Jacqueline Olive: Dozen Days of Filmmakers — Day 12

 

Chicken & Egg Pictures is celebrating the holiday season by featuring a dozen of our supported women nonfiction filmmakers.

Jacqueline Olive Always In Season 2018 Accelerator LabJacqueline Olive is an independent filmmaker and immersive media producer with more than a decade of experience in journalism and film. She co-directed and produced the award-winning short documentary, Black To Our Roots, which broadcast on PBS World. Jacqueline has been a Sundance Documentary Edit & Story Lab Fellow, a Sundance Documentary Film Program Fellow, and Sundance Music & Sound Design Lab fellow.

Always in Season 2018 Accelerator Lab Grantee Jacqueline Olive
Always in Season, directed by Jacqueline Olive

She also received the Emerging Filmmakers of Color Award from International Documentary Association and the Jonathan Logan Family Foundation. Jacqueline has been a immersive media fellow with the Bay Area Video Coalition Institute for New Media Technologies and Mediamaker Fellows, the Black Public Media New Media Institute, and most recently, the Open Immersion VR Lab sponsored by the Ford Foundation, National Film Board of Canada, and the Canadian Film Centre. Jacqueline has an MA from the University of Florida Documentary Institute and previously worked on the production team of the Emmy Award-winning PBS documentary series, Independent Lens.

Her debut feature documentary and 2018 Accelerator Lab grantee,  Always In Season, will premiere in competition at the 2019 Sundance Film Festival.

Always in Season 2018 Accelerator Lab Jacqueline Olive
Always in Season, directed by Jacqueline Olive

Always In Season explores the lingering impact of more than a century of lynching African Americans and connects this form of historic racial terrorism to racial violence today. The film centers on the case of Lennon Lacy, an African American teen who was found hanging from a swing set in Bladenboro, North Carolina, on August 29, 2014. Despite inconsistencies in the case, local officials quickly ruled Lennon’s death a suicide, but his mother, Claudia, believes Lennon was lynched. Claudia moves from paralyzing grief to leading the fight for justice for her son. 

Jacqueline is currently producing a VR companion to Always In Season that uses 360° video and computer-generated imagery (CGI) to explore themes of dehumanization and violence, offering strategies for moving confidently through the racialized public spaces that black women navigate daily.

 

Post by Morgan Lee Hulquist.

Announcing our 2018 Accelerator Lab grantees!

Chicken & Egg Pictures is proud to announce the third cohort of our Accelerator Lab for first- and second-time filmmakers!

The Accelerator Lab is focused on identifying and supporting women nonfiction directors working on their first or second feature-length documentary. This program brings together ten projects helmed by first- or second-time directors, with a special focus on underrepresented voices.

“Community-building is key to this program,” says Chicken & Egg Pictures Program Director Lucila Moctezuma. “While the Accelerator Lab for first- and second-time filmmakers certainly helps women filmmakers to enter the industry pipeline, it also provides them with a community of support that helps them to stay in the pipeline. The reality of being a film director is that it can often feel daunting and isolating. By explicitly encouraging peer-to-peer mentorship among our cohort, we provide emerging filmmakers with a chance to bond with and learn from one another, to help one another carve a space for themselves in the industry, and to equip them with the strength of a community they can rely on throughout their careers.”

Synopses of the 2018 Accelerator Lab grantees’ compelling projects are below, and you can get to know the directors by viewing the linked project pages. Grantees will work on these films during their program year.

Our next open call for the Accelerator Lab will take place in the spring of 2018. For additional information on the program, including application criteria, please visit our Programs page.

Congratulations to our newest grantees, and wishing you a fantastic year!

 

Ilinca Calugareanu

A Cops and Robbers Story, directed by Ilinca Calugareanu (ROMANIA / UK)

Corey Pegues, one of the highest ranking black executives in the NYPD, reveals a few months after retirement that before joining the NYPD he worked the streets dealing crack cocaine for one of the most notorious drug gangs in the US, the Supreme Team. To many he is either a perp in cop costume or a criminal turned hero. But who is the real Corey Pegues?

 

Siyi Chen

People’s Hospital, directed by Siyi Chen (CHINA / US)

As the Chinese society criticizes dysfunctional hospitals, a doctor’s daughter revisits the small-town hospital where she grew up—this time with a camera, in the middle of a chaotic ER.

 

Sonia Kennebeck

Enemies of the State, directed by Sonia Kennebeck (MALAYSIA / GERMANY / US)

An average American family becomes entangled in a bizarre web of espionage and corporate secrets when their hacker son is targeted by the U.S. government.

 

 

The Youth, directed by Eunice Lau (SINGAPORE / US) and Arthur Nazaryan (US)

The Youth is an unflinching look at the forces that drive one to adopt an extreme ideology. Through the eyes of a father who seeks to understand how his son is radicalized by the propaganda of the Islamic State Army, The Youth reveals how a Muslim American family is affected by the geopolitics and polemics that fuel the resurgence of reactionary and right-wing political movements. Through this intimate lens on the Somali community in Minnesota, The Youth explores the racism and prejudices against immigrants, the rise of radical Islam, and what it means to be Muslim in contemporary America.

 

Madeleine Leroyer

Number 387, directed by Madeleine Leroyer (FRANCE)

This is the story of a Greek physician who collects pendants and bracelets.
This is the story of an Italian woman who has been fighting for 15 years to “make bodies talk.”
This is the story of those who watch over the forgotten migrants.
Since the beginning of 2016, 3,649 migrants have died while attempting to reach Europe by sea. 3,649 names, the vast majority of which have been diluted in the deep blue waters of the Mediterranean.
What happens to the dead? Who identifies them?
What do the mothers, the brothers do to try to find their missing loved ones?
For years, medical examiners have been trying to give back a name, dignity, a memory to these forgotten souls.
This film tells their story.

 

Marie Lidén

Electric Malady, directed by Marie Lidén (SWEDEN / UK)

Director Marie Lidén grew up with a mother who suffered from an illness that the world did not recognize—Electrosensitivity. Years later, in a technologically advanced world, Marie gives a poignant account of the lives of two electrosensitives: William, a 41-year-old Swedish man, and Tyler, a 13-year-old Canadian boy. Using Marie’s own family story as a thread, the film explores William and Tyler’s isolated worlds and their families’ unrelenting commitment to help their children.

 

Loira Limbal

Through The Night, directed by Loira Limbal (US)

To make ends meet, Americans are working longer hours across multiple jobs. This modern reality of non-stop work has resulted in an unexpected phenomenon: the flourishing of 24-hour daycare centers. Through the Night is a verité documentary that explores the personal cost of our modern economy through the stories of two working mothers and a child care provider, whose lives intersect at a 24-hour daycare center in New Rochelle, NY.

 

Jacqueline Olive

 Always in Season, directed by Jacqueline Olive (US)

As the trauma of a century of lynching African Americans bleeds into the present, Always in Season follows relatives of the perpetrators and victims in communities across the country who’re seeking justice and reconciliation in the midst of racial profiling and police shootings. In Bladenboro, NC, the film connects historic racial terrorism to racial violence today with the story of Claudia Lacy who grieves as she fights to get an FBI investigation opened into the death of her seventeen-year-old son, Lennon Lacy, found hanging from a swing set on August 29, 2014. Claudia, like many others, believes Lennon was lynched.

 

Jennifer Redfearn

Reentry (working title), directed by Jennifer Redfearn (US)

Women are now the fastest growing population in the U.S. criminal justice system, increasing at nearly double the rate of men. The majority of women going into prison are serving time for drug related charges. This immersive, character-driven film follows three women—who are part of a new reentry program in Cleveland, Ohio—as they prepare to leave prison, reunite with their children, and find jobs after serving time for drug related charges.

 

Writing With Fire, directed by Rintu Thomas and Sushmit Ghosh (INDIA)

In one of the most socially oppressive and patriarchal states of India emerges a newspaper run entirely by rural women. Meera, its popular reporter, decides to magnify the paper’s impact with an audacious move—to transform from print to a digital news agency. Working in media dark villages, mocked and discouraged, this is the story of a visionary woman’s feisty spirit in building what will probably be the world’s first digital news agency run entirely by rural women.

 

Filmmaker Dispatch: Jacqueline Olive, director of Always in Season

I’m directing and producing ALWAYS IN SEASON, a documentary that examines the lingering impact of almost a century of lynching African Americans and follows relatives of the perpetrators and victims in three communities who are seeking justice and reconciliation.

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.

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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.