Laura Israel

Road movie musical como retrato del sueño americano. Ambientada en las elecciones americanas de 2016, 'Promised Land' hace un viaje musical por carretera en el Rolls Royce de 1963 de Elvis Presley.

The 94-year-old Robert Frank’s unique recordings of his fellow artists Harry Smith and Allen Ginsberg, which he had salvaged from his own archive for Harry Smith at the Breslin Hotel.

We aren't dying the way we used to. We have ventilators, dialysis machines, ICUs-technologies that can "fix" us and keep our bodies alive-which have radically changed how we make medical decisions. In our death-denying culture, no matter how sick we get, there is always "hope." Defining Hope tells the story of patients dealing with life-threatening illness as they move between ICUs, operating rooms, hospice care and home. Diane is a nurse caring for end-stage cancer patients when she is diagnosed with ovarian cancer herself. 23-year-old Alena undergoes a risky brain surgery that destroys her short-term memory. 95-year-old Berthold lives with his elderly wife who struggles to honor his wish of dying peacefully at home. Defining Hope follows these patients and others- and the nurses that guide them along the way- as they face death, embrace hope, and ultimately redefine what makes life worth living.

In his latest film, Braden King ponders the Geneva Freeport, a warehouse complex in Switzerland that is said to house over 1 million works of art. A high-security tax haven for international dealers and collectors, the Freeport's exact contents remain a mystery to the general public. As people crossing borders are more to more and greater scrutiny, NATIONAL DISINTEGRATIONS examines what it means to have untold amounts of wealth and property flow freely through this extralegal space.

The life and work of Robert Frank—as a photographer and a filmmaker—are so intertwined that they're one in the same, and the vast amount of territory he's covered, from The Americans in 1958 up to the present, is intimately registered in his now-formidable body of artistic gestures. From the early '90s on, Frank has been making his films and videos with the brilliant editor Laura Israel, who has helped him to keep things homemade and preserve the illuminating spark of first contact between camera and people/places. Don't Blink is Israel's like-minded portrait of her friend and collaborator, a lively rummage sale of images and sounds and recollected passages and unfathomable losses and friendships that leaves us a fast and fleeting imprint of the life of the Swiss-born man who reinvented himself the American way, and is still standing on ground of his own making at the age of 90.

The life and work of Robert Frank—as a photographer and a filmmaker—are so intertwined that they're one in the same, and the vast amount of territory he's covered, from The Americans in 1958 up to the present, is intimately registered in his now-formidable body of artistic gestures. From the early '90s on, Frank has been making his films and videos with the brilliant editor Laura Israel, who has helped him to keep things homemade and preserve the illuminating spark of first contact between camera and people/places. Don't Blink is Israel's like-minded portrait of her friend and collaborator, a lively rummage sale of images and sounds and recollected passages and unfathomable losses and friendships that leaves us a fast and fleeting imprint of the life of the Swiss-born man who reinvented himself the American way, and is still standing on ground of his own making at the age of 90.

Wind power... It's green... It's good... It reduces our dependency on foreign oil... That's what the people of Meredith, in upstate New York first thought when a wind developer looked to supplement this farm town's failing economy with a farm of their own — that of 40 industrial wind turbines. Attracted at first to the financial incentives, residents grow increasingly alarmed as they discover side effects they never dreamed of, as well as the potential for disturbing financial scams. With wind development growing rapidly at 39% annually in the US, WINDFALL is an eye-opener for anyone concerned about the future of renewable energy.

Simmons, best-known for her photographs of miniature rooms populated by dolls and of oversized objects—such as a house, birthday cake, and pistol—balanced on female legs, both human and fake, brings these characters to life in a three-act mini-musical. The film is inspired by three distinct periods of Simmons’s photographic work: vintage hand puppets, ventriloquist dummies and walking objects enact tales of ambition, disappointment, love, loss, and regret. Working with composer Michael Rohaytn ("Personal Velocity") and cameraman Ed Lachman ("The Virgin Suicides" and "Far From Heaven"), Simmons’s puppets come to life in miniature domestic scenes that echo real life.