Ashley James

Is art’s role to provoke or placate? What happens when it no longer reflects current societal views? These questions and many more were the subject of hot debate when Victor Arnautoff’s thirteen-panel mural “The Life of Washington” became an object of local controversy, then a media firestorm. On display since San Francisco’s George Washington High School opened in 1936, it offers a view of the Founding Father both celebratory and critical, referencing his involvements in slavery and Native American genocide. (The Iroquois dubbed him “Town Destroyer.”) But some present-day students, parents, and observers found those depictions racially offensive, calling for the work to be removed or destroyed. Would doing so be a “redaction of history,” “identity politics gone off the rails”—or a justified blow to a lingering American “colonized mentality” as well as ongoing “traumatization” of young minds?

Seventy-five years ago, Executive Order 9066 paved the way to the profound violation of constitutional rights that resulted in the forced incarceration of 120,000 Japanese Americans. Featuring George Takei and many others who were incarcerated, as well as newly rediscovered photographs of Dorothea Lange, And Then They Came for Us brings history into the present, retelling this difficult story and following Japanese American activists as they speak out against the Muslim registry and travel ban. Knowing our history is the first step to ensuring we do not repeat it.

From the well-publicized events at San Francisco State in 1968 to the image of black students with guns emerging from the takeover of the student union at Cornell University in April, 1969, the struggle for a more relevant and meaningful education, including demands for black and ethnic studies programs, became a clarion call across the country in the late 1960's. Through the stories of these young men and women who were at the forefront of these efforts, Agents of Change examines the untold story of the racial conditions on college campuses and in the country that led to these protests. Agents of Change links the past to the present and the present to the past--making it not just a movie but a movement.

Jerry Ross Barrish sees the beauty in—and creates the unexpected out of—discarded materials. The son of hard-working Jewish immigrants with crime-family connections, Barrish worked for 50 years as a bail bondsman, much of it for radical protesters. He stumbled into acclaim as a filmmaker, earning the Museum of Modern Art’s prestigious New Director distinction and winning major European awards along the way. Then one day, inspiration struck as he picked up plastic trash on a beach, leading him to launch a whole new career as a sculptor. Though acclaimed by curators, he long went virtually unnoticed in the commercial-art realm. But at age 75, the unassuming Barrish may finally be on the verge of success, as William Farley’s engaging documentary goes to show. Seeing the playfulness of his pieces, you’ll understand why: with artificial materials, he has managed to capture real life. -Denver Film Society

A rampant, street level story of mentorship and everyday heroism in tough circumstances. An inner city coach's son, estranged in his youth from his father, spends five years on ball fields in inner city Oakland and Havana, following the lives of two extraordinary youth baseball coaches, Roscoe in Oakland and Nicolas in Havana. The coaches meet on videotape and two years of red tape later, Coach Roscoe and nine Oakland players travel to Havana to play Coach Nicolas' team. For one week, the players and coaches eat, dance, swim, argue and play baseball together. But when the parent of an Oakland player is murdered back home, it brings back the inescapable reality and challenges of life in an American inner city.

In April 2013, a lecturer at the University of New Hampshire submitted a paper to the Annals of Mathematics. Within weeks word spread: a little-known mathematician, with no permanent job, working in complete isolation, had made an important breakthrough toward solving the Twin Prime Conjecture. Yitang Zhang's techniques for bounding the gaps between primes soon led to rapid progress by the Polymath Group, and a further innovation by James Maynard.

The film features 85-year-old Mr. Armstrong, an African American barber in Birmingham, Alabama, as he experiences the manifestation of an unimaginable dream: the election of the first African American president. This colorful and courageous activist of the Civil Rights era casts his vote, celebrates Obama's victory and proudly unfurls the American flag as he is inducted into the Foot Soldiers Hall of Fame. Mr. Armstrong links the magnitude of the present paradigm shift with challenges he faced in the past: from his sons' integration into an all white school to the Bloody Sunday march for voting rights. The documentary raises questions about democracy and patriotism in the face of adversity, and the vigilance and action required to ensure continued forward movement to end racial injustice.

Julia Robinson and Hilbert's Tenth Problem features a heroine driven by the quest to solve one of the central problems of modern mathematics. She rises above formidable obstacles to assume a leading role in her field. Julia Robinson was the first woman elected to the mathematical section of the National Academy of Sciences, and the first woman to become president of the American Mathematical Society. While tracing Robinson's contribution to the solution of Hilbert's tenth problem, the film illuminates how her work led to an unusual friendship between Russian and American colleagues at the height of the Cold War.

This documentary attempts to go beyond the sensationalized media coverage and the stereotypes to examine several key conflicts from the point of view of both Black and Jewish activists.