presidents and Ayatollahs may have changed, but politically, things are still at crisis level. - Ross McElwee

This short film, made with my friends and filmmaking partners, Michel Negroponte and Alex Anthony, was commissioned by PBS's innovative TV Lab in 1980. The three of us saw Kazem Ala, an Iranian student and political exile, briefly interviewed on a local cable access show in Austin, Texas and were very moved by his story. We spent a month filming his day to day life in Houston, during the Iranian-American hostage crisis of 1980. The film was meant to describe in subtle ways what it is to be a political exile in times of political crisis. PBS found it to be a little too subtle, and declined to air it nationally, but the film was televised on various individual PBS outlets, and seeing it recently, I was struck by how, a generation later, we're still dealing with this same situation - the clash between Islam and the West. The Presidents and Ayatollahs may have changed, but politically, things are still at crisis level. - Ross McElwee

This short film, made with my friends and filmmaking partners, Michel Negroponte and Alex Anthony, was commissioned by PBS's innovative TV Lab in 1980. The three of us saw Kazem Ala, an Iranian student and political exile, briefly interviewed on a local cable access show in Austin, Texas and were very moved by his story. We spent a month filming his day to day life in Houston, during the Iranian-American hostage crisis of 1980. The film was meant to describe in subtle ways what it is to be a political exile in times of political crisis. PBS found it to be a little too subtle, and declined to air it nationally, but the film was televised on various individual PBS outlets, and seeing it recently, I was struck by how, a generation later, we're still dealing with this same situation - the clash between Islam and the West. The Presidents and Ayatollahs may have changed, but politically, things are still at crisis level. - Ross McElwee

This film provides a broad overview of Ju/'hoan life, both past and present, and an intimate portrait of N!ai, a Ju/'hoan woman who in 1978 was in her mid-thirties. N!ai tells her own story, and in so doing, the story of Ju/'hoan life over a thirty year period. "Before the white people came we did what we wanted," N!ai recalls, describing the life she remembers as a child: following her mother to pick berries, roots, and nuts as the season changed; the division of giraffe meat; the kinds of rain; her resistance to her marriage to /Gunda at the age of eight; and her changing feelings about her husband when he becomes a healer. As N!ai speaks, the film presents scenes from the 1950's that show her as a young girl and a young wife. The uniqueness of N!ai may lie in its tight integration of ethnography and history. While it portrays the changes in Ju/'hoan society over thirty years, it never loses sight of the individual, N!ai.

Focusing on three residents of Cape Canaveral, Florida this film puts forward the thesis that a decline in NASA's space program after the moon landings has left the local community impoverished.

Focusing on three residents of Cape Canaveral, Florida this film puts forward the thesis that a decline in NASA's space program after the moon landings has left the local community impoverished.

In Charleen, documentarian Ross McElwee looks at the life of a North Carolina poet and teacher who acts as a muse to a motley crew of artists and musicians.

Documentary feature. 16mm; color; sound.

In Charleen, documentarian Ross McElwee looks at the life of a North Carolina poet and teacher who acts as a muse to a motley crew of artists and musicians.

In Charleen, documentarian Ross McElwee looks at the life of a North Carolina poet and teacher who acts as a muse to a motley crew of artists and musicians.

Early documentary short by Ross McElwee. 16mm; color; sound.

Early documentary short by Ross McElwee. 16mm; color; sound.

Early documentary short by Ross McElwee. 16mm; color; sound.

Early documentary short by Ross McElwee. 16mm; color; sound.