http://www.farallonfilms.com/work-1 daily 1.0 2026-04-02 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466118127437-VWXLQJI2D8V53PNFGB3A/TROUBLED+X.jpg Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466118517237-BR3R56HQJNV2D5B1XIPF/HUNTING+TIGERS+X.jpg Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1467929016119-YMSFXVMKYKQJXDSHI7X5/LISA_9-2_long.png Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1468366801757-R4HXKDIEBMCRTF7GRYF5/STEVEN_WEBSITE-7.png Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1468368835279-I6MKTSAUBY8AU6XGPP4B/NHEM-EN-X_square.png Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1471548971997-5A9A39W3DYEWL18XB6CI/Alice-and-Oreo-color2NEW.png Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1589323728546-RIMBUKV3OX3FSEB9G1DX/cassie+beach+crop+2.jpg Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1589487946059-K37DSY40RZGI7VM3LN0P/FAIR+wheel+WEB.jpg Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1647896472029-90YG5EXMCLW9H9FICG4W/pill_hand_rough.jpg Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1647896597609-0VAAVPF9MEL882M9BQT6/LIFE%2BWAS%2BGOOD%2BX.jpg Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1647896835643-ODZGWFISRHO6WK4V1U1R/DAYS%2Bweb%2B1%2Bcopy.jpg Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1682457887206-HN2YRQMXI7DFBN84SMJ6/LOTT+NO+TXT.jpeg Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/c4e353a0-0f9a-44bf-9da3-446de8cb08e0/NC+GUITAR.jpg Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/a78873ea-03ce-4951-9cbb-1d89e93859f4/Samurai_posing.jpg Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/5f6c0669-411f-4041-bd23-ee8f0692249d/Image+006+2.jpg Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/3027fd5b-51c7-4f06-ac23-3e08cad5ffaa/Anitra+2.jpg Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/5fc419d0-a487-491c-b8de-c2c2d5e5262c/ALL%2BWE%2B2.jpg Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/5217b206-3fda-4ecd-82c1-d555e191f028/AT_2-2.jpg Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/94fbe18b-8743-45a5-96c1-31907879ed0e/suitcase%2BFF%2Bcrop%2B1.jpg Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473873585489-AM6VZ5YR6V3JOEG2H2LQ/Morris_Jeppson-copy-2_edited.png Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/10a35726-ca33-442b-9bcb-e145f76001d3/MUSHROOM.jpg Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/bc6c182a-5e11-4d5a-9072-cd5322ee1e44/SONS-sax.png Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1504049512386-NFQLXQ8R82QTRPUAFCN2/marissa+CU+5.jpg Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971296839-T3419KBUMQ0QOLOFO7RT/spoon-%26-syringe-1.png Farallon Documentary Films - Heroin Cape Cod, USA HEROIN: CAPE COD, USA, produced by Steven Okazaki for HBO Documentary Films, follows the harrowing highs and lows of eight young heroin addicts in Cape Cod, Massachusetts. 80% of heroin addicts start with opioid pain medications — Vicodin, Percocet and Oxycodone — prescribed by a doctor, supplied by a dealer, or stolen from the family medicine cabinet. In the film, 21 year-old Jessica describes recovering from a car accident and going home with a prescription for Percocets. Cassie was prescribed Vicodin for a high school soccer injury. Daniel took Oxycontin for back pain. Soon, all were addicted and wanting more. Arianna says she found “the love of my life” when she discovered opiates. Ryan describes it as “a roller coaster ride.” And Benjamin says it made him feel “wicked cool.” https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971259031-JRLQQECLO7416EE7CR1W/cassie%26dan.png Farallon Documentary Films - Cassie and Dan in Heroin: Cape Cod, USA Cassie and Dan in "Heroin: Cape Cod, USA" Produced by Farallon Films and HBO Documentary Films. Directed by Steven Okazaki. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1504050986347-OWHYCS02NAIG6SWFZQG5/spoon+2.jpg Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971283290-QFPNTR84AP91VE8BQT48/marissa3.png Farallon Documentary Films - Marissa from Heroin: Cape Cod, USA Heroin has come out from the shadows. Americans’ dependence on and abuse of prescription opiates has set the stage for a devastating heroin epidemic that has hit big cities and small towns across the country. HEROIN: CAPE COD, USA, produced by Steven Okazaki for HBO Documentary Films, follows the harrowing highs and lows of eight young heroin addicts in Cape Cod, Massachusetts. 80% of heroin addicts start with opioid pain medications — Vicodin, Percocet and Oxycodone — prescribed by a doctor, supplied by a dealer, or stolen from the family medicine cabinet. In the film, 21 year-old Jessica describes recovering from a car accident and going home with a prescription for Percocets. Cassie was prescribed Vicodin for a high school soccer injury. Daniel took Oxycontin for back pain. Soon, all were addicted and wanting more. Arianna says she found “the love of my life” when she discovered opiates. Ryan describes it as “a roller coaster ride.” And Benjamin says it made him feel “wicked cool.” https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971323705-CRFVBNU04RG8H1F1KHOR/fix-2.png Farallon Documentary Films - Shooting up in Heroin: Cape Cod, USA Heroin has come out from the shadows. Americans’ dependence on and abuse of prescription opiates has set the stage for a devastating heroin epidemic that has hit big cities and small towns across the country. HEROIN: CAPE COD, USA, produced by Steven Okazaki for HBO Documentary Films, follows the harrowing highs and lows of eight young heroin addicts in Cape Cod, Massachusetts. 80% of heroin addicts start with opioid pain medications — Vicodin, Percocet and Oxycodone — prescribed by a doctor, supplied by a dealer, or stolen from the family medicine cabinet. In the film, 21 year-old Jessica describes recovering from a car accident and going home with a prescription for Percocets. Cassie was prescribed Vicodin for a high school soccer injury. Daniel took Oxycontin for back pain. Soon, all were addicted and wanting more. Arianna says she found “the love of my life” when she discovered opiates. Ryan describes it as “a roller coaster ride.” And Benjamin says it made him feel “wicked cool.” https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1504051039108-SBXEP1ZHIT7RZEBIVSOY/Daniel+2.jpg Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971338348-9M83WR53E3YLO6BHS9ZD/Arianna-2.png Farallon Documentary Films - Arianna from Heroin: Cape Cod, USA Heroin has come out from the shadows. Americans’ dependence on and abuse of prescription opiates has set the stage for a devastating heroin epidemic that has hit big cities and small towns across the country. HEROIN: CAPE COD, USA, produced by Steven Okazaki for HBO Documentary Films, follows the harrowing highs and lows of eight young heroin addicts in Cape Cod, Massachusetts. 80% of heroin addicts start with opioid pain medications — Vicodin, Percocet and Oxycodone — prescribed by a doctor, supplied by a dealer, or stolen from the family medicine cabinet. In the film, 21 year-old Jessica describes recovering from a car accident and going home with a prescription for Percocets. Cassie was prescribed Vicodin for a high school soccer injury. Daniel took Oxycontin for back pain. Soon, all were addicted and wanting more. Arianna says she found “the love of my life” when she discovered opiates. Ryan describes it as “a roller coaster ride.” And Benjamin says it made him feel “wicked cool.” https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1503689466163-NX4Z4PG8DF43S6VFJU0S/1215334_MPA_HeroinCapeCodUSA_v6.jpg Farallon Documentary Films Broadcast on HBO on December 28, 2015. One of HBO's highest-rated and most talked about documentaries of the year. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473970969340-QSB62KAAFTOZP5131I70/MF_13500_MusashiMiyamoto2_dupe_crop.png Farallon Documentary Films - Toshiro Mifune in Mifune: The Last Samurai Toshiro Mifune (1920-97) was the most prominent actor of Japan’s Golden Age of Cinema in the 1950s and 60s. He appeared in nearly 170 films, but his most compelling work was with director Akira Kurosawa with whom he made 16 films. Together they created enduring works of art -- RASHOMON, SEVEN SAMURAI, THRONE OF BLOOD, YOJIMBO, THE BAD SLEEP WELL, RED BEARD -- that thrilled audiences and influenced filmmaking around the world. Without them, there would be no MAGNIFICENT SEVEN, Clint Eastwood wouldn’t have A FISTFUL OF DOLLARS, and Darth Vader wouldn’t be a samurai. Just as John Ford and John Wayne elevated the American Western, exploring the human side of America’s violent expansion, Kurosawa and Mifune transformed the chanbara film, the period sword fighting movie, into bold, provocative narratives that pushed beyond the boundaries of the genre and examined the role of the individual in society. Mifune – wry, charismatic and deadly -- was the first non-white action star to attract international attention. MIFUNE: THE LAST SAMURAI explores the evolution of Chanbara movies; Mifune's World War II experience; his accidental entry into moviemaking; and fortuitous collaboration with Kurosawa. The film is narrated by Keanu Reeves; directed by Academy Award-winning filmmaker Steven Okazaki; and produced by Toshiaki Nakazawa (13 ASSASSINS and the Academy Award-winning DEPARTURES) and Toichiro Shiraishi. It focuses on six of Mifune's greatest films and features interviews with Steven Spielberg, Martin Scorsese, Teruyo Nogami (Kurosawa's longtime script supervisor), Kyoko Kagawa (RED BEARD), Yoshio Tsuchiya (SEVEN SAMURAI), Takeshi Kato (THRONE OF BLOOD), Yoko Tsukasa (YOJIMBO), and many others. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1477428057070-DHFPS3V6ROKTMBDUGCFP/Mifune_smoking.png Farallon Documentary Films - Mifune: The Last Samurai https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473970898190-WRZUQTQ1778BV5EO8K7L/Still_Intro_01.43_Rashomon_FilmStill_MifuneWithWoman.png Farallon Documentary Films - Toshiro Mifune in Rashomon Toshiro Mifune (1920-97) was the most prominent actor of Japan’s Golden Age of Cinema in the 1950s and 60s. He appeared in nearly 170 films, but his most compelling work was with director Akira Kurosawa with whom he made 16 films. Together they created enduring works of art -- RASHOMON, SEVEN SAMURAI, THRONE OF BLOOD, YOJIMBO, THE BAD SLEEP WELL, RED BEARD -- that thrilled audiences and influenced filmmaking around the world. Without them, there would be no MAGNIFICENT SEVEN, Clint Eastwood wouldn’t have A FISTFUL OF DOLLARS, and Darth Vader wouldn’t be a samurai. Just as John Ford and John Wayne elevated the American Western, exploring the human side of America’s violent expansion, Kurosawa and Mifune transformed the chanbara film, the period sword fighting movie, into bold, provocative narratives that pushed beyond the boundaries of the genre and examined the role of the individual in society. Mifune – wry, charismatic and deadly -- was the first non-white action star to attract international attention. MIFUNE: THE LAST SAMURAI explores the evolution of Chanbara movies; Mifune's World War II experience; his accidental entry into moviemaking; and fortuitous collaboration with Kurosawa. The film is narrated by Keanu Reeves; directed by Academy Award-winning filmmaker Steven Okazaki; and produced by Toshiaki Nakazawa (13 ASSASSINS and the Academy Award-winning DEPARTURES) and Toichiro Shiraishi. It focuses on six of Mifune's greatest films and features interviews with Steven Spielberg, Martin Scorsese, Teruyo Nogami (Kurosawa's longtime script supervisor), Kyoko Kagawa (RED BEARD), Yoshio Tsuchiya (SEVEN SAMURAI), Takeshi Kato (THRONE OF BLOOD), Yoko Tsukasa (YOJIMBO), and many others. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473970878945-NZ300TDDX3W2XFUH2YF4/Yojimbo_Mifune%26AK_crop_2.png Farallon Documentary Films - Toshiro Mifune and Akira Kurosawa in Mifune: The Last Samurai Toshiro Mifune (1920-97) was the most prominent actor of Japan’s Golden Age of Cinema in the 1950s and 60s. He appeared in nearly 170 films, but his most compelling work was with director Akira Kurosawa with whom he made 16 films. Together they created enduring works of art -- RASHOMON, SEVEN SAMURAI, THRONE OF BLOOD, YOJIMBO, THE BAD SLEEP WELL, RED BEARD -- that thrilled audiences and influenced filmmaking around the world. Without them, there would be no MAGNIFICENT SEVEN, Clint Eastwood wouldn’t have A FISTFUL OF DOLLARS, and Darth Vader wouldn’t be a samurai. Just as John Ford and John Wayne elevated the American Western, exploring the human side of America’s violent expansion, Kurosawa and Mifune transformed the chanbara film, the period sword fighting movie, into bold, provocative narratives that pushed beyond the boundaries of the genre and examined the role of the individual in society. Mifune – wry, charismatic and deadly -- was the first non-white action star to attract international attention. MIFUNE: THE LAST SAMURAI explores the evolution of Chanbara movies; Mifune's World War II experience; his accidental entry into moviemaking; and fortuitous collaboration with Kurosawa. The film is narrated by Keanu Reeves; directed by Academy Award-winning filmmaker Steven Okazaki; and produced by Toshiaki Nakazawa (13 ASSASSINS and the Academy Award-winning DEPARTURES) and Toichiro Shiraishi. It focuses on six of Mifune's greatest films and features interviews with Steven Spielberg, Martin Scorsese, Teruyo Nogami (Kurosawa's longtime script supervisor), Kyoko Kagawa (RED BEARD), Yoshio Tsuchiya (SEVEN SAMURAI), Takeshi Kato (THRONE OF BLOOD), Yoko Tsukasa (YOJIMBO), and many others. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473970922131-FJ9WD5DRQTTHAX5D2KHE/Still_Intro_01.47_SevenSamurai_FilmStill_MifuneFighting.png Farallon Documentary Films - Toshiro Mifune in Mifune: The Last Samurai Toshiro Mifune (1920-97) was the most prominent actor of Japan’s Golden Age of Cinema in the 1950s and 60s. He appeared in nearly 170 films, but his most compelling work was with director Akira Kurosawa with whom he made 16 films. Together they created enduring works of art -- RASHOMON, SEVEN SAMURAI, THRONE OF BLOOD, YOJIMBO, THE BAD SLEEP WELL, RED BEARD -- that thrilled audiences and influenced filmmaking around the world. Without them, there would be no MAGNIFICENT SEVEN, Clint Eastwood wouldn’t have A FISTFUL OF DOLLARS, and Darth Vader wouldn’t be a samurai. Just as John Ford and John Wayne elevated the American Western, exploring the human side of America’s violent expansion, Kurosawa and Mifune transformed the chanbara film, the period sword fighting movie, into bold, provocative narratives that pushed beyond the boundaries of the genre and examined the role of the individual in society. Mifune – wry, charismatic and deadly -- was the first non-white action star to attract international attention. MIFUNE: THE LAST SAMURAI explores the evolution of Chanbara movies; Mifune's World War II experience; his accidental entry into moviemaking; and fortuitous collaboration with Kurosawa. The film is narrated by Keanu Reeves; directed by Academy Award-winning filmmaker Steven Okazaki; and produced by Toshiaki Nakazawa (13 ASSASSINS and the Academy Award-winning DEPARTURES) and Toichiro Shiraishi. It focuses on six of Mifune's greatest films and features interviews with Steven Spielberg, Martin Scorsese, Teruyo Nogami (Kurosawa's longtime script supervisor), Kyoko Kagawa (RED BEARD), Yoshio Tsuchiya (SEVEN SAMURAI), Takeshi Kato (THRONE OF BLOOD), Yoko Tsukasa (YOJIMBO), and many others. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473970943742-77FOECRI63LOKUZIVQB5/Yojimbo2887_Mifune_filming.png Farallon Documentary Films - Toshiro mifune in Mifune: The Last Samurai Toshiro Mifune (1920-97) was the most prominent actor of Japan’s Golden Age of Cinema in the 1950s and 60s. He appeared in nearly 170 films, but his most compelling work was with director Akira Kurosawa with whom he made 16 films. Together they created enduring works of art -- RASHOMON, SEVEN SAMURAI, THRONE OF BLOOD, YOJIMBO, THE BAD SLEEP WELL, RED BEARD -- that thrilled audiences and influenced filmmaking around the world. Without them, there would be no MAGNIFICENT SEVEN, Clint Eastwood wouldn’t have A FISTFUL OF DOLLARS, and Darth Vader wouldn’t be a samurai. Just as John Ford and John Wayne elevated the American Western, exploring the human side of America’s violent expansion, Kurosawa and Mifune transformed the chanbara film, the period sword fighting movie, into bold, provocative narratives that pushed beyond the boundaries of the genre and examined the role of the individual in society. Mifune – wry, charismatic and deadly -- was the first non-white action star to attract international attention. MIFUNE: THE LAST SAMURAI explores the evolution of Chanbara movies; Mifune's World War II experience; his accidental entry into moviemaking; and fortuitous collaboration with Kurosawa. The film is narrated by Keanu Reeves; directed by Academy Award-winning filmmaker Steven Okazaki; and produced by Toshiaki Nakazawa (13 ASSASSINS and the Academy Award-winning DEPARTURES) and Toichiro Shiraishi. It focuses on six of Mifune's greatest films and features interviews with Steven Spielberg, Martin Scorsese, Teruyo Nogami (Kurosawa's longtime script supervisor), Kyoko Kagawa (RED BEARD), Yoshio Tsuchiya (SEVEN SAMURAI), Takeshi Kato (THRONE OF BLOOD), Yoko Tsukasa (YOJIMBO), and many others. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971005098-N8RR3HS29ETH946QGQZO/Venice_awards_withKagawa_1954-.png Farallon Documentary Films - Toshiro Mifune in Mifune: The Last Samurai Toshiro Mifune (1920-97) was the most prominent actor of Japan’s Golden Age of Cinema in the 1950s and 60s. He appeared in nearly 170 films, but his most compelling work was with director Akira Kurosawa with whom he made 16 films. Together they created enduring works of art -- RASHOMON, SEVEN SAMURAI, THRONE OF BLOOD, YOJIMBO, THE BAD SLEEP WELL, RED BEARD -- that thrilled audiences and influenced filmmaking around the world. Without them, there would be no MAGNIFICENT SEVEN, Clint Eastwood wouldn’t have A FISTFUL OF DOLLARS, and Darth Vader wouldn’t be a samurai. Just as John Ford and John Wayne elevated the American Western, exploring the human side of America’s violent expansion, Kurosawa and Mifune transformed the chanbara film, the period sword fighting movie, into bold, provocative narratives that pushed beyond the boundaries of the genre and examined the role of the individual in society. Mifune – wry, charismatic and deadly -- was the first non-white action star to attract international attention. MIFUNE: THE LAST SAMURAI explores the evolution of Chanbara movies; Mifune's World War II experience; his accidental entry into moviemaking; and fortuitous collaboration with Kurosawa. The film is narrated by Keanu Reeves; directed by Academy Award-winning filmmaker Steven Okazaki; and produced by Toshiaki Nakazawa (13 ASSASSINS and the Academy Award-winning DEPARTURES) and Toichiro Shiraishi. It focuses on six of Mifune's greatest films and features interviews with Steven Spielberg, Martin Scorsese, Teruyo Nogami (Kurosawa's longtime script supervisor), Kyoko Kagawa (RED BEARD), Yoshio Tsuchiya (SEVEN SAMURAI), Takeshi Kato (THRONE OF BLOOD), Yoko Tsukasa (YOJIMBO), and many others. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1504049261808-WLRDAM5MP1RF9PHOGYSP/Mifune_misc13.tif.jpg Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1504049278185-ATEB70R3GR36LD0MHL4K/2122+%281%29.jpg Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1517876371844-WM78EH9IGY1X10EOV7LX/Mifune_poster_v9_FINAL.jpg Farallon Documentary Films Poster Design: Zand Gee https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1504639080576-YGJ1DPFG23D9F8YOXPGZ/Mifune_poster_Alt1a.jpg Farallon Documentary Films Early poster design by ZAND GEE. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1525976334444-03IE3NVEN17GZS98H344/IMG_2439.jpg Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473973517581-AQ94VHPDXAC7R75DDI9V/afrirampo_in_tokyo.png Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473973016634-98U4YKK2EPC4GEQI06RZ/etsuko_nagano_1.png Farallon Documentary Films - WHITE LIGHT / BLACK RAIN As global tensions rise, the unthinkable now seems possible. The nuclear threat is real and frightening. WHITE LIGHT/BLACK RAIN, by Academy Award-winning filmmaker Steven Okazaki, presents a unblinking look at the first time nuclear weapons were used in war. After 60 years, the atomic bombings of Hiroshima and Nagasaki continue to inspire argument, denial and myth. Surprisingly, most people know little about what actually happened on August 6 and 9, 1945. This is a comprehensive, straightforward, moving account of the bombings from the people who were there. Featuring interviews with fourteen atomic bomb survivors (known as hibakusha), many who have never spoken publicly before, and four Americans intimately involved in the bombings, WHITE LIGHT/BLACK RAIN provides a detailed examination of the bombings and their aftermath. In a succession of riveting personal accounts, the film reveals the unimaginable destructive power of the bombs, the inconceivable suffering and extraordinary human resilience. Survivors (85% of victims were civilians) not vaporized during the attacks (140,000 died in Hiroshima, 70,000 in Nagasaki) continued to suffer from burns, infection, radiation sickness and cancer (another 160,000 deaths). As Sakue Shimohira, 8 years old at the time, says of the moment she considered killing herself after losing the last member of her family: "I realized there are two kinds of courage — the courage to die and the courage to live." Other survivors include: Kiyoko Imori, just blocks from the hypocenter, the only survivor of an elementary school of 620 students. Shuntaro Hida, a young military doctor, saw the mushroom cloud rise, then rushed towards it to provide medical care. Keiji Nakazawa, who lost his father, brother and two sisters, devoted his life to re-telling their story in comic books and animation. Etsuko Nagano still can't forgive herself for convincing her brother and sister to come to Nagasaki just weeks before the bombing. With a calm frankness that makes their stories unforgettable, the survivors bear witness to the unfathomable destructive power of nuclear weapons. Their accounts are illustrated with survivor paintings and drawings, animation, historical footage and, photographs, including rare and never seen before material. Steven Okazaki met more than 500 survivors and interviewed more than 100 before choosing the 14 people in the film. He says, "Their stories are amazing, shocking, and inspiring." WHITE LIGHT/BLACK RAIN stands as a powerful warning that, with enough nuclear weapons to equal 400,000 Hiroshimas, we can't afford to forget what happened on those two days in 1945. Produced for HBO Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1504051819554-9HCX0C7112K0FILZ26L7/NG052-01.jpg Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473973033073-OHRG1GDF90NA21TAYNXU/etsuko_nagano_in_1945.png Farallon Documentary Films - WHITE LIGHT / BLACK RAIN As global tensions rise, the unthinkable now seems possible. The nuclear threat is real and frightening. WHITE LIGHT/BLACK RAIN, by Academy Award-winning filmmaker Steven Okazaki, presents a unblinking look at the first time nuclear weapons were used in war. After 60 years, the atomic bombings of Hiroshima and Nagasaki continue to inspire argument, denial and myth. Surprisingly, most people know little about what actually happened on August 6 and 9, 1945. This is a comprehensive, straightforward, moving account of the bombings from the people who were there. Featuring interviews with fourteen atomic bomb survivors (known as hibakusha), many who have never spoken publicly before, and four Americans intimately involved in the bombings, WHITE LIGHT/BLACK RAIN provides a detailed examination of the bombings and their aftermath. In a succession of riveting personal accounts, the film reveals the unimaginable destructive power of the bombs, the inconceivable suffering and extraordinary human resilience. Survivors (85% of victims were civilians) not vaporized during the attacks (140,000 died in Hiroshima, 70,000 in Nagasaki) continued to suffer from burns, infection, radiation sickness and cancer (another 160,000 deaths). As Sakue Shimohira, 8 years old at the time, says of the moment she considered killing herself after losing the last member of her family: "I realized there are two kinds of courage — the courage to die and the courage to live." Other survivors include: Kiyoko Imori, just blocks from the hypocenter, the only survivor of an elementary school of 620 students. Shuntaro Hida, a young military doctor, saw the mushroom cloud rise, then rushed towards it to provide medical care. Keiji Nakazawa, who lost his father, brother and two sisters, devoted his life to re-telling their story in comic books and animation. Etsuko Nagano still can't forgive herself for convincing her brother and sister to come to Nagasaki just weeks before the bombing. With a calm frankness that makes their stories unforgettable, the survivors bear witness to the unfathomable destructive power of nuclear weapons. Their accounts are illustrated with survivor paintings and drawings, animation, historical footage and, photographs, including rare and never seen before material. Steven Okazaki met more than 500 survivors and interviewed more than 100 before choosing the 14 people in the film. He says, "Their stories are amazing, shocking, and inspiring." WHITE LIGHT/BLACK RAIN stands as a powerful warning that, with enough nuclear weapons to equal 400,000 Hiroshimas, we can't afford to forget what happened on those two days in 1945. Produced for HBO Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1504051850283-X579FN3KBMIU45LSNNAZ/GE25-16.jpg Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473973048513-YRQJ2S07PAP1XCJU5WGC/kyoko_imori.png Farallon Documentary Films - WHITE LIGHT / BLACK RAIN As global tensions rise, the unthinkable now seems possible. The nuclear threat is real and frightening. WHITE LIGHT/BLACK RAIN, by Academy Award-winning filmmaker Steven Okazaki, presents a unblinking look at the first time nuclear weapons were used in war. After 60 years, the atomic bombings of Hiroshima and Nagasaki continue to inspire argument, denial and myth. Surprisingly, most people know little about what actually happened on August 6 and 9, 1945. This is a comprehensive, straightforward, moving account of the bombings from the people who were there. Featuring interviews with fourteen atomic bomb survivors (known as hibakusha), many who have never spoken publicly before, and four Americans intimately involved in the bombings, WHITE LIGHT/BLACK RAIN provides a detailed examination of the bombings and their aftermath. In a succession of riveting personal accounts, the film reveals the unimaginable destructive power of the bombs, the inconceivable suffering and extraordinary human resilience. Survivors (85% of victims were civilians) not vaporized during the attacks (140,000 died in Hiroshima, 70,000 in Nagasaki) continued to suffer from burns, infection, radiation sickness and cancer (another 160,000 deaths). As Sakue Shimohira, 8 years old at the time, says of the moment she considered killing herself after losing the last member of her family: "I realized there are two kinds of courage — the courage to die and the courage to live." Other survivors include: Kiyoko Imori, just blocks from the hypocenter, the only survivor of an elementary school of 620 students. Shuntaro Hida, a young military doctor, saw the mushroom cloud rise, then rushed towards it to provide medical care. Keiji Nakazawa, who lost his father, brother and two sisters, devoted his life to re-telling their story in comic books and animation. Etsuko Nagano still can't forgive herself for convincing her brother and sister to come to Nagasaki just weeks before the bombing. With a calm frankness that makes their stories unforgettable, the survivors bear witness to the unfathomable destructive power of nuclear weapons. Their accounts are illustrated with survivor paintings and drawings, animation, historical footage and, photographs, including rare and never seen before material. Steven Okazaki met more than 500 survivors and interviewed more than 100 before choosing the 14 people in the film. He says, "Their stories are amazing, shocking, and inspiring." WHITE LIGHT/BLACK RAIN stands as a powerful warning that, with enough nuclear weapons to equal 400,000 Hiroshimas, we can't afford to forget what happened on those two days in 1945. Produced for HBO Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473973083764-TGWWFPHB9OMYHX6LHMD0/12_GE13-06crop.png Farallon Documentary Films - WHITE LIGHT / BLACK RAIN As global tensions rise, the unthinkable now seems possible. The nuclear threat is real and frightening. WHITE LIGHT/BLACK RAIN, by Academy Award-winning filmmaker Steven Okazaki, presents a unblinking look at the first time nuclear weapons were used in war. After 60 years, the atomic bombings of Hiroshima and Nagasaki continue to inspire argument, denial and myth. Surprisingly, most people know little about what actually happened on August 6 and 9, 1945. This is a comprehensive, straightforward, moving account of the bombings from the people who were there. Featuring interviews with fourteen atomic bomb survivors (known as hibakusha), many who have never spoken publicly before, and four Americans intimately involved in the bombings, WHITE LIGHT/BLACK RAIN provides a detailed examination of the bombings and their aftermath. In a succession of riveting personal accounts, the film reveals the unimaginable destructive power of the bombs, the inconceivable suffering and extraordinary human resilience. Survivors (85% of victims were civilians) not vaporized during the attacks (140,000 died in Hiroshima, 70,000 in Nagasaki) continued to suffer from burns, infection, radiation sickness and cancer (another 160,000 deaths). As Sakue Shimohira, 8 years old at the time, says of the moment she considered killing herself after losing the last member of her family: "I realized there are two kinds of courage — the courage to die and the courage to live." Other survivors include: Kiyoko Imori, just blocks from the hypocenter, the only survivor of an elementary school of 620 students. Shuntaro Hida, a young military doctor, saw the mushroom cloud rise, then rushed towards it to provide medical care. Keiji Nakazawa, who lost his father, brother and two sisters, devoted his life to re-telling their story in comic books and animation. Etsuko Nagano still can't forgive herself for convincing her brother and sister to come to Nagasaki just weeks before the bombing. With a calm frankness that makes their stories unforgettable, the survivors bear witness to the unfathomable destructive power of nuclear weapons. Their accounts are illustrated with survivor paintings and drawings, animation, historical footage and, photographs, including rare and never seen before material. Steven Okazaki met more than 500 survivors and interviewed more than 100 before choosing the 14 people in the film. He says, "Their stories are amazing, shocking, and inspiring." WHITE LIGHT/BLACK RAIN stands as a powerful warning that, with enough nuclear weapons to equal 400,000 Hiroshimas, we can't afford to forget what happened on those two days in 1945. Produced for HBO Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1517430654478-14DJBEBLSI22ZBSJFYOD/image-asset.png Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1503680629711-624X5IIT3ITB0Z1QHE0H/White+Light+Poster.jpg Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473978265255-T5XRNKNXO4D70WQK0UKI/UNFINISHED.png Farallon Documentary Films - Unfinished Business In the spring of 1942, over 110,000 men, women and children were abruptly and forcibly evicted from their homes on the West Coast and herded into desolate internment camps across the country. Most of them were American citizens of Japanese ancestry. No charges were ever filed. No hearings or trials were held. Yet, they were incarcerated — behind wire fences, surrounded by watchtowers and armed guards — for more than three years. The sole basis for this action was ancestry. UNFINISHED BUSINESS tells the compelling story of three men who refused to go. Fred Korematsu, Gordon Hirabayashi and Minoru Yasui courageously defied the government and were separately convicted and imprisoned for violating Executive Order 9066 — which led to the imprisonment of all Japanese Americans on the West Coast. The film interweaves the personal stories of the three men with archival footage of wartime anti-Japanese hysteria, the mass evacuation, and life in the camps. It captures them forty years alter, working with a group of young Asian American attorneys, fighting to overturn their original convictions in the final round of a battle against the act which shattered the lives of two generations of Japanese Americans. UNFINISHED BUSINESS is a powerful and moving examination of this tragic but important period in American history. Major funding provided by the CORPORATION FOR PUBLIC BROADCASTING Additional funding provided by the WALLACE ALEXANDER GERBODE FOUNDATION 1985 / PBS Documentary / 58 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473978346491-SPDTBMHB7RKE61EJ0ERR/Fred-Korematsu.png Farallon Documentary Films - Unfinished Business In the spring of 1942, over 110,000 men, women and children were abruptly and forcibly evicted from their homes on the West Coast and herded into desolate internment camps across the country. Most of them were American citizens of Japanese ancestry. No charges were ever filed. No hearings or trials were held. Yet, they were incarcerated — behind wire fences, surrounded by watchtowers and armed guards — for more than three years. The sole basis for this action was ancestry. UNFINISHED BUSINESS tells the compelling story of three men who refused to go. Fred Korematsu, Gordon Hirabayashi and Minoru Yasui courageously defied the government and were separately convicted and imprisoned for violating Executive Order 9066 — which led to the imprisonment of all Japanese Americans on the West Coast. The film interweaves the personal stories of the three men with archival footage of wartime anti-Japanese hysteria, the mass evacuation, and life in the camps. It captures them forty years alter, working with a group of young Asian American attorneys, fighting to overturn their original convictions in the final round of a battle against the act which shattered the lives of two generations of Japanese Americans. UNFINISHED BUSINESS is a powerful and moving examination of this tragic but important period in American history. Major funding provided by the CORPORATION FOR PUBLIC BROADCASTING Additional funding provided by the WALLACE ALEXANDER GERBODE FOUNDATION 1985 / PBS Documentary / 58 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473978373836-MG8Z5YYZITLT4XPQDIQF/UB_1-2.png Farallon Documentary Films - Unfinished Business In the spring of 1942, over 110,000 men, women and children were abruptly and forcibly evicted from their homes on the West Coast and herded into desolate internment camps across the country. Most of them were American citizens of Japanese ancestry. No charges were ever filed. No hearings or trials were held. Yet, they were incarcerated — behind wire fences, surrounded by watchtowers and armed guards — for more than three years. The sole basis for this action was ancestry. UNFINISHED BUSINESS tells the compelling story of three men who refused to go. Fred Korematsu, Gordon Hirabayashi and Minoru Yasui courageously defied the government and were separately convicted and imprisoned for violating Executive Order 9066 — which led to the imprisonment of all Japanese Americans on the West Coast. The film interweaves the personal stories of the three men with archival footage of wartime anti-Japanese hysteria, the mass evacuation, and life in the camps. It captures them forty years alter, working with a group of young Asian American attorneys, fighting to overturn their original convictions in the final round of a battle against the act which shattered the lives of two generations of Japanese Americans. UNFINISHED BUSINESS is a powerful and moving examination of this tragic but important period in American history. Major funding provided by the CORPORATION FOR PUBLIC BROADCASTING Additional funding provided by the WALLACE ALEXANDER GERBODE FOUNDATION 1985 / PBS Documentary / 58 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473978398120-YEGF5Q5LTWKXLTR3JUY7/Min-Yasui.png Farallon Documentary Films - Unfinished Business In the spring of 1942, over 110,000 men, women and children were abruptly and forcibly evicted from their homes on the West Coast and herded into desolate internment camps across the country. Most of them were American citizens of Japanese ancestry. No charges were ever filed. No hearings or trials were held. Yet, they were incarcerated — behind wire fences, surrounded by watchtowers and armed guards — for more than three years. The sole basis for this action was ancestry. UNFINISHED BUSINESS tells the compelling story of three men who refused to go. Fred Korematsu, Gordon Hirabayashi and Minoru Yasui courageously defied the government and were separately convicted and imprisoned for violating Executive Order 9066 — which led to the imprisonment of all Japanese Americans on the West Coast. The film interweaves the personal stories of the three men with archival footage of wartime anti-Japanese hysteria, the mass evacuation, and life in the camps. It captures them forty years alter, working with a group of young Asian American attorneys, fighting to overturn their original convictions in the final round of a battle against the act which shattered the lives of two generations of Japanese Americans. UNFINISHED BUSINESS is a powerful and moving examination of this tragic but important period in American history. Major funding provided by the CORPORATION FOR PUBLIC BROADCASTING Additional funding provided by the WALLACE ALEXANDER GERBODE FOUNDATION 1985 / PBS Documentary / 58 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473978416319-8XGEKJOWAYXUMFETPGAO/UB_2-6.png Farallon Documentary Films - Unfinished Business In the spring of 1942, over 110,000 men, women and children were abruptly and forcibly evicted from their homes on the West Coast and herded into desolate internment camps across the country. Most of them were American citizens of Japanese ancestry. No charges were ever filed. No hearings or trials were held. Yet, they were incarcerated — behind wire fences, surrounded by watchtowers and armed guards — for more than three years. The sole basis for this action was ancestry. UNFINISHED BUSINESS tells the compelling story of three men who refused to go. Fred Korematsu, Gordon Hirabayashi and Minoru Yasui courageously defied the government and were separately convicted and imprisoned for violating Executive Order 9066 — which led to the imprisonment of all Japanese Americans on the West Coast. The film interweaves the personal stories of the three men with archival footage of wartime anti-Japanese hysteria, the mass evacuation, and life in the camps. It captures them forty years alter, working with a group of young Asian American attorneys, fighting to overturn their original convictions in the final round of a battle against the act which shattered the lives of two generations of Japanese Americans. UNFINISHED BUSINESS is a powerful and moving examination of this tragic but important period in American history. Major funding provided by the CORPORATION FOR PUBLIC BROADCASTING Additional funding provided by the WALLACE ALEXANDER GERBODE FOUNDATION 1985 / PBS Documentary / 58 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473978447347-L9T92V6N53J5O20H5LHP/Gordon-Hirabayashi.png Farallon Documentary Films - Unfinished Business In the spring of 1942, over 110,000 men, women and children were abruptly and forcibly evicted from their homes on the West Coast and herded into desolate internment camps across the country. Most of them were American citizens of Japanese ancestry. No charges were ever filed. No hearings or trials were held. Yet, they were incarcerated — behind wire fences, surrounded by watchtowers and armed guards — for more than three years. The sole basis for this action was ancestry. UNFINISHED BUSINESS tells the compelling story of three men who refused to go. Fred Korematsu, Gordon Hirabayashi and Minoru Yasui courageously defied the government and were separately convicted and imprisoned for violating Executive Order 9066 — which led to the imprisonment of all Japanese Americans on the West Coast. The film interweaves the personal stories of the three men with archival footage of wartime anti-Japanese hysteria, the mass evacuation, and life in the camps. It captures them forty years alter, working with a group of young Asian American attorneys, fighting to overturn their original convictions in the final round of a battle against the act which shattered the lives of two generations of Japanese Americans. UNFINISHED BUSINESS is a powerful and moving examination of this tragic but important period in American history. Major funding provided by the CORPORATION FOR PUBLIC BROADCASTING Additional funding provided by the WALLACE ALEXANDER GERBODE FOUNDATION 1985 / PBS Documentary / 58 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977348241-M18NYH31HBZ7X04L6QT1/TROUBLED.png Farallon Documentary Films - Troubled Paradise TROUBLED PARADISE explores Hawai'i's Big Island and uncovers a rich cultural heritage, along with pressing social, environmental and political problems facing the native population. The film also captures performances by noted dancers and musicians, featuring a hula to the goddess Pele, a children's hula group in rehearsal, and beautiful ballads by gifted Hawaiian singers. Native Hawaiians have the lowest median family income of all the state's ethnic groups, with more than 2,000 living in cardboard boxes, rusted cars or tents on the beach. They have the highest percentage of unemployed and incarcerated; their life expectancy is the lowest in the state; their infant mortality rate is the highest in the nation. In the midst of extraordinary natural beauty, native Hawaiians reveal tormenting issues that conflict with their deeply held traditions. Major funding provided by CORPORATION FOR PUBLIC BROADCASTING and the WALLACE ALEXANDER GERBODE FOUNDATION Produced in association with NATIONAL ASIAN AMERICAN TELECOMMUNICATIONS ASSOCIATION 1992 / Documentary / 56 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977363158-IH4H0RB1Y2RA3Z2QMY7R/TP_1-8.png Farallon Documentary Films - Troubled Paradise TROUBLED PARADISE explores Hawai'i's Big Island and uncovers a rich cultural heritage, along with pressing social, environmental and political problems facing the native population. The film also captures performances by noted dancers and musicians, featuring a hula to the goddess Pele, a children's hula group in rehearsal, and beautiful ballads by gifted Hawaiian singers. Native Hawaiians have the lowest median family income of all the state's ethnic groups, with more than 2,000 living in cardboard boxes, rusted cars or tents on the beach. They have the highest percentage of unemployed and incarcerated; their life expectancy is the lowest in the state; their infant mortality rate is the highest in the nation. In the midst of extraordinary natural beauty, native Hawaiians reveal tormenting issues that conflict with their deeply held traditions. Major funding provided by CORPORATION FOR PUBLIC BROADCASTING and the WALLACE ALEXANDER GERBODE FOUNDATION Produced in association with NATIONAL ASIAN AMERICAN TELECOMMUNICATIONS ASSOCIATION 1992 / Documentary / 56 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977380797-Z8ZQMWCKG81BZPU6A1LF/TP_7-6.png Farallon Documentary Films - Troubled Paradise TROUBLED PARADISE explores Hawai'i's Big Island and uncovers a rich cultural heritage, along with pressing social, environmental and political problems facing the native population. The film also captures performances by noted dancers and musicians, featuring a hula to the goddess Pele, a children's hula group in rehearsal, and beautiful ballads by gifted Hawaiian singers. Native Hawaiians have the lowest median family income of all the state's ethnic groups, with more than 2,000 living in cardboard boxes, rusted cars or tents on the beach. They have the highest percentage of unemployed and incarcerated; their life expectancy is the lowest in the state; their infant mortality rate is the highest in the nation. In the midst of extraordinary natural beauty, native Hawaiians reveal tormenting issues that conflict with their deeply held traditions. Major funding provided by CORPORATION FOR PUBLIC BROADCASTING and the WALLACE ALEXANDER GERBODE FOUNDATION Produced in association with NATIONAL ASIAN AMERICAN TELECOMMUNICATIONS ASSOCIATION 1992 / Documentary / 56 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977400241-YNTB3B8AVQIW01F4G8SC/TP_4-6.png Farallon Documentary Films - Troubled Paradise TROUBLED PARADISE explores Hawai'i's Big Island and uncovers a rich cultural heritage, along with pressing social, environmental and political problems facing the native population. The film also captures performances by noted dancers and musicians, featuring a hula to the goddess Pele, a children's hula group in rehearsal, and beautiful ballads by gifted Hawaiian singers. Native Hawaiians have the lowest median family income of all the state's ethnic groups, with more than 2,000 living in cardboard boxes, rusted cars or tents on the beach. They have the highest percentage of unemployed and incarcerated; their life expectancy is the lowest in the state; their infant mortality rate is the highest in the nation. In the midst of extraordinary natural beauty, native Hawaiians reveal tormenting issues that conflict with their deeply held traditions. Major funding provided by CORPORATION FOR PUBLIC BROADCASTING and the WALLACE ALEXANDER GERBODE FOUNDATION Produced in association with NATIONAL ASIAN AMERICAN TELECOMMUNICATIONS ASSOCIATION 1992 / Documentary / 56 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977415464-5C9S620Y0W132JBPUZ0X/TP_3-6.png Farallon Documentary Films - Troubled Paradise TROUBLED PARADISE explores Hawai'i's Big Island and uncovers a rich cultural heritage, along with pressing social, environmental and political problems facing the native population. The film also captures performances by noted dancers and musicians, featuring a hula to the goddess Pele, a children's hula group in rehearsal, and beautiful ballads by gifted Hawaiian singers. Native Hawaiians have the lowest median family income of all the state's ethnic groups, with more than 2,000 living in cardboard boxes, rusted cars or tents on the beach. They have the highest percentage of unemployed and incarcerated; their life expectancy is the lowest in the state; their infant mortality rate is the highest in the nation. In the midst of extraordinary natural beauty, native Hawaiians reveal tormenting issues that conflict with their deeply held traditions. Major funding provided by CORPORATION FOR PUBLIC BROADCASTING and the WALLACE ALEXANDER GERBODE FOUNDATION Produced in association with NATIONAL ASIAN AMERICAN TELECOMMUNICATIONS ASSOCIATION 1992 / Documentary / 56 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473975399175-B96BPYU1N0O4KCQU4977/Img22.png Farallon Documentary Films - The Fair Minnesota may not have the biggest or oldest State Fair in the country. But it definitely has the quirkiest. THE FAIR captures this celebration of Midwestern eccentricity in all its glory. You can witness "The Last Supper" or Prince rendered in dried corn and peas; gawk at the "Biggest Hog in the World;" eat 28 different kinds of food-on-a-stick; and see the pièce de résistance — the Butterheads. Each day of the fair, one of twelve "princesses" representing the State's dairy industry sits in a 38-degree revolving refrigerated booth while her head is carved in a 90-pound block of Grade A butter. It is a uniquely American experience. Originally featured for the PBS series "LIFE 360," the film was produced by Steven Okazaki and journalist Peggy Orenstein, a native Minnesotan (during twelve days of filming, they subsisted solely on food-on-a-stick). It is an affectionate portrait of Midwestern life which is so often either ignored or mocked in the media. It's also good, high-cholesterol Minnesota-style fun! A FARALLON FILMS production Produced by Peggy Orenstein and Steven Okazaki for LIFE 360   https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473975426028-U44EHLAEWWYE6SKE87JP/THE-FAIR_2.png Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473975489458-TTB9I2UPCYESDY7D4YBH/court-optimal.png Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473975567500-VOD3K2NKSGEDKVUSS0W0/2-princesses.png Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473975627071-2SELZX5SQ8NONJFB6WCP/Img27-6.png Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473974388992-71C6WPR7P6XKIEC26B9Q/Tiffani-3.png Farallon Documentary Films - Rehab This year, two million Americans will enter drug and alcohol treatment programs. Their chances of recovery — whatever their age, ethnicity, education or economic background — are about the same. Ninety percent of them will relapse within a year, which raises the question of whether recovery programs really work. While most physicians and drug counselors agree that drug addiction is a disease, most of the treatment programs are based on will power. REHAB, a compelling new documentary by Academy Award-winning filmmaker Steven Okazaki, offers a rare inside look at the recovery process, following five young addicts as they struggle to stay clean and reconnect with their families, then relapse and nearly lose everything, including their lives. Josh, 20 years old, is facing serious jail time if he doesn't stay off cocaine. He has a lot on his mind — he wants to break up with his 15-year-old girlfriend who is pregnant with his child — and he doesn't do well under pressure. A shot of coke feels like a way out. "It's a killer rush," he says. "That feeling of being so close to death." It's hard to say whether beautiful and insecure Anitra, age 20, is an addict. Her old boyfriend did crystal meth, so she did too. Her boyfriend in rehab is clean, so she is too. When she gets out of rehab, she hooks up with Micha, a young Russian who hangs with the skateboard crowd. Will she stay clean or do what Micha does? Brannon, 23, a recovering heroin addict, is working through the shame of shooting up in a hospital bathroom as his father was dying of cancer in the next room. Talented and charming, he can't talk about his feelings. Through a half dozen rehabs, his mother is at his side, supporting him and nearly destroying her own life. Ally, 22, is the most guarded of the five. The middle child in a family of three sisters, she "always felt different." She got interested in William Burroughs and heroin as an art student in San Francisco. After being raped and watching a friend overdose, she hitchhiked home to her parents, but was refused refuge. "The things you've done, I don't want to know," her father, a school principal, says. "That's how bad I think it is." Ally, Brannon, Anitra, Josh and Tiffani all end up at Camp Recovery, a treatment center in the mountains of Santa Cruz, California. "I've run out of options," says Ally in a determined voice. "This is my fucking life. I'm gonna make it this time." Produced for HBO DOCUMENTARY FILMS   https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473974405485-PBZGG5P7URCLCZA629TD/REHAB.jpg Farallon Documentary Films - Rehab This year, two million Americans will enter drug and alcohol treatment programs. Their chances of recovery — whatever their age, ethnicity, education or economic background — are about the same. Ninety percent of them will relapse within a year, which raises the question of whether recovery programs really work. While most physicians and drug counselors agree that drug addiction is a disease, most of the treatment programs are based on will power. REHAB, a compelling new documentary by Academy Award-winning filmmaker Steven Okazaki, offers a rare inside look at the recovery process, following five young addicts as they struggle to stay clean and reconnect with their families, then relapse and nearly lose everything, including their lives. Josh, 20 years old, is facing serious jail time if he doesn't stay off cocaine. He has a lot on his mind — he wants to break up with his 15-year-old girlfriend who is pregnant with his child — and he doesn't do well under pressure. A shot of coke feels like a way out. "It's a killer rush," he says. "That feeling of being so close to death." It's hard to say whether beautiful and insecure Anitra, age 20, is an addict. Her old boyfriend did crystal meth, so she did too. Her boyfriend in rehab is clean, so she is too. When she gets out of rehab, she hooks up with Micha, a young Russian who hangs with the skateboard crowd. Will she stay clean or do what Micha does? Brannon, 23, a recovering heroin addict, is working through the shame of shooting up in a hospital bathroom as his father was dying of cancer in the next room. Talented and charming, he can't talk about his feelings. Through a half dozen rehabs, his mother is at his side, supporting him and nearly destroying her own life. Ally, 22, is the most guarded of the five. The middle child in a family of three sisters, she "always felt different." She got interested in William Burroughs and heroin as an art student in San Francisco. After being raped and watching a friend overdose, she hitchhiked home to her parents, but was refused refuge. "The things you've done, I don't want to know," her father, a school principal, says. "That's how bad I think it is." Ally, Brannon, Anitra, Josh and Tiffani all end up at Camp Recovery, a treatment center in the mountains of Santa Cruz, California. "I've run out of options," says Ally in a determined voice. "This is my fucking life. I'm gonna make it this time." Produced for HBO DOCUMENTARY FILMS   https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473974434134-W2KN0M937F3QQ4D3W6N3/Brannon+cooks.jpg Farallon Documentary Films - Rehab This year, two million Americans will enter drug and alcohol treatment programs. Their chances of recovery — whatever their age, ethnicity, education or economic background — are about the same. Ninety percent of them will relapse within a year, which raises the question of whether recovery programs really work. While most physicians and drug counselors agree that drug addiction is a disease, most of the treatment programs are based on will power. REHAB, a compelling new documentary by Academy Award-winning filmmaker Steven Okazaki, offers a rare inside look at the recovery process, following five young addicts as they struggle to stay clean and reconnect with their families, then relapse and nearly lose everything, including their lives. Josh, 20 years old, is facing serious jail time if he doesn't stay off cocaine. He has a lot on his mind — he wants to break up with his 15-year-old girlfriend who is pregnant with his child — and he doesn't do well under pressure. A shot of coke feels like a way out. "It's a killer rush," he says. "That feeling of being so close to death." It's hard to say whether beautiful and insecure Anitra, age 20, is an addict. Her old boyfriend did crystal meth, so she did too. Her boyfriend in rehab is clean, so she is too. When she gets out of rehab, she hooks up with Micha, a young Russian who hangs with the skateboard crowd. Will she stay clean or do what Micha does? Brannon, 23, a recovering heroin addict, is working through the shame of shooting up in a hospital bathroom as his father was dying of cancer in the next room. Talented and charming, he can't talk about his feelings. Through a half dozen rehabs, his mother is at his side, supporting him and nearly destroying her own life. Ally, 22, is the most guarded of the five. The middle child in a family of three sisters, she "always felt different." She got interested in William Burroughs and heroin as an art student in San Francisco. After being raped and watching a friend overdose, she hitchhiked home to her parents, but was refused refuge. "The things you've done, I don't want to know," her father, a school principal, says. "That's how bad I think it is." Ally, Brannon, Anitra, Josh and Tiffani all end up at Camp Recovery, a treatment center in the mountains of Santa Cruz, California. "I've run out of options," says Ally in a determined voice. "This is my fucking life. I'm gonna make it this time." Produced for HBO DOCUMENTARY FILMS   https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473974464198-W4I4U1NVB78WNI0X1FPO/L-R-Anitra%2C-Tiffani%2C-Brannon%2C-Josh.png Farallon Documentary Films - Rehab This year, two million Americans will enter drug and alcohol treatment programs. Their chances of recovery — whatever their age, ethnicity, education or economic background — are about the same. Ninety percent of them will relapse within a year, which raises the question of whether recovery programs really work. While most physicians and drug counselors agree that drug addiction is a disease, most of the treatment programs are based on will power. REHAB, a compelling new documentary by Academy Award-winning filmmaker Steven Okazaki, offers a rare inside look at the recovery process, following five young addicts as they struggle to stay clean and reconnect with their families, then relapse and nearly lose everything, including their lives. Josh, 20 years old, is facing serious jail time if he doesn't stay off cocaine. He has a lot on his mind — he wants to break up with his 15-year-old girlfriend who is pregnant with his child — and he doesn't do well under pressure. A shot of coke feels like a way out. "It's a killer rush," he says. "That feeling of being so close to death." It's hard to say whether beautiful and insecure Anitra, age 20, is an addict. Her old boyfriend did crystal meth, so she did too. Her boyfriend in rehab is clean, so she is too. When she gets out of rehab, she hooks up with Micha, a young Russian who hangs with the skateboard crowd. Will she stay clean or do what Micha does? Brannon, 23, a recovering heroin addict, is working through the shame of shooting up in a hospital bathroom as his father was dying of cancer in the next room. Talented and charming, he can't talk about his feelings. Through a half dozen rehabs, his mother is at his side, supporting him and nearly destroying her own life. Ally, 22, is the most guarded of the five. The middle child in a family of three sisters, she "always felt different." She got interested in William Burroughs and heroin as an art student in San Francisco. After being raped and watching a friend overdose, she hitchhiked home to her parents, but was refused refuge. "The things you've done, I don't want to know," her father, a school principal, says. "That's how bad I think it is." Ally, Brannon, Anitra, Josh and Tiffani all end up at Camp Recovery, a treatment center in the mountains of Santa Cruz, California. "I've run out of options," says Ally in a determined voice. "This is my fucking life. I'm gonna make it this time." Produced for HBO DOCUMENTARY FILMS   https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473974486969-ORJOE6F42308YV13GS2J/Anitra+2.jpg Farallon Documentary Films - Rehab This year, two million Americans will enter drug and alcohol treatment programs. Their chances of recovery — whatever their age, ethnicity, education or economic background — are about the same. Ninety percent of them will relapse within a year, which raises the question of whether recovery programs really work. While most physicians and drug counselors agree that drug addiction is a disease, most of the treatment programs are based on will power. REHAB, a compelling new documentary by Academy Award-winning filmmaker Steven Okazaki, offers a rare inside look at the recovery process, following five young addicts as they struggle to stay clean and reconnect with their families, then relapse and nearly lose everything, including their lives. Josh, 20 years old, is facing serious jail time if he doesn't stay off cocaine. He has a lot on his mind — he wants to break up with his 15-year-old girlfriend who is pregnant with his child — and he doesn't do well under pressure. A shot of coke feels like a way out. "It's a killer rush," he says. "That feeling of being so close to death." It's hard to say whether beautiful and insecure Anitra, age 20, is an addict. Her old boyfriend did crystal meth, so she did too. Her boyfriend in rehab is clean, so she is too. When she gets out of rehab, she hooks up with Micha, a young Russian who hangs with the skateboard crowd. Will she stay clean or do what Micha does? Brannon, 23, a recovering heroin addict, is working through the shame of shooting up in a hospital bathroom as his father was dying of cancer in the next room. Talented and charming, he can't talk about his feelings. Through a half dozen rehabs, his mother is at his side, supporting him and nearly destroying her own life. Ally, 22, is the most guarded of the five. The middle child in a family of three sisters, she "always felt different." She got interested in William Burroughs and heroin as an art student in San Francisco. After being raped and watching a friend overdose, she hitchhiked home to her parents, but was refused refuge. "The things you've done, I don't want to know," her father, a school principal, says. "That's how bad I think it is." Ally, Brannon, Anitra, Josh and Tiffani all end up at Camp Recovery, a treatment center in the mountains of Santa Cruz, California. "I've run out of options," says Ally in a determined voice. "This is my fucking life. I'm gonna make it this time." Produced for HBO DOCUMENTARY FILMS   https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473974507723-VBR8D3VZQLA4P2U9DPJA/JOSH_BRA_z.png Farallon Documentary Films - Rehab This year, two million Americans will enter drug and alcohol treatment programs. Their chances of recovery — whatever their age, ethnicity, education or economic background — are about the same. Ninety percent of them will relapse within a year, which raises the question of whether recovery programs really work. While most physicians and drug counselors agree that drug addiction is a disease, most of the treatment programs are based on will power. REHAB, a compelling new documentary by Academy Award-winning filmmaker Steven Okazaki, offers a rare inside look at the recovery process, following five young addicts as they struggle to stay clean and reconnect with their families, then relapse and nearly lose everything, including their lives. Josh, 20 years old, is facing serious jail time if he doesn't stay off cocaine. He has a lot on his mind — he wants to break up with his 15-year-old girlfriend who is pregnant with his child — and he doesn't do well under pressure. A shot of coke feels like a way out. "It's a killer rush," he says. "That feeling of being so close to death." It's hard to say whether beautiful and insecure Anitra, age 20, is an addict. Her old boyfriend did crystal meth, so she did too. Her boyfriend in rehab is clean, so she is too. When she gets out of rehab, she hooks up with Micha, a young Russian who hangs with the skateboard crowd. Will she stay clean or do what Micha does? Brannon, 23, a recovering heroin addict, is working through the shame of shooting up in a hospital bathroom as his father was dying of cancer in the next room. Talented and charming, he can't talk about his feelings. Through a half dozen rehabs, his mother is at his side, supporting him and nearly destroying her own life. Ally, 22, is the most guarded of the five. The middle child in a family of three sisters, she "always felt different." She got interested in William Burroughs and heroin as an art student in San Francisco. After being raped and watching a friend overdose, she hitchhiked home to her parents, but was refused refuge. "The things you've done, I don't want to know," her father, a school principal, says. "That's how bad I think it is." Ally, Brannon, Anitra, Josh and Tiffani all end up at Camp Recovery, a treatment center in the mountains of Santa Cruz, California. "I've run out of options," says Ally in a determined voice. "This is my fucking life. I'm gonna make it this time." Produced for HBO DOCUMENTARY FILMS   https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473974529713-R80ZQ192YEL54XOX0JD4/Brannon+1.jpg Farallon Documentary Films - Rehab This year, two million Americans will enter drug and alcohol treatment programs. Their chances of recovery — whatever their age, ethnicity, education or economic background — are about the same. Ninety percent of them will relapse within a year, which raises the question of whether recovery programs really work. While most physicians and drug counselors agree that drug addiction is a disease, most of the treatment programs are based on will power. REHAB, a compelling new documentary by Academy Award-winning filmmaker Steven Okazaki, offers a rare inside look at the recovery process, following five young addicts as they struggle to stay clean and reconnect with their families, then relapse and nearly lose everything, including their lives. Josh, 20 years old, is facing serious jail time if he doesn't stay off cocaine. He has a lot on his mind — he wants to break up with his 15-year-old girlfriend who is pregnant with his child — and he doesn't do well under pressure. A shot of coke feels like a way out. "It's a killer rush," he says. "That feeling of being so close to death." It's hard to say whether beautiful and insecure Anitra, age 20, is an addict. Her old boyfriend did crystal meth, so she did too. Her boyfriend in rehab is clean, so she is too. When she gets out of rehab, she hooks up with Micha, a young Russian who hangs with the skateboard crowd. Will she stay clean or do what Micha does? Brannon, 23, a recovering heroin addict, is working through the shame of shooting up in a hospital bathroom as his father was dying of cancer in the next room. Talented and charming, he can't talk about his feelings. Through a half dozen rehabs, his mother is at his side, supporting him and nearly destroying her own life. Ally, 22, is the most guarded of the five. The middle child in a family of three sisters, she "always felt different." She got interested in William Burroughs and heroin as an art student in San Francisco. After being raped and watching a friend overdose, she hitchhiked home to her parents, but was refused refuge. "The things you've done, I don't want to know," her father, a school principal, says. "That's how bad I think it is." Ally, Brannon, Anitra, Josh and Tiffani all end up at Camp Recovery, a treatment center in the mountains of Santa Cruz, California. "I've run out of options," says Ally in a determined voice. "This is my fucking life. I'm gonna make it this time." Produced for HBO DOCUMENTARY FILMS   https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1503681088275-STYEA676NT3T330PBKCW/Rehab_poster_FBF.jpg Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473969677604-CNCRH7K6VRXUVU7UWON4/NHEM+EN.jpg Farallon Documentary Films - The Conscience of Nhem En THE CONSCIENCE OF NHEM EN explores conscience and complicity in the story of a young soldier responsible for taking ID photos of thousands of innocent people before they were tortured and killed by the Khmer Rouge. Nhem En was 16 years old when he was the staff photographer at the notorious Tuol Sleng Prison, also known as S-21, where, from 1975 to 1979, 17,000 people were registered and photographed, then imprisoned and tortured, before they were killed. The photographs of Tuol Sleng are an extraordinary document of madness and cruelty. In many cases, the prisoners were just opening their eyes after a blindfold or hood had been taken off when they heard the camera shutter. Some appear oblivious to what is about to happen, reflexively smiling for the camera, but most were very aware they're facing death. Of the thousands of men, women, children, even infants, that Nhem En photographed, he did not aid or utter a single word of solace or kindness to any of them. He angrily defends himself when challenged about his part in the horror, saying everyone would do what he did to save their own lives. Only eight people are documented to have walked out of S-21 alive. Three of them tell their remarkable stories of survival. Bou Meng, 34 years old at the time, survived because the prison needed an artist to paint portraits of Khmer Rouge leader Pol Pot. Chum Mey, 42 at the time, survived because he could fix sewing machines. Chim Math, 20 years old, doesn't know why she survived, but she can't forget what happened to her. Steven Okazaki, with co-producer/cameraperson Singeli Agnew, takes a moving and disturbing look at Cambodia, still recovering 30 years after the nightmare. Produced for HBO Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466473634456-HTK83B7R8RSF7KZFDDPP/KR-2-Men-29-33.png Farallon Documentary Films - The Conscience of Nhem En THE CONSCIENCE OF NHEM EN explores conscience and complicity in the story of a young soldier responsible for taking ID photos of thousands of innocent people before they were tortured and killed by the Khmer Rouge. Nhem En was 16 years old when he was the staff photographer at the notorious Tuol Sleng Prison, also known as S-21, where, from 1975 to 1979, 17,000 people were registered and photographed, then imprisoned and tortured, before they were killed. The photographs of Tuol Sleng are an extraordinary document of madness and cruelty. In many cases, the prisoners were just opening their eyes after a blindfold or hood had been taken off when they heard the camera shutter. Some appear oblivious to what is about to happen, reflexively smiling for the camera, but most were very aware they're facing death. Of the thousands of men, women, children, even infants, that Nhem En photographed, he did not aid or utter a single word of solace or kindness to any of them. He angrily defends himself when challenged about his part in the horror, saying everyone would do what he did to save their own lives. Only eight people are documented to have walked out of S-21 alive. Three of them tell their remarkable stories of survival. Bou Meng, 34 years old at the time, survived because the prison needed an artist to paint portraits of Khmer Rouge leader Pol Pot. Chum Mey, 42 at the time, survived because he could fix sewing machines. Chim Math, 20 years old, doesn't know why she survived, but she can't forget what happened to her. Steven Okazaki, with co-producer/cameraperson Singeli Agnew, takes a moving and disturbing look at Cambodia, still recovering 30 years after the nightmare. Produced for HBO Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473969713924-DYFHMOIL0BNP8D0RIJAY/bou-meng-w_wife-photo2.png Farallon Documentary Films - The Conscience of Nhem En THE CONSCIENCE OF NHEM EN explores conscience and complicity in the story of a young soldier responsible for taking ID photos of thousands of innocent people before they were tortured and killed by the Khmer Rouge. Nhem En was 16 years old when he was the staff photographer at the notorious Tuol Sleng Prison, also known as S-21, where, from 1975 to 1979, 17,000 people were registered and photographed, then imprisoned and tortured, before they were killed. The photographs of Tuol Sleng are an extraordinary document of madness and cruelty. In many cases, the prisoners were just opening their eyes after a blindfold or hood had been taken off when they heard the camera shutter. Some appear oblivious to what is about to happen, reflexively smiling for the camera, but most were very aware they're facing death. Of the thousands of men, women, children, even infants, that Nhem En photographed, he did not aid or utter a single word of solace or kindness to any of them. He angrily defends himself when challenged about his part in the horror, saying everyone would do what he did to save their own lives. Only eight people are documented to have walked out of S-21 alive. Three of them tell their remarkable stories of survival. Bou Meng, 34 years old at the time, survived because the prison needed an artist to paint portraits of Khmer Rouge leader Pol Pot. Chum Mey, 42 at the time, survived because he could fix sewing machines. Chim Math, 20 years old, doesn't know why she survived, but she can't forget what happened to her. Steven Okazaki, with co-producer/cameraperson Singeli Agnew, takes a moving and disturbing look at Cambodia, still recovering 30 years after the nightmare. Produced for HBO Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1504051642271-P23OQ8JFCSXV8K81MU53/chim+mey.jpg Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473969730865-MLXMDPWBIOF4IS1U5AEU/chim-math-2.png Farallon Documentary Films - The Conscience of Nhem En THE CONSCIENCE OF NHEM EN explores conscience and complicity in the story of a young soldier responsible for taking ID photos of thousands of innocent people before they were tortured and killed by the Khmer Rouge. Nhem En was 16 years old when he was the staff photographer at the notorious Tuol Sleng Prison, also known as S-21, where, from 1975 to 1979, 17,000 people were registered and photographed, then imprisoned and tortured, before they were killed. The photographs of Tuol Sleng are an extraordinary document of madness and cruelty. In many cases, the prisoners were just opening their eyes after a blindfold or hood had been taken off when they heard the camera shutter. Some appear oblivious to what is about to happen, reflexively smiling for the camera, but most were very aware they're facing death. Of the thousands of men, women, children, even infants, that Nhem En photographed, he did not aid or utter a single word of solace or kindness to any of them. He angrily defends himself when challenged about his part in the horror, saying everyone would do what he did to save their own lives. Only eight people are documented to have walked out of S-21 alive. Three of them tell their remarkable stories of survival. Bou Meng, 34 years old at the time, survived because the prison needed an artist to paint portraits of Khmer Rouge leader Pol Pot. Chum Mey, 42 at the time, survived because he could fix sewing machines. Chim Math, 20 years old, doesn't know why she survived, but she can't forget what happened to her. Steven Okazaki, with co-producer/cameraperson Singeli Agnew, takes a moving and disturbing look at Cambodia, still recovering 30 years after the nightmare. Produced for HBO Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466473635647-MU0LAIYV5G4E40YUBEEO/KR-wom-24-ZOOM-2.png Farallon Documentary Films - The Conscience of Nhem En THE CONSCIENCE OF NHEM EN explores conscience and complicity in the story of a young soldier responsible for taking ID photos of thousands of innocent people before they were tortured and killed by the Khmer Rouge. Nhem En was 16 years old when he was the staff photographer at the notorious Tuol Sleng Prison, also known as S-21, where, from 1975 to 1979, 17,000 people were registered and photographed, then imprisoned and tortured, before they were killed. The photographs of Tuol Sleng are an extraordinary document of madness and cruelty. In many cases, the prisoners were just opening their eyes after a blindfold or hood had been taken off when they heard the camera shutter. Some appear oblivious to what is about to happen, reflexively smiling for the camera, but most were very aware they're facing death. Of the thousands of men, women, children, even infants, that Nhem En photographed, he did not aid or utter a single word of solace or kindness to any of them. He angrily defends himself when challenged about his part in the horror, saying everyone would do what he did to save their own lives. Only eight people are documented to have walked out of S-21 alive. Three of them tell their remarkable stories of survival. Bou Meng, 34 years old at the time, survived because the prison needed an artist to paint portraits of Khmer Rouge leader Pol Pot. Chum Mey, 42 at the time, survived because he could fix sewing machines. Chim Math, 20 years old, doesn't know why she survived, but she can't forget what happened to her. Steven Okazaki, with co-producer/cameraperson Singeli Agnew, takes a moving and disturbing look at Cambodia, still recovering 30 years after the nightmare. Produced for HBO Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473969756267-26Z7GWOA0784KRSJ7K6H/chum-mey-1.png Farallon Documentary Films - The Conscience of Nhem En THE CONSCIENCE OF NHEM EN explores conscience and complicity in the story of a young soldier responsible for taking ID photos of thousands of innocent people before they were tortured and killed by the Khmer Rouge. Nhem En was 16 years old when he was the staff photographer at the notorious Tuol Sleng Prison, also known as S-21, where, from 1975 to 1979, 17,000 people were registered and photographed, then imprisoned and tortured, before they were killed. The photographs of Tuol Sleng are an extraordinary document of madness and cruelty. In many cases, the prisoners were just opening their eyes after a blindfold or hood had been taken off when they heard the camera shutter. Some appear oblivious to what is about to happen, reflexively smiling for the camera, but most were very aware they're facing death. Of the thousands of men, women, children, even infants, that Nhem En photographed, he did not aid or utter a single word of solace or kindness to any of them. He angrily defends himself when challenged about his part in the horror, saying everyone would do what he did to save their own lives. Only eight people are documented to have walked out of S-21 alive. Three of them tell their remarkable stories of survival. Bou Meng, 34 years old at the time, survived because the prison needed an artist to paint portraits of Khmer Rouge leader Pol Pot. Chum Mey, 42 at the time, survived because he could fix sewing machines. Chim Math, 20 years old, doesn't know why she survived, but she can't forget what happened to her. Steven Okazaki, with co-producer/cameraperson Singeli Agnew, takes a moving and disturbing look at Cambodia, still recovering 30 years after the nightmare. Produced for HBO Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1503681304000-YKHMUUWJTGDS473GDQ5Q/NHEM+EN+poster.jpg Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1595373313798-HIX5VSJGW56B32Q8UIGW/NC+GUITAR+2.jpg Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1595373388158-82S832XU20874BD1YFCS/NC+YELL.jpg Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1595373396626-LX3RRSR367SLGHG5ICWK/YH+HAND.jpg Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1595373417251-ZYLGKIXGKU4Q1XU2C2IL/R+MILES+5.jpg Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1595373429311-6ZTYGIMRDOMI0M3UL8IQ/DH+BASS%5B1%5D.jpg Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1595373442468-WRU8K2PAGVDSP5ZCFAMD/CK+CU+2.jpg Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1595373476685-1A16DHATJSRUZYNLOPBR/cline-2191.jpg Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1595374007867-N9Z4EZQLBMQTPSAMWSEB/YH+1.jpg Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1503957442295-6N7G8QS3GKNJ6KX5DZGW/NelsCline-Poster_v8-lo-res+%281%29.jpg Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473973752980-F33MTRV7L74TWKP346TZ/MUSHROOM.jpg Farallon Documentary Films - The Mushroom Club THE MUSHROOM CLUB is a filmmaker's journey to Hiroshima, sixty years after the bomb. Filmmaker Steven Okazaki, who first visited the city in 1980, takes a very personal look at Hiroshima — the place, the people, the historical event, the idea. He gathers a compelling collection of everyday images — a class photo, a spool of thread, a handful of buttons — and the powerful stories that come with them. The film features several hibakusha (atomic bomb survivors). The oldest was a 25-year-old newlywed and the youngest weren't yet born when the atomic bomb was dropped on August 6, 1945. On that day, all of their lives were unalterably changed, beyond what most of us can imagine.   https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473973789117-MQPOIN8ATR6CE15893G0/buddha.png Farallon Documentary Films - The Mushroom Club THE MUSHROOM CLUB is a filmmaker's journey to Hiroshima, sixty years after the bomb. Filmmaker Steven Okazaki, who first visited the city in 1980, takes a very personal look at Hiroshima — the place, the people, the historical event, the idea. He gathers a compelling collection of everyday images — a class photo, a spool of thread, a handful of buttons — and the powerful stories that come with them. The film features several hibakusha (atomic bomb survivors). The oldest was a 25-year-old newlywed and the youngest weren't yet born when the atomic bomb was dropped on August 6, 1945. On that day, all of their lives were unalterably changed, beyond what most of us can imagine. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473973820548-EIN2Y81QC2UGDD2CVJSS/audience.png Farallon Documentary Films - The Mushroom Club THE MUSHROOM CLUB is a filmmaker's journey to Hiroshima, sixty years after the bomb. Filmmaker Steven Okazaki, who first visited the city in 1980, takes a very personal look at Hiroshima — the place, the people, the historical event, the idea. He gathers a compelling collection of everyday images — a class photo, a spool of thread, a handful of buttons — and the powerful stories that come with them. The film features several hibakusha (atomic bomb survivors). The oldest was a 25-year-old newlywed and the youngest weren't yet born when the atomic bomb was dropped on August 6, 1945. On that day, all of their lives were unalterably changed, beyond what most of us can imagine. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473973901467-CSHP37YGZGJ7JH39YA1U/yamaoka.png Farallon Documentary Films - The Mushroom Club THE MUSHROOM CLUB is a filmmaker's journey to Hiroshima, sixty years after the bomb. Filmmaker Steven Okazaki, who first visited the city in 1980, takes a very personal look at Hiroshima — the place, the people, the historical event, the idea. He gathers a compelling collection of everyday images — a class photo, a spool of thread, a handful of buttons — and the powerful stories that come with them. The film features several hibakusha (atomic bomb survivors). The oldest was a 25-year-old newlywed and the youngest weren't yet born when the atomic bomb was dropped on August 6, 1945. On that day, all of their lives were unalterably changed, beyond what most of us can imagine. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473973934148-X8XXQ5Y0TJSKL0VUM3VT/barefoot-gen.png Farallon Documentary Films - The Mushroom Club THE MUSHROOM CLUB is a filmmaker's journey to Hiroshima, sixty years after the bomb. Filmmaker Steven Okazaki, who first visited the city in 1980, takes a very personal look at Hiroshima — the place, the people, the historical event, the idea. He gathers a compelling collection of everyday images — a class photo, a spool of thread, a handful of buttons — and the powerful stories that come with them. The film features several hibakusha (atomic bomb survivors). The oldest was a 25-year-old newlywed and the youngest weren't yet born when the atomic bomb was dropped on August 6, 1945. On that day, all of their lives were unalterably changed, beyond what most of us can imagine. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473974264192-LZ3KA90Y8VIL8KM7OSM2/archivalgirl.png Farallon Documentary Films - The Mushroom Club THE MUSHROOM CLUB is a filmmaker's journey to Hiroshima, sixty years after the bomb. Filmmaker Steven Okazaki, who first visited the city in 1980, takes a very personal look at Hiroshima — the place, the people, the historical event, the idea. He gathers a compelling collection of everyday images — a class photo, a spool of thread, a handful of buttons — and the powerful stories that come with them. The film features several hibakusha (atomic bomb survivors). The oldest was a 25-year-old newlywed and the youngest weren't yet born when the atomic bomb was dropped on August 6, 1945. On that day, all of their lives were unalterably changed, beyond what most of us can imagine. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473976281058-XUZCWYN3YZ2HZZFPM9PO/LIFE+WAS+GOOD.jpg Farallon Documentary Films - Life Was Good LIFE WAS GOOD: THE CLAUDIA PETERSON STORY is a moving portrait of one American family whose lives were tragically altered by the misfortune of living near the Nevada Test Site where more than a thousand nuclear weapons were detonated from 1951 to 1992. At the center of the story is Claudia Peterson, a 40 year old supermarket cashier in St. George, Utah. "I thought I would grow up, get married, have children and live happily every after," Claudia says in the film's opening sequence. "I was living the American dream." In telling Claudia's story, the film unravels a single strand from the tangle of cold war history to reveal a stark personal history of the atomic bomb and the damage inflicted on the lives of the citizens it was designed to protect. It chronicles Claudia's life from her seemingly idyllic childhood in the rural town where she grew up; through her adult realization that the threat to her family's health and happiness came from her own government's atomic testing program; to her transformation from docile Mormon housewife into political activist. Weaving together historical footage with a highly personal account, LIFE WAS GOOD offers fresh insight into the long-term consequences of international politics on individual lives. Produced for NHK HI-VISION in association with KCTS, Seattle 1996 / Documentary / 27 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473976309468-89W7Q4K05I6WIJ7SPC3Z/family.png Farallon Documentary Films - Life Was Good LIFE WAS GOOD: THE CLAUDIA PETERSON STORY is a moving portrait of one American family whose lives were tragically altered by the misfortune of living near the Nevada Test Site where more than a thousand nuclear weapons were detonated from 1951 to 1992. At the center of the story is Claudia Peterson, a 40 year old supermarket cashier in St. George, Utah. "I thought I would grow up, get married, have children and live happily every after," Claudia says in the film's opening sequence. "I was living the American dream." In telling Claudia's story, the film unravels a single strand from the tangle of cold war history to reveal a stark personal history of the atomic bomb and the damage inflicted on the lives of the citizens it was designed to protect. It chronicles Claudia's life from her seemingly idyllic childhood in the rural town where she grew up; through her adult realization that the threat to her family's health and happiness came from her own government's atomic testing program; to her transformation from docile Mormon housewife into political activist. Weaving together historical footage with a highly personal account, LIFE WAS GOOD offers fresh insight into the long-term consequences of international politics on individual lives. Produced for NHK HI-VISION in association with KCTS, Seattle 1996 / Documentary / 27 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473976325782-BP3KH00WCZTAFPTFI82S/Life-Was-Good---8.png Farallon Documentary Films - Life Was Good LIFE WAS GOOD: THE CLAUDIA PETERSON STORY is a moving portrait of one American family whose lives were tragically altered by the misfortune of living near the Nevada Test Site where more than a thousand nuclear weapons were detonated from 1951 to 1992. At the center of the story is Claudia Peterson, a 40 year old supermarket cashier in St. George, Utah. "I thought I would grow up, get married, have children and live happily every after," Claudia says in the film's opening sequence. "I was living the American dream." In telling Claudia's story, the film unravels a single strand from the tangle of cold war history to reveal a stark personal history of the atomic bomb and the damage inflicted on the lives of the citizens it was designed to protect. It chronicles Claudia's life from her seemingly idyllic childhood in the rural town where she grew up; through her adult realization that the threat to her family's health and happiness came from her own government's atomic testing program; to her transformation from docile Mormon housewife into political activist. Weaving together historical footage with a highly personal account, LIFE WAS GOOD offers fresh insight into the long-term consequences of international politics on individual lives. Produced for NHK HI-VISION in association with KCTS, Seattle 1996 / Documentary / 27 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473976507523-VAUJC9XCKKHOA96AYL73/Life-Was-Good---6.png Farallon Documentary Films - Life Was Good LIFE WAS GOOD: THE CLAUDIA PETERSON STORY is a moving portrait of one American family whose lives were tragically altered by the misfortune of living near the Nevada Test Site where more than a thousand nuclear weapons were detonated from 1951 to 1992. At the center of the story is Claudia Peterson, a 40 year old supermarket cashier in St. George, Utah. "I thought I would grow up, get married, have children and live happily every after," Claudia says in the film's opening sequence. "I was living the American dream." In telling Claudia's story, the film unravels a single strand from the tangle of cold war history to reveal a stark personal history of the atomic bomb and the damage inflicted on the lives of the citizens it was designed to protect. It chronicles Claudia's life from her seemingly idyllic childhood in the rural town where she grew up; through her adult realization that the threat to her family's health and happiness came from her own government's atomic testing program; to her transformation from docile Mormon housewife into political activist. Weaving together historical footage with a highly personal account, LIFE WAS GOOD offers fresh insight into the long-term consequences of international politics on individual lives. Produced for NHK HI-VISION in association with KCTS, Seattle 1996 / Documentary / 27 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977870057-FOUUO4A3P9M0K0A3VVBK/HUNTING.png Farallon Documentary Films - Hunting Tigers HUNTING TIGERS provides an off-beat and entertaining look at life and art in Tokyo. The film begins with Kenzaburo Oe, one of Japan's most important writers and political activists, who laments that the country's young people, in particular, its new writers and artists, are "spoiled, un-original, too affluent and too influenced by Western culture." The filmmaker sets out on a whimsical journey through the wilds of Tokyo to prove or disprove Mr. Oe's pronouncement. He meets four strange and wonderful artists: pop singer Jun Togawa, performance artist Rosa Tsukinoyo, collage maker Genqui Numata (who also calls himself "The Bonsai Kid" and "The World's Greatest Artist"), and dancer Saburo Teshigawara, one of the most exciting dancers to emerge from Japan. The film explores a world populated not by soulless salarymen but by unique and brilliant creative spirits. Major funding provided by the NATIONAL ENDOWMENT FOR THE ARTS and THE JAPAN FOUNDATION 1988 / Documentary / 30 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977890633-KGRBB6DWJN7ZH4KRJUKA/HT_6-6.png Farallon Documentary Films - Hunting Tigers HUNTING TIGERS provides an off-beat and entertaining look at life and art in Tokyo. The film begins with Kenzaburo Oe, one of Japan's most important writers and political activists, who laments that the country's young people, in particular, its new writers and artists, are "spoiled, un-original, too affluent and too influenced by Western culture." The filmmaker sets out on a whimsical journey through the wilds of Tokyo to prove or disprove Mr. Oe's pronouncement. He meets four strange and wonderful artists: pop singer Jun Togawa, performance artist Rosa Tsukinoyo, collage maker Genqui Numata (who also calls himself "The Bonsai Kid" and "The World's Greatest Artist"), and dancer Saburo Teshigawara, one of the most exciting dancers to emerge from Japan. The film explores a world populated not by soulless salarymen but by unique and brilliant creative spirits. Major funding provided by the NATIONAL ENDOWMENT FOR THE ARTS and THE JAPAN FOUNDATION 1988 / Documentary / 30 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977913160-L6PG4IY115BC2QKGURGE/HT_5-2Crop.png Farallon Documentary Films - Hunting Tigers HUNTING TIGERS provides an off-beat and entertaining look at life and art in Tokyo. The film begins with Kenzaburo Oe, one of Japan's most important writers and political activists, who laments that the country's young people, in particular, its new writers and artists, are "spoiled, un-original, too affluent and too influenced by Western culture." The filmmaker sets out on a whimsical journey through the wilds of Tokyo to prove or disprove Mr. Oe's pronouncement. He meets four strange and wonderful artists: pop singer Jun Togawa, performance artist Rosa Tsukinoyo, collage maker Genqui Numata (who also calls himself "The Bonsai Kid" and "The World's Greatest Artist"), and dancer Saburo Teshigawara, one of the most exciting dancers to emerge from Japan. The film explores a world populated not by soulless salarymen but by unique and brilliant creative spirits. Major funding provided by the NATIONAL ENDOWMENT FOR THE ARTS and THE JAPAN FOUNDATION 1988 / Documentary / 30 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977946504-J007YI81PKZRPFO6EC7I/HT_1-6.png Farallon Documentary Films - Hunting Tigers HUNTING TIGERS provides an off-beat and entertaining look at life and art in Tokyo. The film begins with Kenzaburo Oe, one of Japan's most important writers and political activists, who laments that the country's young people, in particular, its new writers and artists, are "spoiled, un-original, too affluent and too influenced by Western culture." The filmmaker sets out on a whimsical journey through the wilds of Tokyo to prove or disprove Mr. Oe's pronouncement. He meets four strange and wonderful artists: pop singer Jun Togawa, performance artist Rosa Tsukinoyo, collage maker Genqui Numata (who also calls himself "The Bonsai Kid" and "The World's Greatest Artist"), and dancer Saburo Teshigawara, one of the most exciting dancers to emerge from Japan. The film explores a world populated not by soulless salarymen but by unique and brilliant creative spirits. Major funding provided by the NATIONAL ENDOWMENT FOR THE ARTS and THE JAPAN FOUNDATION 1988 / Documentary / 30 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977966289-HAML9ZHO5ZTZM026RF1Q/HT_2-2.png Farallon Documentary Films - Hunting Tigers HUNTING TIGERS provides an off-beat and entertaining look at life and art in Tokyo. The film begins with Kenzaburo Oe, one of Japan's most important writers and political activists, who laments that the country's young people, in particular, its new writers and artists, are "spoiled, un-original, too affluent and too influenced by Western culture." The filmmaker sets out on a whimsical journey through the wilds of Tokyo to prove or disprove Mr. Oe's pronouncement. He meets four strange and wonderful artists: pop singer Jun Togawa, performance artist Rosa Tsukinoyo, collage maker Genqui Numata (who also calls himself "The Bonsai Kid" and "The World's Greatest Artist"), and dancer Saburo Teshigawara, one of the most exciting dancers to emerge from Japan. The film explores a world populated not by soulless salarymen but by unique and brilliant creative spirits. Major funding provided by the NATIONAL ENDOWMENT FOR THE ARTS and THE JAPAN FOUNDATION 1988 / Documentary / 30 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473976154691-F4IX2OHDYPRBDAR7IYEG/BTH_red.png Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473976172998-8ZFF7IEY3MWULXME9KR9/Alice.png Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473976192135-FVEKLRRUEGEUDM0W2OHB/REHAB_5.png Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473976210742-25DEN991YQMLZERQVGZO/bth_2.png Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971766812-TE661EWZ11XSWDF65FJU/ALL+WE+COULD+CARRY.jpg Farallon Documentary Films - All We Could Carry In 1942, 120,000 men, women and children were ordered by the United States government to leave their jobs, schools and homes. Two thirds were American citizens. The charges against them: they were of Japanese descent. There were no hearings or trials. They were told to bring with them only what they could carry and herded onto buses and trains, unaware of where they were going or what would happen to them. They were uprooted from their lives and deprived of their freedom. “All of a sudden,” says Shig Honda, 15 years old at the time, “I was beginning to understand what racism was.” 14,000 were confined behind barbed wire, surrounded by armed guards in watchtowers, in desolate, cold Heart Mountain, Wyoming. ALL WE COULD CARRYis their story, told through the memories of twelve Japanese Americans, children and young adults at the time. For up to three and a half years, the prisoners persevered despite deprivation and uncertainty. Although families were fractured and dignity denied, it was also a place where couples fell in love, where babies were born, where lifelong bonds were forged. Filmmaker Steven Okazaki, whose father was imprisoned at Heart Mountain, captures this essential piece of history in a way that is both compelling and relatable: providing vivid accounts of daily life in the camps as well as the resilience of those imprisoned there. ALL WE COULD CARRY is screened for all visitors to the Heart Mountain Interpretive Center in Powell, Wyoming. Produced for the HEART MOUNTAIN WYOMING FOUNDATION https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971778209-UIGUME67WTYA7YB8TV8S/ALL-WE-COULD-CARRY-still-4-dorothy-shundo.png Farallon Documentary Films - All We Could Carry In 1942, 120,000 men, women and children were ordered by the United States government to leave their jobs, schools and homes. Two thirds were American citizens. The charges against them: they were of Japanese descent. There were no hearings or trials. They were told to bring with them only what they could carry and herded onto buses and trains, unaware of where they were going or what would happen to them. They were uprooted from their lives and deprived of their freedom. “All of a sudden,” says Shig Honda, 15 years old at the time, “I was beginning to understand what racism was.” 14,000 were confined behind barbed wire, surrounded by armed guards in watchtowers, in desolate, cold Heart Mountain, Wyoming. ALL WE COULD CARRYis their story, told through the memories of twelve Japanese Americans, children and young adults at the time. For up to three and a half years, the prisoners persevered despite deprivation and uncertainty. Although families were fractured and dignity denied, it was also a place where couples fell in love, where babies were born, where lifelong bonds were forged. Filmmaker Steven Okazaki, whose father was imprisoned at Heart Mountain, captures this essential piece of history in a way that is both compelling and relatable: providing vivid accounts of daily life in the camps as well as the resilience of those imprisoned there. ALL WE COULD CARRY is screened for all visitors to the Heart Mountain Interpretive Center in Powell, Wyoming. Produced for the HEART MOUNTAIN WYOMING FOUNDATION https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971796035-0RVWF1F1OA2CY8CUCDCN/ALL-WE-COULD-CARRY-X.png Farallon Documentary Films - All We Could Carry In 1942, 120,000 men, women and children were ordered by the United States government to leave their jobs, schools and homes. Two thirds were American citizens. The charges against them: they were of Japanese descent. There were no hearings or trials. They were told to bring with them only what they could carry and herded onto buses and trains, unaware of where they were going or what would happen to them. They were uprooted from their lives and deprived of their freedom. “All of a sudden,” says Shig Honda, 15 years old at the time, “I was beginning to understand what racism was.” 14,000 were confined behind barbed wire, surrounded by armed guards in watchtowers, in desolate, cold Heart Mountain, Wyoming. ALL WE COULD CARRYis their story, told through the memories of twelve Japanese Americans, children and young adults at the time. For up to three and a half years, the prisoners persevered despite deprivation and uncertainty. Although families were fractured and dignity denied, it was also a place where couples fell in love, where babies were born, where lifelong bonds were forged. Filmmaker Steven Okazaki, whose father was imprisoned at Heart Mountain, captures this essential piece of history in a way that is both compelling and relatable: providing vivid accounts of daily life in the camps as well as the resilience of those imprisoned there. ALL WE COULD CARRY is screened for all visitors to the Heart Mountain Interpretive Center in Powell, Wyoming. Produced for the HEART MOUNTAIN WYOMING FOUNDATION https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971808436-TZ76600M9Z3F2RLNYO66/ALL-WE-COULD-CARRY-still-3-bill-shishima.png Farallon Documentary Films - All We Could Carry In 1942, 120,000 men, women and children were ordered by the United States government to leave their jobs, schools and homes. Two thirds were American citizens. The charges against them: they were of Japanese descent. There were no hearings or trials. They were told to bring with them only what they could carry and herded onto buses and trains, unaware of where they were going or what would happen to them. They were uprooted from their lives and deprived of their freedom. “All of a sudden,” says Shig Honda, 15 years old at the time, “I was beginning to understand what racism was.” 14,000 were confined behind barbed wire, surrounded by armed guards in watchtowers, in desolate, cold Heart Mountain, Wyoming. ALL WE COULD CARRYis their story, told through the memories of twelve Japanese Americans, children and young adults at the time. For up to three and a half years, the prisoners persevered despite deprivation and uncertainty. Although families were fractured and dignity denied, it was also a place where couples fell in love, where babies were born, where lifelong bonds were forged. Filmmaker Steven Okazaki, whose father was imprisoned at Heart Mountain, captures this essential piece of history in a way that is both compelling and relatable: providing vivid accounts of daily life in the camps as well as the resilience of those imprisoned there. ALL WE COULD CARRY is screened for all visitors to the Heart Mountain Interpretive Center in Powell, Wyoming. Produced for the HEART MOUNTAIN WYOMING FOUNDATION https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971833352-FK7HWIY4RB3O7W1SPGQ9/HM-bill-manbo3SMALL.png Farallon Documentary Films - All We Could Carry In 1942, 120,000 men, women and children were ordered by the United States government to leave their jobs, schools and homes. Two thirds were American citizens. The charges against them: they were of Japanese descent. There were no hearings or trials. They were told to bring with them only what they could carry and herded onto buses and trains, unaware of where they were going or what would happen to them. They were uprooted from their lives and deprived of their freedom. “All of a sudden,” says Shig Honda, 15 years old at the time, “I was beginning to understand what racism was.” 14,000 were confined behind barbed wire, surrounded by armed guards in watchtowers, in desolate, cold Heart Mountain, Wyoming. ALL WE COULD CARRYis their story, told through the memories of twelve Japanese Americans, children and young adults at the time. For up to three and a half years, the prisoners persevered despite deprivation and uncertainty. Although families were fractured and dignity denied, it was also a place where couples fell in love, where babies were born, where lifelong bonds were forged. Filmmaker Steven Okazaki, whose father was imprisoned at Heart Mountain, captures this essential piece of history in a way that is both compelling and relatable: providing vivid accounts of daily life in the camps as well as the resilience of those imprisoned there. ALL WE COULD CARRY is screened for all visitors to the Heart Mountain Interpretive Center in Powell, Wyoming. Produced for the HEART MOUNTAIN WYOMING FOUNDATION https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1503680877925-GEIQW7IVMOB82YYT9BRD/FF_poster_18x24_FINAL_psprint-2.jpg Farallon Documentary Films Poster Design: Zand Gee https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977103124-AZOKM9KKILEIJXNCUKTW/LISA_2-4.png Farallon Documentary Films - The Lisa Theory An idiosyncratic cast of characters populate THE LISA THEORY, a low-budget feature film about the dangers of dating women named Lisa. Filmmaker Steven Okazaki follows the rocky romantic trail of three young punks — Devon, Adam and Jimbo. Devon (Devon Morf) loves Lisa (Honey O. Yates), but doesn't realize that his relationship needs some attention. Instead, he escapes to band practice. One morning, Lisa wakes up, jumps on a bus and disappears. Dumped and devastated, Devon vows to stay in bed until Lisa returns. Three months pass and he's still in bed. The once plucky musician is now a mono-syllabic zombie. In addition, his band has fallen apart and his roomates want to kill him. Finally, Devon's two buddies, Adam (Avel Sosa II) and Jimbo (Jim Matison), devise a plot to get the lovesick Devon out of the sack and back among the living. The film features music from San Francisco-based All You Can Eat, Ovarian Trolley, Clockbrains, Her Majesty the Baby, Wade, Unrest and Less Is More. Produced in association with COLOSSAL PICTURES 1993 / Comedy / 80 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977138346-77WYZBC87MF7FJUQRESA/LISA_11-2_group.png Farallon Documentary Films - The Lisa Theory An idiosyncratic cast of characters populate THE LISA THEORY, a low-budget feature film about the dangers of dating women named Lisa. Filmmaker Steven Okazaki follows the rocky romantic trail of three young punks — Devon, Adam and Jimbo. Devon (Devon Morf) loves Lisa (Honey O. Yates), but doesn't realize that his relationship needs some attention. Instead, he escapes to band practice. One morning, Lisa wakes up, jumps on a bus and disappears. Dumped and devastated, Devon vows to stay in bed until Lisa returns. Three months pass and he's still in bed. The once plucky musician is now a mono-syllabic zombie. In addition, his band has fallen apart and his roomates want to kill him. Finally, Devon's two buddies, Adam (Avel Sosa II) and Jimbo (Jim Matison), devise a plot to get the lovesick Devon out of the sack and back among the living. The film features music from San Francisco-based All You Can Eat, Ovarian Trolley, Clockbrains, Her Majesty the Baby, Wade, Unrest and Less Is More. Produced in association with COLOSSAL PICTURES 1993 / Comedy / 80 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977154413-DYV7AEZL9P5R6S0YUWMZ/LISA_1-4.png Farallon Documentary Films - The Lisa Theory An idiosyncratic cast of characters populate THE LISA THEORY, a low-budget feature film about the dangers of dating women named Lisa. Filmmaker Steven Okazaki follows the rocky romantic trail of three young punks — Devon, Adam and Jimbo. Devon (Devon Morf) loves Lisa (Honey O. Yates), but doesn't realize that his relationship needs some attention. Instead, he escapes to band practice. One morning, Lisa wakes up, jumps on a bus and disappears. Dumped and devastated, Devon vows to stay in bed until Lisa returns. Three months pass and he's still in bed. The once plucky musician is now a mono-syllabic zombie. In addition, his band has fallen apart and his roomates want to kill him. Finally, Devon's two buddies, Adam (Avel Sosa II) and Jimbo (Jim Matison), devise a plot to get the lovesick Devon out of the sack and back among the living. The film features music from San Francisco-based All You Can Eat, Ovarian Trolley, Clockbrains, Her Majesty the Baby, Wade, Unrest and Less Is More. Produced in association with COLOSSAL PICTURES 1993 / Comedy / 80 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977176704-SSDLE6YHI869JR0B0S7M/LISA_7-2.png Farallon Documentary Films - The Lisa Theory An idiosyncratic cast of characters populate THE LISA THEORY, a low-budget feature film about the dangers of dating women named Lisa. Filmmaker Steven Okazaki follows the rocky romantic trail of three young punks — Devon, Adam and Jimbo. Devon (Devon Morf) loves Lisa (Honey O. Yates), but doesn't realize that his relationship needs some attention. Instead, he escapes to band practice. One morning, Lisa wakes up, jumps on a bus and disappears. Dumped and devastated, Devon vows to stay in bed until Lisa returns. Three months pass and he's still in bed. The once plucky musician is now a mono-syllabic zombie. In addition, his band has fallen apart and his roomates want to kill him. Finally, Devon's two buddies, Adam (Avel Sosa II) and Jimbo (Jim Matison), devise a plot to get the lovesick Devon out of the sack and back among the living. The film features music from San Francisco-based All You Can Eat, Ovarian Trolley, Clockbrains, Her Majesty the Baby, Wade, Unrest and Less Is More. Produced in association with COLOSSAL PICTURES 1993 / Comedy / 80 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977191976-OYALD68QH3H7CWWKVU4Y/LISA_3-2.png Farallon Documentary Films - The Lisa Theory An idiosyncratic cast of characters populate THE LISA THEORY, a low-budget feature film about the dangers of dating women named Lisa. Filmmaker Steven Okazaki follows the rocky romantic trail of three young punks — Devon, Adam and Jimbo. Devon (Devon Morf) loves Lisa (Honey O. Yates), but doesn't realize that his relationship needs some attention. Instead, he escapes to band practice. One morning, Lisa wakes up, jumps on a bus and disappears. Dumped and devastated, Devon vows to stay in bed until Lisa returns. Three months pass and he's still in bed. The once plucky musician is now a mono-syllabic zombie. In addition, his band has fallen apart and his roomates want to kill him. Finally, Devon's two buddies, Adam (Avel Sosa II) and Jimbo (Jim Matison), devise a plot to get the lovesick Devon out of the sack and back among the living. The film features music from San Francisco-based All You Can Eat, Ovarian Trolley, Clockbrains, Her Majesty the Baby, Wade, Unrest and Less Is More. Produced in association with COLOSSAL PICTURES 1993 / Comedy / 80 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977210009-9GFT5OTT6MT3G8OHHJHD/LISA_8-2.png Farallon Documentary Films - The Lisa Theory An idiosyncratic cast of characters populate THE LISA THEORY, a low-budget feature film about the dangers of dating women named Lisa. Filmmaker Steven Okazaki follows the rocky romantic trail of three young punks — Devon, Adam and Jimbo. Devon (Devon Morf) loves Lisa (Honey O. Yates), but doesn't realize that his relationship needs some attention. Instead, he escapes to band practice. One morning, Lisa wakes up, jumps on a bus and disappears. Dumped and devastated, Devon vows to stay in bed until Lisa returns. Three months pass and he's still in bed. The once plucky musician is now a mono-syllabic zombie. In addition, his band has fallen apart and his roomates want to kill him. Finally, Devon's two buddies, Adam (Avel Sosa II) and Jimbo (Jim Matison), devise a plot to get the lovesick Devon out of the sack and back among the living. The film features music from San Francisco-based All You Can Eat, Ovarian Trolley, Clockbrains, Her Majesty the Baby, Wade, Unrest and Less Is More. Produced in association with COLOSSAL PICTURES 1993 / Comedy / 80 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977228452-6OZE40QQWB3ZNYTNBI53/LISA_5-2.png Farallon Documentary Films - The Lisa Theory An idiosyncratic cast of characters populate THE LISA THEORY, a low-budget feature film about the dangers of dating women named Lisa. Filmmaker Steven Okazaki follows the rocky romantic trail of three young punks — Devon, Adam and Jimbo. Devon (Devon Morf) loves Lisa (Honey O. Yates), but doesn't realize that his relationship needs some attention. Instead, he escapes to band practice. One morning, Lisa wakes up, jumps on a bus and disappears. Dumped and devastated, Devon vows to stay in bed until Lisa returns. Three months pass and he's still in bed. The once plucky musician is now a mono-syllabic zombie. In addition, his band has fallen apart and his roomates want to kill him. Finally, Devon's two buddies, Adam (Avel Sosa II) and Jimbo (Jim Matison), devise a plot to get the lovesick Devon out of the sack and back among the living. The film features music from San Francisco-based All You Can Eat, Ovarian Trolley, Clockbrains, Her Majesty the Baby, Wade, Unrest and Less Is More. Produced in association with COLOSSAL PICTURES 1993 / Comedy / 80 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977242627-F8SBF4D9N3MJK9KRPRXY/LISA_6-2.png Farallon Documentary Films - The Lisa Theory An idiosyncratic cast of characters populate THE LISA THEORY, a low-budget feature film about the dangers of dating women named Lisa. Filmmaker Steven Okazaki follows the rocky romantic trail of three young punks — Devon, Adam and Jimbo. Devon (Devon Morf) loves Lisa (Honey O. Yates), but doesn't realize that his relationship needs some attention. Instead, he escapes to band practice. One morning, Lisa wakes up, jumps on a bus and disappears. Dumped and devastated, Devon vows to stay in bed until Lisa returns. Three months pass and he's still in bed. The once plucky musician is now a mono-syllabic zombie. In addition, his band has fallen apart and his roomates want to kill him. Finally, Devon's two buddies, Adam (Avel Sosa II) and Jimbo (Jim Matison), devise a plot to get the lovesick Devon out of the sack and back among the living. The film features music from San Francisco-based All You Can Eat, Ovarian Trolley, Clockbrains, Her Majesty the Baby, Wade, Unrest and Less Is More. Produced in association with COLOSSAL PICTURES 1993 / Comedy / 80 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473978559088-8H3KTGAS2A4JY5TQZ5IG/SURV_4-4.png Farallon Documentary Films - Survivors "For years I didn't talk about the bomb, even to my sons, but then I realized, if I don't speak up now and I die, nobody will ever know." Florence was 13 years old when the atomic bomb was dropped on Hiroshima. Forty years later, she gives her account of what she saw and felt that day — and how it has affected her life since. SURVIVORS is the first English language film in which Hiroshima and Nagasaki survivors speak for themselves about what they experienced on the day of the bombing and after. It is a remarkable tale of a group of twenty atomic bomb survivors who either returned to or emigrated to the United States where they continue to face a range of physical, psychological and social problems. It is an eloquent documentary that serves a dual purpose: as an historical document of Hiroshima and Nagasaki survivors and their struggles, it is an important piece of journalism; as a depiction of the aftermath of nuclear war, it could hardly be more timely. Originally presented on WGBH "World" Major funding provided by the NATIONAL ENDOWMENT FOR THE ARTS, NATIONAL COMMITTEE ON THE SELF-DEVELOPMENT OF PEOPLE (United Presbyterian Church, USA), HOSO-BUNKA FOUNDATION, INC., COLUMBIA FOUNDATION, HIROSHIMA COMMITTEE FOR THE "SURVIVORS" FILM PROJECT 1982 / Documentary / 58 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473978582475-LIYJTQ3OMIHJGMGCD3VM/Survivors-publicity.png Farallon Documentary Films - Survivors "For years I didn't talk about the bomb, even to my sons, but then I realized, if I don't speak up now and I die, nobody will ever know." Florence was 13 years old when the atomic bomb was dropped on Hiroshima. Forty years later, she gives her account of what she saw and felt that day — and how it has affected her life since. SURVIVORS is the first English language film in which Hiroshima and Nagasaki survivors speak for themselves about what they experienced on the day of the bombing and after. It is a remarkable tale of a group of twenty atomic bomb survivors who either returned to or emigrated to the United States where they continue to face a range of physical, psychological and social problems. It is an eloquent documentary that serves a dual purpose: as an historical document of Hiroshima and Nagasaki survivors and their struggles, it is an important piece of journalism; as a depiction of the aftermath of nuclear war, it could hardly be more timely. Originally presented on WGBH "World" Major funding provided by the NATIONAL ENDOWMENT FOR THE ARTS, NATIONAL COMMITTEE ON THE SELF-DEVELOPMENT OF PEOPLE (United Presbyterian Church, USA), HOSO-BUNKA FOUNDATION, INC., COLUMBIA FOUNDATION, HIROSHIMA COMMITTEE FOR THE "SURVIVORS" FILM PROJECT 1982 / Documentary / 58 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473978603239-5TTJZJMF3CK0H5LWQCAR/SURV_1-4.png Farallon Documentary Films - Survivors "For years I didn't talk about the bomb, even to my sons, but then I realized, if I don't speak up now and I die, nobody will ever know." Florence was 13 years old when the atomic bomb was dropped on Hiroshima. Forty years later, she gives her account of what she saw and felt that day — and how it has affected her life since. SURVIVORS is the first English language film in which Hiroshima and Nagasaki survivors speak for themselves about what they experienced on the day of the bombing and after. It is a remarkable tale of a group of twenty atomic bomb survivors who either returned to or emigrated to the United States where they continue to face a range of physical, psychological and social problems. It is an eloquent documentary that serves a dual purpose: as an historical document of Hiroshima and Nagasaki survivors and their struggles, it is an important piece of journalism; as a depiction of the aftermath of nuclear war, it could hardly be more timely. Originally presented on WGBH "World" Major funding provided by the NATIONAL ENDOWMENT FOR THE ARTS, NATIONAL COMMITTEE ON THE SELF-DEVELOPMENT OF PEOPLE (United Presbyterian Church, USA), HOSO-BUNKA FOUNDATION, INC., COLUMBIA FOUNDATION, HIROSHIMA COMMITTEE FOR THE "SURVIVORS" FILM PROJECT 1982 / Documentary / 58 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473978625652-9HKG5P5GR6QPF1VJECB1/SURV_2-3.png Farallon Documentary Films - Survivors "For years I didn't talk about the bomb, even to my sons, but then I realized, if I don't speak up now and I die, nobody will ever know." Florence was 13 years old when the atomic bomb was dropped on Hiroshima. Forty years later, she gives her account of what she saw and felt that day — and how it has affected her life since. SURVIVORS is the first English language film in which Hiroshima and Nagasaki survivors speak for themselves about what they experienced on the day of the bombing and after. It is a remarkable tale of a group of twenty atomic bomb survivors who either returned to or emigrated to the United States where they continue to face a range of physical, psychological and social problems. It is an eloquent documentary that serves a dual purpose: as an historical document of Hiroshima and Nagasaki survivors and their struggles, it is an important piece of journalism; as a depiction of the aftermath of nuclear war, it could hardly be more timely. Originally presented on WGBH "World" Major funding provided by the NATIONAL ENDOWMENT FOR THE ARTS, NATIONAL COMMITTEE ON THE SELF-DEVELOPMENT OF PEOPLE (United Presbyterian Church, USA), HOSO-BUNKA FOUNDATION, INC., COLUMBIA FOUNDATION, HIROSHIMA COMMITTEE FOR THE "SURVIVORS" FILM PROJECT 1982 / Documentary / 58 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473978642859-GJQ6SGBYXA8EQL3YVZS7/SURVIVORS0003-2.png Farallon Documentary Films - Survivors "For years I didn't talk about the bomb, even to my sons, but then I realized, if I don't speak up now and I die, nobody will ever know." Florence was 13 years old when the atomic bomb was dropped on Hiroshima. Forty years later, she gives her account of what she saw and felt that day — and how it has affected her life since. SURVIVORS is the first English language film in which Hiroshima and Nagasaki survivors speak for themselves about what they experienced on the day of the bombing and after. It is a remarkable tale of a group of twenty atomic bomb survivors who either returned to or emigrated to the United States where they continue to face a range of physical, psychological and social problems. It is an eloquent documentary that serves a dual purpose: as an historical document of Hiroshima and Nagasaki survivors and their struggles, it is an important piece of journalism; as a depiction of the aftermath of nuclear war, it could hardly be more timely. Originally presented on WGBH "World" Major funding provided by the NATIONAL ENDOWMENT FOR THE ARTS, NATIONAL COMMITTEE ON THE SELF-DEVELOPMENT OF PEOPLE (United Presbyterian Church, USA), HOSO-BUNKA FOUNDATION, INC., COLUMBIA FOUNDATION, HIROSHIMA COMMITTEE FOR THE "SURVIVORS" FILM PROJECT 1982 / Documentary / 58 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473978043721-W1WP2F67QTYRYOX94U4V/LOTT_5.png Farallon Documentary Films - Living on Tokyo Time LIVING ON TOKYO TIME counts the beats in the life of Ken (Ken Nakagawa), a shy, would-be rock-and-roller unwilling to engage in the world around him, and Kyoko (Minako Ohashi), a beautiful 19-year-old Japanese girl, on her first visit to America. Kyoko has overstayed the limit on her green card, but is determined to prove to her family back home that she can do what she set out to do – namely, forget a broken engagement and survive on her own abroad. Through the coaxing of a mutual friend, Ken decides to marry Kyoko so that she can stay in the U.S. What he doesn't anticipate, however, is falling in love. Steven Okazaki's first feature comedy was initially funded by a grant from the American Film Institute and concocted as a weekend film project with a group of unpaid but willing friends (notably, actor Ken Nakagawa, writer/actor John McCormick, cameraperson Zand Gee, sound recordist Giovanni di Simone, and actor Judi Nihei). LIVING ON TOKYO TIME premiered at Sundance, got picked up by a distributor and was released in movie theaters across the country in 1987, with surprisingly long runs in San Francisco, Berkeley, Seattle and Honolulu. Produced by LYNN O'DONNELL and DENNIS HAYASHI A SKOURAS PICTURES RELEASE Available on MGM DVDs 1986 / Comedy / 83 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473978059696-HVFM1DUFF5VAHJ8T6I7N/LOTT_2.png Farallon Documentary Films - Living on Tokyo Time LIVING ON TOKYO TIME counts the beats in the life of Ken (Ken Nakagawa), a shy, would-be rock-and-roller unwilling to engage in the world around him, and Kyoko (Minako Ohashi), a beautiful 19-year-old Japanese girl, on her first visit to America. Kyoko has overstayed the limit on her green card, but is determined to prove to her family back home that she can do what she set out to do – namely, forget a broken engagement and survive on her own abroad. Through the coaxing of a mutual friend, Ken decides to marry Kyoko so that she can stay in the U.S. What he doesn't anticipate, however, is falling in love. Steven Okazaki's first feature comedy was initially funded by a grant from the American Film Institute and concocted as a weekend film project with a group of unpaid but willing friends (notably, actor Ken Nakagawa, writer/actor John McCormick, cameraperson Zand Gee, sound recordist Giovanni di Simone, and actor Judi Nihei). LIVING ON TOKYO TIME premiered at Sundance, got picked up by a distributor and was released in movie theaters across the country in 1987, with surprisingly long runs in San Francisco, Berkeley, Seattle and Honolulu. Produced by LYNN O'DONNELL and DENNIS HAYASHI A SKOURAS PICTURES RELEASE Available on MGM DVDs 1986 / Comedy / 83 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473978080175-5WSGDUT38KUBBGKA8CJQ/LOTT_12-4.png Farallon Documentary Films - Living on Tokyo Time LIVING ON TOKYO TIME counts the beats in the life of Ken (Ken Nakagawa), a shy, would-be rock-and-roller unwilling to engage in the world around him, and Kyoko (Minako Ohashi), a beautiful 19-year-old Japanese girl, on her first visit to America. Kyoko has overstayed the limit on her green card, but is determined to prove to her family back home that she can do what she set out to do – namely, forget a broken engagement and survive on her own abroad. Through the coaxing of a mutual friend, Ken decides to marry Kyoko so that she can stay in the U.S. What he doesn't anticipate, however, is falling in love. Steven Okazaki's first feature comedy was initially funded by a grant from the American Film Institute and concocted as a weekend film project with a group of unpaid but willing friends (notably, actor Ken Nakagawa, writer/actor John McCormick, cameraperson Zand Gee, sound recordist Giovanni di Simone, and actor Judi Nihei). LIVING ON TOKYO TIME premiered at Sundance, got picked up by a distributor and was released in movie theaters across the country in 1987, with surprisingly long runs in San Francisco, Berkeley, Seattle and Honolulu. Produced by LYNN O'DONNELL and DENNIS HAYASHI A SKOURAS PICTURES RELEASE Available on MGM DVDs 1986 / Comedy / 83 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473978099009-7O387IX60U5TZMG63AOB/LOTT_1a.png Farallon Documentary Films - Living on Tokyo Time LIVING ON TOKYO TIME counts the beats in the life of Ken (Ken Nakagawa), a shy, would-be rock-and-roller unwilling to engage in the world around him, and Kyoko (Minako Ohashi), a beautiful 19-year-old Japanese girl, on her first visit to America. Kyoko has overstayed the limit on her green card, but is determined to prove to her family back home that she can do what she set out to do – namely, forget a broken engagement and survive on her own abroad. Through the coaxing of a mutual friend, Ken decides to marry Kyoko so that she can stay in the U.S. What he doesn't anticipate, however, is falling in love. Steven Okazaki's first feature comedy was initially funded by a grant from the American Film Institute and concocted as a weekend film project with a group of unpaid but willing friends (notably, actor Ken Nakagawa, writer/actor John McCormick, cameraperson Zand Gee, sound recordist Giovanni di Simone, and actor Judi Nihei). LIVING ON TOKYO TIME premiered at Sundance, got picked up by a distributor and was released in movie theaters across the country in 1987, with surprisingly long runs in San Francisco, Berkeley, Seattle and Honolulu. Produced by LYNN O'DONNELL and DENNIS HAYASHI A SKOURAS PICTURES RELEASE Available on MGM DVDs 1986 / Comedy / 83 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473978117368-PVR4HM7O3ENG4CCTJG19/LOTT_7.png Farallon Documentary Films - Living on Tokyo Time LIVING ON TOKYO TIME counts the beats in the life of Ken (Ken Nakagawa), a shy, would-be rock-and-roller unwilling to engage in the world around him, and Kyoko (Minako Ohashi), a beautiful 19-year-old Japanese girl, on her first visit to America. Kyoko has overstayed the limit on her green card, but is determined to prove to her family back home that she can do what she set out to do – namely, forget a broken engagement and survive on her own abroad. Through the coaxing of a mutual friend, Ken decides to marry Kyoko so that she can stay in the U.S. What he doesn't anticipate, however, is falling in love. Steven Okazaki's first feature comedy was initially funded by a grant from the American Film Institute and concocted as a weekend film project with a group of unpaid but willing friends (notably, actor Ken Nakagawa, writer/actor John McCormick, cameraperson Zand Gee, sound recordist Giovanni di Simone, and actor Judi Nihei). LIVING ON TOKYO TIME premiered at Sundance, got picked up by a distributor and was released in movie theaters across the country in 1987, with surprisingly long runs in San Francisco, Berkeley, Seattle and Honolulu. Produced by LYNN O'DONNELL and DENNIS HAYASHI A SKOURAS PICTURES RELEASE Available on MGM DVDs 1986 / Comedy / 83 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473978133558-K0T4ZXZR8PZNRVIO5LGO/LOTT_13-3.png Farallon Documentary Films - Living on Tokyo Time LIVING ON TOKYO TIME counts the beats in the life of Ken (Ken Nakagawa), a shy, would-be rock-and-roller unwilling to engage in the world around him, and Kyoko (Minako Ohashi), a beautiful 19-year-old Japanese girl, on her first visit to America. Kyoko has overstayed the limit on her green card, but is determined to prove to her family back home that she can do what she set out to do – namely, forget a broken engagement and survive on her own abroad. Through the coaxing of a mutual friend, Ken decides to marry Kyoko so that she can stay in the U.S. What he doesn't anticipate, however, is falling in love. Steven Okazaki's first feature comedy was initially funded by a grant from the American Film Institute and concocted as a weekend film project with a group of unpaid but willing friends (notably, actor Ken Nakagawa, writer/actor John McCormick, cameraperson Zand Gee, sound recordist Giovanni di Simone, and actor Judi Nihei). LIVING ON TOKYO TIME premiered at Sundance, got picked up by a distributor and was released in movie theaters across the country in 1987, with surprisingly long runs in San Francisco, Berkeley, Seattle and Honolulu. Produced by LYNN O'DONNELL and DENNIS HAYASHI A SKOURAS PICTURES RELEASE Available on MGM DVDs 1986 / Comedy / 83 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473978149943-1GDVDLIEDSQWQCD3ZVN0/LOTT_7-2.png Farallon Documentary Films - Living on Tokyo Time LIVING ON TOKYO TIME counts the beats in the life of Ken (Ken Nakagawa), a shy, would-be rock-and-roller unwilling to engage in the world around him, and Kyoko (Minako Ohashi), a beautiful 19-year-old Japanese girl, on her first visit to America. Kyoko has overstayed the limit on her green card, but is determined to prove to her family back home that she can do what she set out to do – namely, forget a broken engagement and survive on her own abroad. Through the coaxing of a mutual friend, Ken decides to marry Kyoko so that she can stay in the U.S. What he doesn't anticipate, however, is falling in love. Steven Okazaki's first feature comedy was initially funded by a grant from the American Film Institute and concocted as a weekend film project with a group of unpaid but willing friends (notably, actor Ken Nakagawa, writer/actor John McCormick, cameraperson Zand Gee, sound recordist Giovanni di Simone, and actor Judi Nihei). LIVING ON TOKYO TIME premiered at Sundance, got picked up by a distributor and was released in movie theaters across the country in 1987, with surprisingly long runs in San Francisco, Berkeley, Seattle and Honolulu. Produced by LYNN O'DONNELL and DENNIS HAYASHI A SKOURAS PICTURES RELEASE Available on MGM DVDs 1986 / Comedy / 83 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473978167283-HMX1L5I59JIL0OIJ8ZOI/LOTT_5-2_crop.png Farallon Documentary Films - Living on Tokyo Time LIVING ON TOKYO TIME counts the beats in the life of Ken (Ken Nakagawa), a shy, would-be rock-and-roller unwilling to engage in the world around him, and Kyoko (Minako Ohashi), a beautiful 19-year-old Japanese girl, on her first visit to America. Kyoko has overstayed the limit on her green card, but is determined to prove to her family back home that she can do what she set out to do – namely, forget a broken engagement and survive on her own abroad. Through the coaxing of a mutual friend, Ken decides to marry Kyoko so that she can stay in the U.S. What he doesn't anticipate, however, is falling in love. Steven Okazaki's first feature comedy was initially funded by a grant from the American Film Institute and concocted as a weekend film project with a group of unpaid but willing friends (notably, actor Ken Nakagawa, writer/actor John McCormick, cameraperson Zand Gee, sound recordist Giovanni di Simone, and actor Judi Nihei). LIVING ON TOKYO TIME premiered at Sundance, got picked up by a distributor and was released in movie theaters across the country in 1987, with surprisingly long runs in San Francisco, Berkeley, Seattle and Honolulu. Produced by LYNN O'DONNELL and DENNIS HAYASHI A SKOURAS PICTURES RELEASE Available on MGM DVDs 1986 / Comedy / 83 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473978190607-CRBGHV4WEB5KXBMS5PRM/LOTT_4.png Farallon Documentary Films - Living on Tokyo Time LIVING ON TOKYO TIME counts the beats in the life of Ken (Ken Nakagawa), a shy, would-be rock-and-roller unwilling to engage in the world around him, and Kyoko (Minako Ohashi), a beautiful 19-year-old Japanese girl, on her first visit to America. Kyoko has overstayed the limit on her green card, but is determined to prove to her family back home that she can do what she set out to do – namely, forget a broken engagement and survive on her own abroad. Through the coaxing of a mutual friend, Ken decides to marry Kyoko so that she can stay in the U.S. What he doesn't anticipate, however, is falling in love. Steven Okazaki's first feature comedy was initially funded by a grant from the American Film Institute and concocted as a weekend film project with a group of unpaid but willing friends (notably, actor Ken Nakagawa, writer/actor John McCormick, cameraperson Zand Gee, sound recordist Giovanni di Simone, and actor Judi Nihei). LIVING ON TOKYO TIME premiered at Sundance, got picked up by a distributor and was released in movie theaters across the country in 1987, with surprisingly long runs in San Francisco, Berkeley, Seattle and Honolulu. Produced by LYNN O'DONNELL and DENNIS HAYASHI A SKOURAS PICTURES RELEASE Available on MGM DVDs 1986 / Comedy / 83 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/2afbfcf0-12a0-4a15-ace4-513125b856c5/LOTT+LOW+RES.jpeg Farallon Documentary Films - Make it stand out Poster by YOKO KOMURA 2023 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977499006-XDH6N4N3F4OZ1Q0CNWVS/DOW_5-8.png Farallon Documentary Films - Days of Waiting "DAYS OF WAITING is a poignant documentary about an extraordinary woman, artist Estelle Ishigo, one of the few Caucasians to be interned with 110,000 Japanese Americans in 1942. When internment came, she refused to be separated from her Japanese American husband and lived with him for four years behind barbed wire in the desolate Heart Mountain camp in Wyoming. During her internment, the artist recorded the rigors and deprivations of camp life with unusual insight, her sketches and watercolors forming a moving portrait of the lives of the internees, the struggle to keep their health, dignity and hope alive." Major funding provided by CORPORATION FOR PUBLIC BROADCASTING and the WALLACE ALEXANDER GERBODE FOUNDATION Additional funding provided by ZELLERBACH FAMILY FUND and THE COLUMBIA FOUNDATION 1990 / Documentary / 28 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977651239-QNDZH083SLC1BFETYP26/Ishigo-portrait-2.png Farallon Documentary Films - Days of Waiting "DAYS OF WAITING is a poignant documentary about an extraordinary woman, artist Estelle Ishigo, one of the few Caucasians to be interned with 110,000 Japanese Americans in 1942. When internment came, she refused to be separated from her Japanese American husband and lived with him for four years behind barbed wire in the desolate Heart Mountain camp in Wyoming. During her internment, the artist recorded the rigors and deprivations of camp life with unusual insight, her sketches and watercolors forming a moving portrait of the lives of the internees, the struggle to keep their health, dignity and hope alive." Major funding provided by CORPORATION FOR PUBLIC BROADCASTING and the WALLACE ALEXANDER GERBODE FOUNDATION Additional funding provided by ZELLERBACH FAMILY FUND and THE COLUMBIA FOUNDATION 1990 / Documentary / 28 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977669711-IHBQV1TTVKNAZMVI3U7V/DOW_4-8.png Farallon Documentary Films - Days of Waiting "DAYS OF WAITING is a poignant documentary about an extraordinary woman, artist Estelle Ishigo, one of the few Caucasians to be interned with 110,000 Japanese Americans in 1942. When internment came, she refused to be separated from her Japanese American husband and lived with him for four years behind barbed wire in the desolate Heart Mountain camp in Wyoming. During her internment, the artist recorded the rigors and deprivations of camp life with unusual insight, her sketches and watercolors forming a moving portrait of the lives of the internees, the struggle to keep their health, dignity and hope alive." Major funding provided by CORPORATION FOR PUBLIC BROADCASTING and the WALLACE ALEXANDER GERBODE FOUNDATION Additional funding provided by ZELLERBACH FAMILY FUND and THE COLUMBIA FOUNDATION 1990 / Documentary / 28 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977725448-74YKLS8WJT9NW8CNUH29/DW_17_crop.png Farallon Documentary Films - Days of Waiting "DAYS OF WAITING is a poignant documentary about an extraordinary woman, artist Estelle Ishigo, one of the few Caucasians to be interned with 110,000 Japanese Americans in 1942. When internment came, she refused to be separated from her Japanese American husband and lived with him for four years behind barbed wire in the desolate Heart Mountain camp in Wyoming. During her internment, the artist recorded the rigors and deprivations of camp life with unusual insight, her sketches and watercolors forming a moving portrait of the lives of the internees, the struggle to keep their health, dignity and hope alive." Major funding provided by CORPORATION FOR PUBLIC BROADCASTING and the WALLACE ALEXANDER GERBODE FOUNDATION Additional funding provided by ZELLERBACH FAMILY FUND and THE COLUMBIA FOUNDATION 1990 / Documentary / 28 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977751019-3M6PO63JIE8DJL91K0UX/DOW_8-5.png Farallon Documentary Films - Days of Waiting "DAYS OF WAITING is a poignant documentary about an extraordinary woman, artist Estelle Ishigo, one of the few Caucasians to be interned with 110,000 Japanese Americans in 1942. When internment came, she refused to be separated from her Japanese American husband and lived with him for four years behind barbed wire in the desolate Heart Mountain camp in Wyoming. During her internment, the artist recorded the rigors and deprivations of camp life with unusual insight, her sketches and watercolors forming a moving portrait of the lives of the internees, the struggle to keep their health, dignity and hope alive." Major funding provided by CORPORATION FOR PUBLIC BROADCASTING and the WALLACE ALEXANDER GERBODE FOUNDATION Additional funding provided by ZELLERBACH FAMILY FUND and THE COLUMBIA FOUNDATION 1990 / Documentary / 28 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977765865-EYIZ1LH72WLIQCBTYKGA/Days-publicity-1_crop.png Farallon Documentary Films - Days of Waiting "DAYS OF WAITING is a poignant documentary about an extraordinary woman, artist Estelle Ishigo, one of the few Caucasians to be interned with 110,000 Japanese Americans in 1942. When internment came, she refused to be separated from her Japanese American husband and lived with him for four years behind barbed wire in the desolate Heart Mountain camp in Wyoming. During her internment, the artist recorded the rigors and deprivations of camp life with unusual insight, her sketches and watercolors forming a moving portrait of the lives of the internees, the struggle to keep their health, dignity and hope alive." Major funding provided by CORPORATION FOR PUBLIC BROADCASTING and the WALLACE ALEXANDER GERBODE FOUNDATION Additional funding provided by ZELLERBACH FAMILY FUND and THE COLUMBIA FOUNDATION 1990 / Documentary / 28 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977786031-6WG33XUBFQDTR9IX284B/DOW_6-7_crop.png Farallon Documentary Films - Days of Waiting "DAYS OF WAITING is a poignant documentary about an extraordinary woman, artist Estelle Ishigo, one of the few Caucasians to be interned with 110,000 Japanese Americans in 1942. When internment came, she refused to be separated from her Japanese American husband and lived with him for four years behind barbed wire in the desolate Heart Mountain camp in Wyoming. During her internment, the artist recorded the rigors and deprivations of camp life with unusual insight, her sketches and watercolors forming a moving portrait of the lives of the internees, the struggle to keep their health, dignity and hope alive." Major funding provided by CORPORATION FOR PUBLIC BROADCASTING and the WALLACE ALEXANDER GERBODE FOUNDATION Additional funding provided by ZELLERBACH FAMILY FUND and THE COLUMBIA FOUNDATION 1990 / Documentary / 28 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470084660254-TC873CVCYFLSXLJYNH0Z/image-asset.png Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1589483596711-TA71XIU0J7AT1UPTQ9GP/dvd+front.jpg Farallon Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473976830670-BZGDBHQQ2P27SNWXHXUJ/americansons1_point.png Farallon Documentary Films - American Sons AMERICAN SONS is a provocative examination of how racism shapes the lives of Asian American men. A simple but compelling performance piece featuring four of the country's best Asian American actors: Yuji Okumoto (TRUE BELIEVER, KARATE KID II), Kelvin Han Yee (A GREAT WALL), Lane Nishikawa (LIFE IN THE FAST LANE) and Ron Muriera of the Asian American Theater Company, AMERICAN SONS is a challenging exploration of how prejudice, bigotry and violence twists and demeans individual lives. AMERICAN SONS mixes documentary and drama, utilizing actors telling real stories based on a series of interviews with Asian Americans throughout the country. It looks at difficult issues such as hate violence, and examines the deep psychological damage that racism inflicts over generations. It confronts the ignorance of Americans about Asian Americans, in particular the stereotypes placed on Asian men. It breaks the silence of the Asian American community and shatters the model minority myth. It presents a painful and angry view of American life never before explored in a motion picture or television program. Music by Mark Izu with Francis Wong and Miya Masaoka Major funding provided by: THE JOHN D. and CATHERINE T. MAC ARTHUR FOUNDATION, WALLACE GERBODE FOUNDATION, THRESHOLD FOUNDATION, NATIONAL ASIAN AMERICAN TELECOMMUNICATIONS ASSOCIATION, PAUL ROBESON FUND, PEACE DEVELOPMENT FUND, SAN FRANCISCO JACL LEGACY FUND and ZELLERBACH FAMILY FUND 1994 / Performance / 28 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473976879436-SS4Q6TQPFRRMZ04H1B4G/SONS-sax.png Farallon Documentary Films - American Sons AMERICAN SONS is a provocative examination of how racism shapes the lives of Asian American men. A simple but compelling performance piece featuring four of the country's best Asian American actors: Yuji Okumoto (TRUE BELIEVER, KARATE KID II), Kelvin Han Yee (A GREAT WALL), Lane Nishikawa (LIFE IN THE FAST LANE) and Ron Muriera of the Asian American Theater Company, AMERICAN SONS is a challenging exploration of how prejudice, bigotry and violence twists and demeans individual lives. AMERICAN SONS mixes documentary and drama, utilizing actors telling real stories based on a series of interviews with Asian Americans throughout the country. It looks at difficult issues such as hate violence, and examines the deep psychological damage that racism inflicts over generations. It confronts the ignorance of Americans about Asian Americans, in particular the stereotypes placed on Asian men. It breaks the silence of the Asian American community and shatters the model minority myth. It presents a painful and angry view of American life never before explored in a motion picture or television program. Music by Mark Izu with Francis Wong and Miya Masaoka Major funding provided by: THE JOHN D. and CATHERINE T. MAC ARTHUR FOUNDATION, WALLACE GERBODE FOUNDATION, THRESHOLD FOUNDATION, NATIONAL ASIAN AMERICAN TELECOMMUNICATIONS ASSOCIATION, PAUL ROBESON FUND, PEACE DEVELOPMENT FUND, SAN FRANCISCO JACL LEGACY FUND and ZELLERBACH FAMILY FUND 1994 / Performance / 28 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473976900199-MYPB8HK0NHKUSE483JT4/Ron-Muriera.png Farallon Documentary Films - American Sons AMERICAN SONS is a provocative examination of how racism shapes the lives of Asian American men. A simple but compelling performance piece featuring four of the country's best Asian American actors: Yuji Okumoto (TRUE BELIEVER, KARATE KID II), Kelvin Han Yee (A GREAT WALL), Lane Nishikawa (LIFE IN THE FAST LANE) and Ron Muriera of the Asian American Theater Company, AMERICAN SONS is a challenging exploration of how prejudice, bigotry and violence twists and demeans individual lives. AMERICAN SONS mixes documentary and drama, utilizing actors telling real stories based on a series of interviews with Asian Americans throughout the country. It looks at difficult issues such as hate violence, and examines the deep psychological damage that racism inflicts over generations. It confronts the ignorance of Americans about Asian Americans, in particular the stereotypes placed on Asian men. It breaks the silence of the Asian American community and shatters the model minority myth. It presents a painful and angry view of American life never before explored in a motion picture or television program. Music by Mark Izu with Francis Wong and Miya Masaoka Major funding provided by: THE JOHN D. and CATHERINE T. MAC ARTHUR FOUNDATION, WALLACE GERBODE FOUNDATION, THRESHOLD FOUNDATION, NATIONAL ASIAN AMERICAN TELECOMMUNICATIONS ASSOCIATION, PAUL ROBESON FUND, PEACE DEVELOPMENT FUND, SAN FRANCISCO JACL LEGACY FUND and ZELLERBACH FAMILY FUND 1994 / Performance / 28 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473976916367-NFOGNOJB4ZMXGH1RE0AL/SONS-yuki.png Farallon Documentary Films - American Sons AMERICAN SONS is a provocative examination of how racism shapes the lives of Asian American men. A simple but compelling performance piece featuring four of the country's best Asian American actors: Yuji Okumoto (TRUE BELIEVER, KARATE KID II), Kelvin Han Yee (A GREAT WALL), Lane Nishikawa (LIFE IN THE FAST LANE) and Ron Muriera of the Asian American Theater Company, AMERICAN SONS is a challenging exploration of how prejudice, bigotry and violence twists and demeans individual lives. AMERICAN SONS mixes documentary and drama, utilizing actors telling real stories based on a series of interviews with Asian Americans throughout the country. It looks at difficult issues such as hate violence, and examines the deep psychological damage that racism inflicts over generations. It confronts the ignorance of Americans about Asian Americans, in particular the stereotypes placed on Asian men. It breaks the silence of the Asian American community and shatters the model minority myth. It presents a painful and angry view of American life never before explored in a motion picture or television program. Music by Mark Izu with Francis Wong and Miya Masaoka Major funding provided by: THE JOHN D. and CATHERINE T. MAC ARTHUR FOUNDATION, WALLACE GERBODE FOUNDATION, THRESHOLD FOUNDATION, NATIONAL ASIAN AMERICAN TELECOMMUNICATIONS ASSOCIATION, PAUL ROBESON FUND, PEACE DEVELOPMENT FUND, SAN FRANCISCO JACL LEGACY FUND and ZELLERBACH FAMILY FUND 1994 / Performance / 28 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473976934750-Q4B8CMB5CGBMJ4TWINF5/AmSons_1b.png Farallon Documentary Films - American Sons AMERICAN SONS is a provocative examination of how racism shapes the lives of Asian American men. A simple but compelling performance piece featuring four of the country's best Asian American actors: Yuji Okumoto (TRUE BELIEVER, KARATE KID II), Kelvin Han Yee (A GREAT WALL), Lane Nishikawa (LIFE IN THE FAST LANE) and Ron Muriera of the Asian American Theater Company, AMERICAN SONS is a challenging exploration of how prejudice, bigotry and violence twists and demeans individual lives. AMERICAN SONS mixes documentary and drama, utilizing actors telling real stories based on a series of interviews with Asian Americans throughout the country. It looks at difficult issues such as hate violence, and examines the deep psychological damage that racism inflicts over generations. It confronts the ignorance of Americans about Asian Americans, in particular the stereotypes placed on Asian men. It breaks the silence of the Asian American community and shatters the model minority myth. It presents a painful and angry view of American life never before explored in a motion picture or television program. Music by Mark Izu with Francis Wong and Miya Masaoka Major funding provided by: THE JOHN D. and CATHERINE T. MAC ARTHUR FOUNDATION, WALLACE GERBODE FOUNDATION, THRESHOLD FOUNDATION, NATIONAL ASIAN AMERICAN TELECOMMUNICATIONS ASSOCIATION, PAUL ROBESON FUND, PEACE DEVELOPMENT FUND, SAN FRANCISCO JACL LEGACY FUND and ZELLERBACH FAMILY FUND 1994 / Performance / 28 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473976657704-WZQEESSTUIA4NC364OC7/AT_11-5.png Farallon Documentary Films - Alone Together Shot in San Francisco, ALONE TOGETHER tells the compelling stories of nine HIV positive young adults from widely different backgrounds: some grew up in suburban families, some on the street. They are straight and gay, male and female, of many ethnic groups. One young woman is a professional figure skater. Some contracted the disease through IV drug use, others from unprotected sex. Yet all of them have one thing in common: unlike their friends, who pursue jobs, education and relationships, these young people are living with a potentially life-threatening disease, and the stigma that accompanies it. They speak with uncanny insight into their experience, candidly discussing sex, the difficulty of informing their parents of their condition, life on the street, their confusion, anger and, most of all, their deep sorrow at knowing they might not live to achieve their dreams. It is a haunting, timely film with an urgent message to young people as well as adults. Produced for NHK HI-VISION 1996 / Documentary / 17 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473976672587-8ABVEXUOSBAAJ5XA8AAS/AT_12-4.png Farallon Documentary Films - Alone Together Shot in San Francisco, ALONE TOGETHER tells the compelling stories of nine HIV positive young adults from widely different backgrounds: some grew up in suburban families, some on the street. They are straight and gay, male and female, of many ethnic groups. One young woman is a professional figure skater. Some contracted the disease through IV drug use, others from unprotected sex. Yet all of them have one thing in common: unlike their friends, who pursue jobs, education and relationships, these young people are living with a potentially life-threatening disease, and the stigma that accompanies it. They speak with uncanny insight into their experience, candidly discussing sex, the difficulty of informing their parents of their condition, life on the street, their confusion, anger and, most of all, their deep sorrow at knowing they might not live to achieve their dreams. It is a haunting, timely film with an urgent message to young people as well as adults. Produced for NHK HI-VISION 1996 / Documentary / 17 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473976687560-5AU9R2YMXBVOD56LBYGN/AT_13-4.png Farallon Documentary Films - Alone Together Shot in San Francisco, ALONE TOGETHER tells the compelling stories of nine HIV positive young adults from widely different backgrounds: some grew up in suburban families, some on the street. They are straight and gay, male and female, of many ethnic groups. One young woman is a professional figure skater. Some contracted the disease through IV drug use, others from unprotected sex. Yet all of them have one thing in common: unlike their friends, who pursue jobs, education and relationships, these young people are living with a potentially life-threatening disease, and the stigma that accompanies it. They speak with uncanny insight into their experience, candidly discussing sex, the difficulty of informing their parents of their condition, life on the street, their confusion, anger and, most of all, their deep sorrow at knowing they might not live to achieve their dreams. It is a haunting, timely film with an urgent message to young people as well as adults. Produced for NHK HI-VISION 1996 / Documentary / 17 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473976705019-ARCZV0V3HCPCPXDUSZLO/AT_9-6.png Farallon Documentary Films - Alone Together Shot in San Francisco, ALONE TOGETHER tells the compelling stories of nine HIV positive young adults from widely different backgrounds: some grew up in suburban families, some on the street. They are straight and gay, male and female, of many ethnic groups. One young woman is a professional figure skater. Some contracted the disease through IV drug use, others from unprotected sex. Yet all of them have one thing in common: unlike their friends, who pursue jobs, education and relationships, these young people are living with a potentially life-threatening disease, and the stigma that accompanies it. They speak with uncanny insight into their experience, candidly discussing sex, the difficulty of informing their parents of their condition, life on the street, their confusion, anger and, most of all, their deep sorrow at knowing they might not live to achieve their dreams. It is a haunting, timely film with an urgent message to young people as well as adults. Produced for NHK HI-VISION 1996 / Documentary / 17 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473976720168-VZHREX7W3V9PZQZ6DYVW/AT_8-6.png Farallon Documentary Films - Alone Together Shot in San Francisco, ALONE TOGETHER tells the compelling stories of nine HIV positive young adults from widely different backgrounds: some grew up in suburban families, some on the street. They are straight and gay, male and female, of many ethnic groups. One young woman is a professional figure skater. Some contracted the disease through IV drug use, others from unprotected sex. Yet all of them have one thing in common: unlike their friends, who pursue jobs, education and relationships, these young people are living with a potentially life-threatening disease, and the stigma that accompanies it. They speak with uncanny insight into their experience, candidly discussing sex, the difficulty of informing their parents of their condition, life on the street, their confusion, anger and, most of all, their deep sorrow at knowing they might not live to achieve their dreams. It is a haunting, timely film with an urgent message to young people as well as adults. Produced for NHK HI-VISION 1996 / Documentary / 17 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473973282061-FU7V66A3XU5WXC5P6GH2/Taco_bell_front.png Farallon Documentary Films - Crushed: The Oxycontin Interviews In 1996, Purdue Pharma launched Oxycontin, offering “smooth and sustained pain control all day.” Doctors, hospitals and patients immediately embraced the semi-synthetic opioid, making it the best-selling prescription painkiller in America, bringing in $31 billion in revenue for Purdue, and leading to widespread abuse and the opiate/heroin addiction epidemic that is now plaguing the country. Crushed: The Oxycontin Interviews presents five young people – Jordan, Liz, Clayton, Rachel and Richard -- whose lives have been forever changed by Oxycontin. Their stories detail the nightmare of the pain relief/addiction/recovery/relapse cycle; describing how they got addicted; the drug’s effect on their lives and the people around them; what they had to do to sustain their habits; and their struggle to get clean or die. It is a provocative and intimate portrait of how Oxycontin devastates lives. Produced by Tom Gorai and Steven Okazaki for Blackwood Entertainment Group & ShadowCatcher Entertainment, LLC 2010 / Documentary / 18 minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971896429-VLH6NJECA4JNPRUXPLRP/rachel_crushed_4.png Farallon Documentary Films - Crushed: The Oxycontin Interviews In 1996, Purdue Pharma launched Oxycontin, offering “smooth and sustained pain control all day.” Doctors, hospitals and patients immediately embraced the semi-synthetic opioid, making it the best-selling prescription painkiller in America, bringing in $31 billion in revenue for Purdue, and leading to widespread abuse and the opiate/heroin addiction epidemic that is now plaguing the country. Crushed: The Oxycontin Interviews presents five young people – Jordan, Liz, Clayton, Rachel and Richard -- whose lives have been forever changed by Oxycontin. Their stories detail the nightmare of the pain relief/addiction/recovery/relapse cycle; describing how they got addicted; the drug’s effect on their lives and the people around them; what they had to do to sustain their habits; and their struggle to get clean or die. It is a provocative and intimate portrait of how Oxycontin devastates lives. Produced by Tom Gorai and Steven Okazaki for Blackwood Entertainment Group & ShadowCatcher Entertainment, LLC 2010 / Documentary / 18 minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473973306580-AVN5LGKIV5E6M14JJF97/richard_needle_spoon.png Farallon Documentary Films - Crushed: The Oxycontin Interviews In 1996, Purdue Pharma launched Oxycontin, offering “smooth and sustained pain control all day.” Doctors, hospitals and patients immediately embraced the semi-synthetic opioid, making it the best-selling prescription painkiller in America, bringing in $31 billion in revenue for Purdue, and leading to widespread abuse and the opiate/heroin addiction epidemic that is now plaguing the country. Crushed: The Oxycontin Interviews presents five young people – Jordan, Liz, Clayton, Rachel and Richard -- whose lives have been forever changed by Oxycontin. Their stories detail the nightmare of the pain relief/addiction/recovery/relapse cycle; describing how they got addicted; the drug’s effect on their lives and the people around them; what they had to do to sustain their habits; and their struggle to get clean or die. It is a provocative and intimate portrait of how Oxycontin devastates lives. Produced by Tom Gorai and Steven Okazaki for Blackwood Entertainment Group & ShadowCatcher Entertainment, LLC 2010 / Documentary / 18 minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971925561-CXOCLMCZJXNEP0LXHAIT/clayton_crushed.png Farallon Documentary Films - Crushed: The Oxycontin Interviews In 1996, Purdue Pharma launched Oxycontin, offering “smooth and sustained pain control all day.” Doctors, hospitals and patients immediately embraced the semi-synthetic opioid, making it the best-selling prescription painkiller in America, bringing in $31 billion in revenue for Purdue, and leading to widespread abuse and the opiate/heroin addiction epidemic that is now plaguing the country. Crushed: The Oxycontin Interviews presents five young people – Jordan, Liz, Clayton, Rachel and Richard -- whose lives have been forever changed by Oxycontin. Their stories detail the nightmare of the pain relief/addiction/recovery/relapse cycle; describing how they got addicted; the drug’s effect on their lives and the people around them; what they had to do to sustain their habits; and their struggle to get clean or die. It is a provocative and intimate portrait of how Oxycontin devastates lives. Produced by Tom Gorai and Steven Okazaki for Blackwood Entertainment Group & ShadowCatcher Entertainment, LLC 2010 / Documentary / 18 minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971909232-U5NU4F6GPM2LFNTZ5O6Z/ricahrd_needle.png Farallon Documentary Films - Crushed: The Oxycontin Interviews In 1996, Purdue Pharma launched Oxycontin, offering “smooth and sustained pain control all day.” Doctors, hospitals and patients immediately embraced the semi-synthetic opioid, making it the best-selling prescription painkiller in America, bringing in $31 billion in revenue for Purdue, and leading to widespread abuse and the opiate/heroin addiction epidemic that is now plaguing the country. Crushed: The Oxycontin Interviews presents five young people – Jordan, Liz, Clayton, Rachel and Richard -- whose lives have been forever changed by Oxycontin. Their stories detail the nightmare of the pain relief/addiction/recovery/relapse cycle; describing how they got addicted; the drug’s effect on their lives and the people around them; what they had to do to sustain their habits; and their struggle to get clean or die. It is a provocative and intimate portrait of how Oxycontin devastates lives. Produced by Tom Gorai and Steven Okazaki for Blackwood Entertainment Group & ShadowCatcher Entertainment, LLC 2010 / Documentary / 18 minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971959412-2VWU8FU73BP0M8YM600S/liz_crying_2.png Farallon Documentary Films - Crushed: The Oxycontin Interviews In 1996, Purdue Pharma launched Oxycontin, offering “smooth and sustained pain control all day.” Doctors, hospitals and patients immediately embraced the semi-synthetic opioid, making it the best-selling prescription painkiller in America, bringing in $31 billion in revenue for Purdue, and leading to widespread abuse and the opiate/heroin addiction epidemic that is now plaguing the country. Crushed: The Oxycontin Interviews presents five young people – Jordan, Liz, Clayton, Rachel and Richard -- whose lives have been forever changed by Oxycontin. Their stories detail the nightmare of the pain relief/addiction/recovery/relapse cycle; describing how they got addicted; the drug’s effect on their lives and the people around them; what they had to do to sustain their habits; and their struggle to get clean or die. It is a provocative and intimate portrait of how Oxycontin devastates lives. Produced by Tom Gorai and Steven Okazaki for Blackwood Entertainment Group & ShadowCatcher Entertainment, LLC 2010 / Documentary / 18 minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971974665-11J4KGZCN3DCH1434MRN/guy_2_crushed.png Farallon Documentary Films - Crushed: The Oxycontin Interviews In 1996, Purdue Pharma launched Oxycontin, offering “smooth and sustained pain control all day.” Doctors, hospitals and patients immediately embraced the semi-synthetic opioid, making it the best-selling prescription painkiller in America, bringing in $31 billion in revenue for Purdue, and leading to widespread abuse and the opiate/heroin addiction epidemic that is now plaguing the country. Crushed: The Oxycontin Interviews presents five young people – Jordan, Liz, Clayton, Rachel and Richard -- whose lives have been forever changed by Oxycontin. Their stories detail the nightmare of the pain relief/addiction/recovery/relapse cycle; describing how they got addicted; the drug’s effect on their lives and the people around them; what they had to do to sustain their habits; and their struggle to get clean or die. It is a provocative and intimate portrait of how Oxycontin devastates lives. Produced by Tom Gorai and Steven Okazaki for Blackwood Entertainment Group & ShadowCatcher Entertainment, LLC 2010 / Documentary / 18 minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/21c61962-292b-4df0-960f-717e2cfcef6a/OLSK+Poster+Crop.png Farallon Documentary Films - Make it stand out Whatever it is, the way you tell your story online can make all the difference. http://www.farallonfilms.com/heroin-stills-1 daily 0.75 2018-02-02 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1504049512386-NFQLXQ8R82QTRPUAFCN2/marissa+CU+5.jpg Heroin: Cape Cod, USA https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1504049512386-NFQLXQ8R82QTRPUAFCN2/marissa+CU+5.jpg Heroin: Cape Cod, USA https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971296839-T3419KBUMQ0QOLOFO7RT/spoon-%26-syringe-1.png Heroin: Cape Cod, USA - Heroin Cape Cod, USA HEROIN: CAPE COD, USA, produced by Steven Okazaki for HBO Documentary Films, follows the harrowing highs and lows of eight young heroin addicts in Cape Cod, Massachusetts. 80% of heroin addicts start with opioid pain medications — Vicodin, Percocet and Oxycodone — prescribed by a doctor, supplied by a dealer, or stolen from the family medicine cabinet. In the film, 21 year-old Jessica describes recovering from a car accident and going home with a prescription for Percocets. Cassie was prescribed Vicodin for a high school soccer injury. Daniel took Oxycontin for back pain. Soon, all were addicted and wanting more. Arianna says she found “the love of my life” when she discovered opiates. Ryan describes it as “a roller coaster ride.” And Benjamin says it made him feel “wicked cool.” https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971259031-JRLQQECLO7416EE7CR1W/cassie%26dan.png Heroin: Cape Cod, USA - Cassie and Dan in Heroin: Cape Cod, USA Cassie and Dan in "Heroin: Cape Cod, USA" Produced by Farallon Films and HBO Documentary Films. Directed by Steven Okazaki. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1504050986347-OWHYCS02NAIG6SWFZQG5/spoon+2.jpg Heroin: Cape Cod, USA https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971283290-QFPNTR84AP91VE8BQT48/marissa3.png Heroin: Cape Cod, USA - Marissa from Heroin: Cape Cod, USA Heroin has come out from the shadows. Americans’ dependence on and abuse of prescription opiates has set the stage for a devastating heroin epidemic that has hit big cities and small towns across the country. HEROIN: CAPE COD, USA, produced by Steven Okazaki for HBO Documentary Films, follows the harrowing highs and lows of eight young heroin addicts in Cape Cod, Massachusetts. 80% of heroin addicts start with opioid pain medications — Vicodin, Percocet and Oxycodone — prescribed by a doctor, supplied by a dealer, or stolen from the family medicine cabinet. In the film, 21 year-old Jessica describes recovering from a car accident and going home with a prescription for Percocets. Cassie was prescribed Vicodin for a high school soccer injury. Daniel took Oxycontin for back pain. Soon, all were addicted and wanting more. Arianna says she found “the love of my life” when she discovered opiates. Ryan describes it as “a roller coaster ride.” And Benjamin says it made him feel “wicked cool.” https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971323705-CRFVBNU04RG8H1F1KHOR/fix-2.png Heroin: Cape Cod, USA - Shooting up in Heroin: Cape Cod, USA Heroin has come out from the shadows. Americans’ dependence on and abuse of prescription opiates has set the stage for a devastating heroin epidemic that has hit big cities and small towns across the country. HEROIN: CAPE COD, USA, produced by Steven Okazaki for HBO Documentary Films, follows the harrowing highs and lows of eight young heroin addicts in Cape Cod, Massachusetts. 80% of heroin addicts start with opioid pain medications — Vicodin, Percocet and Oxycodone — prescribed by a doctor, supplied by a dealer, or stolen from the family medicine cabinet. In the film, 21 year-old Jessica describes recovering from a car accident and going home with a prescription for Percocets. Cassie was prescribed Vicodin for a high school soccer injury. Daniel took Oxycontin for back pain. Soon, all were addicted and wanting more. Arianna says she found “the love of my life” when she discovered opiates. Ryan describes it as “a roller coaster ride.” And Benjamin says it made him feel “wicked cool.” https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1465840940726-06H5IRRT1OF7JIIHMJUS/cassie%26dan.png Heroin: Cape Cod, USA - Cassie and Dan in Heroin: Cape Cod, USA Cassie and Dan in "Heroin: Cape Cod, USA" Produced by Farallon Films and HBO Documentary Films. Directed by Steven Okazaki. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1504051039108-SBXEP1ZHIT7RZEBIVSOY/Daniel+2.jpg Heroin: Cape Cod, USA https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971338348-9M83WR53E3YLO6BHS9ZD/Arianna-2.png Heroin: Cape Cod, USA - Arianna from Heroin: Cape Cod, USA Heroin has come out from the shadows. Americans’ dependence on and abuse of prescription opiates has set the stage for a devastating heroin epidemic that has hit big cities and small towns across the country. HEROIN: CAPE COD, USA, produced by Steven Okazaki for HBO Documentary Films, follows the harrowing highs and lows of eight young heroin addicts in Cape Cod, Massachusetts. 80% of heroin addicts start with opioid pain medications — Vicodin, Percocet and Oxycodone — prescribed by a doctor, supplied by a dealer, or stolen from the family medicine cabinet. In the film, 21 year-old Jessica describes recovering from a car accident and going home with a prescription for Percocets. Cassie was prescribed Vicodin for a high school soccer injury. Daniel took Oxycontin for back pain. Soon, all were addicted and wanting more. Arianna says she found “the love of my life” when she discovered opiates. Ryan describes it as “a roller coaster ride.” And Benjamin says it made him feel “wicked cool.” https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1504049537300-SFX2N65BKZZ55ZMJCBUD/cassie+beach1.jpg Heroin: Cape Cod, USA http://www.farallonfilms.com/white-lightblack-rain-1 daily 0.75 2017-08-30 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473973517581-AQ94VHPDXAC7R75DDI9V/afrirampo_in_tokyo.png WHITE LIGHT / BLACK RAIN https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473973517581-AQ94VHPDXAC7R75DDI9V/afrirampo_in_tokyo.png WHITE LIGHT / BLACK RAIN https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473973016634-98U4YKK2EPC4GEQI06RZ/etsuko_nagano_1.png WHITE LIGHT / BLACK RAIN - WHITE LIGHT / BLACK RAIN As global tensions rise, the unthinkable now seems possible. The nuclear threat is real and frightening. WHITE LIGHT/BLACK RAIN, by Academy Award-winning filmmaker Steven Okazaki, presents a unblinking look at the first time nuclear weapons were used in war. After 60 years, the atomic bombings of Hiroshima and Nagasaki continue to inspire argument, denial and myth. Surprisingly, most people know little about what actually happened on August 6 and 9, 1945. This is a comprehensive, straightforward, moving account of the bombings from the people who were there. Featuring interviews with fourteen atomic bomb survivors (known as hibakusha), many who have never spoken publicly before, and four Americans intimately involved in the bombings, WHITE LIGHT/BLACK RAIN provides a detailed examination of the bombings and their aftermath. In a succession of riveting personal accounts, the film reveals the unimaginable destructive power of the bombs, the inconceivable suffering and extraordinary human resilience. Survivors (85% of victims were civilians) not vaporized during the attacks (140,000 died in Hiroshima, 70,000 in Nagasaki) continued to suffer from burns, infection, radiation sickness and cancer (another 160,000 deaths). As Sakue Shimohira, 8 years old at the time, says of the moment she considered killing herself after losing the last member of her family: "I realized there are two kinds of courage — the courage to die and the courage to live." Other survivors include: Kiyoko Imori, just blocks from the hypocenter, the only survivor of an elementary school of 620 students. Shuntaro Hida, a young military doctor, saw the mushroom cloud rise, then rushed towards it to provide medical care. Keiji Nakazawa, who lost his father, brother and two sisters, devoted his life to re-telling their story in comic books and animation. Etsuko Nagano still can't forgive herself for convincing her brother and sister to come to Nagasaki just weeks before the bombing. With a calm frankness that makes their stories unforgettable, the survivors bear witness to the unfathomable destructive power of nuclear weapons. Their accounts are illustrated with survivor paintings and drawings, animation, historical footage and, photographs, including rare and never seen before material. Steven Okazaki met more than 500 survivors and interviewed more than 100 before choosing the 14 people in the film. He says, "Their stories are amazing, shocking, and inspiring." WHITE LIGHT/BLACK RAIN stands as a powerful warning that, with enough nuclear weapons to equal 400,000 Hiroshimas, we can't afford to forget what happened on those two days in 1945. Produced for HBO Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1504051819554-9HCX0C7112K0FILZ26L7/NG052-01.jpg WHITE LIGHT / BLACK RAIN https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473973033073-OHRG1GDF90NA21TAYNXU/etsuko_nagano_in_1945.png WHITE LIGHT / BLACK RAIN - WHITE LIGHT / BLACK RAIN As global tensions rise, the unthinkable now seems possible. The nuclear threat is real and frightening. WHITE LIGHT/BLACK RAIN, by Academy Award-winning filmmaker Steven Okazaki, presents a unblinking look at the first time nuclear weapons were used in war. After 60 years, the atomic bombings of Hiroshima and Nagasaki continue to inspire argument, denial and myth. Surprisingly, most people know little about what actually happened on August 6 and 9, 1945. This is a comprehensive, straightforward, moving account of the bombings from the people who were there. Featuring interviews with fourteen atomic bomb survivors (known as hibakusha), many who have never spoken publicly before, and four Americans intimately involved in the bombings, WHITE LIGHT/BLACK RAIN provides a detailed examination of the bombings and their aftermath. In a succession of riveting personal accounts, the film reveals the unimaginable destructive power of the bombs, the inconceivable suffering and extraordinary human resilience. Survivors (85% of victims were civilians) not vaporized during the attacks (140,000 died in Hiroshima, 70,000 in Nagasaki) continued to suffer from burns, infection, radiation sickness and cancer (another 160,000 deaths). As Sakue Shimohira, 8 years old at the time, says of the moment she considered killing herself after losing the last member of her family: "I realized there are two kinds of courage — the courage to die and the courage to live." Other survivors include: Kiyoko Imori, just blocks from the hypocenter, the only survivor of an elementary school of 620 students. Shuntaro Hida, a young military doctor, saw the mushroom cloud rise, then rushed towards it to provide medical care. Keiji Nakazawa, who lost his father, brother and two sisters, devoted his life to re-telling their story in comic books and animation. Etsuko Nagano still can't forgive herself for convincing her brother and sister to come to Nagasaki just weeks before the bombing. With a calm frankness that makes their stories unforgettable, the survivors bear witness to the unfathomable destructive power of nuclear weapons. Their accounts are illustrated with survivor paintings and drawings, animation, historical footage and, photographs, including rare and never seen before material. Steven Okazaki met more than 500 survivors and interviewed more than 100 before choosing the 14 people in the film. He says, "Their stories are amazing, shocking, and inspiring." WHITE LIGHT/BLACK RAIN stands as a powerful warning that, with enough nuclear weapons to equal 400,000 Hiroshimas, we can't afford to forget what happened on those two days in 1945. Produced for HBO Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1504051850283-X579FN3KBMIU45LSNNAZ/GE25-16.jpg WHITE LIGHT / BLACK RAIN https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473973048513-YRQJ2S07PAP1XCJU5WGC/kyoko_imori.png WHITE LIGHT / BLACK RAIN - WHITE LIGHT / BLACK RAIN As global tensions rise, the unthinkable now seems possible. The nuclear threat is real and frightening. WHITE LIGHT/BLACK RAIN, by Academy Award-winning filmmaker Steven Okazaki, presents a unblinking look at the first time nuclear weapons were used in war. After 60 years, the atomic bombings of Hiroshima and Nagasaki continue to inspire argument, denial and myth. Surprisingly, most people know little about what actually happened on August 6 and 9, 1945. This is a comprehensive, straightforward, moving account of the bombings from the people who were there. Featuring interviews with fourteen atomic bomb survivors (known as hibakusha), many who have never spoken publicly before, and four Americans intimately involved in the bombings, WHITE LIGHT/BLACK RAIN provides a detailed examination of the bombings and their aftermath. In a succession of riveting personal accounts, the film reveals the unimaginable destructive power of the bombs, the inconceivable suffering and extraordinary human resilience. Survivors (85% of victims were civilians) not vaporized during the attacks (140,000 died in Hiroshima, 70,000 in Nagasaki) continued to suffer from burns, infection, radiation sickness and cancer (another 160,000 deaths). As Sakue Shimohira, 8 years old at the time, says of the moment she considered killing herself after losing the last member of her family: "I realized there are two kinds of courage — the courage to die and the courage to live." Other survivors include: Kiyoko Imori, just blocks from the hypocenter, the only survivor of an elementary school of 620 students. Shuntaro Hida, a young military doctor, saw the mushroom cloud rise, then rushed towards it to provide medical care. Keiji Nakazawa, who lost his father, brother and two sisters, devoted his life to re-telling their story in comic books and animation. Etsuko Nagano still can't forgive herself for convincing her brother and sister to come to Nagasaki just weeks before the bombing. With a calm frankness that makes their stories unforgettable, the survivors bear witness to the unfathomable destructive power of nuclear weapons. Their accounts are illustrated with survivor paintings and drawings, animation, historical footage and, photographs, including rare and never seen before material. Steven Okazaki met more than 500 survivors and interviewed more than 100 before choosing the 14 people in the film. He says, "Their stories are amazing, shocking, and inspiring." WHITE LIGHT/BLACK RAIN stands as a powerful warning that, with enough nuclear weapons to equal 400,000 Hiroshimas, we can't afford to forget what happened on those two days in 1945. Produced for HBO Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1465931269163-268O8I96YOZWSRCG9M97/afrirampo_in_tokyo.png WHITE LIGHT / BLACK RAIN - WHITE LIGHT / BLACK RAIN WHITE LIGHT/BLACK RAIN, by Academy Award-winning filmmaker Steven Okazaki, presents a unblinking look at the first time nuclear weapons were used in war. After 60 years, the atomic bombings of Hiroshima and Nagasaki continue to inspire argument, denial and myth. Surprisingly, most people know little about what actually happened on August 6 and 9, 1945. This is a comprehensive, straightforward, moving account of the bombings from the people who were there. Featuring interviews with fourteen atomic bomb survivors (known as hibakusha), many who have never spoken publicly before, and four Americans intimately involved in the bombings, WHITE LIGHT/BLACK RAIN provides a detailed examination of the bombings and their aftermath. In a succession of riveting personal accounts, the film reveals the unimaginable destructive power of the bombs, the inconceivable suffering and extraordinary human resilience. Survivors (85% of victims were civilians) not vaporized during the attacks (140,000 died in Hiroshima, 70,000 in Nagasaki) continued to suffer from burns, infection, radiation sickness and cancer (another 160,000 deaths). As Sakue Shimohira, 8 years old at the time, says of the moment she considered killing herself after losing the last member of her family: "I realized there are two kinds of courage — the courage to die and the courage to live." Other survivors include: Kiyoko Imori, just blocks from the hypocenter, the only survivor of an elementary school of 620 students. Shuntaro Hida, a young military doctor, saw the mushroom cloud rise, then rushed towards it to provide medical care. Keiji Nakazawa, who lost his father, brother and two sisters, devoted his life to re-telling their story in comic books and animation. Etsuko Nagano still can't forgive herself for convincing her brother and sister to come to Nagasaki just weeks before the bombing. With a calm frankness that makes their stories unforgettable, the survivors bear witness to the unfathomable destructive power of nuclear weapons. Their accounts are illustrated with survivor paintings and drawings, animation, historical footage and, photographs, including rare and never seen before material. Steven Okazaki met more than 500 survivors and interviewed more than 100 before choosing the 14 people in the film. He says, "Their stories are amazing, shocking, and inspiring." WHITE LIGHT/BLACK RAIN stands as a powerful warning that, with enough nuclear weapons to equal 400,000 Hiroshimas, we can't afford to forget what happened on those two days in 1945. Produced for HBO Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473973083764-TGWWFPHB9OMYHX6LHMD0/12_GE13-06crop.png WHITE LIGHT / BLACK RAIN - WHITE LIGHT / BLACK RAIN As global tensions rise, the unthinkable now seems possible. The nuclear threat is real and frightening. WHITE LIGHT/BLACK RAIN, by Academy Award-winning filmmaker Steven Okazaki, presents a unblinking look at the first time nuclear weapons were used in war. After 60 years, the atomic bombings of Hiroshima and Nagasaki continue to inspire argument, denial and myth. Surprisingly, most people know little about what actually happened on August 6 and 9, 1945. This is a comprehensive, straightforward, moving account of the bombings from the people who were there. Featuring interviews with fourteen atomic bomb survivors (known as hibakusha), many who have never spoken publicly before, and four Americans intimately involved in the bombings, WHITE LIGHT/BLACK RAIN provides a detailed examination of the bombings and their aftermath. In a succession of riveting personal accounts, the film reveals the unimaginable destructive power of the bombs, the inconceivable suffering and extraordinary human resilience. Survivors (85% of victims were civilians) not vaporized during the attacks (140,000 died in Hiroshima, 70,000 in Nagasaki) continued to suffer from burns, infection, radiation sickness and cancer (another 160,000 deaths). As Sakue Shimohira, 8 years old at the time, says of the moment she considered killing herself after losing the last member of her family: "I realized there are two kinds of courage — the courage to die and the courage to live." Other survivors include: Kiyoko Imori, just blocks from the hypocenter, the only survivor of an elementary school of 620 students. Shuntaro Hida, a young military doctor, saw the mushroom cloud rise, then rushed towards it to provide medical care. Keiji Nakazawa, who lost his father, brother and two sisters, devoted his life to re-telling their story in comic books and animation. Etsuko Nagano still can't forgive herself for convincing her brother and sister to come to Nagasaki just weeks before the bombing. With a calm frankness that makes their stories unforgettable, the survivors bear witness to the unfathomable destructive power of nuclear weapons. Their accounts are illustrated with survivor paintings and drawings, animation, historical footage and, photographs, including rare and never seen before material. Steven Okazaki met more than 500 survivors and interviewed more than 100 before choosing the 14 people in the film. He says, "Their stories are amazing, shocking, and inspiring." WHITE LIGHT/BLACK RAIN stands as a powerful warning that, with enough nuclear weapons to equal 400,000 Hiroshimas, we can't afford to forget what happened on those two days in 1945. Produced for HBO Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473972999137-NRJI9BQMUU497AALLIJH/afrirampo_in_tokyo.png WHITE LIGHT / BLACK RAIN - WHITE LIGHT / BLACK RAIN WHITE LIGHT/BLACK RAIN, by Academy Award-winning filmmaker Steven Okazaki, presents a unblinking look at the first time nuclear weapons were used in war. After 60 years, the atomic bombings of Hiroshima and Nagasaki continue to inspire argument, denial and myth. Surprisingly, most people know little about what actually happened on August 6 and 9, 1945. This is a comprehensive, straightforward, moving account of the bombings from the people who were there. Featuring interviews with fourteen atomic bomb survivors (known as hibakusha), many who have never spoken publicly before, and four Americans intimately involved in the bombings, WHITE LIGHT/BLACK RAIN provides a detailed examination of the bombings and their aftermath. In a succession of riveting personal accounts, the film reveals the unimaginable destructive power of the bombs, the inconceivable suffering and extraordinary human resilience. Survivors (85% of victims were civilians) not vaporized during the attacks (140,000 died in Hiroshima, 70,000 in Nagasaki) continued to suffer from burns, infection, radiation sickness and cancer (another 160,000 deaths). As Sakue Shimohira, 8 years old at the time, says of the moment she considered killing herself after losing the last member of her family: "I realized there are two kinds of courage — the courage to die and the courage to live." Other survivors include: Kiyoko Imori, just blocks from the hypocenter, the only survivor of an elementary school of 620 students. Shuntaro Hida, a young military doctor, saw the mushroom cloud rise, then rushed towards it to provide medical care. Keiji Nakazawa, who lost his father, brother and two sisters, devoted his life to re-telling their story in comic books and animation. Etsuko Nagano still can't forgive herself for convincing her brother and sister to come to Nagasaki just weeks before the bombing. With a calm frankness that makes their stories unforgettable, the survivors bear witness to the unfathomable destructive power of nuclear weapons. Their accounts are illustrated with survivor paintings and drawings, animation, historical footage and, photographs, including rare and never seen before material. Steven Okazaki met more than 500 survivors and interviewed more than 100 before choosing the 14 people in the film. He says, "Their stories are amazing, shocking, and inspiring." WHITE LIGHT/BLACK RAIN stands as a powerful warning that, with enough nuclear weapons to equal 400,000 Hiroshimas, we can't afford to forget what happened on those two days in 1945. Produced for HBO Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1465932019963-KI0EF6YR1JEH7636VFZD/etsuko_nagano_1.png WHITE LIGHT / BLACK RAIN - WHITE LIGHT / BLACK RAIN As global tensions rise, the unthinkable now seems possible. The nuclear threat is real and frightening. WHITE LIGHT/BLACK RAIN, by Academy Award-winning filmmaker Steven Okazaki, presents a unblinking look at the first time nuclear weapons were used in war. After 60 years, the atomic bombings of Hiroshima and Nagasaki continue to inspire argument, denial and myth. Surprisingly, most people know little about what actually happened on August 6 and 9, 1945. This is a comprehensive, straightforward, moving account of the bombings from the people who were there. Featuring interviews with fourteen atomic bomb survivors (known as hibakusha), many who have never spoken publicly before, and four Americans intimately involved in the bombings, WHITE LIGHT/BLACK RAIN provides a detailed examination of the bombings and their aftermath. In a succession of riveting personal accounts, the film reveals the unimaginable destructive power of the bombs, the inconceivable suffering and extraordinary human resilience. Survivors (85% of victims were civilians) not vaporized during the attacks (140,000 died in Hiroshima, 70,000 in Nagasaki) continued to suffer from burns, infection, radiation sickness and cancer (another 160,000 deaths). As Sakue Shimohira, 8 years old at the time, says of the moment she considered killing herself after losing the last member of her family: "I realized there are two kinds of courage — the courage to die and the courage to live." Other survivors include: Kiyoko Imori, just blocks from the hypocenter, the only survivor of an elementary school of 620 students. Shuntaro Hida, a young military doctor, saw the mushroom cloud rise, then rushed towards it to provide medical care. Keiji Nakazawa, who lost his father, brother and two sisters, devoted his life to re-telling their story in comic books and animation. Etsuko Nagano still can't forgive herself for convincing her brother and sister to come to Nagasaki just weeks before the bombing. With a calm frankness that makes their stories unforgettable, the survivors bear witness to the unfathomable destructive power of nuclear weapons. Their accounts are illustrated with survivor paintings and drawings, animation, historical footage and, photographs, including rare and never seen before material. Steven Okazaki met more than 500 survivors and interviewed more than 100 before choosing the 14 people in the film. He says, "Their stories are amazing, shocking, and inspiring." WHITE LIGHT/BLACK RAIN stands as a powerful warning that, with enough nuclear weapons to equal 400,000 Hiroshimas, we can't afford to forget what happened on those two days in 1945. Produced for HBO Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1465932140670-DP63YPHE6CVA98LHBCCY/etsuko_nagano_in_1945.png WHITE LIGHT / BLACK RAIN - WHITE LIGHT / BLACK RAIN As global tensions rise, the unthinkable now seems possible. The nuclear threat is real and frightening. WHITE LIGHT/BLACK RAIN, by Academy Award-winning filmmaker Steven Okazaki, presents a unblinking look at the first time nuclear weapons were used in war. After 60 years, the atomic bombings of Hiroshima and Nagasaki continue to inspire argument, denial and myth. Surprisingly, most people know little about what actually happened on August 6 and 9, 1945. This is a comprehensive, straightforward, moving account of the bombings from the people who were there. Featuring interviews with fourteen atomic bomb survivors (known as hibakusha), many who have never spoken publicly before, and four Americans intimately involved in the bombings, WHITE LIGHT/BLACK RAIN provides a detailed examination of the bombings and their aftermath. In a succession of riveting personal accounts, the film reveals the unimaginable destructive power of the bombs, the inconceivable suffering and extraordinary human resilience. Survivors (85% of victims were civilians) not vaporized during the attacks (140,000 died in Hiroshima, 70,000 in Nagasaki) continued to suffer from burns, infection, radiation sickness and cancer (another 160,000 deaths). As Sakue Shimohira, 8 years old at the time, says of the moment she considered killing herself after losing the last member of her family: "I realized there are two kinds of courage — the courage to die and the courage to live." Other survivors include: Kiyoko Imori, just blocks from the hypocenter, the only survivor of an elementary school of 620 students. Shuntaro Hida, a young military doctor, saw the mushroom cloud rise, then rushed towards it to provide medical care. Keiji Nakazawa, who lost his father, brother and two sisters, devoted his life to re-telling their story in comic books and animation. Etsuko Nagano still can't forgive herself for convincing her brother and sister to come to Nagasaki just weeks before the bombing. With a calm frankness that makes their stories unforgettable, the survivors bear witness to the unfathomable destructive power of nuclear weapons. Their accounts are illustrated with survivor paintings and drawings, animation, historical footage and, photographs, including rare and never seen before material. Steven Okazaki met more than 500 survivors and interviewed more than 100 before choosing the 14 people in the film. He says, "Their stories are amazing, shocking, and inspiring." WHITE LIGHT/BLACK RAIN stands as a powerful warning that, with enough nuclear weapons to equal 400,000 Hiroshimas, we can't afford to forget what happened on those two days in 1945. Produced for HBO Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1465931269297-LQ60IY2BHZZ44PYAIWZQ/etsuko_nagano_1.png WHITE LIGHT / BLACK RAIN https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1465931771194-ZSFZG129R2IQYVQ4JBZH/etsuko_nagano_1.png WHITE LIGHT / BLACK RAIN https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1465931948338-WHCIHJRFMACTKLUY7BD4/etsuko_nagano_1.png WHITE LIGHT / BLACK RAIN http://www.farallonfilms.com/mifune-the-last-samurai-1 daily 0.75 2020-06-12 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473970969340-QSB62KAAFTOZP5131I70/MF_13500_MusashiMiyamoto2_dupe_crop.png Mifune: The Last Samurai - Toshiro Mifune in Mifune: The Last Samurai Toshiro Mifune (1920-97) was the most prominent actor of Japan’s Golden Age of Cinema in the 1950s and 60s. He appeared in nearly 170 films, but his most compelling work was with director Akira Kurosawa with whom he made 16 films. Together they created enduring works of art -- RASHOMON, SEVEN SAMURAI, THRONE OF BLOOD, YOJIMBO, THE BAD SLEEP WELL, RED BEARD -- that thrilled audiences and influenced filmmaking around the world. Without them, there would be no MAGNIFICENT SEVEN, Clint Eastwood wouldn’t have A FISTFUL OF DOLLARS, and Darth Vader wouldn’t be a samurai. Just as John Ford and John Wayne elevated the American Western, exploring the human side of America’s violent expansion, Kurosawa and Mifune transformed the chanbara film, the period sword fighting movie, into bold, provocative narratives that pushed beyond the boundaries of the genre and examined the role of the individual in society. Mifune – wry, charismatic and deadly -- was the first non-white action star to attract international attention. MIFUNE: THE LAST SAMURAI explores the evolution of Chanbara movies; Mifune's World War II experience; his accidental entry into moviemaking; and fortuitous collaboration with Kurosawa. The film is narrated by Keanu Reeves; directed by Academy Award-winning filmmaker Steven Okazaki; and produced by Toshiaki Nakazawa (13 ASSASSINS and the Academy Award-winning DEPARTURES) and Toichiro Shiraishi. It focuses on six of Mifune's greatest films and features interviews with Steven Spielberg, Martin Scorsese, Teruyo Nogami (Kurosawa's longtime script supervisor), Kyoko Kagawa (RED BEARD), Yoshio Tsuchiya (SEVEN SAMURAI), Takeshi Kato (THRONE OF BLOOD), Yoko Tsukasa (YOJIMBO), and many others. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473970969340-QSB62KAAFTOZP5131I70/MF_13500_MusashiMiyamoto2_dupe_crop.png Mifune: The Last Samurai - Toshiro Mifune in Mifune: The Last Samurai Toshiro Mifune (1920-97) was the most prominent actor of Japan’s Golden Age of Cinema in the 1950s and 60s. He appeared in nearly 170 films, but his most compelling work was with director Akira Kurosawa with whom he made 16 films. Together they created enduring works of art -- RASHOMON, SEVEN SAMURAI, THRONE OF BLOOD, YOJIMBO, THE BAD SLEEP WELL, RED BEARD -- that thrilled audiences and influenced filmmaking around the world. Without them, there would be no MAGNIFICENT SEVEN, Clint Eastwood wouldn’t have A FISTFUL OF DOLLARS, and Darth Vader wouldn’t be a samurai. Just as John Ford and John Wayne elevated the American Western, exploring the human side of America’s violent expansion, Kurosawa and Mifune transformed the chanbara film, the period sword fighting movie, into bold, provocative narratives that pushed beyond the boundaries of the genre and examined the role of the individual in society. Mifune – wry, charismatic and deadly -- was the first non-white action star to attract international attention. MIFUNE: THE LAST SAMURAI explores the evolution of Chanbara movies; Mifune's World War II experience; his accidental entry into moviemaking; and fortuitous collaboration with Kurosawa. The film is narrated by Keanu Reeves; directed by Academy Award-winning filmmaker Steven Okazaki; and produced by Toshiaki Nakazawa (13 ASSASSINS and the Academy Award-winning DEPARTURES) and Toichiro Shiraishi. It focuses on six of Mifune's greatest films and features interviews with Steven Spielberg, Martin Scorsese, Teruyo Nogami (Kurosawa's longtime script supervisor), Kyoko Kagawa (RED BEARD), Yoshio Tsuchiya (SEVEN SAMURAI), Takeshi Kato (THRONE OF BLOOD), Yoko Tsukasa (YOJIMBO), and many others. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1477428057070-DHFPS3V6ROKTMBDUGCFP/Mifune_smoking.png Mifune: The Last Samurai - Mifune: The Last Samurai https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473970898190-WRZUQTQ1778BV5EO8K7L/Still_Intro_01.43_Rashomon_FilmStill_MifuneWithWoman.png Mifune: The Last Samurai - Toshiro Mifune in Rashomon Toshiro Mifune (1920-97) was the most prominent actor of Japan’s Golden Age of Cinema in the 1950s and 60s. He appeared in nearly 170 films, but his most compelling work was with director Akira Kurosawa with whom he made 16 films. Together they created enduring works of art -- RASHOMON, SEVEN SAMURAI, THRONE OF BLOOD, YOJIMBO, THE BAD SLEEP WELL, RED BEARD -- that thrilled audiences and influenced filmmaking around the world. Without them, there would be no MAGNIFICENT SEVEN, Clint Eastwood wouldn’t have A FISTFUL OF DOLLARS, and Darth Vader wouldn’t be a samurai. Just as John Ford and John Wayne elevated the American Western, exploring the human side of America’s violent expansion, Kurosawa and Mifune transformed the chanbara film, the period sword fighting movie, into bold, provocative narratives that pushed beyond the boundaries of the genre and examined the role of the individual in society. Mifune – wry, charismatic and deadly -- was the first non-white action star to attract international attention. MIFUNE: THE LAST SAMURAI explores the evolution of Chanbara movies; Mifune's World War II experience; his accidental entry into moviemaking; and fortuitous collaboration with Kurosawa. The film is narrated by Keanu Reeves; directed by Academy Award-winning filmmaker Steven Okazaki; and produced by Toshiaki Nakazawa (13 ASSASSINS and the Academy Award-winning DEPARTURES) and Toichiro Shiraishi. It focuses on six of Mifune's greatest films and features interviews with Steven Spielberg, Martin Scorsese, Teruyo Nogami (Kurosawa's longtime script supervisor), Kyoko Kagawa (RED BEARD), Yoshio Tsuchiya (SEVEN SAMURAI), Takeshi Kato (THRONE OF BLOOD), Yoko Tsukasa (YOJIMBO), and many others. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1504048874462-YSPW3DWV67UP9NRAO102/faf99244e773187803b966635dbde041--samurai-film-toshiro-mifune.jpg Mifune: The Last Samurai https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473970878945-NZ300TDDX3W2XFUH2YF4/Yojimbo_Mifune%26AK_crop_2.png Mifune: The Last Samurai - Toshiro Mifune and Akira Kurosawa in Mifune: The Last Samurai Toshiro Mifune (1920-97) was the most prominent actor of Japan’s Golden Age of Cinema in the 1950s and 60s. He appeared in nearly 170 films, but his most compelling work was with director Akira Kurosawa with whom he made 16 films. Together they created enduring works of art -- RASHOMON, SEVEN SAMURAI, THRONE OF BLOOD, YOJIMBO, THE BAD SLEEP WELL, RED BEARD -- that thrilled audiences and influenced filmmaking around the world. Without them, there would be no MAGNIFICENT SEVEN, Clint Eastwood wouldn’t have A FISTFUL OF DOLLARS, and Darth Vader wouldn’t be a samurai. Just as John Ford and John Wayne elevated the American Western, exploring the human side of America’s violent expansion, Kurosawa and Mifune transformed the chanbara film, the period sword fighting movie, into bold, provocative narratives that pushed beyond the boundaries of the genre and examined the role of the individual in society. Mifune – wry, charismatic and deadly -- was the first non-white action star to attract international attention. MIFUNE: THE LAST SAMURAI explores the evolution of Chanbara movies; Mifune's World War II experience; his accidental entry into moviemaking; and fortuitous collaboration with Kurosawa. The film is narrated by Keanu Reeves; directed by Academy Award-winning filmmaker Steven Okazaki; and produced by Toshiaki Nakazawa (13 ASSASSINS and the Academy Award-winning DEPARTURES) and Toichiro Shiraishi. It focuses on six of Mifune's greatest films and features interviews with Steven Spielberg, Martin Scorsese, Teruyo Nogami (Kurosawa's longtime script supervisor), Kyoko Kagawa (RED BEARD), Yoshio Tsuchiya (SEVEN SAMURAI), Takeshi Kato (THRONE OF BLOOD), Yoko Tsukasa (YOJIMBO), and many others. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473970922131-FJ9WD5DRQTTHAX5D2KHE/Still_Intro_01.47_SevenSamurai_FilmStill_MifuneFighting.png Mifune: The Last Samurai - Toshiro Mifune in Mifune: The Last Samurai Toshiro Mifune (1920-97) was the most prominent actor of Japan’s Golden Age of Cinema in the 1950s and 60s. He appeared in nearly 170 films, but his most compelling work was with director Akira Kurosawa with whom he made 16 films. Together they created enduring works of art -- RASHOMON, SEVEN SAMURAI, THRONE OF BLOOD, YOJIMBO, THE BAD SLEEP WELL, RED BEARD -- that thrilled audiences and influenced filmmaking around the world. Without them, there would be no MAGNIFICENT SEVEN, Clint Eastwood wouldn’t have A FISTFUL OF DOLLARS, and Darth Vader wouldn’t be a samurai. Just as John Ford and John Wayne elevated the American Western, exploring the human side of America’s violent expansion, Kurosawa and Mifune transformed the chanbara film, the period sword fighting movie, into bold, provocative narratives that pushed beyond the boundaries of the genre and examined the role of the individual in society. Mifune – wry, charismatic and deadly -- was the first non-white action star to attract international attention. MIFUNE: THE LAST SAMURAI explores the evolution of Chanbara movies; Mifune's World War II experience; his accidental entry into moviemaking; and fortuitous collaboration with Kurosawa. The film is narrated by Keanu Reeves; directed by Academy Award-winning filmmaker Steven Okazaki; and produced by Toshiaki Nakazawa (13 ASSASSINS and the Academy Award-winning DEPARTURES) and Toichiro Shiraishi. It focuses on six of Mifune's greatest films and features interviews with Steven Spielberg, Martin Scorsese, Teruyo Nogami (Kurosawa's longtime script supervisor), Kyoko Kagawa (RED BEARD), Yoshio Tsuchiya (SEVEN SAMURAI), Takeshi Kato (THRONE OF BLOOD), Yoko Tsukasa (YOJIMBO), and many others. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473970943742-77FOECRI63LOKUZIVQB5/Yojimbo2887_Mifune_filming.png Mifune: The Last Samurai - Toshiro mifune in Mifune: The Last Samurai Toshiro Mifune (1920-97) was the most prominent actor of Japan’s Golden Age of Cinema in the 1950s and 60s. He appeared in nearly 170 films, but his most compelling work was with director Akira Kurosawa with whom he made 16 films. Together they created enduring works of art -- RASHOMON, SEVEN SAMURAI, THRONE OF BLOOD, YOJIMBO, THE BAD SLEEP WELL, RED BEARD -- that thrilled audiences and influenced filmmaking around the world. Without them, there would be no MAGNIFICENT SEVEN, Clint Eastwood wouldn’t have A FISTFUL OF DOLLARS, and Darth Vader wouldn’t be a samurai. Just as John Ford and John Wayne elevated the American Western, exploring the human side of America’s violent expansion, Kurosawa and Mifune transformed the chanbara film, the period sword fighting movie, into bold, provocative narratives that pushed beyond the boundaries of the genre and examined the role of the individual in society. Mifune – wry, charismatic and deadly -- was the first non-white action star to attract international attention. MIFUNE: THE LAST SAMURAI explores the evolution of Chanbara movies; Mifune's World War II experience; his accidental entry into moviemaking; and fortuitous collaboration with Kurosawa. The film is narrated by Keanu Reeves; directed by Academy Award-winning filmmaker Steven Okazaki; and produced by Toshiaki Nakazawa (13 ASSASSINS and the Academy Award-winning DEPARTURES) and Toichiro Shiraishi. It focuses on six of Mifune's greatest films and features interviews with Steven Spielberg, Martin Scorsese, Teruyo Nogami (Kurosawa's longtime script supervisor), Kyoko Kagawa (RED BEARD), Yoshio Tsuchiya (SEVEN SAMURAI), Takeshi Kato (THRONE OF BLOOD), Yoko Tsukasa (YOJIMBO), and many others. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971005098-N8RR3HS29ETH946QGQZO/Venice_awards_withKagawa_1954-.png Mifune: The Last Samurai - Toshiro Mifune in Mifune: The Last Samurai Toshiro Mifune (1920-97) was the most prominent actor of Japan’s Golden Age of Cinema in the 1950s and 60s. He appeared in nearly 170 films, but his most compelling work was with director Akira Kurosawa with whom he made 16 films. Together they created enduring works of art -- RASHOMON, SEVEN SAMURAI, THRONE OF BLOOD, YOJIMBO, THE BAD SLEEP WELL, RED BEARD -- that thrilled audiences and influenced filmmaking around the world. Without them, there would be no MAGNIFICENT SEVEN, Clint Eastwood wouldn’t have A FISTFUL OF DOLLARS, and Darth Vader wouldn’t be a samurai. Just as John Ford and John Wayne elevated the American Western, exploring the human side of America’s violent expansion, Kurosawa and Mifune transformed the chanbara film, the period sword fighting movie, into bold, provocative narratives that pushed beyond the boundaries of the genre and examined the role of the individual in society. Mifune – wry, charismatic and deadly -- was the first non-white action star to attract international attention. MIFUNE: THE LAST SAMURAI explores the evolution of Chanbara movies; Mifune's World War II experience; his accidental entry into moviemaking; and fortuitous collaboration with Kurosawa. The film is narrated by Keanu Reeves; directed by Academy Award-winning filmmaker Steven Okazaki; and produced by Toshiaki Nakazawa (13 ASSASSINS and the Academy Award-winning DEPARTURES) and Toichiro Shiraishi. It focuses on six of Mifune's greatest films and features interviews with Steven Spielberg, Martin Scorsese, Teruyo Nogami (Kurosawa's longtime script supervisor), Kyoko Kagawa (RED BEARD), Yoshio Tsuchiya (SEVEN SAMURAI), Takeshi Kato (THRONE OF BLOOD), Yoko Tsukasa (YOJIMBO), and many others. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470252309380-I1XMPTWG1H90HCCSVOJV/Yojimbo_Mifune%26AK_crop_2.png Mifune: The Last Samurai - Toshiro Mifune and Akira Kurosawa in Mifune: The Last Samurai Toshiro Mifune (1920-97) was the most prominent actor of Japan’s Golden Age of Cinema in the 1950s and 60s. He appeared in nearly 170 films, but his most compelling work was with director Akira Kurosawa with whom he made 16 films. Together they created enduring works of art -- RASHOMON, SEVEN SAMURAI, THRONE OF BLOOD, YOJIMBO, THE BAD SLEEP WELL, RED BEARD -- that thrilled audiences and influenced filmmaking around the world. Without them, there would be no MAGNIFICENT SEVEN, Clint Eastwood wouldn’t have A FISTFUL OF DOLLARS, and Darth Vader wouldn’t be a samurai. Just as John Ford and John Wayne elevated the American Western, exploring the human side of America’s violent expansion, Kurosawa and Mifune transformed the chanbara film, the period sword fighting movie, into bold, provocative narratives that pushed beyond the boundaries of the genre and examined the role of the individual in society. Mifune – wry, charismatic and deadly -- was the first non-white action star to attract international attention. MIFUNE: THE LAST SAMURAI explores the evolution of Chanbara movies; Mifune's World War II experience; his accidental entry into moviemaking; and fortuitous collaboration with Kurosawa. The film is narrated by Keanu Reeves; directed by Academy Award-winning filmmaker Steven Okazaki; and produced by Toshiaki Nakazawa (13 ASSASSINS and the Academy Award-winning DEPARTURES) and Toichiro Shiraishi. It focuses on six of Mifune's greatest films and features interviews with Steven Spielberg, Martin Scorsese, Teruyo Nogami (Kurosawa's longtime script supervisor), Kyoko Kagawa (RED BEARD), Yoshio Tsuchiya (SEVEN SAMURAI), Takeshi Kato (THRONE OF BLOOD), Yoko Tsukasa (YOJIMBO), and many others. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1504049261808-WLRDAM5MP1RF9PHOGYSP/Mifune_misc13.tif.jpg Mifune: The Last Samurai https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473970420381-YF56M54PQPVCJ76UJXOY/Yojimbo_Mifune%26AK_crop_2.png Mifune: The Last Samurai - Toshiro Mifune and Akira Kurosawa in Mifune: The Last Samurai Toshiro Mifune (1920-97) was the most prominent actor of Japan’s Golden Age of Cinema in the 1950s and 60s. He appeared in nearly 170 films, but his most compelling work was with director Akira Kurosawa with whom he made 16 films. Together they created enduring works of art -- RASHOMON, SEVEN SAMURAI, THRONE OF BLOOD, YOJIMBO, THE BAD SLEEP WELL, RED BEARD -- that thrilled audiences and influenced filmmaking around the world. Without them, there would be no MAGNIFICENT SEVEN, Clint Eastwood wouldn’t have A FISTFUL OF DOLLARS, and Darth Vader wouldn’t be a samurai. Just as John Ford and John Wayne elevated the American Western, exploring the human side of America’s violent expansion, Kurosawa and Mifune transformed the chanbara film, the period sword fighting movie, into bold, provocative narratives that pushed beyond the boundaries of the genre and examined the role of the individual in society. Mifune – wry, charismatic and deadly -- was the first non-white action star to attract international attention. MIFUNE: THE LAST SAMURAI explores the evolution of Chanbara movies; Mifune's World War II experience; his accidental entry into moviemaking; and fortuitous collaboration with Kurosawa. The film is narrated by Keanu Reeves; directed by Academy Award-winning filmmaker Steven Okazaki; and produced by Toshiaki Nakazawa (13 ASSASSINS and the Academy Award-winning DEPARTURES) and Toichiro Shiraishi. It focuses on six of Mifune's greatest films and features interviews with Steven Spielberg, Martin Scorsese, Teruyo Nogami (Kurosawa's longtime script supervisor), Kyoko Kagawa (RED BEARD), Yoshio Tsuchiya (SEVEN SAMURAI), Takeshi Kato (THRONE OF BLOOD), Yoko Tsukasa (YOJIMBO), and many others. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1504049278185-ATEB70R3GR36LD0MHL4K/2122+%281%29.jpg Mifune: The Last Samurai https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1468278927193-0U13NNZL0LYFUK5CSWM7/Yojimbo2887_Mifune_filming.png Mifune: The Last Samurai - Toshiro mifune in Mifune: The Last Samurai Toshiro Mifune (1920-97) was the most prominent actor of Japan’s Golden Age of Cinema in the 1950s and 60s. He appeared in nearly 170 films, but his most compelling work was with director Akira Kurosawa with whom he made 16 films. Together they created enduring works of art -- RASHOMON, SEVEN SAMURAI, THRONE OF BLOOD, YOJIMBO, THE BAD SLEEP WELL, RED BEARD -- that thrilled audiences and influenced filmmaking around the world. Without them, there would be no MAGNIFICENT SEVEN, Clint Eastwood wouldn’t have A FISTFUL OF DOLLARS, and Darth Vader wouldn’t be a samurai. Just as John Ford and John Wayne elevated the American Western, exploring the human side of America’s violent expansion, Kurosawa and Mifune transformed the chanbara film, the period sword fighting movie, into bold, provocative narratives that pushed beyond the boundaries of the genre and examined the role of the individual in society. Mifune – wry, charismatic and deadly -- was the first non-white action star to attract international attention. MIFUNE: THE LAST SAMURAI explores the evolution of Chanbara movies; Mifune's World War II experience; his accidental entry into moviemaking; and fortuitous collaboration with Kurosawa. The film is narrated by Keanu Reeves; directed by Academy Award-winning filmmaker Steven Okazaki; and produced by Toshiaki Nakazawa (13 ASSASSINS and the Academy Award-winning DEPARTURES) and Toichiro Shiraishi. It focuses on six of Mifune's greatest films and features interviews with Steven Spielberg, Martin Scorsese, Teruyo Nogami (Kurosawa's longtime script supervisor), Kyoko Kagawa (RED BEARD), Yoshio Tsuchiya (SEVEN SAMURAI), Takeshi Kato (THRONE OF BLOOD), Yoko Tsukasa (YOJIMBO), and many others. http://www.farallonfilms.com/white-lightblack-raininterview-profiles daily 0.75 2016-10-18 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466037808753-CR252TTBL00PA7LB898D/slide04.png White Light/Black Rain:Interview Profiles KIYOKO IMORI was 11 years old at the time. She and her best friend had just arrived at school and were changing their shoes in a below ground concrete structure when the bomb exploded over Hiroshima. When they emerged, the school was gone and their 620 classmates were dead. They jumped into the nearby river to escape the fires that engulfed the city. Although they shared the exact same experience, Imori survived, but her friend died a week later from radiation exposure. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466037808753-CR252TTBL00PA7LB898D/slide04.png White Light/Black Rain:Interview Profiles KIYOKO IMORI was 11 years old at the time. She and her best friend had just arrived at school and were changing their shoes in a below ground concrete structure when the bomb exploded over Hiroshima. When they emerged, the school was gone and their 620 classmates were dead. They jumped into the nearby river to escape the fires that engulfed the city. Although they shared the exact same experience, Imori survived, but her friend died a week later from radiation exposure. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466037825071-1MG4GMKT8TCWBKU860WN/slide06.png White Light/Black Rain:Interview Profiles SHIGEKO SASAMORI was 13 years old. She shielded her eyes to look at the B-29 flying over Hiroshima, then the blast knocked her unconscious. She woke up dazed and badly burned. She found her way to a schoolyard and lay down under a tree. Unrecognizable because of her burns, she repeated her name and address over and over until her father finally found her. She came to the United States in 1955 watomicith a group of young women known as the Hiroshima Maidens and underwent numerous plastic surgery operations. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466037848561-TUJESMQNG69OFWSZKA4X/Nakazawa2_mac.png White Light/Black Rain:Interview Profiles KEIJI NAKAZAWA, 6 years old at the time, lost his father, sister and younger brother in the Hiroshima bombing. In shock, his pregnant mother gave birth to a baby girl on the day of the bombing. The infant, named Tomoko, died four months later. Later, Nakazawa told his family's story in the epic comic book series Barefoot Gen (Hadashi no Gen), one of the most powerful literary explorations of the atomic bombing. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466037867872-RY4YHROUHISVMSJ0TSDS/Oka-Tanaka_mac.png White Light/Black Rain:Interview Profiles YASUYO TANAKA and CHIEMI OKA were 9 and 10 years old, living in a Catholic orphanage. Close friends, devoted Catholics, they found each other after the blast, faced extraordinary hardship together, but managed to survive. The orphanage housed more than 20 infants, all of whom perished. In 1945, Nagasaki had the largest Catholic population in Asia and some believed that the city would not bombed by the Americans because of this. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466037888821-AOO1HSM18C0OP6TXVBRG/Shimohira3_mac.png White Light/Black Rain:Interview Profiles SAKUE SHIMOHIRA was 10 years old. She lost her mother and brother in the Nagasaki bombing. Later, her sister committed suicide by stepping in front of a train. For 10 years, Shimohira lived with a dozen other homeless survivors in a small shack in the middle of the devastated landscape, sometimes surviving by eating grass and garbage. She recalls returning to the place where her sister died, planning to kill herself too. At the last minute, she jumped aside as the train approached. "I realized there are two kinds of courage: the courage to die and the courage to live," she says. "I decided I wanted to live." https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466037897746-XIV0JGWW0NSRWDWLKKQ9/Yoshida2_mac.png White Light/Black Rain:Interview Profiles KATSUJI YOSHIDA, 13 at the time, remembers feeling the force of the Nagasaki blast and flying more than 100 feet through the air. One side of his face was horribly burned and disfigured. Even in Hiroshima and Nagasaki, survivors with external scars experienced cruel treatment from other more fortunate survivors. Yoshida initially retreated into the shadows, refusing to go out in public. But soon, with his mother's love and encouragement, he worked up the courage to step outside and, today, he is a leading figure in the peace movement. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466037912476-84ZWBQZN8PXT7FTU5NQP/Tsuboi.png White Light/Black Rain:Interview Profiles SUNAO TSUBOI was a 20-year-old university student in Hiroshima when the bomb was dropped. He notes that the art and literature students were drafted into the army first, before science majors like him. But he says he was ready to go to war, to die for his country, "to fall like petals from a flower, that was our destiny." https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466037929106-FNUX6IRDZ87VJ9M4SM4C/Hida.png White Light/Black Rain:Interview Profiles SHUNTARO HIDA, a 28-year-old military doctor at the time, was a safe distance from the Hiroshima bomb. He began treating people immediately after the bombing. Later, patients who should have been getting better began dying. He says, "We didn't know what it was. For a doctor, that's frightening to not know what you're treating." https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466037945271-E43YLGZLXY9OEFMSXC8B/Fukahori.png White Light/Black Rain:Interview Profiles SATORU FUKAHORI, 11 years old at the time, said that even as children in Nagasaki, they knew Japan was losing the war. "Any fool could see it," he says. "We had nothing. We needed everything." He says that people who were exposed to the bomb became "untouchables." https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466037953804-ANTY7SNF7FOY4JI2WLTR/Kim.png White Light/Black Rain:Interview Profiles PAN YEON KIM was 8 years old. Her family, like many poor Koreans at the time, immigrated to Japan, to avoid starvation. After the Hiroshima bombing, Koreans survivors faced further prejudice and additional hardship, so her family returned to Korea. She has struggled with the Japanese government to obtain medical benefits. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466037974666-CV9T92E9F95D22JI2OXL/slide02.png White Light/Black Rain:Interview Profiles ETSUKO NAGANO, 16 years old at the time, lost her brother and sister in the bombing. She says she still can't forgive herself for convincing her family to move to Nagasaki, just weeks before the bombing. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466037986992-L31VG88Q4KP8KZM1723O/Yamaguchi.png White Light/Black Rain:Interview Profiles SENJI YAMAGUCHI was 14 years old when the bomb was dropped on Nagasaki. He was unconscious for 40 days. During his long hospitalization, he started a survivors' organization to lobby the Japanese government to provide care to victims of the bombing. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466038018238-23M8L5CZS25K6AC1BKWO/Taniguchi_mac.png White Light/Black Rain:Interview Profiles SUMITERU TANIGUCHI, then a 16-year-old mail carrier in Nagasaki, was about to deliver a letter when the bomb was dropped. He was badly burned on the face, arms and back. Strangely, the wounds on his back never healed and he lives with perpetual pain. He says, "I've shown you my wounds, because I want you to know this can't happen again." https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466038036207-ILHM822B6ZVQGZDD9MSO/morris_jeppson.png White Light/Black Rain:Interview Profiles MORRIS JEPPSON, 23 at the time, was the weapon test officer on the Enola Gay mission to Hiroshima. His job was to arm the bomb in flight, making him the last person to touch the bomb before its detonation. Today he says, "I see the risk of radioactive war as being quite a real possibility." https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466038048897-7EJJ6H8DSCRA2J8LRWWS/lawrence_johnston.png White Light/Black Rain:Interview Profiles LAWRENCE JOHNSTON, a 21-year-old civilian scientist working at Los Alamos, worked on the team that developed the detonators for the Fat Man bomb. He believes he is the only person to witness all three of the first atomic explosions: Trinity, Hiroshima and Nagasaki. He says, "We've opened Pandora's box and the genie can't be stuffed back in the bottle." https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466038054233-4JN7NVEO5QSNP5FQXZQZ/Agnew.png White Light/Black Rain:Interview Profiles HAROLD AGNEW, 24 at the time, worked on the Manhattan Project in Chicago and Los Alamos. He flew as a scientific observer on the Hiroshima mission, capturing the unforgettable image of the rising mushroom cloud with a home movie camera. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466038059357-9EMARVA38BG4YJ90V88W/dutch_van_kirk.png White Light/Black Rain:Interview Profiles THEODORE "DUTCH" VAN KIRK, 24 years old then, was the navigator aboard the Enola Gay for the Hiroshima mission. Captain Paul Tibbets told him that the bomb they were about to drop would probably shorten or end the war. Although he believes that dropping the bombs on Hiroshima and Nagasaki was the right thing to do, he also says "There is no time I think a bomb should have been used since World War II. None whatsoever." http://www.farallonfilms.com/all-we-could-carry-1 daily 0.75 2016-10-18 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971766812-TE661EWZ11XSWDF65FJU/ALL+WE+COULD+CARRY.jpg All We Could Carry - All We Could Carry In 1942, 120,000 men, women and children were ordered by the United States government to leave their jobs, schools and homes. Two thirds were American citizens. The charges against them: they were of Japanese descent. There were no hearings or trials. They were told to bring with them only what they could carry and herded onto buses and trains, unaware of where they were going or what would happen to them. They were uprooted from their lives and deprived of their freedom. “All of a sudden,” says Shig Honda, 15 years old at the time, “I was beginning to understand what racism was.” 14,000 were confined behind barbed wire, surrounded by armed guards in watchtowers, in desolate, cold Heart Mountain, Wyoming. ALL WE COULD CARRYis their story, told through the memories of twelve Japanese Americans, children and young adults at the time. For up to three and a half years, the prisoners persevered despite deprivation and uncertainty. Although families were fractured and dignity denied, it was also a place where couples fell in love, where babies were born, where lifelong bonds were forged. Filmmaker Steven Okazaki, whose father was imprisoned at Heart Mountain, captures this essential piece of history in a way that is both compelling and relatable: providing vivid accounts of daily life in the camps as well as the resilience of those imprisoned there. ALL WE COULD CARRY is screened for all visitors to the Heart Mountain Interpretive Center in Powell, Wyoming. Produced for the HEART MOUNTAIN WYOMING FOUNDATION https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971766812-TE661EWZ11XSWDF65FJU/ALL+WE+COULD+CARRY.jpg All We Could Carry - All We Could Carry In 1942, 120,000 men, women and children were ordered by the United States government to leave their jobs, schools and homes. Two thirds were American citizens. The charges against them: they were of Japanese descent. There were no hearings or trials. They were told to bring with them only what they could carry and herded onto buses and trains, unaware of where they were going or what would happen to them. They were uprooted from their lives and deprived of their freedom. “All of a sudden,” says Shig Honda, 15 years old at the time, “I was beginning to understand what racism was.” 14,000 were confined behind barbed wire, surrounded by armed guards in watchtowers, in desolate, cold Heart Mountain, Wyoming. ALL WE COULD CARRYis their story, told through the memories of twelve Japanese Americans, children and young adults at the time. For up to three and a half years, the prisoners persevered despite deprivation and uncertainty. Although families were fractured and dignity denied, it was also a place where couples fell in love, where babies were born, where lifelong bonds were forged. Filmmaker Steven Okazaki, whose father was imprisoned at Heart Mountain, captures this essential piece of history in a way that is both compelling and relatable: providing vivid accounts of daily life in the camps as well as the resilience of those imprisoned there. ALL WE COULD CARRY is screened for all visitors to the Heart Mountain Interpretive Center in Powell, Wyoming. Produced for the HEART MOUNTAIN WYOMING FOUNDATION https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1468279191109-TX9R15FE2L799MQTJ6DC/ALL+WE+COULD+CARRY.jpg All We Could Carry - All We Could Carry In 1942, 120,000 men, women and children were ordered by the United States government to leave their jobs, schools and homes. Two thirds were American citizens. The charges against them: they were of Japanese descent. There were no hearings or trials. They were told to bring with them only what they could carry and herded onto buses and trains, unaware of where they were going or what would happen to them. They were uprooted from their lives and deprived of their freedom. “All of a sudden,” says Shig Honda, 15 years old at the time, “I was beginning to understand what racism was.” 14,000 were confined behind barbed wire, surrounded by armed guards in watchtowers, in desolate, cold Heart Mountain, Wyoming. ALL WE COULD CARRYis their story, told through the memories of twelve Japanese Americans, children and young adults at the time. For up to three and a half years, the prisoners persevered despite deprivation and uncertainty. Although families were fractured and dignity denied, it was also a place where couples fell in love, where babies were born, where lifelong bonds were forged. Filmmaker Steven Okazaki, whose father was imprisoned at Heart Mountain, captures this essential piece of history in a way that is both compelling and relatable: providing vivid accounts of daily life in the camps as well as the resilience of those imprisoned there. ALL WE COULD CARRY is screened for all visitors to the Heart Mountain Interpretive Center in Powell, Wyoming. Produced for the HEART MOUNTAIN WYOMING FOUNDATION https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971778209-UIGUME67WTYA7YB8TV8S/ALL-WE-COULD-CARRY-still-4-dorothy-shundo.png All We Could Carry - All We Could Carry In 1942, 120,000 men, women and children were ordered by the United States government to leave their jobs, schools and homes. Two thirds were American citizens. The charges against them: they were of Japanese descent. There were no hearings or trials. They were told to bring with them only what they could carry and herded onto buses and trains, unaware of where they were going or what would happen to them. They were uprooted from their lives and deprived of their freedom. “All of a sudden,” says Shig Honda, 15 years old at the time, “I was beginning to understand what racism was.” 14,000 were confined behind barbed wire, surrounded by armed guards in watchtowers, in desolate, cold Heart Mountain, Wyoming. ALL WE COULD CARRYis their story, told through the memories of twelve Japanese Americans, children and young adults at the time. For up to three and a half years, the prisoners persevered despite deprivation and uncertainty. Although families were fractured and dignity denied, it was also a place where couples fell in love, where babies were born, where lifelong bonds were forged. Filmmaker Steven Okazaki, whose father was imprisoned at Heart Mountain, captures this essential piece of history in a way that is both compelling and relatable: providing vivid accounts of daily life in the camps as well as the resilience of those imprisoned there. ALL WE COULD CARRY is screened for all visitors to the Heart Mountain Interpretive Center in Powell, Wyoming. Produced for the HEART MOUNTAIN WYOMING FOUNDATION https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466466501343-O11RUPTWL00G874IH5XZ/ALL-WE-COULD-CARRY-still-4-dorothy-shundo.png All We Could Carry - All We Could Carry In 1942, 120,000 men, women and children were ordered by the United States government to leave their jobs, schools and homes. Two thirds were American citizens. The charges against them: they were of Japanese descent. There were no hearings or trials. They were told to bring with them only what they could carry and herded onto buses and trains, unaware of where they were going or what would happen to them. They were uprooted from their lives and deprived of their freedom. “All of a sudden,” says Shig Honda, 15 years old at the time, “I was beginning to understand what racism was.” 14,000 were confined behind barbed wire, surrounded by armed guards in watchtowers, in desolate, cold Heart Mountain, Wyoming. ALL WE COULD CARRYis their story, told through the memories of twelve Japanese Americans, children and young adults at the time. For up to three and a half years, the prisoners persevered despite deprivation and uncertainty. Although families were fractured and dignity denied, it was also a place where couples fell in love, where babies were born, where lifelong bonds were forged. Filmmaker Steven Okazaki, whose father was imprisoned at Heart Mountain, captures this essential piece of history in a way that is both compelling and relatable: providing vivid accounts of daily life in the camps as well as the resilience of those imprisoned there. ALL WE COULD CARRY is screened for all visitors to the Heart Mountain Interpretive Center in Powell, Wyoming. Produced for the HEART MOUNTAIN WYOMING FOUNDATION https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971796035-0RVWF1F1OA2CY8CUCDCN/ALL-WE-COULD-CARRY-X.png All We Could Carry - All We Could Carry In 1942, 120,000 men, women and children were ordered by the United States government to leave their jobs, schools and homes. Two thirds were American citizens. The charges against them: they were of Japanese descent. There were no hearings or trials. They were told to bring with them only what they could carry and herded onto buses and trains, unaware of where they were going or what would happen to them. They were uprooted from their lives and deprived of their freedom. “All of a sudden,” says Shig Honda, 15 years old at the time, “I was beginning to understand what racism was.” 14,000 were confined behind barbed wire, surrounded by armed guards in watchtowers, in desolate, cold Heart Mountain, Wyoming. ALL WE COULD CARRYis their story, told through the memories of twelve Japanese Americans, children and young adults at the time. For up to three and a half years, the prisoners persevered despite deprivation and uncertainty. Although families were fractured and dignity denied, it was also a place where couples fell in love, where babies were born, where lifelong bonds were forged. Filmmaker Steven Okazaki, whose father was imprisoned at Heart Mountain, captures this essential piece of history in a way that is both compelling and relatable: providing vivid accounts of daily life in the camps as well as the resilience of those imprisoned there. ALL WE COULD CARRY is screened for all visitors to the Heart Mountain Interpretive Center in Powell, Wyoming. Produced for the HEART MOUNTAIN WYOMING FOUNDATION https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971808436-TZ76600M9Z3F2RLNYO66/ALL-WE-COULD-CARRY-still-3-bill-shishima.png All We Could Carry - All We Could Carry In 1942, 120,000 men, women and children were ordered by the United States government to leave their jobs, schools and homes. Two thirds were American citizens. The charges against them: they were of Japanese descent. There were no hearings or trials. They were told to bring with them only what they could carry and herded onto buses and trains, unaware of where they were going or what would happen to them. They were uprooted from their lives and deprived of their freedom. “All of a sudden,” says Shig Honda, 15 years old at the time, “I was beginning to understand what racism was.” 14,000 were confined behind barbed wire, surrounded by armed guards in watchtowers, in desolate, cold Heart Mountain, Wyoming. ALL WE COULD CARRYis their story, told through the memories of twelve Japanese Americans, children and young adults at the time. For up to three and a half years, the prisoners persevered despite deprivation and uncertainty. Although families were fractured and dignity denied, it was also a place where couples fell in love, where babies were born, where lifelong bonds were forged. Filmmaker Steven Okazaki, whose father was imprisoned at Heart Mountain, captures this essential piece of history in a way that is both compelling and relatable: providing vivid accounts of daily life in the camps as well as the resilience of those imprisoned there. ALL WE COULD CARRY is screened for all visitors to the Heart Mountain Interpretive Center in Powell, Wyoming. Produced for the HEART MOUNTAIN WYOMING FOUNDATION https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971833352-FK7HWIY4RB3O7W1SPGQ9/HM-bill-manbo3SMALL.png All We Could Carry - All We Could Carry In 1942, 120,000 men, women and children were ordered by the United States government to leave their jobs, schools and homes. Two thirds were American citizens. The charges against them: they were of Japanese descent. There were no hearings or trials. They were told to bring with them only what they could carry and herded onto buses and trains, unaware of where they were going or what would happen to them. They were uprooted from their lives and deprived of their freedom. “All of a sudden,” says Shig Honda, 15 years old at the time, “I was beginning to understand what racism was.” 14,000 were confined behind barbed wire, surrounded by armed guards in watchtowers, in desolate, cold Heart Mountain, Wyoming. ALL WE COULD CARRYis their story, told through the memories of twelve Japanese Americans, children and young adults at the time. For up to three and a half years, the prisoners persevered despite deprivation and uncertainty. Although families were fractured and dignity denied, it was also a place where couples fell in love, where babies were born, where lifelong bonds were forged. Filmmaker Steven Okazaki, whose father was imprisoned at Heart Mountain, captures this essential piece of history in a way that is both compelling and relatable: providing vivid accounts of daily life in the camps as well as the resilience of those imprisoned there. ALL WE COULD CARRY is screened for all visitors to the Heart Mountain Interpretive Center in Powell, Wyoming. Produced for the HEART MOUNTAIN WYOMING FOUNDATION http://www.farallonfilms.com/approximately-nels-cline-1 daily 0.75 2016-10-18 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473972254160-XOMWKU5C5QIX6LRUBGE2/NELS-CLINE_2.png Approximately Nels Cline - Approximately Nels Cline APPROXIMATELY NELS CLINE is Steven Okazaki's first music documentary. It features Nels Cline, best known as the lead guitarist of Wilco and one of the most brilliant and adventurous musicians on earth. Produced in collaboration with Fantasy Studios, the film includes performances by The Nels Cline Singers’ Scott Amendola (drums) and Devin Hoff (bass), with special guests Carla Kihlstedt (vocals and violin), Ron Miles (trumpet), Yuka Honda (electronica), Ben Goldberg (clarinet) and Matthias Bossi (percussion). “It's not a typical music documentary,” says Okazaki. “It's about musicianship and the collaborative hard work of playing great music.” Produced by Jeffrey Wood, Jason Cohen and Steven Okazaki for FANTASY STUDIOS /FARALLON FILMS https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473972254160-XOMWKU5C5QIX6LRUBGE2/NELS-CLINE_2.png Approximately Nels Cline - Approximately Nels Cline APPROXIMATELY NELS CLINE is Steven Okazaki's first music documentary. It features Nels Cline, best known as the lead guitarist of Wilco and one of the most brilliant and adventurous musicians on earth. Produced in collaboration with Fantasy Studios, the film includes performances by The Nels Cline Singers’ Scott Amendola (drums) and Devin Hoff (bass), with special guests Carla Kihlstedt (vocals and violin), Ron Miles (trumpet), Yuka Honda (electronica), Ben Goldberg (clarinet) and Matthias Bossi (percussion). “It's not a typical music documentary,” says Okazaki. “It's about musicianship and the collaborative hard work of playing great music.” Produced by Jeffrey Wood, Jason Cohen and Steven Okazaki for FANTASY STUDIOS /FARALLON FILMS https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466470193148-BQF1E7I4NCN54754PVUN/NELS-CLINE_2.png Approximately Nels Cline - Approximately Nels Cline APPROXIMATELY NELS CLINE is Steven Okazaki's first music documentary. It features Nels Cline, best known as the lead guitarist of Wilco and one of the most brilliant and adventurous musicians on earth. Produced in collaboration with Fantasy Studios, the film includes performances by The Nels Cline Singers’ Scott Amendola (drums) and Devin Hoff (bass), with special guests Carla Kihlstedt (vocals and violin), Ron Miles (trumpet), Yuka Honda (electronica), Ben Goldberg (clarinet) and Matthias Bossi (percussion). “It's not a typical music documentary,” says Okazaki. “It's about musicianship and the collaborative hard work of playing great music.” Produced by Jeffrey Wood, Jason Cohen and Steven Okazaki for FANTASY STUDIOS /FARALLON FILMS https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473972228062-OXE6UJXP071M61GOP25B/NC-GUITAR-3.png Approximately Nels Cline - Approximately Nels Cline APPROXIMATELY NELS CLINE is Steven Okazaki's first music documentary. It features Nels Cline, best known as the lead guitarist of Wilco and one of the most brilliant and adventurous musicians on earth. Produced in collaboration with Fantasy Studios, the film includes performances by The Nels Cline Singers’ Scott Amendola (drums) and Devin Hoff (bass), with special guests Carla Kihlstedt (vocals and violin), Ron Miles (trumpet), Yuka Honda (electronica), Ben Goldberg (clarinet) and Matthias Bossi (percussion). “It's not a typical music documentary,” says Okazaki. “It's about musicianship and the collaborative hard work of playing great music.” Produced by Jeffrey Wood, Jason Cohen and Steven Okazaki for FANTASY STUDIOS /FARALLON FILMS https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473972272020-P0VVV9LN0ROW5F11OI1D/R-MILES-5.png Approximately Nels Cline - Approximately Nels Cline APPROXIMATELY NELS CLINE is Steven Okazaki's first music documentary. It features Nels Cline, best known as the lead guitarist of Wilco and one of the most brilliant and adventurous musicians on earth. Produced in collaboration with Fantasy Studios, the film includes performances by The Nels Cline Singers’ Scott Amendola (drums) and Devin Hoff (bass), with special guests Carla Kihlstedt (vocals and violin), Ron Miles (trumpet), Yuka Honda (electronica), Ben Goldberg (clarinet) and Matthias Bossi (percussion). “It's not a typical music documentary,” says Okazaki. “It's about musicianship and the collaborative hard work of playing great music.” Produced by Jeffrey Wood, Jason Cohen and Steven Okazaki for FANTASY STUDIOS /FARALLON FILMS https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473972283382-DYAI4RBIWJ9DWPQB9MS9/YH-HAND.png Approximately Nels Cline - Approximately Nels Cline APPROXIMATELY NELS CLINE is Steven Okazaki's first music documentary. It features Nels Cline, best known as the lead guitarist of Wilco and one of the most brilliant and adventurous musicians on earth. Produced in collaboration with Fantasy Studios, the film includes performances by The Nels Cline Singers’ Scott Amendola (drums) and Devin Hoff (bass), with special guests Carla Kihlstedt (vocals and violin), Ron Miles (trumpet), Yuka Honda (electronica), Ben Goldberg (clarinet) and Matthias Bossi (percussion). “It's not a typical music documentary,” says Okazaki. “It's about musicianship and the collaborative hard work of playing great music.” Produced by Jeffrey Wood, Jason Cohen and Steven Okazaki for FANTASY STUDIOS /FARALLON FILMS https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473972294869-U74F5WGFSPU0QDZ568DW/CK-CU-9.png Approximately Nels Cline - Approximately Nels Cline APPROXIMATELY NELS CLINE is Steven Okazaki's first music documentary. It features Nels Cline, best known as the lead guitarist of Wilco and one of the most brilliant and adventurous musicians on earth. Produced in collaboration with Fantasy Studios, the film includes performances by The Nels Cline Singers’ Scott Amendola (drums) and Devin Hoff (bass), with special guests Carla Kihlstedt (vocals and violin), Ron Miles (trumpet), Yuka Honda (electronica), Ben Goldberg (clarinet) and Matthias Bossi (percussion). “It's not a typical music documentary,” says Okazaki. “It's about musicianship and the collaborative hard work of playing great music.” Produced by Jeffrey Wood, Jason Cohen and Steven Okazaki for FANTASY STUDIOS /FARALLON FILMS https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473972317991-HGB1CZLM2OMKLI2YDMPJ/nelscline.png Approximately Nels Cline - Approximately Nels Cline APPROXIMATELY NELS CLINE is Steven Okazaki's first music documentary. It features Nels Cline, best known as the lead guitarist of Wilco and one of the most brilliant and adventurous musicians on earth. Produced in collaboration with Fantasy Studios, the film includes performances by The Nels Cline Singers’ Scott Amendola (drums) and Devin Hoff (bass), with special guests Carla Kihlstedt (vocals and violin), Ron Miles (trumpet), Yuka Honda (electronica), Ben Goldberg (clarinet) and Matthias Bossi (percussion). “It's not a typical music documentary,” says Okazaki. “It's about musicianship and the collaborative hard work of playing great music.” Produced by Jeffrey Wood, Jason Cohen and Steven Okazaki for FANTASY STUDIOS /FARALLON FILMS http://www.farallonfilms.com/the-conscience-of-nhem-en-1 daily 0.75 2024-01-22 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473969677604-CNCRH7K6VRXUVU7UWON4/NHEM+EN.jpg The Conscience of Nhem En - The Conscience of Nhem En THE CONSCIENCE OF NHEM EN explores conscience and complicity in the story of a young soldier responsible for taking ID photos of thousands of innocent people before they were tortured and killed by the Khmer Rouge. Nhem En was 16 years old when he was the staff photographer at the notorious Tuol Sleng Prison, also known as S-21, where, from 1975 to 1979, 17,000 people were registered and photographed, then imprisoned and tortured, before they were killed. The photographs of Tuol Sleng are an extraordinary document of madness and cruelty. In many cases, the prisoners were just opening their eyes after a blindfold or hood had been taken off when they heard the camera shutter. Some appear oblivious to what is about to happen, reflexively smiling for the camera, but most were very aware they're facing death. Of the thousands of men, women, children, even infants, that Nhem En photographed, he did not aid or utter a single word of solace or kindness to any of them. He angrily defends himself when challenged about his part in the horror, saying everyone would do what he did to save their own lives. Only eight people are documented to have walked out of S-21 alive. Three of them tell their remarkable stories of survival. Bou Meng, 34 years old at the time, survived because the prison needed an artist to paint portraits of Khmer Rouge leader Pol Pot. Chum Mey, 42 at the time, survived because he could fix sewing machines. Chim Math, 20 years old, doesn't know why she survived, but she can't forget what happened to her. Steven Okazaki, with co-producer/cameraperson Singeli Agnew, takes a moving and disturbing look at Cambodia, still recovering 30 years after the nightmare. Produced for HBO Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473969677604-CNCRH7K6VRXUVU7UWON4/NHEM+EN.jpg The Conscience of Nhem En - The Conscience of Nhem En THE CONSCIENCE OF NHEM EN explores conscience and complicity in the story of a young soldier responsible for taking ID photos of thousands of innocent people before they were tortured and killed by the Khmer Rouge. Nhem En was 16 years old when he was the staff photographer at the notorious Tuol Sleng Prison, also known as S-21, where, from 1975 to 1979, 17,000 people were registered and photographed, then imprisoned and tortured, before they were killed. The photographs of Tuol Sleng are an extraordinary document of madness and cruelty. In many cases, the prisoners were just opening their eyes after a blindfold or hood had been taken off when they heard the camera shutter. Some appear oblivious to what is about to happen, reflexively smiling for the camera, but most were very aware they're facing death. Of the thousands of men, women, children, even infants, that Nhem En photographed, he did not aid or utter a single word of solace or kindness to any of them. He angrily defends himself when challenged about his part in the horror, saying everyone would do what he did to save their own lives. Only eight people are documented to have walked out of S-21 alive. Three of them tell their remarkable stories of survival. Bou Meng, 34 years old at the time, survived because the prison needed an artist to paint portraits of Khmer Rouge leader Pol Pot. Chum Mey, 42 at the time, survived because he could fix sewing machines. Chim Math, 20 years old, doesn't know why she survived, but she can't forget what happened to her. Steven Okazaki, with co-producer/cameraperson Singeli Agnew, takes a moving and disturbing look at Cambodia, still recovering 30 years after the nightmare. Produced for HBO Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466473634456-HTK83B7R8RSF7KZFDDPP/KR-2-Men-29-33.png The Conscience of Nhem En - The Conscience of Nhem En THE CONSCIENCE OF NHEM EN explores conscience and complicity in the story of a young soldier responsible for taking ID photos of thousands of innocent people before they were tortured and killed by the Khmer Rouge. Nhem En was 16 years old when he was the staff photographer at the notorious Tuol Sleng Prison, also known as S-21, where, from 1975 to 1979, 17,000 people were registered and photographed, then imprisoned and tortured, before they were killed. The photographs of Tuol Sleng are an extraordinary document of madness and cruelty. In many cases, the prisoners were just opening their eyes after a blindfold or hood had been taken off when they heard the camera shutter. Some appear oblivious to what is about to happen, reflexively smiling for the camera, but most were very aware they're facing death. Of the thousands of men, women, children, even infants, that Nhem En photographed, he did not aid or utter a single word of solace or kindness to any of them. He angrily defends himself when challenged about his part in the horror, saying everyone would do what he did to save their own lives. Only eight people are documented to have walked out of S-21 alive. Three of them tell their remarkable stories of survival. Bou Meng, 34 years old at the time, survived because the prison needed an artist to paint portraits of Khmer Rouge leader Pol Pot. Chum Mey, 42 at the time, survived because he could fix sewing machines. Chim Math, 20 years old, doesn't know why she survived, but she can't forget what happened to her. Steven Okazaki, with co-producer/cameraperson Singeli Agnew, takes a moving and disturbing look at Cambodia, still recovering 30 years after the nightmare. Produced for HBO Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1468280829007-PGFMXCPKT18Z5XVFL2EI/NHEM+EN.jpg The Conscience of Nhem En - The Conscience of Nhem En THE CONSCIENCE OF NHEM EN explores conscience and complicity in the story of a young soldier responsible for taking ID photos of thousands of innocent people before they were tortured and killed by the Khmer Rouge. Nhem En was 16 years old when he was the staff photographer at the notorious Tuol Sleng Prison, also known as S-21, where, from 1975 to 1979, 17,000 people were registered and photographed, then imprisoned and tortured, before they were killed. The photographs of Tuol Sleng are an extraordinary document of madness and cruelty. In many cases, the prisoners were just opening their eyes after a blindfold or hood had been taken off when they heard the camera shutter. Some appear oblivious to what is about to happen, reflexively smiling for the camera, but most were very aware they're facing death. Of the thousands of men, women, children, even infants, that Nhem En photographed, he did not aid or utter a single word of solace or kindness to any of them. He angrily defends himself when challenged about his part in the horror, saying everyone would do what he did to save their own lives. Only eight people are documented to have walked out of S-21 alive. Three of them tell their remarkable stories of survival. Bou Meng, 34 years old at the time, survived because the prison needed an artist to paint portraits of Khmer Rouge leader Pol Pot. Chum Mey, 42 at the time, survived because he could fix sewing machines. Chim Math, 20 years old, doesn't know why she survived, but she can't forget what happened to her. Steven Okazaki, with co-producer/cameraperson Singeli Agnew, takes a moving and disturbing look at Cambodia, still recovering 30 years after the nightmare. Produced for HBO Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473969713924-DYFHMOIL0BNP8D0RIJAY/bou-meng-w_wife-photo2.png The Conscience of Nhem En - The Conscience of Nhem En THE CONSCIENCE OF NHEM EN explores conscience and complicity in the story of a young soldier responsible for taking ID photos of thousands of innocent people before they were tortured and killed by the Khmer Rouge. Nhem En was 16 years old when he was the staff photographer at the notorious Tuol Sleng Prison, also known as S-21, where, from 1975 to 1979, 17,000 people were registered and photographed, then imprisoned and tortured, before they were killed. The photographs of Tuol Sleng are an extraordinary document of madness and cruelty. In many cases, the prisoners were just opening their eyes after a blindfold or hood had been taken off when they heard the camera shutter. Some appear oblivious to what is about to happen, reflexively smiling for the camera, but most were very aware they're facing death. Of the thousands of men, women, children, even infants, that Nhem En photographed, he did not aid or utter a single word of solace or kindness to any of them. He angrily defends himself when challenged about his part in the horror, saying everyone would do what he did to save their own lives. Only eight people are documented to have walked out of S-21 alive. Three of them tell their remarkable stories of survival. Bou Meng, 34 years old at the time, survived because the prison needed an artist to paint portraits of Khmer Rouge leader Pol Pot. Chum Mey, 42 at the time, survived because he could fix sewing machines. Chim Math, 20 years old, doesn't know why she survived, but she can't forget what happened to her. Steven Okazaki, with co-producer/cameraperson Singeli Agnew, takes a moving and disturbing look at Cambodia, still recovering 30 years after the nightmare. Produced for HBO Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1504051642271-P23OQ8JFCSXV8K81MU53/chim+mey.jpg The Conscience of Nhem En https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473969730865-MLXMDPWBIOF4IS1U5AEU/chim-math-2.png The Conscience of Nhem En - The Conscience of Nhem En THE CONSCIENCE OF NHEM EN explores conscience and complicity in the story of a young soldier responsible for taking ID photos of thousands of innocent people before they were tortured and killed by the Khmer Rouge. Nhem En was 16 years old when he was the staff photographer at the notorious Tuol Sleng Prison, also known as S-21, where, from 1975 to 1979, 17,000 people were registered and photographed, then imprisoned and tortured, before they were killed. The photographs of Tuol Sleng are an extraordinary document of madness and cruelty. In many cases, the prisoners were just opening their eyes after a blindfold or hood had been taken off when they heard the camera shutter. Some appear oblivious to what is about to happen, reflexively smiling for the camera, but most were very aware they're facing death. Of the thousands of men, women, children, even infants, that Nhem En photographed, he did not aid or utter a single word of solace or kindness to any of them. He angrily defends himself when challenged about his part in the horror, saying everyone would do what he did to save their own lives. Only eight people are documented to have walked out of S-21 alive. Three of them tell their remarkable stories of survival. Bou Meng, 34 years old at the time, survived because the prison needed an artist to paint portraits of Khmer Rouge leader Pol Pot. Chum Mey, 42 at the time, survived because he could fix sewing machines. Chim Math, 20 years old, doesn't know why she survived, but she can't forget what happened to her. Steven Okazaki, with co-producer/cameraperson Singeli Agnew, takes a moving and disturbing look at Cambodia, still recovering 30 years after the nightmare. Produced for HBO Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466473635647-MU0LAIYV5G4E40YUBEEO/KR-wom-24-ZOOM-2.png The Conscience of Nhem En - The Conscience of Nhem En THE CONSCIENCE OF NHEM EN explores conscience and complicity in the story of a young soldier responsible for taking ID photos of thousands of innocent people before they were tortured and killed by the Khmer Rouge. Nhem En was 16 years old when he was the staff photographer at the notorious Tuol Sleng Prison, also known as S-21, where, from 1975 to 1979, 17,000 people were registered and photographed, then imprisoned and tortured, before they were killed. The photographs of Tuol Sleng are an extraordinary document of madness and cruelty. In many cases, the prisoners were just opening their eyes after a blindfold or hood had been taken off when they heard the camera shutter. Some appear oblivious to what is about to happen, reflexively smiling for the camera, but most were very aware they're facing death. Of the thousands of men, women, children, even infants, that Nhem En photographed, he did not aid or utter a single word of solace or kindness to any of them. He angrily defends himself when challenged about his part in the horror, saying everyone would do what he did to save their own lives. Only eight people are documented to have walked out of S-21 alive. Three of them tell their remarkable stories of survival. Bou Meng, 34 years old at the time, survived because the prison needed an artist to paint portraits of Khmer Rouge leader Pol Pot. Chum Mey, 42 at the time, survived because he could fix sewing machines. Chim Math, 20 years old, doesn't know why she survived, but she can't forget what happened to her. Steven Okazaki, with co-producer/cameraperson Singeli Agnew, takes a moving and disturbing look at Cambodia, still recovering 30 years after the nightmare. Produced for HBO Documentary Films https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473969756267-26Z7GWOA0784KRSJ7K6H/chum-mey-1.png The Conscience of Nhem En - The Conscience of Nhem En THE CONSCIENCE OF NHEM EN explores conscience and complicity in the story of a young soldier responsible for taking ID photos of thousands of innocent people before they were tortured and killed by the Khmer Rouge. Nhem En was 16 years old when he was the staff photographer at the notorious Tuol Sleng Prison, also known as S-21, where, from 1975 to 1979, 17,000 people were registered and photographed, then imprisoned and tortured, before they were killed. The photographs of Tuol Sleng are an extraordinary document of madness and cruelty. In many cases, the prisoners were just opening their eyes after a blindfold or hood had been taken off when they heard the camera shutter. Some appear oblivious to what is about to happen, reflexively smiling for the camera, but most were very aware they're facing death. Of the thousands of men, women, children, even infants, that Nhem En photographed, he did not aid or utter a single word of solace or kindness to any of them. He angrily defends himself when challenged about his part in the horror, saying everyone would do what he did to save their own lives. Only eight people are documented to have walked out of S-21 alive. Three of them tell their remarkable stories of survival. Bou Meng, 34 years old at the time, survived because the prison needed an artist to paint portraits of Khmer Rouge leader Pol Pot. Chum Mey, 42 at the time, survived because he could fix sewing machines. Chim Math, 20 years old, doesn't know why she survived, but she can't forget what happened to her. Steven Okazaki, with co-producer/cameraperson Singeli Agnew, takes a moving and disturbing look at Cambodia, still recovering 30 years after the nightmare. Produced for HBO Documentary Films http://www.farallonfilms.com/the-mushroom-club-1 daily 0.75 2016-10-20 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473973752980-F33MTRV7L74TWKP346TZ/MUSHROOM.jpg The Mushroom Club - The Mushroom Club THE MUSHROOM CLUB is a filmmaker's journey to Hiroshima, sixty years after the bomb. Filmmaker Steven Okazaki, who first visited the city in 1980, takes a very personal look at Hiroshima — the place, the people, the historical event, the idea. He gathers a compelling collection of everyday images — a class photo, a spool of thread, a handful of buttons — and the powerful stories that come with them. The film features several hibakusha (atomic bomb survivors). The oldest was a 25-year-old newlywed and the youngest weren't yet born when the atomic bomb was dropped on August 6, 1945. On that day, all of their lives were unalterably changed, beyond what most of us can imagine.   https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473973752980-F33MTRV7L74TWKP346TZ/MUSHROOM.jpg The Mushroom Club - The Mushroom Club THE MUSHROOM CLUB is a filmmaker's journey to Hiroshima, sixty years after the bomb. Filmmaker Steven Okazaki, who first visited the city in 1980, takes a very personal look at Hiroshima — the place, the people, the historical event, the idea. He gathers a compelling collection of everyday images — a class photo, a spool of thread, a handful of buttons — and the powerful stories that come with them. The film features several hibakusha (atomic bomb survivors). The oldest was a 25-year-old newlywed and the youngest weren't yet born when the atomic bomb was dropped on August 6, 1945. On that day, all of their lives were unalterably changed, beyond what most of us can imagine.   https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1472098165565-6EV99NFLAI7TO9AJSTYR/Barefoot_Gen_horse_2.png The Mushroom Club https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1468282027936-Y67SM4H8XU0EIQOKF5NP/MUSHROOM.jpg The Mushroom Club - The Mushroom Club THE MUSHROOM CLUB is a filmmaker's journey to Hiroshima, sixty years after the bomb. Filmmaker Steven Okazaki, who first visited the city in 1980, takes a very personal look at Hiroshima — the place, the people, the historical event, the idea. He gathers a compelling collection of everyday images — a class photo, a spool of thread, a handful of buttons — and the powerful stories that come with them. The film features several hibakusha (atomic bomb survivors). The oldest was a 25-year-old newlywed and the youngest weren't yet born when the atomic bomb was dropped on August 6, 1945. On that day, all of their lives were unalterably changed, beyond what most of us can imagine.   https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473973789117-MQPOIN8ATR6CE15893G0/buddha.png The Mushroom Club - The Mushroom Club THE MUSHROOM CLUB is a filmmaker's journey to Hiroshima, sixty years after the bomb. Filmmaker Steven Okazaki, who first visited the city in 1980, takes a very personal look at Hiroshima — the place, the people, the historical event, the idea. He gathers a compelling collection of everyday images — a class photo, a spool of thread, a handful of buttons — and the powerful stories that come with them. The film features several hibakusha (atomic bomb survivors). The oldest was a 25-year-old newlywed and the youngest weren't yet born when the atomic bomb was dropped on August 6, 1945. On that day, all of their lives were unalterably changed, beyond what most of us can imagine. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473973820548-EIN2Y81QC2UGDD2CVJSS/audience.png The Mushroom Club - The Mushroom Club THE MUSHROOM CLUB is a filmmaker's journey to Hiroshima, sixty years after the bomb. Filmmaker Steven Okazaki, who first visited the city in 1980, takes a very personal look at Hiroshima — the place, the people, the historical event, the idea. He gathers a compelling collection of everyday images — a class photo, a spool of thread, a handful of buttons — and the powerful stories that come with them. The film features several hibakusha (atomic bomb survivors). The oldest was a 25-year-old newlywed and the youngest weren't yet born when the atomic bomb was dropped on August 6, 1945. On that day, all of their lives were unalterably changed, beyond what most of us can imagine. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1472098112631-PX4RF7RTYDYJVRJFBA5J/Barefoot_Gen_horse_3.png The Mushroom Club https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473973901467-CSHP37YGZGJ7JH39YA1U/yamaoka.png The Mushroom Club - The Mushroom Club THE MUSHROOM CLUB is a filmmaker's journey to Hiroshima, sixty years after the bomb. Filmmaker Steven Okazaki, who first visited the city in 1980, takes a very personal look at Hiroshima — the place, the people, the historical event, the idea. He gathers a compelling collection of everyday images — a class photo, a spool of thread, a handful of buttons — and the powerful stories that come with them. The film features several hibakusha (atomic bomb survivors). The oldest was a 25-year-old newlywed and the youngest weren't yet born when the atomic bomb was dropped on August 6, 1945. On that day, all of their lives were unalterably changed, beyond what most of us can imagine. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473973934148-X8XXQ5Y0TJSKL0VUM3VT/barefoot-gen.png The Mushroom Club - The Mushroom Club THE MUSHROOM CLUB is a filmmaker's journey to Hiroshima, sixty years after the bomb. Filmmaker Steven Okazaki, who first visited the city in 1980, takes a very personal look at Hiroshima — the place, the people, the historical event, the idea. He gathers a compelling collection of everyday images — a class photo, a spool of thread, a handful of buttons — and the powerful stories that come with them. The film features several hibakusha (atomic bomb survivors). The oldest was a 25-year-old newlywed and the youngest weren't yet born when the atomic bomb was dropped on August 6, 1945. On that day, all of their lives were unalterably changed, beyond what most of us can imagine. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473974264192-LZ3KA90Y8VIL8KM7OSM2/archivalgirl.png The Mushroom Club - The Mushroom Club THE MUSHROOM CLUB is a filmmaker's journey to Hiroshima, sixty years after the bomb. Filmmaker Steven Okazaki, who first visited the city in 1980, takes a very personal look at Hiroshima — the place, the people, the historical event, the idea. He gathers a compelling collection of everyday images — a class photo, a spool of thread, a handful of buttons — and the powerful stories that come with them. The film features several hibakusha (atomic bomb survivors). The oldest was a 25-year-old newlywed and the youngest weren't yet born when the atomic bomb was dropped on August 6, 1945. On that day, all of their lives were unalterably changed, beyond what most of us can imagine. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1472089405698-VJI08WYI9O9I5RGGO1QP/Barefoot_Gen_horse_2.png The Mushroom Club http://www.farallonfilms.com/rehab daily 0.75 2016-10-20 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473974388992-71C6WPR7P6XKIEC26B9Q/Tiffani-3.png Rehab - Rehab This year, two million Americans will enter drug and alcohol treatment programs. Their chances of recovery — whatever their age, ethnicity, education or economic background — are about the same. Ninety percent of them will relapse within a year, which raises the question of whether recovery programs really work. While most physicians and drug counselors agree that drug addiction is a disease, most of the treatment programs are based on will power. REHAB, a compelling new documentary by Academy Award-winning filmmaker Steven Okazaki, offers a rare inside look at the recovery process, following five young addicts as they struggle to stay clean and reconnect with their families, then relapse and nearly lose everything, including their lives. Josh, 20 years old, is facing serious jail time if he doesn't stay off cocaine. He has a lot on his mind — he wants to break up with his 15-year-old girlfriend who is pregnant with his child — and he doesn't do well under pressure. A shot of coke feels like a way out. "It's a killer rush," he says. "That feeling of being so close to death." It's hard to say whether beautiful and insecure Anitra, age 20, is an addict. Her old boyfriend did crystal meth, so she did too. Her boyfriend in rehab is clean, so she is too. When she gets out of rehab, she hooks up with Micha, a young Russian who hangs with the skateboard crowd. Will she stay clean or do what Micha does? Brannon, 23, a recovering heroin addict, is working through the shame of shooting up in a hospital bathroom as his father was dying of cancer in the next room. Talented and charming, he can't talk about his feelings. Through a half dozen rehabs, his mother is at his side, supporting him and nearly destroying her own life. Ally, 22, is the most guarded of the five. The middle child in a family of three sisters, she "always felt different." She got interested in William Burroughs and heroin as an art student in San Francisco. After being raped and watching a friend overdose, she hitchhiked home to her parents, but was refused refuge. "The things you've done, I don't want to know," her father, a school principal, says. "That's how bad I think it is." Ally, Brannon, Anitra, Josh and Tiffani all end up at Camp Recovery, a treatment center in the mountains of Santa Cruz, California. "I've run out of options," says Ally in a determined voice. "This is my fucking life. I'm gonna make it this time." Produced for HBO DOCUMENTARY FILMS   https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473974388992-71C6WPR7P6XKIEC26B9Q/Tiffani-3.png Rehab - Rehab This year, two million Americans will enter drug and alcohol treatment programs. Their chances of recovery — whatever their age, ethnicity, education or economic background — are about the same. Ninety percent of them will relapse within a year, which raises the question of whether recovery programs really work. While most physicians and drug counselors agree that drug addiction is a disease, most of the treatment programs are based on will power. REHAB, a compelling new documentary by Academy Award-winning filmmaker Steven Okazaki, offers a rare inside look at the recovery process, following five young addicts as they struggle to stay clean and reconnect with their families, then relapse and nearly lose everything, including their lives. Josh, 20 years old, is facing serious jail time if he doesn't stay off cocaine. He has a lot on his mind — he wants to break up with his 15-year-old girlfriend who is pregnant with his child — and he doesn't do well under pressure. A shot of coke feels like a way out. "It's a killer rush," he says. "That feeling of being so close to death." It's hard to say whether beautiful and insecure Anitra, age 20, is an addict. Her old boyfriend did crystal meth, so she did too. Her boyfriend in rehab is clean, so she is too. When she gets out of rehab, she hooks up with Micha, a young Russian who hangs with the skateboard crowd. Will she stay clean or do what Micha does? Brannon, 23, a recovering heroin addict, is working through the shame of shooting up in a hospital bathroom as his father was dying of cancer in the next room. Talented and charming, he can't talk about his feelings. Through a half dozen rehabs, his mother is at his side, supporting him and nearly destroying her own life. Ally, 22, is the most guarded of the five. The middle child in a family of three sisters, she "always felt different." She got interested in William Burroughs and heroin as an art student in San Francisco. After being raped and watching a friend overdose, she hitchhiked home to her parents, but was refused refuge. "The things you've done, I don't want to know," her father, a school principal, says. "That's how bad I think it is." Ally, Brannon, Anitra, Josh and Tiffani all end up at Camp Recovery, a treatment center in the mountains of Santa Cruz, California. "I've run out of options," says Ally in a determined voice. "This is my fucking life. I'm gonna make it this time." Produced for HBO DOCUMENTARY FILMS   https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466487746857-DJ917G0SD5ZDQY2DATJ2/Tiffani-3.png Rehab - Rehab This year, two million Americans will enter drug and alcohol treatment programs. Their chances of recovery — whatever their age, ethnicity, education or economic background — are about the same. Ninety percent of them will relapse within a year, which raises the question of whether recovery programs really work. While most physicians and drug counselors agree that drug addiction is a disease, most of the treatment programs are based on will power. REHAB, a compelling new documentary by Academy Award-winning filmmaker Steven Okazaki, offers a rare inside look at the recovery process, following five young addicts as they struggle to stay clean and reconnect with their families, then relapse and nearly lose everything, including their lives. Josh, 20 years old, is facing serious jail time if he doesn't stay off cocaine. He has a lot on his mind — he wants to break up with his 15-year-old girlfriend who is pregnant with his child — and he doesn't do well under pressure. A shot of coke feels like a way out. "It's a killer rush," he says. "That feeling of being so close to death." It's hard to say whether beautiful and insecure Anitra, age 20, is an addict. Her old boyfriend did crystal meth, so she did too. Her boyfriend in rehab is clean, so she is too. When she gets out of rehab, she hooks up with Micha, a young Russian who hangs with the skateboard crowd. Will she stay clean or do what Micha does? Brannon, 23, a recovering heroin addict, is working through the shame of shooting up in a hospital bathroom as his father was dying of cancer in the next room. Talented and charming, he can't talk about his feelings. Through a half dozen rehabs, his mother is at his side, supporting him and nearly destroying her own life. Ally, 22, is the most guarded of the five. The middle child in a family of three sisters, she "always felt different." She got interested in William Burroughs and heroin as an art student in San Francisco. After being raped and watching a friend overdose, she hitchhiked home to her parents, but was refused refuge. "The things you've done, I don't want to know," her father, a school principal, says. "That's how bad I think it is." Ally, Brannon, Anitra, Josh and Tiffani all end up at Camp Recovery, a treatment center in the mountains of Santa Cruz, California. "I've run out of options," says Ally in a determined voice. "This is my fucking life. I'm gonna make it this time." Produced for HBO DOCUMENTARY FILMS   https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473974405485-PBZGG5P7URCLCZA629TD/REHAB.jpg Rehab - Rehab This year, two million Americans will enter drug and alcohol treatment programs. Their chances of recovery — whatever their age, ethnicity, education or economic background — are about the same. Ninety percent of them will relapse within a year, which raises the question of whether recovery programs really work. While most physicians and drug counselors agree that drug addiction is a disease, most of the treatment programs are based on will power. REHAB, a compelling new documentary by Academy Award-winning filmmaker Steven Okazaki, offers a rare inside look at the recovery process, following five young addicts as they struggle to stay clean and reconnect with their families, then relapse and nearly lose everything, including their lives. Josh, 20 years old, is facing serious jail time if he doesn't stay off cocaine. He has a lot on his mind — he wants to break up with his 15-year-old girlfriend who is pregnant with his child — and he doesn't do well under pressure. A shot of coke feels like a way out. "It's a killer rush," he says. "That feeling of being so close to death." It's hard to say whether beautiful and insecure Anitra, age 20, is an addict. Her old boyfriend did crystal meth, so she did too. Her boyfriend in rehab is clean, so she is too. When she gets out of rehab, she hooks up with Micha, a young Russian who hangs with the skateboard crowd. Will she stay clean or do what Micha does? Brannon, 23, a recovering heroin addict, is working through the shame of shooting up in a hospital bathroom as his father was dying of cancer in the next room. Talented and charming, he can't talk about his feelings. Through a half dozen rehabs, his mother is at his side, supporting him and nearly destroying her own life. Ally, 22, is the most guarded of the five. The middle child in a family of three sisters, she "always felt different." She got interested in William Burroughs and heroin as an art student in San Francisco. After being raped and watching a friend overdose, she hitchhiked home to her parents, but was refused refuge. "The things you've done, I don't want to know," her father, a school principal, says. "That's how bad I think it is." Ally, Brannon, Anitra, Josh and Tiffani all end up at Camp Recovery, a treatment center in the mountains of Santa Cruz, California. "I've run out of options," says Ally in a determined voice. "This is my fucking life. I'm gonna make it this time." Produced for HBO DOCUMENTARY FILMS   https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1468282161839-MRWJCTQSUQV2LLRA94WN/REHAB.jpg Rehab - Rehab This year, two million Americans will enter drug and alcohol treatment programs. Their chances of recovery — whatever their age, ethnicity, education or economic background — are about the same. Ninety percent of them will relapse within a year, which raises the question of whether recovery programs really work. While most physicians and drug counselors agree that drug addiction is a disease, most of the treatment programs are based on will power. REHAB, a compelling new documentary by Academy Award-winning filmmaker Steven Okazaki, offers a rare inside look at the recovery process, following five young addicts as they struggle to stay clean and reconnect with their families, then relapse and nearly lose everything, including their lives. Josh, 20 years old, is facing serious jail time if he doesn't stay off cocaine. He has a lot on his mind — he wants to break up with his 15-year-old girlfriend who is pregnant with his child — and he doesn't do well under pressure. A shot of coke feels like a way out. "It's a killer rush," he says. "That feeling of being so close to death." It's hard to say whether beautiful and insecure Anitra, age 20, is an addict. Her old boyfriend did crystal meth, so she did too. Her boyfriend in rehab is clean, so she is too. When she gets out of rehab, she hooks up with Micha, a young Russian who hangs with the skateboard crowd. Will she stay clean or do what Micha does? Brannon, 23, a recovering heroin addict, is working through the shame of shooting up in a hospital bathroom as his father was dying of cancer in the next room. Talented and charming, he can't talk about his feelings. Through a half dozen rehabs, his mother is at his side, supporting him and nearly destroying her own life. Ally, 22, is the most guarded of the five. The middle child in a family of three sisters, she "always felt different." She got interested in William Burroughs and heroin as an art student in San Francisco. After being raped and watching a friend overdose, she hitchhiked home to her parents, but was refused refuge. "The things you've done, I don't want to know," her father, a school principal, says. "That's how bad I think it is." Ally, Brannon, Anitra, Josh and Tiffani all end up at Camp Recovery, a treatment center in the mountains of Santa Cruz, California. "I've run out of options," says Ally in a determined voice. "This is my fucking life. I'm gonna make it this time." Produced for HBO DOCUMENTARY FILMS   https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473974434134-W2KN0M937F3QQ4D3W6N3/Brannon+cooks.jpg Rehab - Rehab This year, two million Americans will enter drug and alcohol treatment programs. Their chances of recovery — whatever their age, ethnicity, education or economic background — are about the same. Ninety percent of them will relapse within a year, which raises the question of whether recovery programs really work. While most physicians and drug counselors agree that drug addiction is a disease, most of the treatment programs are based on will power. REHAB, a compelling new documentary by Academy Award-winning filmmaker Steven Okazaki, offers a rare inside look at the recovery process, following five young addicts as they struggle to stay clean and reconnect with their families, then relapse and nearly lose everything, including their lives. Josh, 20 years old, is facing serious jail time if he doesn't stay off cocaine. He has a lot on his mind — he wants to break up with his 15-year-old girlfriend who is pregnant with his child — and he doesn't do well under pressure. A shot of coke feels like a way out. "It's a killer rush," he says. "That feeling of being so close to death." It's hard to say whether beautiful and insecure Anitra, age 20, is an addict. Her old boyfriend did crystal meth, so she did too. Her boyfriend in rehab is clean, so she is too. When she gets out of rehab, she hooks up with Micha, a young Russian who hangs with the skateboard crowd. Will she stay clean or do what Micha does? Brannon, 23, a recovering heroin addict, is working through the shame of shooting up in a hospital bathroom as his father was dying of cancer in the next room. Talented and charming, he can't talk about his feelings. Through a half dozen rehabs, his mother is at his side, supporting him and nearly destroying her own life. Ally, 22, is the most guarded of the five. The middle child in a family of three sisters, she "always felt different." She got interested in William Burroughs and heroin as an art student in San Francisco. After being raped and watching a friend overdose, she hitchhiked home to her parents, but was refused refuge. "The things you've done, I don't want to know," her father, a school principal, says. "That's how bad I think it is." Ally, Brannon, Anitra, Josh and Tiffani all end up at Camp Recovery, a treatment center in the mountains of Santa Cruz, California. "I've run out of options," says Ally in a determined voice. "This is my fucking life. I'm gonna make it this time." Produced for HBO DOCUMENTARY FILMS   https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473974464198-W4I4U1NVB78WNI0X1FPO/L-R-Anitra%2C-Tiffani%2C-Brannon%2C-Josh.png Rehab - Rehab This year, two million Americans will enter drug and alcohol treatment programs. Their chances of recovery — whatever their age, ethnicity, education or economic background — are about the same. Ninety percent of them will relapse within a year, which raises the question of whether recovery programs really work. While most physicians and drug counselors agree that drug addiction is a disease, most of the treatment programs are based on will power. REHAB, a compelling new documentary by Academy Award-winning filmmaker Steven Okazaki, offers a rare inside look at the recovery process, following five young addicts as they struggle to stay clean and reconnect with their families, then relapse and nearly lose everything, including their lives. Josh, 20 years old, is facing serious jail time if he doesn't stay off cocaine. He has a lot on his mind — he wants to break up with his 15-year-old girlfriend who is pregnant with his child — and he doesn't do well under pressure. A shot of coke feels like a way out. "It's a killer rush," he says. "That feeling of being so close to death." It's hard to say whether beautiful and insecure Anitra, age 20, is an addict. Her old boyfriend did crystal meth, so she did too. Her boyfriend in rehab is clean, so she is too. When she gets out of rehab, she hooks up with Micha, a young Russian who hangs with the skateboard crowd. Will she stay clean or do what Micha does? Brannon, 23, a recovering heroin addict, is working through the shame of shooting up in a hospital bathroom as his father was dying of cancer in the next room. Talented and charming, he can't talk about his feelings. Through a half dozen rehabs, his mother is at his side, supporting him and nearly destroying her own life. Ally, 22, is the most guarded of the five. The middle child in a family of three sisters, she "always felt different." She got interested in William Burroughs and heroin as an art student in San Francisco. After being raped and watching a friend overdose, she hitchhiked home to her parents, but was refused refuge. "The things you've done, I don't want to know," her father, a school principal, says. "That's how bad I think it is." Ally, Brannon, Anitra, Josh and Tiffani all end up at Camp Recovery, a treatment center in the mountains of Santa Cruz, California. "I've run out of options," says Ally in a determined voice. "This is my fucking life. I'm gonna make it this time." Produced for HBO DOCUMENTARY FILMS   https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466487748627-1EL77PADZE9CWTQXMIWT/L-R-Anitra%2C-Tiffani%2C-Brannon%2C-Josh.png Rehab - Rehab This year, two million Americans will enter drug and alcohol treatment programs. Their chances of recovery — whatever their age, ethnicity, education or economic background — are about the same. Ninety percent of them will relapse within a year, which raises the question of whether recovery programs really work. While most physicians and drug counselors agree that drug addiction is a disease, most of the treatment programs are based on will power. REHAB, a compelling new documentary by Academy Award-winning filmmaker Steven Okazaki, offers a rare inside look at the recovery process, following five young addicts as they struggle to stay clean and reconnect with their families, then relapse and nearly lose everything, including their lives. Josh, 20 years old, is facing serious jail time if he doesn't stay off cocaine. He has a lot on his mind — he wants to break up with his 15-year-old girlfriend who is pregnant with his child — and he doesn't do well under pressure. A shot of coke feels like a way out. "It's a killer rush," he says. "That feeling of being so close to death." It's hard to say whether beautiful and insecure Anitra, age 20, is an addict. Her old boyfriend did crystal meth, so she did too. Her boyfriend in rehab is clean, so she is too. When she gets out of rehab, she hooks up with Micha, a young Russian who hangs with the skateboard crowd. Will she stay clean or do what Micha does? Brannon, 23, a recovering heroin addict, is working through the shame of shooting up in a hospital bathroom as his father was dying of cancer in the next room. Talented and charming, he can't talk about his feelings. Through a half dozen rehabs, his mother is at his side, supporting him and nearly destroying her own life. Ally, 22, is the most guarded of the five. The middle child in a family of three sisters, she "always felt different." She got interested in William Burroughs and heroin as an art student in San Francisco. After being raped and watching a friend overdose, she hitchhiked home to her parents, but was refused refuge. "The things you've done, I don't want to know," her father, a school principal, says. "That's how bad I think it is." Ally, Brannon, Anitra, Josh and Tiffani all end up at Camp Recovery, a treatment center in the mountains of Santa Cruz, California. "I've run out of options," says Ally in a determined voice. "This is my fucking life. I'm gonna make it this time." Produced for HBO DOCUMENTARY FILMS   https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473974486969-ORJOE6F42308YV13GS2J/Anitra+2.jpg Rehab - Rehab This year, two million Americans will enter drug and alcohol treatment programs. Their chances of recovery — whatever their age, ethnicity, education or economic background — are about the same. Ninety percent of them will relapse within a year, which raises the question of whether recovery programs really work. While most physicians and drug counselors agree that drug addiction is a disease, most of the treatment programs are based on will power. REHAB, a compelling new documentary by Academy Award-winning filmmaker Steven Okazaki, offers a rare inside look at the recovery process, following five young addicts as they struggle to stay clean and reconnect with their families, then relapse and nearly lose everything, including their lives. Josh, 20 years old, is facing serious jail time if he doesn't stay off cocaine. He has a lot on his mind — he wants to break up with his 15-year-old girlfriend who is pregnant with his child — and he doesn't do well under pressure. A shot of coke feels like a way out. "It's a killer rush," he says. "That feeling of being so close to death." It's hard to say whether beautiful and insecure Anitra, age 20, is an addict. Her old boyfriend did crystal meth, so she did too. Her boyfriend in rehab is clean, so she is too. When she gets out of rehab, she hooks up with Micha, a young Russian who hangs with the skateboard crowd. Will she stay clean or do what Micha does? Brannon, 23, a recovering heroin addict, is working through the shame of shooting up in a hospital bathroom as his father was dying of cancer in the next room. Talented and charming, he can't talk about his feelings. Through a half dozen rehabs, his mother is at his side, supporting him and nearly destroying her own life. Ally, 22, is the most guarded of the five. The middle child in a family of three sisters, she "always felt different." She got interested in William Burroughs and heroin as an art student in San Francisco. After being raped and watching a friend overdose, she hitchhiked home to her parents, but was refused refuge. "The things you've done, I don't want to know," her father, a school principal, says. "That's how bad I think it is." Ally, Brannon, Anitra, Josh and Tiffani all end up at Camp Recovery, a treatment center in the mountains of Santa Cruz, California. "I've run out of options," says Ally in a determined voice. "This is my fucking life. I'm gonna make it this time." Produced for HBO DOCUMENTARY FILMS   https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473974507723-VBR8D3VZQLA4P2U9DPJA/JOSH_BRA_z.png Rehab - Rehab This year, two million Americans will enter drug and alcohol treatment programs. Their chances of recovery — whatever their age, ethnicity, education or economic background — are about the same. Ninety percent of them will relapse within a year, which raises the question of whether recovery programs really work. While most physicians and drug counselors agree that drug addiction is a disease, most of the treatment programs are based on will power. REHAB, a compelling new documentary by Academy Award-winning filmmaker Steven Okazaki, offers a rare inside look at the recovery process, following five young addicts as they struggle to stay clean and reconnect with their families, then relapse and nearly lose everything, including their lives. Josh, 20 years old, is facing serious jail time if he doesn't stay off cocaine. He has a lot on his mind — he wants to break up with his 15-year-old girlfriend who is pregnant with his child — and he doesn't do well under pressure. A shot of coke feels like a way out. "It's a killer rush," he says. "That feeling of being so close to death." It's hard to say whether beautiful and insecure Anitra, age 20, is an addict. Her old boyfriend did crystal meth, so she did too. Her boyfriend in rehab is clean, so she is too. When she gets out of rehab, she hooks up with Micha, a young Russian who hangs with the skateboard crowd. Will she stay clean or do what Micha does? Brannon, 23, a recovering heroin addict, is working through the shame of shooting up in a hospital bathroom as his father was dying of cancer in the next room. Talented and charming, he can't talk about his feelings. Through a half dozen rehabs, his mother is at his side, supporting him and nearly destroying her own life. Ally, 22, is the most guarded of the five. The middle child in a family of three sisters, she "always felt different." She got interested in William Burroughs and heroin as an art student in San Francisco. After being raped and watching a friend overdose, she hitchhiked home to her parents, but was refused refuge. "The things you've done, I don't want to know," her father, a school principal, says. "That's how bad I think it is." Ally, Brannon, Anitra, Josh and Tiffani all end up at Camp Recovery, a treatment center in the mountains of Santa Cruz, California. "I've run out of options," says Ally in a determined voice. "This is my fucking life. I'm gonna make it this time." Produced for HBO DOCUMENTARY FILMS   https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466487747993-QV4MHNHTAYEK2AAKF65D/JOSH_BRA_z.png Rehab - Rehab This year, two million Americans will enter drug and alcohol treatment programs. Their chances of recovery — whatever their age, ethnicity, education or economic background — are about the same. Ninety percent of them will relapse within a year, which raises the question of whether recovery programs really work. While most physicians and drug counselors agree that drug addiction is a disease, most of the treatment programs are based on will power. REHAB, a compelling new documentary by Academy Award-winning filmmaker Steven Okazaki, offers a rare inside look at the recovery process, following five young addicts as they struggle to stay clean and reconnect with their families, then relapse and nearly lose everything, including their lives. Josh, 20 years old, is facing serious jail time if he doesn't stay off cocaine. He has a lot on his mind — he wants to break up with his 15-year-old girlfriend who is pregnant with his child — and he doesn't do well under pressure. A shot of coke feels like a way out. "It's a killer rush," he says. "That feeling of being so close to death." It's hard to say whether beautiful and insecure Anitra, age 20, is an addict. Her old boyfriend did crystal meth, so she did too. Her boyfriend in rehab is clean, so she is too. When she gets out of rehab, she hooks up with Micha, a young Russian who hangs with the skateboard crowd. Will she stay clean or do what Micha does? Brannon, 23, a recovering heroin addict, is working through the shame of shooting up in a hospital bathroom as his father was dying of cancer in the next room. Talented and charming, he can't talk about his feelings. Through a half dozen rehabs, his mother is at his side, supporting him and nearly destroying her own life. Ally, 22, is the most guarded of the five. The middle child in a family of three sisters, she "always felt different." She got interested in William Burroughs and heroin as an art student in San Francisco. After being raped and watching a friend overdose, she hitchhiked home to her parents, but was refused refuge. "The things you've done, I don't want to know," her father, a school principal, says. "That's how bad I think it is." Ally, Brannon, Anitra, Josh and Tiffani all end up at Camp Recovery, a treatment center in the mountains of Santa Cruz, California. "I've run out of options," says Ally in a determined voice. "This is my fucking life. I'm gonna make it this time." Produced for HBO DOCUMENTARY FILMS   https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473974529713-R80ZQ192YEL54XOX0JD4/Brannon+1.jpg Rehab - Rehab This year, two million Americans will enter drug and alcohol treatment programs. Their chances of recovery — whatever their age, ethnicity, education or economic background — are about the same. Ninety percent of them will relapse within a year, which raises the question of whether recovery programs really work. While most physicians and drug counselors agree that drug addiction is a disease, most of the treatment programs are based on will power. REHAB, a compelling new documentary by Academy Award-winning filmmaker Steven Okazaki, offers a rare inside look at the recovery process, following five young addicts as they struggle to stay clean and reconnect with their families, then relapse and nearly lose everything, including their lives. Josh, 20 years old, is facing serious jail time if he doesn't stay off cocaine. He has a lot on his mind — he wants to break up with his 15-year-old girlfriend who is pregnant with his child — and he doesn't do well under pressure. A shot of coke feels like a way out. "It's a killer rush," he says. "That feeling of being so close to death." It's hard to say whether beautiful and insecure Anitra, age 20, is an addict. Her old boyfriend did crystal meth, so she did too. Her boyfriend in rehab is clean, so she is too. When she gets out of rehab, she hooks up with Micha, a young Russian who hangs with the skateboard crowd. Will she stay clean or do what Micha does? Brannon, 23, a recovering heroin addict, is working through the shame of shooting up in a hospital bathroom as his father was dying of cancer in the next room. Talented and charming, he can't talk about his feelings. Through a half dozen rehabs, his mother is at his side, supporting him and nearly destroying her own life. Ally, 22, is the most guarded of the five. The middle child in a family of three sisters, she "always felt different." She got interested in William Burroughs and heroin as an art student in San Francisco. After being raped and watching a friend overdose, she hitchhiked home to her parents, but was refused refuge. "The things you've done, I don't want to know," her father, a school principal, says. "That's how bad I think it is." Ally, Brannon, Anitra, Josh and Tiffani all end up at Camp Recovery, a treatment center in the mountains of Santa Cruz, California. "I've run out of options," says Ally in a determined voice. "This is my fucking life. I'm gonna make it this time." Produced for HBO DOCUMENTARY FILMS   http://www.farallonfilms.com/the-fair daily 0.75 2016-10-20 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473975399175-B96BPYU1N0O4KCQU4977/Img22.png The Fair - The Fair Minnesota may not have the biggest or oldest State Fair in the country. But it definitely has the quirkiest. THE FAIR captures this celebration of Midwestern eccentricity in all its glory. You can witness "The Last Supper" or Prince rendered in dried corn and peas; gawk at the "Biggest Hog in the World;" eat 28 different kinds of food-on-a-stick; and see the pièce de résistance — the Butterheads. Each day of the fair, one of twelve "princesses" representing the State's dairy industry sits in a 38-degree revolving refrigerated booth while her head is carved in a 90-pound block of Grade A butter. It is a uniquely American experience. Originally featured for the PBS series "LIFE 360," the film was produced by Steven Okazaki and journalist Peggy Orenstein, a native Minnesotan (during twelve days of filming, they subsisted solely on food-on-a-stick). It is an affectionate portrait of Midwestern life which is so often either ignored or mocked in the media. It's also good, high-cholesterol Minnesota-style fun! A FARALLON FILMS production Produced by Peggy Orenstein and Steven Okazaki for LIFE 360   https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473975399175-B96BPYU1N0O4KCQU4977/Img22.png The Fair - The Fair Minnesota may not have the biggest or oldest State Fair in the country. But it definitely has the quirkiest. THE FAIR captures this celebration of Midwestern eccentricity in all its glory. You can witness "The Last Supper" or Prince rendered in dried corn and peas; gawk at the "Biggest Hog in the World;" eat 28 different kinds of food-on-a-stick; and see the pièce de résistance — the Butterheads. Each day of the fair, one of twelve "princesses" representing the State's dairy industry sits in a 38-degree revolving refrigerated booth while her head is carved in a 90-pound block of Grade A butter. It is a uniquely American experience. Originally featured for the PBS series "LIFE 360," the film was produced by Steven Okazaki and journalist Peggy Orenstein, a native Minnesotan (during twelve days of filming, they subsisted solely on food-on-a-stick). It is an affectionate portrait of Midwestern life which is so often either ignored or mocked in the media. It's also good, high-cholesterol Minnesota-style fun! A FARALLON FILMS production Produced by Peggy Orenstein and Steven Okazaki for LIFE 360   https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466489902761-IKZD1EB1SD639HYJBBEU/Img22.png The Fair - The Fair Minnesota may not have the biggest or oldest State Fair in the country. But it definitely has the quirkiest. THE FAIR captures this celebration of Midwestern eccentricity in all its glory. You can witness "The Last Supper" or Prince rendered in dried corn and peas; gawk at the "Biggest Hog in the World;" eat 28 different kinds of food-on-a-stick; and see the pièce de résistance — the Butterheads. Each day of the fair, one of twelve "princesses" representing the State's dairy industry sits in a 38-degree revolving refrigerated booth while her head is carved in a 90-pound block of Grade A butter. It is a uniquely American experience. Originally featured for the PBS series "LIFE 360," the film was produced by Steven Okazaki and journalist Peggy Orenstein, a native Minnesotan (during twelve days of filming, they subsisted solely on food-on-a-stick). It is an affectionate portrait of Midwestern life which is so often either ignored or mocked in the media. It's also good, high-cholesterol Minnesota-style fun! A FARALLON FILMS production Produced by Peggy Orenstein and Steven Okazaki for LIFE 360   https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473975426028-U44EHLAEWWYE6SKE87JP/THE-FAIR_2.png The Fair https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466489899805-W6OHC59IIRZQ1WQLQDGC/THE-FAIR_2.png The Fair https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473975489458-TTB9I2UPCYESDY7D4YBH/court-optimal.png The Fair https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473975567500-VOD3K2NKSGEDKVUSS0W0/2-princesses.png The Fair https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473975627071-2SELZX5SQ8NONJFB6WCP/Img27-6.png The Fair http://www.farallonfilms.com/black-tar-heroin daily 0.75 2016-10-20 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473976154691-F4IX2OHDYPRBDAR7IYEG/BTH_red.png Black Tar Heroin: The Dark End of the Street https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473976154691-F4IX2OHDYPRBDAR7IYEG/BTH_red.png Black Tar Heroin: The Dark End of the Street https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1468282469284-VWCYLW81YKSUUL0HCFLS/BTH_red.png Black Tar Heroin: The Dark End of the Street https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473976172998-8ZFF7IEY3MWULXME9KR9/Alice.png Black Tar Heroin: The Dark End of the Street https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473976192135-FVEKLRRUEGEUDM0W2OHB/REHAB_5.png Black Tar Heroin: The Dark End of the Street https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466529510812-4UN53MYIHLTHO8ZFL56R/REHAB_5.png Black Tar Heroin: The Dark End of the Street https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473976210742-25DEN991YQMLZERQVGZO/bth_2.png Black Tar Heroin: The Dark End of the Street http://www.farallonfilms.com/life-was-good-1 daily 0.75 2016-10-20 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473976281058-XUZCWYN3YZ2HZZFPM9PO/LIFE+WAS+GOOD.jpg Life Was Good - Life Was Good LIFE WAS GOOD: THE CLAUDIA PETERSON STORY is a moving portrait of one American family whose lives were tragically altered by the misfortune of living near the Nevada Test Site where more than a thousand nuclear weapons were detonated from 1951 to 1992. At the center of the story is Claudia Peterson, a 40 year old supermarket cashier in St. George, Utah. "I thought I would grow up, get married, have children and live happily every after," Claudia says in the film's opening sequence. "I was living the American dream." In telling Claudia's story, the film unravels a single strand from the tangle of cold war history to reveal a stark personal history of the atomic bomb and the damage inflicted on the lives of the citizens it was designed to protect. It chronicles Claudia's life from her seemingly idyllic childhood in the rural town where she grew up; through her adult realization that the threat to her family's health and happiness came from her own government's atomic testing program; to her transformation from docile Mormon housewife into political activist. Weaving together historical footage with a highly personal account, LIFE WAS GOOD offers fresh insight into the long-term consequences of international politics on individual lives. Produced for NHK HI-VISION in association with KCTS, Seattle 1996 / Documentary / 27 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473976281058-XUZCWYN3YZ2HZZFPM9PO/LIFE+WAS+GOOD.jpg Life Was Good - Life Was Good LIFE WAS GOOD: THE CLAUDIA PETERSON STORY is a moving portrait of one American family whose lives were tragically altered by the misfortune of living near the Nevada Test Site where more than a thousand nuclear weapons were detonated from 1951 to 1992. At the center of the story is Claudia Peterson, a 40 year old supermarket cashier in St. George, Utah. "I thought I would grow up, get married, have children and live happily every after," Claudia says in the film's opening sequence. "I was living the American dream." In telling Claudia's story, the film unravels a single strand from the tangle of cold war history to reveal a stark personal history of the atomic bomb and the damage inflicted on the lives of the citizens it was designed to protect. It chronicles Claudia's life from her seemingly idyllic childhood in the rural town where she grew up; through her adult realization that the threat to her family's health and happiness came from her own government's atomic testing program; to her transformation from docile Mormon housewife into political activist. Weaving together historical footage with a highly personal account, LIFE WAS GOOD offers fresh insight into the long-term consequences of international politics on individual lives. Produced for NHK HI-VISION in association with KCTS, Seattle 1996 / Documentary / 27 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1468282830220-NWMXOKBJUJF5TIHGHG7Z/LIFE+WAS+GOOD.jpg Life Was Good https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473976309468-89W7Q4K05I6WIJ7SPC3Z/family.png Life Was Good - Life Was Good LIFE WAS GOOD: THE CLAUDIA PETERSON STORY is a moving portrait of one American family whose lives were tragically altered by the misfortune of living near the Nevada Test Site where more than a thousand nuclear weapons were detonated from 1951 to 1992. At the center of the story is Claudia Peterson, a 40 year old supermarket cashier in St. George, Utah. "I thought I would grow up, get married, have children and live happily every after," Claudia says in the film's opening sequence. "I was living the American dream." In telling Claudia's story, the film unravels a single strand from the tangle of cold war history to reveal a stark personal history of the atomic bomb and the damage inflicted on the lives of the citizens it was designed to protect. It chronicles Claudia's life from her seemingly idyllic childhood in the rural town where she grew up; through her adult realization that the threat to her family's health and happiness came from her own government's atomic testing program; to her transformation from docile Mormon housewife into political activist. Weaving together historical footage with a highly personal account, LIFE WAS GOOD offers fresh insight into the long-term consequences of international politics on individual lives. Produced for NHK HI-VISION in association with KCTS, Seattle 1996 / Documentary / 27 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473976325782-BP3KH00WCZTAFPTFI82S/Life-Was-Good---8.png Life Was Good - Life Was Good LIFE WAS GOOD: THE CLAUDIA PETERSON STORY is a moving portrait of one American family whose lives were tragically altered by the misfortune of living near the Nevada Test Site where more than a thousand nuclear weapons were detonated from 1951 to 1992. At the center of the story is Claudia Peterson, a 40 year old supermarket cashier in St. George, Utah. "I thought I would grow up, get married, have children and live happily every after," Claudia says in the film's opening sequence. "I was living the American dream." In telling Claudia's story, the film unravels a single strand from the tangle of cold war history to reveal a stark personal history of the atomic bomb and the damage inflicted on the lives of the citizens it was designed to protect. It chronicles Claudia's life from her seemingly idyllic childhood in the rural town where she grew up; through her adult realization that the threat to her family's health and happiness came from her own government's atomic testing program; to her transformation from docile Mormon housewife into political activist. Weaving together historical footage with a highly personal account, LIFE WAS GOOD offers fresh insight into the long-term consequences of international politics on individual lives. Produced for NHK HI-VISION in association with KCTS, Seattle 1996 / Documentary / 27 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466531418496-MV08AT29LJKKFCV5FG7F/Life-Was-Good---8.png Life Was Good https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473976507523-VAUJC9XCKKHOA96AYL73/Life-Was-Good---6.png Life Was Good - Life Was Good LIFE WAS GOOD: THE CLAUDIA PETERSON STORY is a moving portrait of one American family whose lives were tragically altered by the misfortune of living near the Nevada Test Site where more than a thousand nuclear weapons were detonated from 1951 to 1992. At the center of the story is Claudia Peterson, a 40 year old supermarket cashier in St. George, Utah. "I thought I would grow up, get married, have children and live happily every after," Claudia says in the film's opening sequence. "I was living the American dream." In telling Claudia's story, the film unravels a single strand from the tangle of cold war history to reveal a stark personal history of the atomic bomb and the damage inflicted on the lives of the citizens it was designed to protect. It chronicles Claudia's life from her seemingly idyllic childhood in the rural town where she grew up; through her adult realization that the threat to her family's health and happiness came from her own government's atomic testing program; to her transformation from docile Mormon housewife into political activist. Weaving together historical footage with a highly personal account, LIFE WAS GOOD offers fresh insight into the long-term consequences of international politics on individual lives. Produced for NHK HI-VISION in association with KCTS, Seattle 1996 / Documentary / 27 Minutes http://www.farallonfilms.com/alone-together-1 daily 0.75 2016-10-20 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473976657704-WZQEESSTUIA4NC364OC7/AT_11-5.png Alone Together - Alone Together Shot in San Francisco, ALONE TOGETHER tells the compelling stories of nine HIV positive young adults from widely different backgrounds: some grew up in suburban families, some on the street. They are straight and gay, male and female, of many ethnic groups. One young woman is a professional figure skater. Some contracted the disease through IV drug use, others from unprotected sex. Yet all of them have one thing in common: unlike their friends, who pursue jobs, education and relationships, these young people are living with a potentially life-threatening disease, and the stigma that accompanies it. They speak with uncanny insight into their experience, candidly discussing sex, the difficulty of informing their parents of their condition, life on the street, their confusion, anger and, most of all, their deep sorrow at knowing they might not live to achieve their dreams. It is a haunting, timely film with an urgent message to young people as well as adults. Produced for NHK HI-VISION 1996 / Documentary / 17 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473976657704-WZQEESSTUIA4NC364OC7/AT_11-5.png Alone Together - Alone Together Shot in San Francisco, ALONE TOGETHER tells the compelling stories of nine HIV positive young adults from widely different backgrounds: some grew up in suburban families, some on the street. They are straight and gay, male and female, of many ethnic groups. One young woman is a professional figure skater. Some contracted the disease through IV drug use, others from unprotected sex. Yet all of them have one thing in common: unlike their friends, who pursue jobs, education and relationships, these young people are living with a potentially life-threatening disease, and the stigma that accompanies it. They speak with uncanny insight into their experience, candidly discussing sex, the difficulty of informing their parents of their condition, life on the street, their confusion, anger and, most of all, their deep sorrow at knowing they might not live to achieve their dreams. It is a haunting, timely film with an urgent message to young people as well as adults. Produced for NHK HI-VISION 1996 / Documentary / 17 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1468283035431-G1N9UZMDAHHNV3XHGF7E/AT_11-5.png Alone Together https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473976672587-8ABVEXUOSBAAJ5XA8AAS/AT_12-4.png Alone Together - Alone Together Shot in San Francisco, ALONE TOGETHER tells the compelling stories of nine HIV positive young adults from widely different backgrounds: some grew up in suburban families, some on the street. They are straight and gay, male and female, of many ethnic groups. One young woman is a professional figure skater. Some contracted the disease through IV drug use, others from unprotected sex. Yet all of them have one thing in common: unlike their friends, who pursue jobs, education and relationships, these young people are living with a potentially life-threatening disease, and the stigma that accompanies it. They speak with uncanny insight into their experience, candidly discussing sex, the difficulty of informing their parents of their condition, life on the street, their confusion, anger and, most of all, their deep sorrow at knowing they might not live to achieve their dreams. It is a haunting, timely film with an urgent message to young people as well as adults. Produced for NHK HI-VISION 1996 / Documentary / 17 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466532737142-KEF1QY34CLF2Q4TOX586/AT_11-5.png Alone Together https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473976687560-5AU9R2YMXBVOD56LBYGN/AT_13-4.png Alone Together - Alone Together Shot in San Francisco, ALONE TOGETHER tells the compelling stories of nine HIV positive young adults from widely different backgrounds: some grew up in suburban families, some on the street. They are straight and gay, male and female, of many ethnic groups. One young woman is a professional figure skater. Some contracted the disease through IV drug use, others from unprotected sex. Yet all of them have one thing in common: unlike their friends, who pursue jobs, education and relationships, these young people are living with a potentially life-threatening disease, and the stigma that accompanies it. They speak with uncanny insight into their experience, candidly discussing sex, the difficulty of informing their parents of their condition, life on the street, their confusion, anger and, most of all, their deep sorrow at knowing they might not live to achieve their dreams. It is a haunting, timely film with an urgent message to young people as well as adults. Produced for NHK HI-VISION 1996 / Documentary / 17 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473976705019-ARCZV0V3HCPCPXDUSZLO/AT_9-6.png Alone Together - Alone Together Shot in San Francisco, ALONE TOGETHER tells the compelling stories of nine HIV positive young adults from widely different backgrounds: some grew up in suburban families, some on the street. They are straight and gay, male and female, of many ethnic groups. One young woman is a professional figure skater. Some contracted the disease through IV drug use, others from unprotected sex. Yet all of them have one thing in common: unlike their friends, who pursue jobs, education and relationships, these young people are living with a potentially life-threatening disease, and the stigma that accompanies it. They speak with uncanny insight into their experience, candidly discussing sex, the difficulty of informing their parents of their condition, life on the street, their confusion, anger and, most of all, their deep sorrow at knowing they might not live to achieve their dreams. It is a haunting, timely film with an urgent message to young people as well as adults. Produced for NHK HI-VISION 1996 / Documentary / 17 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473976720168-VZHREX7W3V9PZQZ6DYVW/AT_8-6.png Alone Together - Alone Together Shot in San Francisco, ALONE TOGETHER tells the compelling stories of nine HIV positive young adults from widely different backgrounds: some grew up in suburban families, some on the street. They are straight and gay, male and female, of many ethnic groups. One young woman is a professional figure skater. Some contracted the disease through IV drug use, others from unprotected sex. Yet all of them have one thing in common: unlike their friends, who pursue jobs, education and relationships, these young people are living with a potentially life-threatening disease, and the stigma that accompanies it. They speak with uncanny insight into their experience, candidly discussing sex, the difficulty of informing their parents of their condition, life on the street, their confusion, anger and, most of all, their deep sorrow at knowing they might not live to achieve their dreams. It is a haunting, timely film with an urgent message to young people as well as adults. Produced for NHK HI-VISION 1996 / Documentary / 17 Minutes http://www.farallonfilms.com/american-sons-1 daily 0.75 2016-10-20 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473976830670-BZGDBHQQ2P27SNWXHXUJ/americansons1_point.png American Sons - American Sons AMERICAN SONS is a provocative examination of how racism shapes the lives of Asian American men. A simple but compelling performance piece featuring four of the country's best Asian American actors: Yuji Okumoto (TRUE BELIEVER, KARATE KID II), Kelvin Han Yee (A GREAT WALL), Lane Nishikawa (LIFE IN THE FAST LANE) and Ron Muriera of the Asian American Theater Company, AMERICAN SONS is a challenging exploration of how prejudice, bigotry and violence twists and demeans individual lives. AMERICAN SONS mixes documentary and drama, utilizing actors telling real stories based on a series of interviews with Asian Americans throughout the country. It looks at difficult issues such as hate violence, and examines the deep psychological damage that racism inflicts over generations. It confronts the ignorance of Americans about Asian Americans, in particular the stereotypes placed on Asian men. It breaks the silence of the Asian American community and shatters the model minority myth. It presents a painful and angry view of American life never before explored in a motion picture or television program. Music by Mark Izu with Francis Wong and Miya Masaoka Major funding provided by: THE JOHN D. and CATHERINE T. MAC ARTHUR FOUNDATION, WALLACE GERBODE FOUNDATION, THRESHOLD FOUNDATION, NATIONAL ASIAN AMERICAN TELECOMMUNICATIONS ASSOCIATION, PAUL ROBESON FUND, PEACE DEVELOPMENT FUND, SAN FRANCISCO JACL LEGACY FUND and ZELLERBACH FAMILY FUND 1994 / Performance / 28 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473976830670-BZGDBHQQ2P27SNWXHXUJ/americansons1_point.png American Sons - American Sons AMERICAN SONS is a provocative examination of how racism shapes the lives of Asian American men. A simple but compelling performance piece featuring four of the country's best Asian American actors: Yuji Okumoto (TRUE BELIEVER, KARATE KID II), Kelvin Han Yee (A GREAT WALL), Lane Nishikawa (LIFE IN THE FAST LANE) and Ron Muriera of the Asian American Theater Company, AMERICAN SONS is a challenging exploration of how prejudice, bigotry and violence twists and demeans individual lives. AMERICAN SONS mixes documentary and drama, utilizing actors telling real stories based on a series of interviews with Asian Americans throughout the country. It looks at difficult issues such as hate violence, and examines the deep psychological damage that racism inflicts over generations. It confronts the ignorance of Americans about Asian Americans, in particular the stereotypes placed on Asian men. It breaks the silence of the Asian American community and shatters the model minority myth. It presents a painful and angry view of American life never before explored in a motion picture or television program. Music by Mark Izu with Francis Wong and Miya Masaoka Major funding provided by: THE JOHN D. and CATHERINE T. MAC ARTHUR FOUNDATION, WALLACE GERBODE FOUNDATION, THRESHOLD FOUNDATION, NATIONAL ASIAN AMERICAN TELECOMMUNICATIONS ASSOCIATION, PAUL ROBESON FUND, PEACE DEVELOPMENT FUND, SAN FRANCISCO JACL LEGACY FUND and ZELLERBACH FAMILY FUND 1994 / Performance / 28 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1471550194328-CPFMGZES92N1NMLFAQON/americansons1_point.png American Sons https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473976879436-SS4Q6TQPFRRMZ04H1B4G/SONS-sax.png American Sons - American Sons AMERICAN SONS is a provocative examination of how racism shapes the lives of Asian American men. A simple but compelling performance piece featuring four of the country's best Asian American actors: Yuji Okumoto (TRUE BELIEVER, KARATE KID II), Kelvin Han Yee (A GREAT WALL), Lane Nishikawa (LIFE IN THE FAST LANE) and Ron Muriera of the Asian American Theater Company, AMERICAN SONS is a challenging exploration of how prejudice, bigotry and violence twists and demeans individual lives. AMERICAN SONS mixes documentary and drama, utilizing actors telling real stories based on a series of interviews with Asian Americans throughout the country. It looks at difficult issues such as hate violence, and examines the deep psychological damage that racism inflicts over generations. It confronts the ignorance of Americans about Asian Americans, in particular the stereotypes placed on Asian men. It breaks the silence of the Asian American community and shatters the model minority myth. It presents a painful and angry view of American life never before explored in a motion picture or television program. Music by Mark Izu with Francis Wong and Miya Masaoka Major funding provided by: THE JOHN D. and CATHERINE T. MAC ARTHUR FOUNDATION, WALLACE GERBODE FOUNDATION, THRESHOLD FOUNDATION, NATIONAL ASIAN AMERICAN TELECOMMUNICATIONS ASSOCIATION, PAUL ROBESON FUND, PEACE DEVELOPMENT FUND, SAN FRANCISCO JACL LEGACY FUND and ZELLERBACH FAMILY FUND 1994 / Performance / 28 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473976900199-MYPB8HK0NHKUSE483JT4/Ron-Muriera.png American Sons - American Sons AMERICAN SONS is a provocative examination of how racism shapes the lives of Asian American men. A simple but compelling performance piece featuring four of the country's best Asian American actors: Yuji Okumoto (TRUE BELIEVER, KARATE KID II), Kelvin Han Yee (A GREAT WALL), Lane Nishikawa (LIFE IN THE FAST LANE) and Ron Muriera of the Asian American Theater Company, AMERICAN SONS is a challenging exploration of how prejudice, bigotry and violence twists and demeans individual lives. AMERICAN SONS mixes documentary and drama, utilizing actors telling real stories based on a series of interviews with Asian Americans throughout the country. It looks at difficult issues such as hate violence, and examines the deep psychological damage that racism inflicts over generations. It confronts the ignorance of Americans about Asian Americans, in particular the stereotypes placed on Asian men. It breaks the silence of the Asian American community and shatters the model minority myth. It presents a painful and angry view of American life never before explored in a motion picture or television program. Music by Mark Izu with Francis Wong and Miya Masaoka Major funding provided by: THE JOHN D. and CATHERINE T. MAC ARTHUR FOUNDATION, WALLACE GERBODE FOUNDATION, THRESHOLD FOUNDATION, NATIONAL ASIAN AMERICAN TELECOMMUNICATIONS ASSOCIATION, PAUL ROBESON FUND, PEACE DEVELOPMENT FUND, SAN FRANCISCO JACL LEGACY FUND and ZELLERBACH FAMILY FUND 1994 / Performance / 28 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473976916367-NFOGNOJB4ZMXGH1RE0AL/SONS-yuki.png American Sons - American Sons AMERICAN SONS is a provocative examination of how racism shapes the lives of Asian American men. A simple but compelling performance piece featuring four of the country's best Asian American actors: Yuji Okumoto (TRUE BELIEVER, KARATE KID II), Kelvin Han Yee (A GREAT WALL), Lane Nishikawa (LIFE IN THE FAST LANE) and Ron Muriera of the Asian American Theater Company, AMERICAN SONS is a challenging exploration of how prejudice, bigotry and violence twists and demeans individual lives. AMERICAN SONS mixes documentary and drama, utilizing actors telling real stories based on a series of interviews with Asian Americans throughout the country. It looks at difficult issues such as hate violence, and examines the deep psychological damage that racism inflicts over generations. It confronts the ignorance of Americans about Asian Americans, in particular the stereotypes placed on Asian men. It breaks the silence of the Asian American community and shatters the model minority myth. It presents a painful and angry view of American life never before explored in a motion picture or television program. Music by Mark Izu with Francis Wong and Miya Masaoka Major funding provided by: THE JOHN D. and CATHERINE T. MAC ARTHUR FOUNDATION, WALLACE GERBODE FOUNDATION, THRESHOLD FOUNDATION, NATIONAL ASIAN AMERICAN TELECOMMUNICATIONS ASSOCIATION, PAUL ROBESON FUND, PEACE DEVELOPMENT FUND, SAN FRANCISCO JACL LEGACY FUND and ZELLERBACH FAMILY FUND 1994 / Performance / 28 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1471549963516-36JJFMZEVA3FWBVA66QS/10010002.png American Sons https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473976934750-Q4B8CMB5CGBMJ4TWINF5/AmSons_1b.png American Sons - American Sons AMERICAN SONS is a provocative examination of how racism shapes the lives of Asian American men. A simple but compelling performance piece featuring four of the country's best Asian American actors: Yuji Okumoto (TRUE BELIEVER, KARATE KID II), Kelvin Han Yee (A GREAT WALL), Lane Nishikawa (LIFE IN THE FAST LANE) and Ron Muriera of the Asian American Theater Company, AMERICAN SONS is a challenging exploration of how prejudice, bigotry and violence twists and demeans individual lives. AMERICAN SONS mixes documentary and drama, utilizing actors telling real stories based on a series of interviews with Asian Americans throughout the country. It looks at difficult issues such as hate violence, and examines the deep psychological damage that racism inflicts over generations. It confronts the ignorance of Americans about Asian Americans, in particular the stereotypes placed on Asian men. It breaks the silence of the Asian American community and shatters the model minority myth. It presents a painful and angry view of American life never before explored in a motion picture or television program. Music by Mark Izu with Francis Wong and Miya Masaoka Major funding provided by: THE JOHN D. and CATHERINE T. MAC ARTHUR FOUNDATION, WALLACE GERBODE FOUNDATION, THRESHOLD FOUNDATION, NATIONAL ASIAN AMERICAN TELECOMMUNICATIONS ASSOCIATION, PAUL ROBESON FUND, PEACE DEVELOPMENT FUND, SAN FRANCISCO JACL LEGACY FUND and ZELLERBACH FAMILY FUND 1994 / Performance / 28 Minutes http://www.farallonfilms.com/the-lisa-theory-1 daily 0.75 2016-10-20 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977103124-AZOKM9KKILEIJXNCUKTW/LISA_2-4.png The Lisa Theory - The Lisa Theory An idiosyncratic cast of characters populate THE LISA THEORY, a low-budget feature film about the dangers of dating women named Lisa. Filmmaker Steven Okazaki follows the rocky romantic trail of three young punks — Devon, Adam and Jimbo. Devon (Devon Morf) loves Lisa (Honey O. Yates), but doesn't realize that his relationship needs some attention. Instead, he escapes to band practice. One morning, Lisa wakes up, jumps on a bus and disappears. Dumped and devastated, Devon vows to stay in bed until Lisa returns. Three months pass and he's still in bed. The once plucky musician is now a mono-syllabic zombie. In addition, his band has fallen apart and his roomates want to kill him. Finally, Devon's two buddies, Adam (Avel Sosa II) and Jimbo (Jim Matison), devise a plot to get the lovesick Devon out of the sack and back among the living. The film features music from San Francisco-based All You Can Eat, Ovarian Trolley, Clockbrains, Her Majesty the Baby, Wade, Unrest and Less Is More. Produced in association with COLOSSAL PICTURES 1993 / Comedy / 80 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977103124-AZOKM9KKILEIJXNCUKTW/LISA_2-4.png The Lisa Theory - The Lisa Theory An idiosyncratic cast of characters populate THE LISA THEORY, a low-budget feature film about the dangers of dating women named Lisa. Filmmaker Steven Okazaki follows the rocky romantic trail of three young punks — Devon, Adam and Jimbo. Devon (Devon Morf) loves Lisa (Honey O. Yates), but doesn't realize that his relationship needs some attention. Instead, he escapes to band practice. One morning, Lisa wakes up, jumps on a bus and disappears. Dumped and devastated, Devon vows to stay in bed until Lisa returns. Three months pass and he's still in bed. The once plucky musician is now a mono-syllabic zombie. In addition, his band has fallen apart and his roomates want to kill him. Finally, Devon's two buddies, Adam (Avel Sosa II) and Jimbo (Jim Matison), devise a plot to get the lovesick Devon out of the sack and back among the living. The film features music from San Francisco-based All You Can Eat, Ovarian Trolley, Clockbrains, Her Majesty the Baby, Wade, Unrest and Less Is More. Produced in association with COLOSSAL PICTURES 1993 / Comedy / 80 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470669339497-S6ZOUPENNQID7D55SJU7/LISA_2-4.png The Lisa Theory https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977138346-77WYZBC87MF7FJUQRESA/LISA_11-2_group.png The Lisa Theory - The Lisa Theory An idiosyncratic cast of characters populate THE LISA THEORY, a low-budget feature film about the dangers of dating women named Lisa. Filmmaker Steven Okazaki follows the rocky romantic trail of three young punks — Devon, Adam and Jimbo. Devon (Devon Morf) loves Lisa (Honey O. Yates), but doesn't realize that his relationship needs some attention. Instead, he escapes to band practice. One morning, Lisa wakes up, jumps on a bus and disappears. Dumped and devastated, Devon vows to stay in bed until Lisa returns. Three months pass and he's still in bed. The once plucky musician is now a mono-syllabic zombie. In addition, his band has fallen apart and his roomates want to kill him. Finally, Devon's two buddies, Adam (Avel Sosa II) and Jimbo (Jim Matison), devise a plot to get the lovesick Devon out of the sack and back among the living. The film features music from San Francisco-based All You Can Eat, Ovarian Trolley, Clockbrains, Her Majesty the Baby, Wade, Unrest and Less Is More. Produced in association with COLOSSAL PICTURES 1993 / Comedy / 80 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977154413-DYV7AEZL9P5R6S0YUWMZ/LISA_1-4.png The Lisa Theory - The Lisa Theory An idiosyncratic cast of characters populate THE LISA THEORY, a low-budget feature film about the dangers of dating women named Lisa. Filmmaker Steven Okazaki follows the rocky romantic trail of three young punks — Devon, Adam and Jimbo. Devon (Devon Morf) loves Lisa (Honey O. Yates), but doesn't realize that his relationship needs some attention. Instead, he escapes to band practice. One morning, Lisa wakes up, jumps on a bus and disappears. Dumped and devastated, Devon vows to stay in bed until Lisa returns. Three months pass and he's still in bed. The once plucky musician is now a mono-syllabic zombie. In addition, his band has fallen apart and his roomates want to kill him. Finally, Devon's two buddies, Adam (Avel Sosa II) and Jimbo (Jim Matison), devise a plot to get the lovesick Devon out of the sack and back among the living. The film features music from San Francisco-based All You Can Eat, Ovarian Trolley, Clockbrains, Her Majesty the Baby, Wade, Unrest and Less Is More. Produced in association with COLOSSAL PICTURES 1993 / Comedy / 80 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466536305214-UH849CUKHLRMKC2G4NOB/LISA_1-4.png The Lisa Theory https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977176704-SSDLE6YHI869JR0B0S7M/LISA_7-2.png The Lisa Theory - The Lisa Theory An idiosyncratic cast of characters populate THE LISA THEORY, a low-budget feature film about the dangers of dating women named Lisa. Filmmaker Steven Okazaki follows the rocky romantic trail of three young punks — Devon, Adam and Jimbo. Devon (Devon Morf) loves Lisa (Honey O. Yates), but doesn't realize that his relationship needs some attention. Instead, he escapes to band practice. One morning, Lisa wakes up, jumps on a bus and disappears. Dumped and devastated, Devon vows to stay in bed until Lisa returns. Three months pass and he's still in bed. The once plucky musician is now a mono-syllabic zombie. In addition, his band has fallen apart and his roomates want to kill him. Finally, Devon's two buddies, Adam (Avel Sosa II) and Jimbo (Jim Matison), devise a plot to get the lovesick Devon out of the sack and back among the living. The film features music from San Francisco-based All You Can Eat, Ovarian Trolley, Clockbrains, Her Majesty the Baby, Wade, Unrest and Less Is More. Produced in association with COLOSSAL PICTURES 1993 / Comedy / 80 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977191976-OYALD68QH3H7CWWKVU4Y/LISA_3-2.png The Lisa Theory - The Lisa Theory An idiosyncratic cast of characters populate THE LISA THEORY, a low-budget feature film about the dangers of dating women named Lisa. Filmmaker Steven Okazaki follows the rocky romantic trail of three young punks — Devon, Adam and Jimbo. Devon (Devon Morf) loves Lisa (Honey O. Yates), but doesn't realize that his relationship needs some attention. Instead, he escapes to band practice. One morning, Lisa wakes up, jumps on a bus and disappears. Dumped and devastated, Devon vows to stay in bed until Lisa returns. Three months pass and he's still in bed. The once plucky musician is now a mono-syllabic zombie. In addition, his band has fallen apart and his roomates want to kill him. Finally, Devon's two buddies, Adam (Avel Sosa II) and Jimbo (Jim Matison), devise a plot to get the lovesick Devon out of the sack and back among the living. The film features music from San Francisco-based All You Can Eat, Ovarian Trolley, Clockbrains, Her Majesty the Baby, Wade, Unrest and Less Is More. Produced in association with COLOSSAL PICTURES 1993 / Comedy / 80 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977210009-9GFT5OTT6MT3G8OHHJHD/LISA_8-2.png The Lisa Theory - The Lisa Theory An idiosyncratic cast of characters populate THE LISA THEORY, a low-budget feature film about the dangers of dating women named Lisa. Filmmaker Steven Okazaki follows the rocky romantic trail of three young punks — Devon, Adam and Jimbo. Devon (Devon Morf) loves Lisa (Honey O. Yates), but doesn't realize that his relationship needs some attention. Instead, he escapes to band practice. One morning, Lisa wakes up, jumps on a bus and disappears. Dumped and devastated, Devon vows to stay in bed until Lisa returns. Three months pass and he's still in bed. The once plucky musician is now a mono-syllabic zombie. In addition, his band has fallen apart and his roomates want to kill him. Finally, Devon's two buddies, Adam (Avel Sosa II) and Jimbo (Jim Matison), devise a plot to get the lovesick Devon out of the sack and back among the living. The film features music from San Francisco-based All You Can Eat, Ovarian Trolley, Clockbrains, Her Majesty the Baby, Wade, Unrest and Less Is More. Produced in association with COLOSSAL PICTURES 1993 / Comedy / 80 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977228452-6OZE40QQWB3ZNYTNBI53/LISA_5-2.png The Lisa Theory - The Lisa Theory An idiosyncratic cast of characters populate THE LISA THEORY, a low-budget feature film about the dangers of dating women named Lisa. Filmmaker Steven Okazaki follows the rocky romantic trail of three young punks — Devon, Adam and Jimbo. Devon (Devon Morf) loves Lisa (Honey O. Yates), but doesn't realize that his relationship needs some attention. Instead, he escapes to band practice. One morning, Lisa wakes up, jumps on a bus and disappears. Dumped and devastated, Devon vows to stay in bed until Lisa returns. Three months pass and he's still in bed. The once plucky musician is now a mono-syllabic zombie. In addition, his band has fallen apart and his roomates want to kill him. Finally, Devon's two buddies, Adam (Avel Sosa II) and Jimbo (Jim Matison), devise a plot to get the lovesick Devon out of the sack and back among the living. The film features music from San Francisco-based All You Can Eat, Ovarian Trolley, Clockbrains, Her Majesty the Baby, Wade, Unrest and Less Is More. Produced in association with COLOSSAL PICTURES 1993 / Comedy / 80 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977242627-F8SBF4D9N3MJK9KRPRXY/LISA_6-2.png The Lisa Theory - The Lisa Theory An idiosyncratic cast of characters populate THE LISA THEORY, a low-budget feature film about the dangers of dating women named Lisa. Filmmaker Steven Okazaki follows the rocky romantic trail of three young punks — Devon, Adam and Jimbo. Devon (Devon Morf) loves Lisa (Honey O. Yates), but doesn't realize that his relationship needs some attention. Instead, he escapes to band practice. One morning, Lisa wakes up, jumps on a bus and disappears. Dumped and devastated, Devon vows to stay in bed until Lisa returns. Three months pass and he's still in bed. The once plucky musician is now a mono-syllabic zombie. In addition, his band has fallen apart and his roomates want to kill him. Finally, Devon's two buddies, Adam (Avel Sosa II) and Jimbo (Jim Matison), devise a plot to get the lovesick Devon out of the sack and back among the living. The film features music from San Francisco-based All You Can Eat, Ovarian Trolley, Clockbrains, Her Majesty the Baby, Wade, Unrest and Less Is More. Produced in association with COLOSSAL PICTURES 1993 / Comedy / 80 Minutes http://www.farallonfilms.com/troubled-paradise daily 0.75 2016-10-20 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977348241-M18NYH31HBZ7X04L6QT1/TROUBLED.png Troubled Paradise - Troubled Paradise TROUBLED PARADISE explores Hawai'i's Big Island and uncovers a rich cultural heritage, along with pressing social, environmental and political problems facing the native population. The film also captures performances by noted dancers and musicians, featuring a hula to the goddess Pele, a children's hula group in rehearsal, and beautiful ballads by gifted Hawaiian singers. Native Hawaiians have the lowest median family income of all the state's ethnic groups, with more than 2,000 living in cardboard boxes, rusted cars or tents on the beach. They have the highest percentage of unemployed and incarcerated; their life expectancy is the lowest in the state; their infant mortality rate is the highest in the nation. In the midst of extraordinary natural beauty, native Hawaiians reveal tormenting issues that conflict with their deeply held traditions. Major funding provided by CORPORATION FOR PUBLIC BROADCASTING and the WALLACE ALEXANDER GERBODE FOUNDATION Produced in association with NATIONAL ASIAN AMERICAN TELECOMMUNICATIONS ASSOCIATION 1992 / Documentary / 56 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977348241-M18NYH31HBZ7X04L6QT1/TROUBLED.png Troubled Paradise - Troubled Paradise TROUBLED PARADISE explores Hawai'i's Big Island and uncovers a rich cultural heritage, along with pressing social, environmental and political problems facing the native population. The film also captures performances by noted dancers and musicians, featuring a hula to the goddess Pele, a children's hula group in rehearsal, and beautiful ballads by gifted Hawaiian singers. Native Hawaiians have the lowest median family income of all the state's ethnic groups, with more than 2,000 living in cardboard boxes, rusted cars or tents on the beach. They have the highest percentage of unemployed and incarcerated; their life expectancy is the lowest in the state; their infant mortality rate is the highest in the nation. In the midst of extraordinary natural beauty, native Hawaiians reveal tormenting issues that conflict with their deeply held traditions. Major funding provided by CORPORATION FOR PUBLIC BROADCASTING and the WALLACE ALEXANDER GERBODE FOUNDATION Produced in association with NATIONAL ASIAN AMERICAN TELECOMMUNICATIONS ASSOCIATION 1992 / Documentary / 56 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466539602917-164IU9UTICA36GK1TSLS/TROUBLED.png Troubled Paradise https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977363158-IH4H0RB1Y2RA3Z2QMY7R/TP_1-8.png Troubled Paradise - Troubled Paradise TROUBLED PARADISE explores Hawai'i's Big Island and uncovers a rich cultural heritage, along with pressing social, environmental and political problems facing the native population. The film also captures performances by noted dancers and musicians, featuring a hula to the goddess Pele, a children's hula group in rehearsal, and beautiful ballads by gifted Hawaiian singers. Native Hawaiians have the lowest median family income of all the state's ethnic groups, with more than 2,000 living in cardboard boxes, rusted cars or tents on the beach. They have the highest percentage of unemployed and incarcerated; their life expectancy is the lowest in the state; their infant mortality rate is the highest in the nation. In the midst of extraordinary natural beauty, native Hawaiians reveal tormenting issues that conflict with their deeply held traditions. Major funding provided by CORPORATION FOR PUBLIC BROADCASTING and the WALLACE ALEXANDER GERBODE FOUNDATION Produced in association with NATIONAL ASIAN AMERICAN TELECOMMUNICATIONS ASSOCIATION 1992 / Documentary / 56 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466539601694-I9YIDJM2DYV0IO3H0WPH/TP_1-8.png Troubled Paradise https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977380797-Z8ZQMWCKG81BZPU6A1LF/TP_7-6.png Troubled Paradise - Troubled Paradise TROUBLED PARADISE explores Hawai'i's Big Island and uncovers a rich cultural heritage, along with pressing social, environmental and political problems facing the native population. The film also captures performances by noted dancers and musicians, featuring a hula to the goddess Pele, a children's hula group in rehearsal, and beautiful ballads by gifted Hawaiian singers. Native Hawaiians have the lowest median family income of all the state's ethnic groups, with more than 2,000 living in cardboard boxes, rusted cars or tents on the beach. They have the highest percentage of unemployed and incarcerated; their life expectancy is the lowest in the state; their infant mortality rate is the highest in the nation. In the midst of extraordinary natural beauty, native Hawaiians reveal tormenting issues that conflict with their deeply held traditions. Major funding provided by CORPORATION FOR PUBLIC BROADCASTING and the WALLACE ALEXANDER GERBODE FOUNDATION Produced in association with NATIONAL ASIAN AMERICAN TELECOMMUNICATIONS ASSOCIATION 1992 / Documentary / 56 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466539597942-DH9QR3IX593WZQDG25F4/TP_7-6.png Troubled Paradise https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977400241-YNTB3B8AVQIW01F4G8SC/TP_4-6.png Troubled Paradise - Troubled Paradise TROUBLED PARADISE explores Hawai'i's Big Island and uncovers a rich cultural heritage, along with pressing social, environmental and political problems facing the native population. The film also captures performances by noted dancers and musicians, featuring a hula to the goddess Pele, a children's hula group in rehearsal, and beautiful ballads by gifted Hawaiian singers. Native Hawaiians have the lowest median family income of all the state's ethnic groups, with more than 2,000 living in cardboard boxes, rusted cars or tents on the beach. They have the highest percentage of unemployed and incarcerated; their life expectancy is the lowest in the state; their infant mortality rate is the highest in the nation. In the midst of extraordinary natural beauty, native Hawaiians reveal tormenting issues that conflict with their deeply held traditions. Major funding provided by CORPORATION FOR PUBLIC BROADCASTING and the WALLACE ALEXANDER GERBODE FOUNDATION Produced in association with NATIONAL ASIAN AMERICAN TELECOMMUNICATIONS ASSOCIATION 1992 / Documentary / 56 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977415464-5C9S620Y0W132JBPUZ0X/TP_3-6.png Troubled Paradise - Troubled Paradise TROUBLED PARADISE explores Hawai'i's Big Island and uncovers a rich cultural heritage, along with pressing social, environmental and political problems facing the native population. The film also captures performances by noted dancers and musicians, featuring a hula to the goddess Pele, a children's hula group in rehearsal, and beautiful ballads by gifted Hawaiian singers. Native Hawaiians have the lowest median family income of all the state's ethnic groups, with more than 2,000 living in cardboard boxes, rusted cars or tents on the beach. They have the highest percentage of unemployed and incarcerated; their life expectancy is the lowest in the state; their infant mortality rate is the highest in the nation. In the midst of extraordinary natural beauty, native Hawaiians reveal tormenting issues that conflict with their deeply held traditions. Major funding provided by CORPORATION FOR PUBLIC BROADCASTING and the WALLACE ALEXANDER GERBODE FOUNDATION Produced in association with NATIONAL ASIAN AMERICAN TELECOMMUNICATIONS ASSOCIATION 1992 / Documentary / 56 Minutes http://www.farallonfilms.com/days-of-waiting-1 daily 0.75 2016-10-20 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977499006-XDH6N4N3F4OZ1Q0CNWVS/DOW_5-8.png Days of Waiting - Days of Waiting "DAYS OF WAITING is a poignant documentary about an extraordinary woman, artist Estelle Ishigo, one of the few Caucasians to be interned with 110,000 Japanese Americans in 1942. When internment came, she refused to be separated from her Japanese American husband and lived with him for four years behind barbed wire in the desolate Heart Mountain camp in Wyoming. During her internment, the artist recorded the rigors and deprivations of camp life with unusual insight, her sketches and watercolors forming a moving portrait of the lives of the internees, the struggle to keep their health, dignity and hope alive." Major funding provided by CORPORATION FOR PUBLIC BROADCASTING and the WALLACE ALEXANDER GERBODE FOUNDATION Additional funding provided by ZELLERBACH FAMILY FUND and THE COLUMBIA FOUNDATION 1990 / Documentary / 28 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977499006-XDH6N4N3F4OZ1Q0CNWVS/DOW_5-8.png Days of Waiting - Days of Waiting "DAYS OF WAITING is a poignant documentary about an extraordinary woman, artist Estelle Ishigo, one of the few Caucasians to be interned with 110,000 Japanese Americans in 1942. When internment came, she refused to be separated from her Japanese American husband and lived with him for four years behind barbed wire in the desolate Heart Mountain camp in Wyoming. During her internment, the artist recorded the rigors and deprivations of camp life with unusual insight, her sketches and watercolors forming a moving portrait of the lives of the internees, the struggle to keep their health, dignity and hope alive." Major funding provided by CORPORATION FOR PUBLIC BROADCASTING and the WALLACE ALEXANDER GERBODE FOUNDATION Additional funding provided by ZELLERBACH FAMILY FUND and THE COLUMBIA FOUNDATION 1990 / Documentary / 28 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466546386673-YU5477YFMQP7TUG5LBGJ/DOW_5-8.png Days of Waiting https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977651239-QNDZH083SLC1BFETYP26/Ishigo-portrait-2.png Days of Waiting - Days of Waiting "DAYS OF WAITING is a poignant documentary about an extraordinary woman, artist Estelle Ishigo, one of the few Caucasians to be interned with 110,000 Japanese Americans in 1942. When internment came, she refused to be separated from her Japanese American husband and lived with him for four years behind barbed wire in the desolate Heart Mountain camp in Wyoming. During her internment, the artist recorded the rigors and deprivations of camp life with unusual insight, her sketches and watercolors forming a moving portrait of the lives of the internees, the struggle to keep their health, dignity and hope alive." Major funding provided by CORPORATION FOR PUBLIC BROADCASTING and the WALLACE ALEXANDER GERBODE FOUNDATION Additional funding provided by ZELLERBACH FAMILY FUND and THE COLUMBIA FOUNDATION 1990 / Documentary / 28 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977669711-IHBQV1TTVKNAZMVI3U7V/DOW_4-8.png Days of Waiting - Days of Waiting "DAYS OF WAITING is a poignant documentary about an extraordinary woman, artist Estelle Ishigo, one of the few Caucasians to be interned with 110,000 Japanese Americans in 1942. When internment came, she refused to be separated from her Japanese American husband and lived with him for four years behind barbed wire in the desolate Heart Mountain camp in Wyoming. During her internment, the artist recorded the rigors and deprivations of camp life with unusual insight, her sketches and watercolors forming a moving portrait of the lives of the internees, the struggle to keep their health, dignity and hope alive." Major funding provided by CORPORATION FOR PUBLIC BROADCASTING and the WALLACE ALEXANDER GERBODE FOUNDATION Additional funding provided by ZELLERBACH FAMILY FUND and THE COLUMBIA FOUNDATION 1990 / Documentary / 28 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470771798480-VKVBZW54FZ5QR6G3N8Z9/DOW_4-8.png Days of Waiting https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977725448-74YKLS8WJT9NW8CNUH29/DW_17_crop.png Days of Waiting - Days of Waiting "DAYS OF WAITING is a poignant documentary about an extraordinary woman, artist Estelle Ishigo, one of the few Caucasians to be interned with 110,000 Japanese Americans in 1942. When internment came, she refused to be separated from her Japanese American husband and lived with him for four years behind barbed wire in the desolate Heart Mountain camp in Wyoming. During her internment, the artist recorded the rigors and deprivations of camp life with unusual insight, her sketches and watercolors forming a moving portrait of the lives of the internees, the struggle to keep their health, dignity and hope alive." Major funding provided by CORPORATION FOR PUBLIC BROADCASTING and the WALLACE ALEXANDER GERBODE FOUNDATION Additional funding provided by ZELLERBACH FAMILY FUND and THE COLUMBIA FOUNDATION 1990 / Documentary / 28 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977751019-3M6PO63JIE8DJL91K0UX/DOW_8-5.png Days of Waiting - Days of Waiting "DAYS OF WAITING is a poignant documentary about an extraordinary woman, artist Estelle Ishigo, one of the few Caucasians to be interned with 110,000 Japanese Americans in 1942. When internment came, she refused to be separated from her Japanese American husband and lived with him for four years behind barbed wire in the desolate Heart Mountain camp in Wyoming. During her internment, the artist recorded the rigors and deprivations of camp life with unusual insight, her sketches and watercolors forming a moving portrait of the lives of the internees, the struggle to keep their health, dignity and hope alive." Major funding provided by CORPORATION FOR PUBLIC BROADCASTING and the WALLACE ALEXANDER GERBODE FOUNDATION Additional funding provided by ZELLERBACH FAMILY FUND and THE COLUMBIA FOUNDATION 1990 / Documentary / 28 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470771857589-G3NNKT0HIDGSB416OJNF/DOW_9-2.png Days of Waiting https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977765865-EYIZ1LH72WLIQCBTYKGA/Days-publicity-1_crop.png Days of Waiting - Days of Waiting "DAYS OF WAITING is a poignant documentary about an extraordinary woman, artist Estelle Ishigo, one of the few Caucasians to be interned with 110,000 Japanese Americans in 1942. When internment came, she refused to be separated from her Japanese American husband and lived with him for four years behind barbed wire in the desolate Heart Mountain camp in Wyoming. During her internment, the artist recorded the rigors and deprivations of camp life with unusual insight, her sketches and watercolors forming a moving portrait of the lives of the internees, the struggle to keep their health, dignity and hope alive." Major funding provided by CORPORATION FOR PUBLIC BROADCASTING and the WALLACE ALEXANDER GERBODE FOUNDATION Additional funding provided by ZELLERBACH FAMILY FUND and THE COLUMBIA FOUNDATION 1990 / Documentary / 28 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470081239502-YIJLP0ADKT4XAVN7E3NS/DOW_9-2.png Days of Waiting https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977786031-6WG33XUBFQDTR9IX284B/DOW_6-7_crop.png Days of Waiting - Days of Waiting "DAYS OF WAITING is a poignant documentary about an extraordinary woman, artist Estelle Ishigo, one of the few Caucasians to be interned with 110,000 Japanese Americans in 1942. When internment came, she refused to be separated from her Japanese American husband and lived with him for four years behind barbed wire in the desolate Heart Mountain camp in Wyoming. During her internment, the artist recorded the rigors and deprivations of camp life with unusual insight, her sketches and watercolors forming a moving portrait of the lives of the internees, the struggle to keep their health, dignity and hope alive." Major funding provided by CORPORATION FOR PUBLIC BROADCASTING and the WALLACE ALEXANDER GERBODE FOUNDATION Additional funding provided by ZELLERBACH FAMILY FUND and THE COLUMBIA FOUNDATION 1990 / Documentary / 28 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466546386091-BZ2ZJ3Y9YDEJYTBJ3MG4/DOW_4-8.png Days of Waiting https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470071106237-O5ODEG7WCAV1GZYUYMQI/DOW_6-5Cleaned.png Days of Waiting https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466546383641-UTQ706K2AMW1OFM972G3/DOW_6-8.png Days of Waiting http://www.farallonfilms.com/hunting-tigers-1 daily 0.75 2016-10-20 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977870057-FOUUO4A3P9M0K0A3VVBK/HUNTING.png Hunting Tigers - Hunting Tigers HUNTING TIGERS provides an off-beat and entertaining look at life and art in Tokyo. The film begins with Kenzaburo Oe, one of Japan's most important writers and political activists, who laments that the country's young people, in particular, its new writers and artists, are "spoiled, un-original, too affluent and too influenced by Western culture." The filmmaker sets out on a whimsical journey through the wilds of Tokyo to prove or disprove Mr. Oe's pronouncement. He meets four strange and wonderful artists: pop singer Jun Togawa, performance artist Rosa Tsukinoyo, collage maker Genqui Numata (who also calls himself "The Bonsai Kid" and "The World's Greatest Artist"), and dancer Saburo Teshigawara, one of the most exciting dancers to emerge from Japan. The film explores a world populated not by soulless salarymen but by unique and brilliant creative spirits. Major funding provided by the NATIONAL ENDOWMENT FOR THE ARTS and THE JAPAN FOUNDATION 1988 / Documentary / 30 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977870057-FOUUO4A3P9M0K0A3VVBK/HUNTING.png Hunting Tigers - Hunting Tigers HUNTING TIGERS provides an off-beat and entertaining look at life and art in Tokyo. The film begins with Kenzaburo Oe, one of Japan's most important writers and political activists, who laments that the country's young people, in particular, its new writers and artists, are "spoiled, un-original, too affluent and too influenced by Western culture." The filmmaker sets out on a whimsical journey through the wilds of Tokyo to prove or disprove Mr. Oe's pronouncement. He meets four strange and wonderful artists: pop singer Jun Togawa, performance artist Rosa Tsukinoyo, collage maker Genqui Numata (who also calls himself "The Bonsai Kid" and "The World's Greatest Artist"), and dancer Saburo Teshigawara, one of the most exciting dancers to emerge from Japan. The film explores a world populated not by soulless salarymen but by unique and brilliant creative spirits. Major funding provided by the NATIONAL ENDOWMENT FOR THE ARTS and THE JAPAN FOUNDATION 1988 / Documentary / 30 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466548009420-4YD5AALCFDWP2E02AUH6/HUNTING.png Hunting Tigers https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977890633-KGRBB6DWJN7ZH4KRJUKA/HT_6-6.png Hunting Tigers - Hunting Tigers HUNTING TIGERS provides an off-beat and entertaining look at life and art in Tokyo. The film begins with Kenzaburo Oe, one of Japan's most important writers and political activists, who laments that the country's young people, in particular, its new writers and artists, are "spoiled, un-original, too affluent and too influenced by Western culture." The filmmaker sets out on a whimsical journey through the wilds of Tokyo to prove or disprove Mr. Oe's pronouncement. He meets four strange and wonderful artists: pop singer Jun Togawa, performance artist Rosa Tsukinoyo, collage maker Genqui Numata (who also calls himself "The Bonsai Kid" and "The World's Greatest Artist"), and dancer Saburo Teshigawara, one of the most exciting dancers to emerge from Japan. The film explores a world populated not by soulless salarymen but by unique and brilliant creative spirits. Major funding provided by the NATIONAL ENDOWMENT FOR THE ARTS and THE JAPAN FOUNDATION 1988 / Documentary / 30 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977913160-L6PG4IY115BC2QKGURGE/HT_5-2Crop.png Hunting Tigers - Hunting Tigers HUNTING TIGERS provides an off-beat and entertaining look at life and art in Tokyo. The film begins with Kenzaburo Oe, one of Japan's most important writers and political activists, who laments that the country's young people, in particular, its new writers and artists, are "spoiled, un-original, too affluent and too influenced by Western culture." The filmmaker sets out on a whimsical journey through the wilds of Tokyo to prove or disprove Mr. Oe's pronouncement. He meets four strange and wonderful artists: pop singer Jun Togawa, performance artist Rosa Tsukinoyo, collage maker Genqui Numata (who also calls himself "The Bonsai Kid" and "The World's Greatest Artist"), and dancer Saburo Teshigawara, one of the most exciting dancers to emerge from Japan. The film explores a world populated not by soulless salarymen but by unique and brilliant creative spirits. Major funding provided by the NATIONAL ENDOWMENT FOR THE ARTS and THE JAPAN FOUNDATION 1988 / Documentary / 30 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977946504-J007YI81PKZRPFO6EC7I/HT_1-6.png Hunting Tigers - Hunting Tigers HUNTING TIGERS provides an off-beat and entertaining look at life and art in Tokyo. The film begins with Kenzaburo Oe, one of Japan's most important writers and political activists, who laments that the country's young people, in particular, its new writers and artists, are "spoiled, un-original, too affluent and too influenced by Western culture." The filmmaker sets out on a whimsical journey through the wilds of Tokyo to prove or disprove Mr. Oe's pronouncement. He meets four strange and wonderful artists: pop singer Jun Togawa, performance artist Rosa Tsukinoyo, collage maker Genqui Numata (who also calls himself "The Bonsai Kid" and "The World's Greatest Artist"), and dancer Saburo Teshigawara, one of the most exciting dancers to emerge from Japan. The film explores a world populated not by soulless salarymen but by unique and brilliant creative spirits. Major funding provided by the NATIONAL ENDOWMENT FOR THE ARTS and THE JAPAN FOUNDATION 1988 / Documentary / 30 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473977966289-HAML9ZHO5ZTZM026RF1Q/HT_2-2.png Hunting Tigers - Hunting Tigers HUNTING TIGERS provides an off-beat and entertaining look at life and art in Tokyo. The film begins with Kenzaburo Oe, one of Japan's most important writers and political activists, who laments that the country's young people, in particular, its new writers and artists, are "spoiled, un-original, too affluent and too influenced by Western culture." The filmmaker sets out on a whimsical journey through the wilds of Tokyo to prove or disprove Mr. Oe's pronouncement. He meets four strange and wonderful artists: pop singer Jun Togawa, performance artist Rosa Tsukinoyo, collage maker Genqui Numata (who also calls himself "The Bonsai Kid" and "The World's Greatest Artist"), and dancer Saburo Teshigawara, one of the most exciting dancers to emerge from Japan. The film explores a world populated not by soulless salarymen but by unique and brilliant creative spirits. Major funding provided by the NATIONAL ENDOWMENT FOR THE ARTS and THE JAPAN FOUNDATION 1988 / Documentary / 30 Minutes http://www.farallonfilms.com/unfinished-business daily 0.75 2016-10-20 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473978265255-T5XRNKNXO4D70WQK0UKI/UNFINISHED.png Unfinished Business - Unfinished Business In the spring of 1942, over 110,000 men, women and children were abruptly and forcibly evicted from their homes on the West Coast and herded into desolate internment camps across the country. Most of them were American citizens of Japanese ancestry. No charges were ever filed. No hearings or trials were held. Yet, they were incarcerated — behind wire fences, surrounded by watchtowers and armed guards — for more than three years. The sole basis for this action was ancestry. UNFINISHED BUSINESS tells the compelling story of three men who refused to go. Fred Korematsu, Gordon Hirabayashi and Minoru Yasui courageously defied the government and were separately convicted and imprisoned for violating Executive Order 9066 — which led to the imprisonment of all Japanese Americans on the West Coast. The film interweaves the personal stories of the three men with archival footage of wartime anti-Japanese hysteria, the mass evacuation, and life in the camps. It captures them forty years alter, working with a group of young Asian American attorneys, fighting to overturn their original convictions in the final round of a battle against the act which shattered the lives of two generations of Japanese Americans. UNFINISHED BUSINESS is a powerful and moving examination of this tragic but important period in American history. Major funding provided by the CORPORATION FOR PUBLIC BROADCASTING Additional funding provided by the WALLACE ALEXANDER GERBODE FOUNDATION 1985 / PBS Documentary / 58 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473978265255-T5XRNKNXO4D70WQK0UKI/UNFINISHED.png Unfinished Business - Unfinished Business In the spring of 1942, over 110,000 men, women and children were abruptly and forcibly evicted from their homes on the West Coast and herded into desolate internment camps across the country. Most of them were American citizens of Japanese ancestry. No charges were ever filed. No hearings or trials were held. Yet, they were incarcerated — behind wire fences, surrounded by watchtowers and armed guards — for more than three years. The sole basis for this action was ancestry. UNFINISHED BUSINESS tells the compelling story of three men who refused to go. Fred Korematsu, Gordon Hirabayashi and Minoru Yasui courageously defied the government and were separately convicted and imprisoned for violating Executive Order 9066 — which led to the imprisonment of all Japanese Americans on the West Coast. The film interweaves the personal stories of the three men with archival footage of wartime anti-Japanese hysteria, the mass evacuation, and life in the camps. It captures them forty years alter, working with a group of young Asian American attorneys, fighting to overturn their original convictions in the final round of a battle against the act which shattered the lives of two generations of Japanese Americans. UNFINISHED BUSINESS is a powerful and moving examination of this tragic but important period in American history. Major funding provided by the CORPORATION FOR PUBLIC BROADCASTING Additional funding provided by the WALLACE ALEXANDER GERBODE FOUNDATION 1985 / PBS Documentary / 58 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470028268460-JTDPC26YRZDM3ZSX7RYW/UNFINISHED.png Unfinished Business https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473978346491-SPDTBMHB7RKE61EJ0ERR/Fred-Korematsu.png Unfinished Business - Unfinished Business In the spring of 1942, over 110,000 men, women and children were abruptly and forcibly evicted from their homes on the West Coast and herded into desolate internment camps across the country. Most of them were American citizens of Japanese ancestry. No charges were ever filed. No hearings or trials were held. Yet, they were incarcerated — behind wire fences, surrounded by watchtowers and armed guards — for more than three years. The sole basis for this action was ancestry. UNFINISHED BUSINESS tells the compelling story of three men who refused to go. Fred Korematsu, Gordon Hirabayashi and Minoru Yasui courageously defied the government and were separately convicted and imprisoned for violating Executive Order 9066 — which led to the imprisonment of all Japanese Americans on the West Coast. The film interweaves the personal stories of the three men with archival footage of wartime anti-Japanese hysteria, the mass evacuation, and life in the camps. It captures them forty years alter, working with a group of young Asian American attorneys, fighting to overturn their original convictions in the final round of a battle against the act which shattered the lives of two generations of Japanese Americans. UNFINISHED BUSINESS is a powerful and moving examination of this tragic but important period in American history. Major funding provided by the CORPORATION FOR PUBLIC BROADCASTING Additional funding provided by the WALLACE ALEXANDER GERBODE FOUNDATION 1985 / PBS Documentary / 58 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473978373836-MG8Z5YYZITLT4XPQDIQF/UB_1-2.png Unfinished Business - Unfinished Business In the spring of 1942, over 110,000 men, women and children were abruptly and forcibly evicted from their homes on the West Coast and herded into desolate internment camps across the country. Most of them were American citizens of Japanese ancestry. No charges were ever filed. No hearings or trials were held. Yet, they were incarcerated — behind wire fences, surrounded by watchtowers and armed guards — for more than three years. The sole basis for this action was ancestry. UNFINISHED BUSINESS tells the compelling story of three men who refused to go. Fred Korematsu, Gordon Hirabayashi and Minoru Yasui courageously defied the government and were separately convicted and imprisoned for violating Executive Order 9066 — which led to the imprisonment of all Japanese Americans on the West Coast. The film interweaves the personal stories of the three men with archival footage of wartime anti-Japanese hysteria, the mass evacuation, and life in the camps. It captures them forty years alter, working with a group of young Asian American attorneys, fighting to overturn their original convictions in the final round of a battle against the act which shattered the lives of two generations of Japanese Americans. UNFINISHED BUSINESS is a powerful and moving examination of this tragic but important period in American history. Major funding provided by the CORPORATION FOR PUBLIC BROADCASTING Additional funding provided by the WALLACE ALEXANDER GERBODE FOUNDATION 1985 / PBS Documentary / 58 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466550939467-MHWT78CCO6851LVGS6T7/UB_1-2.png Unfinished Business https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473978398120-YEGF5Q5LTWKXLTR3JUY7/Min-Yasui.png Unfinished Business - Unfinished Business In the spring of 1942, over 110,000 men, women and children were abruptly and forcibly evicted from their homes on the West Coast and herded into desolate internment camps across the country. Most of them were American citizens of Japanese ancestry. No charges were ever filed. No hearings or trials were held. Yet, they were incarcerated — behind wire fences, surrounded by watchtowers and armed guards — for more than three years. The sole basis for this action was ancestry. UNFINISHED BUSINESS tells the compelling story of three men who refused to go. Fred Korematsu, Gordon Hirabayashi and Minoru Yasui courageously defied the government and were separately convicted and imprisoned for violating Executive Order 9066 — which led to the imprisonment of all Japanese Americans on the West Coast. The film interweaves the personal stories of the three men with archival footage of wartime anti-Japanese hysteria, the mass evacuation, and life in the camps. It captures them forty years alter, working with a group of young Asian American attorneys, fighting to overturn their original convictions in the final round of a battle against the act which shattered the lives of two generations of Japanese Americans. UNFINISHED BUSINESS is a powerful and moving examination of this tragic but important period in American history. Major funding provided by the CORPORATION FOR PUBLIC BROADCASTING Additional funding provided by the WALLACE ALEXANDER GERBODE FOUNDATION 1985 / PBS Documentary / 58 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473978416319-8XGEKJOWAYXUMFETPGAO/UB_2-6.png Unfinished Business - Unfinished Business In the spring of 1942, over 110,000 men, women and children were abruptly and forcibly evicted from their homes on the West Coast and herded into desolate internment camps across the country. Most of them were American citizens of Japanese ancestry. No charges were ever filed. No hearings or trials were held. Yet, they were incarcerated — behind wire fences, surrounded by watchtowers and armed guards — for more than three years. The sole basis for this action was ancestry. UNFINISHED BUSINESS tells the compelling story of three men who refused to go. Fred Korematsu, Gordon Hirabayashi and Minoru Yasui courageously defied the government and were separately convicted and imprisoned for violating Executive Order 9066 — which led to the imprisonment of all Japanese Americans on the West Coast. The film interweaves the personal stories of the three men with archival footage of wartime anti-Japanese hysteria, the mass evacuation, and life in the camps. It captures them forty years alter, working with a group of young Asian American attorneys, fighting to overturn their original convictions in the final round of a battle against the act which shattered the lives of two generations of Japanese Americans. UNFINISHED BUSINESS is a powerful and moving examination of this tragic but important period in American history. Major funding provided by the CORPORATION FOR PUBLIC BROADCASTING Additional funding provided by the WALLACE ALEXANDER GERBODE FOUNDATION 1985 / PBS Documentary / 58 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473978447347-L9T92V6N53J5O20H5LHP/Gordon-Hirabayashi.png Unfinished Business - Unfinished Business In the spring of 1942, over 110,000 men, women and children were abruptly and forcibly evicted from their homes on the West Coast and herded into desolate internment camps across the country. Most of them were American citizens of Japanese ancestry. No charges were ever filed. No hearings or trials were held. Yet, they were incarcerated — behind wire fences, surrounded by watchtowers and armed guards — for more than three years. The sole basis for this action was ancestry. UNFINISHED BUSINESS tells the compelling story of three men who refused to go. Fred Korematsu, Gordon Hirabayashi and Minoru Yasui courageously defied the government and were separately convicted and imprisoned for violating Executive Order 9066 — which led to the imprisonment of all Japanese Americans on the West Coast. The film interweaves the personal stories of the three men with archival footage of wartime anti-Japanese hysteria, the mass evacuation, and life in the camps. It captures them forty years alter, working with a group of young Asian American attorneys, fighting to overturn their original convictions in the final round of a battle against the act which shattered the lives of two generations of Japanese Americans. UNFINISHED BUSINESS is a powerful and moving examination of this tragic but important period in American history. Major funding provided by the CORPORATION FOR PUBLIC BROADCASTING Additional funding provided by the WALLACE ALEXANDER GERBODE FOUNDATION 1985 / PBS Documentary / 58 Minutes http://www.farallonfilms.com/living-on-tokyo-time-1 daily 0.75 2016-10-20 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473978043721-W1WP2F67QTYRYOX94U4V/LOTT_5.png Living On Tokyo Time - Living on Tokyo Time LIVING ON TOKYO TIME counts the beats in the life of Ken (Ken Nakagawa), a shy, would-be rock-and-roller unwilling to engage in the world around him, and Kyoko (Minako Ohashi), a beautiful 19-year-old Japanese girl, on her first visit to America. Kyoko has overstayed the limit on her green card, but is determined to prove to her family back home that she can do what she set out to do – namely, forget a broken engagement and survive on her own abroad. Through the coaxing of a mutual friend, Ken decides to marry Kyoko so that she can stay in the U.S. What he doesn't anticipate, however, is falling in love. Steven Okazaki's first feature comedy was initially funded by a grant from the American Film Institute and concocted as a weekend film project with a group of unpaid but willing friends (notably, actor Ken Nakagawa, writer/actor John McCormick, cameraperson Zand Gee, sound recordist Giovanni di Simone, and actor Judi Nihei). LIVING ON TOKYO TIME premiered at Sundance, got picked up by a distributor and was released in movie theaters across the country in 1987, with surprisingly long runs in San Francisco, Berkeley, Seattle and Honolulu. Produced by LYNN O'DONNELL and DENNIS HAYASHI A SKOURAS PICTURES RELEASE Available on MGM DVDs 1986 / Comedy / 83 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473978043721-W1WP2F67QTYRYOX94U4V/LOTT_5.png Living On Tokyo Time - Living on Tokyo Time LIVING ON TOKYO TIME counts the beats in the life of Ken (Ken Nakagawa), a shy, would-be rock-and-roller unwilling to engage in the world around him, and Kyoko (Minako Ohashi), a beautiful 19-year-old Japanese girl, on her first visit to America. Kyoko has overstayed the limit on her green card, but is determined to prove to her family back home that she can do what she set out to do – namely, forget a broken engagement and survive on her own abroad. Through the coaxing of a mutual friend, Ken decides to marry Kyoko so that she can stay in the U.S. What he doesn't anticipate, however, is falling in love. Steven Okazaki's first feature comedy was initially funded by a grant from the American Film Institute and concocted as a weekend film project with a group of unpaid but willing friends (notably, actor Ken Nakagawa, writer/actor John McCormick, cameraperson Zand Gee, sound recordist Giovanni di Simone, and actor Judi Nihei). LIVING ON TOKYO TIME premiered at Sundance, got picked up by a distributor and was released in movie theaters across the country in 1987, with surprisingly long runs in San Francisco, Berkeley, Seattle and Honolulu. Produced by LYNN O'DONNELL and DENNIS HAYASHI A SKOURAS PICTURES RELEASE Available on MGM DVDs 1986 / Comedy / 83 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470028472616-GBLSRL3SCRDWMINPMA59/LOTT_5.png Living On Tokyo Time https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473978059696-HVFM1DUFF5VAHJ8T6I7N/LOTT_2.png Living On Tokyo Time - Living on Tokyo Time LIVING ON TOKYO TIME counts the beats in the life of Ken (Ken Nakagawa), a shy, would-be rock-and-roller unwilling to engage in the world around him, and Kyoko (Minako Ohashi), a beautiful 19-year-old Japanese girl, on her first visit to America. Kyoko has overstayed the limit on her green card, but is determined to prove to her family back home that she can do what she set out to do – namely, forget a broken engagement and survive on her own abroad. Through the coaxing of a mutual friend, Ken decides to marry Kyoko so that she can stay in the U.S. What he doesn't anticipate, however, is falling in love. Steven Okazaki's first feature comedy was initially funded by a grant from the American Film Institute and concocted as a weekend film project with a group of unpaid but willing friends (notably, actor Ken Nakagawa, writer/actor John McCormick, cameraperson Zand Gee, sound recordist Giovanni di Simone, and actor Judi Nihei). LIVING ON TOKYO TIME premiered at Sundance, got picked up by a distributor and was released in movie theaters across the country in 1987, with surprisingly long runs in San Francisco, Berkeley, Seattle and Honolulu. Produced by LYNN O'DONNELL and DENNIS HAYASHI A SKOURAS PICTURES RELEASE Available on MGM DVDs 1986 / Comedy / 83 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466616343727-LPCQQZJ2EDWXGTMMJL2B/LOTT_2.png Living On Tokyo Time https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473978080175-5WSGDUT38KUBBGKA8CJQ/LOTT_12-4.png Living On Tokyo Time - Living on Tokyo Time LIVING ON TOKYO TIME counts the beats in the life of Ken (Ken Nakagawa), a shy, would-be rock-and-roller unwilling to engage in the world around him, and Kyoko (Minako Ohashi), a beautiful 19-year-old Japanese girl, on her first visit to America. Kyoko has overstayed the limit on her green card, but is determined to prove to her family back home that she can do what she set out to do – namely, forget a broken engagement and survive on her own abroad. Through the coaxing of a mutual friend, Ken decides to marry Kyoko so that she can stay in the U.S. What he doesn't anticipate, however, is falling in love. Steven Okazaki's first feature comedy was initially funded by a grant from the American Film Institute and concocted as a weekend film project with a group of unpaid but willing friends (notably, actor Ken Nakagawa, writer/actor John McCormick, cameraperson Zand Gee, sound recordist Giovanni di Simone, and actor Judi Nihei). LIVING ON TOKYO TIME premiered at Sundance, got picked up by a distributor and was released in movie theaters across the country in 1987, with surprisingly long runs in San Francisco, Berkeley, Seattle and Honolulu. Produced by LYNN O'DONNELL and DENNIS HAYASHI A SKOURAS PICTURES RELEASE Available on MGM DVDs 1986 / Comedy / 83 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466616340134-H70RZY9C3SC8DVYQ4G5H/LOTT_12-4.png Living On Tokyo Time https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473978099009-7O387IX60U5TZMG63AOB/LOTT_1a.png Living On Tokyo Time - Living on Tokyo Time LIVING ON TOKYO TIME counts the beats in the life of Ken (Ken Nakagawa), a shy, would-be rock-and-roller unwilling to engage in the world around him, and Kyoko (Minako Ohashi), a beautiful 19-year-old Japanese girl, on her first visit to America. Kyoko has overstayed the limit on her green card, but is determined to prove to her family back home that she can do what she set out to do – namely, forget a broken engagement and survive on her own abroad. Through the coaxing of a mutual friend, Ken decides to marry Kyoko so that she can stay in the U.S. What he doesn't anticipate, however, is falling in love. Steven Okazaki's first feature comedy was initially funded by a grant from the American Film Institute and concocted as a weekend film project with a group of unpaid but willing friends (notably, actor Ken Nakagawa, writer/actor John McCormick, cameraperson Zand Gee, sound recordist Giovanni di Simone, and actor Judi Nihei). LIVING ON TOKYO TIME premiered at Sundance, got picked up by a distributor and was released in movie theaters across the country in 1987, with surprisingly long runs in San Francisco, Berkeley, Seattle and Honolulu. Produced by LYNN O'DONNELL and DENNIS HAYASHI A SKOURAS PICTURES RELEASE Available on MGM DVDs 1986 / Comedy / 83 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473978117368-PVR4HM7O3ENG4CCTJG19/LOTT_7.png Living On Tokyo Time - Living on Tokyo Time LIVING ON TOKYO TIME counts the beats in the life of Ken (Ken Nakagawa), a shy, would-be rock-and-roller unwilling to engage in the world around him, and Kyoko (Minako Ohashi), a beautiful 19-year-old Japanese girl, on her first visit to America. Kyoko has overstayed the limit on her green card, but is determined to prove to her family back home that she can do what she set out to do – namely, forget a broken engagement and survive on her own abroad. Through the coaxing of a mutual friend, Ken decides to marry Kyoko so that she can stay in the U.S. What he doesn't anticipate, however, is falling in love. Steven Okazaki's first feature comedy was initially funded by a grant from the American Film Institute and concocted as a weekend film project with a group of unpaid but willing friends (notably, actor Ken Nakagawa, writer/actor John McCormick, cameraperson Zand Gee, sound recordist Giovanni di Simone, and actor Judi Nihei). LIVING ON TOKYO TIME premiered at Sundance, got picked up by a distributor and was released in movie theaters across the country in 1987, with surprisingly long runs in San Francisco, Berkeley, Seattle and Honolulu. Produced by LYNN O'DONNELL and DENNIS HAYASHI A SKOURAS PICTURES RELEASE Available on MGM DVDs 1986 / Comedy / 83 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473978133558-K0T4ZXZR8PZNRVIO5LGO/LOTT_13-3.png Living On Tokyo Time - Living on Tokyo Time LIVING ON TOKYO TIME counts the beats in the life of Ken (Ken Nakagawa), a shy, would-be rock-and-roller unwilling to engage in the world around him, and Kyoko (Minako Ohashi), a beautiful 19-year-old Japanese girl, on her first visit to America. Kyoko has overstayed the limit on her green card, but is determined to prove to her family back home that she can do what she set out to do – namely, forget a broken engagement and survive on her own abroad. Through the coaxing of a mutual friend, Ken decides to marry Kyoko so that she can stay in the U.S. What he doesn't anticipate, however, is falling in love. Steven Okazaki's first feature comedy was initially funded by a grant from the American Film Institute and concocted as a weekend film project with a group of unpaid but willing friends (notably, actor Ken Nakagawa, writer/actor John McCormick, cameraperson Zand Gee, sound recordist Giovanni di Simone, and actor Judi Nihei). LIVING ON TOKYO TIME premiered at Sundance, got picked up by a distributor and was released in movie theaters across the country in 1987, with surprisingly long runs in San Francisco, Berkeley, Seattle and Honolulu. Produced by LYNN O'DONNELL and DENNIS HAYASHI A SKOURAS PICTURES RELEASE Available on MGM DVDs 1986 / Comedy / 83 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473978149943-1GDVDLIEDSQWQCD3ZVN0/LOTT_7-2.png Living On Tokyo Time - Living on Tokyo Time LIVING ON TOKYO TIME counts the beats in the life of Ken (Ken Nakagawa), a shy, would-be rock-and-roller unwilling to engage in the world around him, and Kyoko (Minako Ohashi), a beautiful 19-year-old Japanese girl, on her first visit to America. Kyoko has overstayed the limit on her green card, but is determined to prove to her family back home that she can do what she set out to do – namely, forget a broken engagement and survive on her own abroad. Through the coaxing of a mutual friend, Ken decides to marry Kyoko so that she can stay in the U.S. What he doesn't anticipate, however, is falling in love. Steven Okazaki's first feature comedy was initially funded by a grant from the American Film Institute and concocted as a weekend film project with a group of unpaid but willing friends (notably, actor Ken Nakagawa, writer/actor John McCormick, cameraperson Zand Gee, sound recordist Giovanni di Simone, and actor Judi Nihei). LIVING ON TOKYO TIME premiered at Sundance, got picked up by a distributor and was released in movie theaters across the country in 1987, with surprisingly long runs in San Francisco, Berkeley, Seattle and Honolulu. Produced by LYNN O'DONNELL and DENNIS HAYASHI A SKOURAS PICTURES RELEASE Available on MGM DVDs 1986 / Comedy / 83 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473978167283-HMX1L5I59JIL0OIJ8ZOI/LOTT_5-2_crop.png Living On Tokyo Time - Living on Tokyo Time LIVING ON TOKYO TIME counts the beats in the life of Ken (Ken Nakagawa), a shy, would-be rock-and-roller unwilling to engage in the world around him, and Kyoko (Minako Ohashi), a beautiful 19-year-old Japanese girl, on her first visit to America. Kyoko has overstayed the limit on her green card, but is determined to prove to her family back home that she can do what she set out to do – namely, forget a broken engagement and survive on her own abroad. Through the coaxing of a mutual friend, Ken decides to marry Kyoko so that she can stay in the U.S. What he doesn't anticipate, however, is falling in love. Steven Okazaki's first feature comedy was initially funded by a grant from the American Film Institute and concocted as a weekend film project with a group of unpaid but willing friends (notably, actor Ken Nakagawa, writer/actor John McCormick, cameraperson Zand Gee, sound recordist Giovanni di Simone, and actor Judi Nihei). LIVING ON TOKYO TIME premiered at Sundance, got picked up by a distributor and was released in movie theaters across the country in 1987, with surprisingly long runs in San Francisco, Berkeley, Seattle and Honolulu. Produced by LYNN O'DONNELL and DENNIS HAYASHI A SKOURAS PICTURES RELEASE Available on MGM DVDs 1986 / Comedy / 83 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473978190607-CRBGHV4WEB5KXBMS5PRM/LOTT_4.png Living On Tokyo Time - Living on Tokyo Time LIVING ON TOKYO TIME counts the beats in the life of Ken (Ken Nakagawa), a shy, would-be rock-and-roller unwilling to engage in the world around him, and Kyoko (Minako Ohashi), a beautiful 19-year-old Japanese girl, on her first visit to America. Kyoko has overstayed the limit on her green card, but is determined to prove to her family back home that she can do what she set out to do – namely, forget a broken engagement and survive on her own abroad. Through the coaxing of a mutual friend, Ken decides to marry Kyoko so that she can stay in the U.S. What he doesn't anticipate, however, is falling in love. Steven Okazaki's first feature comedy was initially funded by a grant from the American Film Institute and concocted as a weekend film project with a group of unpaid but willing friends (notably, actor Ken Nakagawa, writer/actor John McCormick, cameraperson Zand Gee, sound recordist Giovanni di Simone, and actor Judi Nihei). LIVING ON TOKYO TIME premiered at Sundance, got picked up by a distributor and was released in movie theaters across the country in 1987, with surprisingly long runs in San Francisco, Berkeley, Seattle and Honolulu. Produced by LYNN O'DONNELL and DENNIS HAYASHI A SKOURAS PICTURES RELEASE Available on MGM DVDs 1986 / Comedy / 83 Minutes http://www.farallonfilms.com/survivors-1 daily 0.75 2016-10-20 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473978559088-8H3KTGAS2A4JY5TQZ5IG/SURV_4-4.png Survivors - Survivors "For years I didn't talk about the bomb, even to my sons, but then I realized, if I don't speak up now and I die, nobody will ever know." Florence was 13 years old when the atomic bomb was dropped on Hiroshima. Forty years later, she gives her account of what she saw and felt that day — and how it has affected her life since. SURVIVORS is the first English language film in which Hiroshima and Nagasaki survivors speak for themselves about what they experienced on the day of the bombing and after. It is a remarkable tale of a group of twenty atomic bomb survivors who either returned to or emigrated to the United States where they continue to face a range of physical, psychological and social problems. It is an eloquent documentary that serves a dual purpose: as an historical document of Hiroshima and Nagasaki survivors and their struggles, it is an important piece of journalism; as a depiction of the aftermath of nuclear war, it could hardly be more timely. Originally presented on WGBH "World" Major funding provided by the NATIONAL ENDOWMENT FOR THE ARTS, NATIONAL COMMITTEE ON THE SELF-DEVELOPMENT OF PEOPLE (United Presbyterian Church, USA), HOSO-BUNKA FOUNDATION, INC., COLUMBIA FOUNDATION, HIROSHIMA COMMITTEE FOR THE "SURVIVORS" FILM PROJECT 1982 / Documentary / 58 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473978559088-8H3KTGAS2A4JY5TQZ5IG/SURV_4-4.png Survivors - Survivors "For years I didn't talk about the bomb, even to my sons, but then I realized, if I don't speak up now and I die, nobody will ever know." Florence was 13 years old when the atomic bomb was dropped on Hiroshima. Forty years later, she gives her account of what she saw and felt that day — and how it has affected her life since. SURVIVORS is the first English language film in which Hiroshima and Nagasaki survivors speak for themselves about what they experienced on the day of the bombing and after. It is a remarkable tale of a group of twenty atomic bomb survivors who either returned to or emigrated to the United States where they continue to face a range of physical, psychological and social problems. It is an eloquent documentary that serves a dual purpose: as an historical document of Hiroshima and Nagasaki survivors and their struggles, it is an important piece of journalism; as a depiction of the aftermath of nuclear war, it could hardly be more timely. Originally presented on WGBH "World" Major funding provided by the NATIONAL ENDOWMENT FOR THE ARTS, NATIONAL COMMITTEE ON THE SELF-DEVELOPMENT OF PEOPLE (United Presbyterian Church, USA), HOSO-BUNKA FOUNDATION, INC., COLUMBIA FOUNDATION, HIROSHIMA COMMITTEE FOR THE "SURVIVORS" FILM PROJECT 1982 / Documentary / 58 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470028712972-1MSFINFJ7J6YG61JD536/SURV_4-4.png Survivors https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473978582475-LIYJTQ3OMIHJGMGCD3VM/Survivors-publicity.png Survivors - Survivors "For years I didn't talk about the bomb, even to my sons, but then I realized, if I don't speak up now and I die, nobody will ever know." Florence was 13 years old when the atomic bomb was dropped on Hiroshima. Forty years later, she gives her account of what she saw and felt that day — and how it has affected her life since. SURVIVORS is the first English language film in which Hiroshima and Nagasaki survivors speak for themselves about what they experienced on the day of the bombing and after. It is a remarkable tale of a group of twenty atomic bomb survivors who either returned to or emigrated to the United States where they continue to face a range of physical, psychological and social problems. It is an eloquent documentary that serves a dual purpose: as an historical document of Hiroshima and Nagasaki survivors and their struggles, it is an important piece of journalism; as a depiction of the aftermath of nuclear war, it could hardly be more timely. Originally presented on WGBH "World" Major funding provided by the NATIONAL ENDOWMENT FOR THE ARTS, NATIONAL COMMITTEE ON THE SELF-DEVELOPMENT OF PEOPLE (United Presbyterian Church, USA), HOSO-BUNKA FOUNDATION, INC., COLUMBIA FOUNDATION, HIROSHIMA COMMITTEE FOR THE "SURVIVORS" FILM PROJECT 1982 / Documentary / 58 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466619324348-QIAMCKS4RRIK66NTHRG5/Survivors-publicity.png Survivors https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473978603239-5TTJZJMF3CK0H5LWQCAR/SURV_1-4.png Survivors - Survivors "For years I didn't talk about the bomb, even to my sons, but then I realized, if I don't speak up now and I die, nobody will ever know." Florence was 13 years old when the atomic bomb was dropped on Hiroshima. Forty years later, she gives her account of what she saw and felt that day — and how it has affected her life since. SURVIVORS is the first English language film in which Hiroshima and Nagasaki survivors speak for themselves about what they experienced on the day of the bombing and after. It is a remarkable tale of a group of twenty atomic bomb survivors who either returned to or emigrated to the United States where they continue to face a range of physical, psychological and social problems. It is an eloquent documentary that serves a dual purpose: as an historical document of Hiroshima and Nagasaki survivors and their struggles, it is an important piece of journalism; as a depiction of the aftermath of nuclear war, it could hardly be more timely. Originally presented on WGBH "World" Major funding provided by the NATIONAL ENDOWMENT FOR THE ARTS, NATIONAL COMMITTEE ON THE SELF-DEVELOPMENT OF PEOPLE (United Presbyterian Church, USA), HOSO-BUNKA FOUNDATION, INC., COLUMBIA FOUNDATION, HIROSHIMA COMMITTEE FOR THE "SURVIVORS" FILM PROJECT 1982 / Documentary / 58 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473978625652-9HKG5P5GR6QPF1VJECB1/SURV_2-3.png Survivors - Survivors "For years I didn't talk about the bomb, even to my sons, but then I realized, if I don't speak up now and I die, nobody will ever know." Florence was 13 years old when the atomic bomb was dropped on Hiroshima. Forty years later, she gives her account of what she saw and felt that day — and how it has affected her life since. SURVIVORS is the first English language film in which Hiroshima and Nagasaki survivors speak for themselves about what they experienced on the day of the bombing and after. It is a remarkable tale of a group of twenty atomic bomb survivors who either returned to or emigrated to the United States where they continue to face a range of physical, psychological and social problems. It is an eloquent documentary that serves a dual purpose: as an historical document of Hiroshima and Nagasaki survivors and their struggles, it is an important piece of journalism; as a depiction of the aftermath of nuclear war, it could hardly be more timely. Originally presented on WGBH "World" Major funding provided by the NATIONAL ENDOWMENT FOR THE ARTS, NATIONAL COMMITTEE ON THE SELF-DEVELOPMENT OF PEOPLE (United Presbyterian Church, USA), HOSO-BUNKA FOUNDATION, INC., COLUMBIA FOUNDATION, HIROSHIMA COMMITTEE FOR THE "SURVIVORS" FILM PROJECT 1982 / Documentary / 58 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473978642859-GJQ6SGBYXA8EQL3YVZS7/SURVIVORS0003-2.png Survivors - Survivors "For years I didn't talk about the bomb, even to my sons, but then I realized, if I don't speak up now and I die, nobody will ever know." Florence was 13 years old when the atomic bomb was dropped on Hiroshima. Forty years later, she gives her account of what she saw and felt that day — and how it has affected her life since. SURVIVORS is the first English language film in which Hiroshima and Nagasaki survivors speak for themselves about what they experienced on the day of the bombing and after. It is a remarkable tale of a group of twenty atomic bomb survivors who either returned to or emigrated to the United States where they continue to face a range of physical, psychological and social problems. It is an eloquent documentary that serves a dual purpose: as an historical document of Hiroshima and Nagasaki survivors and their struggles, it is an important piece of journalism; as a depiction of the aftermath of nuclear war, it could hardly be more timely. Originally presented on WGBH "World" Major funding provided by the NATIONAL ENDOWMENT FOR THE ARTS, NATIONAL COMMITTEE ON THE SELF-DEVELOPMENT OF PEOPLE (United Presbyterian Church, USA), HOSO-BUNKA FOUNDATION, INC., COLUMBIA FOUNDATION, HIROSHIMA COMMITTEE FOR THE "SURVIVORS" FILM PROJECT 1982 / Documentary / 58 Minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466619323879-TSCDT5YSSMCAHPN0FIL7/SURVIVORS0003-2.png Survivors http://www.farallonfilms.com/unforgettable-fire daily 0.75 2016-08-23 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470785508150-V37ZP51D248EGXQOAFRD/01_NG134-01.png UNFORGETTABLE FIRE https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470785508150-V37ZP51D248EGXQOAFRD/01_NG134-01.png UNFORGETTABLE FIRE https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466633600157-MQLTNZQ0Y0KDYCZBB9VA/01_NG134-01.png UNFORGETTABLE FIRE https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470785565876-BE6P80CH7QWVHF2MBOLR/32_dc052211b.png UNFORGETTABLE FIRE https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466633565192-GUMMHFLSAXHXEOY4LT1B/32_dc052211b.png UNFORGETTABLE FIRE https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470785583600-7LL0Z1OXEJWG3ZR33AQF/04_NG225-02.png UNFORGETTABLE FIRE https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470785598389-6URRGX1E16TQ6HW63SNA/20_GE34-03.png UNFORGETTABLE FIRE https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470785613668-BKMHN3UTNNDZT1TU398X/18_NG436-04.png UNFORGETTABLE FIRE https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470785640255-8LEXRIB2C971AKT0RB7T/08_GE13-03.png UNFORGETTABLE FIRE https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470785653480-A416ROTZGPD5O95K6XOG/19_NG144.png UNFORGETTABLE FIRE https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470785764050-GXQT4RQ2KGZGMR07YLAG/25_SG-0174.png UNFORGETTABLE FIRE https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470785776840-NA4SGZ4QJZYA3JMVRK2B/17_NG103-01.png UNFORGETTABLE FIRE https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470785789179-KWF6APOP0A8DGZZ6M4IP/24_NG004-01.png UNFORGETTABLE FIRE https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470785814912-S8VDYJOYQ3P06Q1S5AK7/33_page-0002b.png UNFORGETTABLE FIRE https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470785828758-3ZBWIO0LRHL6DP9OS0T9/03_NG052-01.png UNFORGETTABLE FIRE https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470785840716-8OT30HGWHC126VWJ6RJM/22_NG299-06.png UNFORGETTABLE FIRE https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470785864767-807TYW4QU0DL40HDOFN8/29_NG163.png UNFORGETTABLE FIRE https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470785877295-8WHA6B1FHQQGNJSW5IBR/26_SG-0183.png UNFORGETTABLE FIRE https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470785894002-TEKYOTYL9HQZ42S4VDPS/06_GE14-06.png UNFORGETTABLE FIRE https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470785909177-2W280HMMH95ZWLPW243T/27_SG-0176.png UNFORGETTABLE FIRE https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470785922078-TLF3330C996K1HMGOU10/28_GE15-44b.png UNFORGETTABLE FIRE https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470785955890-50JY65CTR5J4L8CSCC9Q/10_SG-0184.png UNFORGETTABLE FIRE https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470785969585-6RR1UD15G9TPX5XPW8UB/11_SG-0173.png UNFORGETTABLE FIRE https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470785982829-9QOLH60JST96XLAE2J2V/05_GE25-16.png UNFORGETTABLE FIRE https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470785994897-DWEA3ZEOVY8I1MW9Z15M/30_NG406-02.png UNFORGETTABLE FIRE https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470786005389-3M4USYXNQ0E6GA0HEIZK/23_NG362-02.png UNFORGETTABLE FIRE https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470786016294-WYCU8KCFXD93SHQ4QL2R/21_NG356-01.png UNFORGETTABLE FIRE https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470786029420-UMQ34TWKDHO3LSGRXY44/16_GE40-24.png UNFORGETTABLE FIRE https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470786041845-JJCGU8FXAOK3CRY6FX3Z/13_GE13-05c.png UNFORGETTABLE FIRE https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470786053521-MVL4WNO31ESW8EHDSAV5/14_GE09-50.png UNFORGETTABLE FIRE https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470786066535-H288O00P14S7DU6OID1J/15_NG358-05.png UNFORGETTABLE FIRE https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470786102550-KQWR4ALSHIE3W86DTXO9/09_NG214-02.png UNFORGETTABLE FIRE https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470786115366-XZBPCLOSOZ84CYY6N9Y1/07_NG460-14b.png UNFORGETTABLE FIRE http://www.farallonfilms.com/orderlinked-off-site daily 0.75 2016-09-15 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1467224339738-VFS8RF1VZR87QUQQ61AS/UNFINISHED+X.jpg ORDER/Linked off site - UNFINISHED BUSINESS DVD and Digital Download from Amazon.com   https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1467224339738-VFS8RF1VZR87QUQQ61AS/UNFINISHED+X.jpg ORDER/Linked off site - UNFINISHED BUSINESS DVD and Digital Download from Amazon.com   https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1467224371352-KPQE0XPKX8POG6BJ81BB/slide06.png ORDER/Linked off site - WHITE LIGHT / BLACK RAIN Purchase from HBO.com Stream or Purchase from Amazon Prime http://www.farallonfilms.com/orderinstitutions daily 0.75 2016-09-13 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1467225605167-UQABDHXQRP1MMQFHZ2U2/AT_13-4.png ORDER/INSTITUTIONS - Alone Together $125 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1467225605167-UQABDHXQRP1MMQFHZ2U2/AT_13-4.png ORDER/INSTITUTIONS - Alone Together $125 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1467225640758-6O704FN427JKBFK25BSV/SONS-kelvin.png ORDER/INSTITUTIONS - American Sons $125 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1467225760622-34MEQYCMCDWZMZOBYWG4/BTH.png ORDER/INSTITUTIONS - Black Tar Heroin: The Dark End of the Street $250 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1467225814641-MEJB77M370QT1AT677P6/chum+mey+3.jpg ORDER/INSTITUTIONS - The Conscience of Nhem En $125 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1467225858944-GJFB12XUABH6ULMLO9W6/Days-publicity-1.png ORDER/INSTITUTIONS - Days of Waiting $125 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1467225891376-OZOEURC9FB7C6MPJIM6J/HT_1-6.png ORDER/INSTITUTIONS - Hunting Tigers $125 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1467225971208-ZUUW44D78PGGA8Z166U4/LG_8-6.png ORDER/INSTITUTIONS - Life Was Good $125 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1467226005098-ISB2CM42T06V4BTBXHCN/gen.jpg ORDER/INSTITUTIONS - The Mushroom Club $175 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1467226038945-CBQ3GJO1SI9CF6398J8Z/Josh-1.png ORDER/INSTITUTIONS - Rehab $250 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1467226066802-EEHZS5E9T669SYYV1REU/TP_1-8.png ORDER/INSTITUTIONS - Troubled Paradise $175 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1467226134836-R8XE9LNYIM1PBAWICWN3/UBgirlpledge+copy.jpg ORDER/INSTITUTIONS - Unfinished Business $175 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1467226274896-CSQMQYZE9B85TBNRK147/shigeko_sasamori.jpg ORDER/INSTITUTIONS - White Light / Black Rain $250 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1472671602781-68W6XME13N75O6I8BS8O/GIap-Poster_v7a-3_FINAL_noTEXT-1+copy.png ORDER/INSTITUTIONS - Giap's Last Day at the Ironing Board Factory $125 http://www.farallonfilms.com/giaps-last-day-at-the-ironing-board-factory-1 daily 0.75 2016-10-18 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971475345-0IOCQAZ9EK9RGTU93MZP/tony-portrait.png Giap's Last Day at the Ironing Board Factory https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971475345-0IOCQAZ9EK9RGTU93MZP/tony-portrait.png Giap's Last Day at the Ironing Board Factory https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470765866023-JYY6KJM7L1TSIUHTRSE9/tony-portrait.png Giap's Last Day at the Ironing Board Factory https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971499703-KLLVO5B4D1911DPH282M/Tony-with-trees.png Giap's Last Day at the Ironing Board Factory https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470263142003-1JZ9PUP3LWRHHQWGOWHD/Tony-with-trees.png Giap's Last Day at the Ironing Board Factory https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971524351-QU0M0XVAFNNO79FV47M4/GIap-Poster_v7a-3_FINAL_noTEXT-1+copy.png Giap's Last Day at the Ironing Board Factory https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470263325642-MNLWKW0VXXXTM53UURG0/GIap-Poster_v7a-3_FINAL_noTEXT-1+copy.png Giap's Last Day at the Ironing Board Factory https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971556948-4ZPLKR2EXUGG32GOGVGX/woman-and-boy-with-car-v2.png Giap's Last Day at the Ironing Board Factory https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470263136067-J31962X0JDEN0BWFBZD8/woman-and-boy-with-car-v2.png Giap's Last Day at the Ironing Board Factory https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971614345-2HPOK3PUEMHDV3Q9J4JJ/Two-women-in-yard-Oct-81.png Giap's Last Day at the Ironing Board Factory http://www.farallonfilms.com/mifune-press-kit-photos daily 0.75 2016-08-11 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470955394072-IX62JK7ILFVH1CCDNT7A/mifune+in+yukata.jpg Mifune: Press Kit Photos https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470955394072-IX62JK7ILFVH1CCDNT7A/mifune+in+yukata.jpg Mifune: Press Kit Photos https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470955516063-T7XV9YOI7UHEELW41U6I/mifune+ramen.jpg Mifune: Press Kit Photos https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470955562161-JDK6A9S2AHRDQ5RIV3HU/RASHOMON+mifune+1.jpg Mifune: Press Kit Photos https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470955616128-VH9ACZ407X1QPX30KTIM/RASHOMON+mifune+2.jpg Mifune: Press Kit Photos https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470955671548-WNE8UKIYZ79JB3VO2IFK/RASHOMON+mifune+3.jpg Mifune: Press Kit Photos https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470955741361-OK1LAQBVBKYDWZS7NNBV/RED+BEARD+kurosawa+%26+mifune.jpg Mifune: Press Kit Photos https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470955786504-7ZBRAWGX269C691DXTJS/RED+BEARD+mifune.jpg Mifune: Press Kit Photos https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470955818068-WLAAGKOLE3T0BL7SFH4O/SAMURAI+TRILOGY+kaoru+yachigusa+%26+mifune+.jpg Mifune: Press Kit Photos https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470955850517-XE7HIGSXV9CCJATP5CGU/SAMURAI+TRILOGY+koji+tsuruta+%26+mifune+.jpg Mifune: Press Kit Photos https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470955898937-7ZJ82ZXJEYEQ8CJK0FRT/SAMURAI+TRILOGY.jpg Mifune: Press Kit Photos https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470955936170-SX4NM0ZJYKDOJ1UGX5JO/SANJURO+mifune.jpg Mifune: Press Kit Photos https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470955975466-TRYRUTI0IHFW54CFNXEX/SEVEN+SAMURAI+mifune+%26+kurosawa.jpg Mifune: Press Kit Photos https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470956025920-R3JY73UER30WIBI7LAZF/SEVEN+SAMURAI+mifune1.jpg Mifune: Press Kit Photos https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470956082081-PKILD4KNU0KB00Q46QPN/SEVEN+SAMURAI+mifune2.jpg Mifune: Press Kit Photos https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470956136001-7E4NJ7GQT83CEOUHD5SO/YOJIMBO+mifune+%26+kurosawa+2.jpg Mifune: Press Kit Photos https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470956203655-6VYOQ95VJ81Y3WBAKTWY/YOJIMBO+mifune+%26+kurosawa.jpg Mifune: Press Kit Photos https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470956164448-16JPMU4XSNY46UQE7AU4/YOJIMBO+mifune+%26+kurosawa+3.jpg Mifune: Press Kit Photos https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470956309962-3UUISR4JTSGATLU5D9FV/YOJIMBO+mifune+1.jpg Mifune: Press Kit Photos https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470956377827-ZNR5WSDBZZA3CCO23UYS/YOJIMBO+mifune+2.jpg Mifune: Press Kit Photos https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470955173229-NZSAKZNUIWCYA8YBMSSE/kyoko+kagawa+%26+mifune+1954.jpg Mifune: Press Kit Photos http://www.farallonfilms.com/youtubelinks daily 0.75 2016-08-17 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1471460682258-TBMQTHEU3RGXQEM1W9X3/ALL-WE-COULD-CARRY-X.png Youtube/Links - All We Could Carry https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1471460682258-TBMQTHEU3RGXQEM1W9X3/ALL-WE-COULD-CARRY-X.png Youtube/Links - All We Could Carry https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1471460702445-K5ZYLPGPFFMXZK20JM4V/NELS-CLINE_2.png Youtube/Links - Approximately Nels Cline https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1471460725358-CJAQ9UQD3IE2C0214PH4/Life-Was-Good---8.png Youtube/Links - Life Was Good https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1471460749822-C635TR9AWEKSSRRQQ1M3/L-R-Anitra%2C-Tiffani%2C-Brannon%2C-Josh.png Youtube/Links - Rehab https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1471460769360-FGD7QKH8Z5RUUKQ3FOKW/Ken-and-Minako.png Youtube/Links - Living on Tokyo Time https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1471460798863-KKTIQLYBR5ODEWFQLU4W/LISA_10-2.png Youtube/Links - The Lisa Theory https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1471460830510-TCSULWK10NTGTBCAV8PR/HUNTING.png Youtube/Links - Hunting Tigers https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1471460878998-NR4SN8KN7DSR9MXNAE5V/THE-FAIR_2.png Youtube/Links - The Fair https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1471460894848-YNJ2YJVX64JPF7EA88AH/TP_1-8.png Youtube/Links - Troubled Paradise https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1471460909768-UDL3JX2ALPA8EZF5JJT3/SURV_1-4.png Youtube/Links - Survivors https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1471460922166-G99XLUGW5Z4QOPGMBPV2/Alice-and-Oreo2.png Youtube/Links - Black Tar Heroin: The Dark End of the Street http://www.farallonfilms.com/crushed daily 0.75 2016-10-20 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473973282061-FU7V66A3XU5WXC5P6GH2/Taco_bell_front.png Crushed - Crushed: The Oxycontin Interviews In 1996, Purdue Pharma launched Oxycontin, offering “smooth and sustained pain control all day.” Doctors, hospitals and patients immediately embraced the semi-synthetic opioid, making it the best-selling prescription painkiller in America, bringing in $31 billion in revenue for Purdue, and leading to widespread abuse and the opiate/heroin addiction epidemic that is now plaguing the country. Crushed: The Oxycontin Interviews presents five young people – Jordan, Liz, Clayton, Rachel and Richard -- whose lives have been forever changed by Oxycontin. Their stories detail the nightmare of the pain relief/addiction/recovery/relapse cycle; describing how they got addicted; the drug’s effect on their lives and the people around them; what they had to do to sustain their habits; and their struggle to get clean or die. It is a provocative and intimate portrait of how Oxycontin devastates lives. Produced by Tom Gorai and Steven Okazaki for Blackwood Entertainment Group & ShadowCatcher Entertainment, LLC 2010 / Documentary / 18 minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473973282061-FU7V66A3XU5WXC5P6GH2/Taco_bell_front.png Crushed - Crushed: The Oxycontin Interviews In 1996, Purdue Pharma launched Oxycontin, offering “smooth and sustained pain control all day.” Doctors, hospitals and patients immediately embraced the semi-synthetic opioid, making it the best-selling prescription painkiller in America, bringing in $31 billion in revenue for Purdue, and leading to widespread abuse and the opiate/heroin addiction epidemic that is now plaguing the country. Crushed: The Oxycontin Interviews presents five young people – Jordan, Liz, Clayton, Rachel and Richard -- whose lives have been forever changed by Oxycontin. Their stories detail the nightmare of the pain relief/addiction/recovery/relapse cycle; describing how they got addicted; the drug’s effect on their lives and the people around them; what they had to do to sustain their habits; and their struggle to get clean or die. It is a provocative and intimate portrait of how Oxycontin devastates lives. Produced by Tom Gorai and Steven Okazaki for Blackwood Entertainment Group & ShadowCatcher Entertainment, LLC 2010 / Documentary / 18 minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473973254966-6U4TEH2NLLI3MJ7RHRNO/Taco_bell_front.png Crushed https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971896429-VLH6NJECA4JNPRUXPLRP/rachel_crushed_4.png Crushed - Crushed: The Oxycontin Interviews In 1996, Purdue Pharma launched Oxycontin, offering “smooth and sustained pain control all day.” Doctors, hospitals and patients immediately embraced the semi-synthetic opioid, making it the best-selling prescription painkiller in America, bringing in $31 billion in revenue for Purdue, and leading to widespread abuse and the opiate/heroin addiction epidemic that is now plaguing the country. Crushed: The Oxycontin Interviews presents five young people – Jordan, Liz, Clayton, Rachel and Richard -- whose lives have been forever changed by Oxycontin. Their stories detail the nightmare of the pain relief/addiction/recovery/relapse cycle; describing how they got addicted; the drug’s effect on their lives and the people around them; what they had to do to sustain their habits; and their struggle to get clean or die. It is a provocative and intimate portrait of how Oxycontin devastates lives. Produced by Tom Gorai and Steven Okazaki for Blackwood Entertainment Group & ShadowCatcher Entertainment, LLC 2010 / Documentary / 18 minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473973306580-AVN5LGKIV5E6M14JJF97/richard_needle_spoon.png Crushed - Crushed: The Oxycontin Interviews In 1996, Purdue Pharma launched Oxycontin, offering “smooth and sustained pain control all day.” Doctors, hospitals and patients immediately embraced the semi-synthetic opioid, making it the best-selling prescription painkiller in America, bringing in $31 billion in revenue for Purdue, and leading to widespread abuse and the opiate/heroin addiction epidemic that is now plaguing the country. Crushed: The Oxycontin Interviews presents five young people – Jordan, Liz, Clayton, Rachel and Richard -- whose lives have been forever changed by Oxycontin. Their stories detail the nightmare of the pain relief/addiction/recovery/relapse cycle; describing how they got addicted; the drug’s effect on their lives and the people around them; what they had to do to sustain their habits; and their struggle to get clean or die. It is a provocative and intimate portrait of how Oxycontin devastates lives. Produced by Tom Gorai and Steven Okazaki for Blackwood Entertainment Group & ShadowCatcher Entertainment, LLC 2010 / Documentary / 18 minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971925561-CXOCLMCZJXNEP0LXHAIT/clayton_crushed.png Crushed - Crushed: The Oxycontin Interviews In 1996, Purdue Pharma launched Oxycontin, offering “smooth and sustained pain control all day.” Doctors, hospitals and patients immediately embraced the semi-synthetic opioid, making it the best-selling prescription painkiller in America, bringing in $31 billion in revenue for Purdue, and leading to widespread abuse and the opiate/heroin addiction epidemic that is now plaguing the country. Crushed: The Oxycontin Interviews presents five young people – Jordan, Liz, Clayton, Rachel and Richard -- whose lives have been forever changed by Oxycontin. Their stories detail the nightmare of the pain relief/addiction/recovery/relapse cycle; describing how they got addicted; the drug’s effect on their lives and the people around them; what they had to do to sustain their habits; and their struggle to get clean or die. It is a provocative and intimate portrait of how Oxycontin devastates lives. Produced by Tom Gorai and Steven Okazaki for Blackwood Entertainment Group & ShadowCatcher Entertainment, LLC 2010 / Documentary / 18 minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971909232-U5NU4F6GPM2LFNTZ5O6Z/ricahrd_needle.png Crushed - Crushed: The Oxycontin Interviews In 1996, Purdue Pharma launched Oxycontin, offering “smooth and sustained pain control all day.” Doctors, hospitals and patients immediately embraced the semi-synthetic opioid, making it the best-selling prescription painkiller in America, bringing in $31 billion in revenue for Purdue, and leading to widespread abuse and the opiate/heroin addiction epidemic that is now plaguing the country. Crushed: The Oxycontin Interviews presents five young people – Jordan, Liz, Clayton, Rachel and Richard -- whose lives have been forever changed by Oxycontin. Their stories detail the nightmare of the pain relief/addiction/recovery/relapse cycle; describing how they got addicted; the drug’s effect on their lives and the people around them; what they had to do to sustain their habits; and their struggle to get clean or die. It is a provocative and intimate portrait of how Oxycontin devastates lives. Produced by Tom Gorai and Steven Okazaki for Blackwood Entertainment Group & ShadowCatcher Entertainment, LLC 2010 / Documentary / 18 minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971882443-ST3V189486UFQC8IVHDX/richard_needle_spoon.png Crushed https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971959412-2VWU8FU73BP0M8YM600S/liz_crying_2.png Crushed - Crushed: The Oxycontin Interviews In 1996, Purdue Pharma launched Oxycontin, offering “smooth and sustained pain control all day.” Doctors, hospitals and patients immediately embraced the semi-synthetic opioid, making it the best-selling prescription painkiller in America, bringing in $31 billion in revenue for Purdue, and leading to widespread abuse and the opiate/heroin addiction epidemic that is now plaguing the country. Crushed: The Oxycontin Interviews presents five young people – Jordan, Liz, Clayton, Rachel and Richard -- whose lives have been forever changed by Oxycontin. Their stories detail the nightmare of the pain relief/addiction/recovery/relapse cycle; describing how they got addicted; the drug’s effect on their lives and the people around them; what they had to do to sustain their habits; and their struggle to get clean or die. It is a provocative and intimate portrait of how Oxycontin devastates lives. Produced by Tom Gorai and Steven Okazaki for Blackwood Entertainment Group & ShadowCatcher Entertainment, LLC 2010 / Documentary / 18 minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971974665-11J4KGZCN3DCH1434MRN/guy_2_crushed.png Crushed - Crushed: The Oxycontin Interviews In 1996, Purdue Pharma launched Oxycontin, offering “smooth and sustained pain control all day.” Doctors, hospitals and patients immediately embraced the semi-synthetic opioid, making it the best-selling prescription painkiller in America, bringing in $31 billion in revenue for Purdue, and leading to widespread abuse and the opiate/heroin addiction epidemic that is now plaguing the country. Crushed: The Oxycontin Interviews presents five young people – Jordan, Liz, Clayton, Rachel and Richard -- whose lives have been forever changed by Oxycontin. Their stories detail the nightmare of the pain relief/addiction/recovery/relapse cycle; describing how they got addicted; the drug’s effect on their lives and the people around them; what they had to do to sustain their habits; and their struggle to get clean or die. It is a provocative and intimate portrait of how Oxycontin devastates lives. Produced by Tom Gorai and Steven Okazaki for Blackwood Entertainment Group & ShadowCatcher Entertainment, LLC 2010 / Documentary / 18 minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473872738784-YPO3X6DPV250GPD1ZN79/richard_needle_spoon.png Crushed https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473806865342-U7PHD6JGFOA0IDP8C34O/ricahrd_needle.png Crushed https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473799634510-ZJGSX01SRIQD3QAUFCYF/richard_needle_mouth.png Crushed http://www.farallonfilms.com/new-gallery-1 daily 0.75 2024-08-10 https://static1.squarespace.com/static/5667345f2399a3eb464bf7e4/t/66b7609c5c003d2281855c8b/1723292882860/ Pix https://static1.squarespace.com/static/5667345f2399a3eb464bf7e4/66b75c76a2ca137495eba708/66b75c86c8180c34e9ec045f/1723292882860/ Pix https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1723293643360-5HSYOQJ1J8IWECV855IM/oak+2024+04.jpeg Pix https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1723293766080-IK585YU2HNOHXTAMBQDH/image-asset.jpeg Pix http://www.farallonfilms.com/new-cover-page daily 0.75 2016-08-08 http://www.farallonfilms.com/white-light-black-rain daily 0.75 2026-03-22 http://www.farallonfilms.com/all-we-could-carry-2 daily 0.75 2016-08-08 http://www.farallonfilms.com/the-conscience-of-nhem-en daily 0.75 2017-08-25 http://www.farallonfilms.com/the-mushroom-club-2 daily 0.75 2016-08-25 http://www.farallonfilms.com/rehab-1 daily 0.75 2016-08-08 http://www.farallonfilms.com/black-tar-heroin-the-dark-end-of-the-street-1 daily 0.75 2016-08-18 http://www.farallonfilms.com/life-was-good-2 daily 0.75 2016-06-21 http://www.farallonfilms.com/alone-together-2 daily 0.75 2017-08-31 http://www.farallonfilms.com/american-sons-2 daily 0.75 2016-06-21 http://www.farallonfilms.com/the-lisa-theory-2 daily 0.75 2016-08-18 http://www.farallonfilms.com/troubled-paradise-1 daily 0.75 2016-06-21 http://www.farallonfilms.com/days-of-waiting-2 daily 0.75 2016-08-08 http://www.farallonfilms.com/hunting-tigers-2 daily 0.75 2026-03-19 http://www.farallonfilms.com/unfinished-business-1 daily 0.75 2023-02-14 http://www.farallonfilms.com/living-on-tokyo-time-2 daily 0.75 2017-04-28 http://www.farallonfilms.com/survivors-2 daily 0.75 2016-06-29 http://www.farallonfilms.com/mifune-the-last-samurai-2 daily 0.75 2016-10-14 http://www.farallonfilms.com/giaps-last-day-at-the-ironing-board-factory daily 0.75 2016-08-08 http://www.farallonfilms.com/contact daily 0.75 2016-09-14 http://www.farallonfilms.com/crushed-1 daily 0.75 2016-09-15 http://www.farallonfilms.com/contactpage daily 0.75 2024-08-05 http://www.farallonfilms.com/new-cover-page-1-4 daily 0.75 2018-02-05 http://www.farallonfilms.com/news daily 0.75 2019-03-18 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1479330942476-DPB6YFX9QGYCTKRQKM5I/MIFUNE_COLOR_SMOKE_edited.png NEWS https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470960699471-8IBQKRITXH4FFEM0BTKP/image-asset.png NEWS https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470169424954-HSP6YV1ZGEL6WRF5CB4R/image-asset.png NEWS https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470169532140-DZD7P571G1D68LM96CAJ/image-asset.png NEWS https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466108577915-AF7L1D69ZKQHWH3LEQKY/image-asset.png NEWS https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1464595602506-DAK49ZQO022UYLT0Q2FW/Screen+Shot+2016-05-24+at+4.17.21+PM.png NEWS https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1464595979111-626T0BEQHLHBO8QHVAUL/image-asset.png NEWS https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466108163109-9LS3ZEZXDHP64DTLZTHE/stevenawards.png NEWS https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466108377770-YSIIGXJPJZHTJTSMRAX8/Screen+Shot+2016-05-24+at+4.17.51+PM.png NEWS https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466453499787-4SJWQ89Q56AVYL0KYK8C/image-asset.png NEWS http://www.farallonfilms.com/giap-film daily 0.75 2021-02-09 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1595450036323-227NQ85GNHHUC6FQL9X6/giap+crop3.jpg Giap's Last Day At The Ironing Board Factory https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971475345-0IOCQAZ9EK9RGTU93MZP/tony-portrait.png Giap's Last Day At The Ironing Board Factory https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971499703-KLLVO5B4D1911DPH282M/Tony-with-trees.png Giap's Last Day At The Ironing Board Factory https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971524351-QU0M0XVAFNNO79FV47M4/GIap-Poster_v7a-3_FINAL_noTEXT-1+copy.png Giap's Last Day At The Ironing Board Factory https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971556948-4ZPLKR2EXUGG32GOGVGX/woman-and-boy-with-car-v2.png Giap's Last Day At The Ironing Board Factory https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971614345-2HPOK3PUEMHDV3Q9J4JJ/Two-women-in-yard-Oct-81.png Giap's Last Day At The Ironing Board Factory https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1503688634588-A9ZM0TXHCG0F9DPW5GD0/GIap+Poster_v8c-FINAL+%281%29.jpg Giap's Last Day At The Ironing Board Factory http://www.farallonfilms.com/biography daily 0.75 2026-03-26 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466054987268-065KV2O969D4ZHD432US/steven_okazaki_photo_by_hidemi_shinoda.png Steven Okazaki https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466054985213-BE3G696OPSXJL19KL67D/Steven-filming.png Steven Okazaki https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466105831041-2BCEC3GMISJTDFLE41OE/Stevens-Oscar.png Steven Okazaki https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466055665252-CQAZ6M3BYUMDLKDIPX48/SO-LOTT_8.png Steven Okazaki https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466054982808-P7ZTRXVF0YP0FASLW14V/so-%26-sara-at-emmys.png Steven Okazaki https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466054978148-LK3JRHP4RZRWL09S3Y3R/SO-82_3.png Steven Okazaki https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466055669805-70B0YAIJBO164KR8EMUD/SO-89_1.png Steven Okazaki https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466054988206-CLM7P0O73JVINWX9XJI6/Steven-at-34.png Steven Okazaki https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466055664906-0OZEWPA32UYCS41U32TV/stevenokazaki.png Steven Okazaki https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1502990858832-PIZBJ017SYNBJ9E0OE4V/Steven+600.jpg Steven Okazaki https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1502991195525-CRTITXRIL8X3WRUR6PK4/unnamed.jpg Steven Okazaki https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1471560542695-8F88SEQE28MQ3Y76JBE1/SO-90_1.png Steven Okazaki http://www.farallonfilms.com/heroin-review daily 0.75 2016-08-18 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1465943353807-5JLYGQHCN7GNM9XAIDZA/image-asset.png Heroin: Review https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1465944902597-0P2G254183SJHE2CPU1H/image-asset.png Heroin: Review https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1465948002016-IWNCQUASH7067XCNPWLK/image-asset.png Heroin: Review http://www.farallonfilms.com/white-light-black-rain-learn-more daily 0.75 2016-08-23 http://www.farallonfilms.com/all-we-could-carry-interview daily 0.75 2016-08-08 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466464232226-3NHL5GS9NZD5LU0KJFBM/image-asset.png All We Could Carry/ Interview Q: What is ALL WE COULD CARRY about? A: It's the story of what happened to the Japanese Americans during World War II from the point of view of twelve people who were imprisoned at the Heart Mountain Relocation Center. Q: Twenty years ago, you made UNFINISHED BUSINESS and DAYS OF WAITING, both of which looked at the camp experience. What made you want to return to the subject? A: Several reasons. I loved making those films. The people involved were terrific, the stories were really strong, and the response to the films was great. But, as a filmmaker, it's a constant battle not to get stuck in the brackets that people put you in. After those films, I wanted to challenge myself, working in different styles and genres, not just making historical films or only working with Asian American themes. I made a conscious decision to stop doing historical projects. Those unbearable Ken Burns documentaries ruined the genre for me. I stayed away for fifteen years, then HBO nudged me back to it when they asked me to produce a documentary about Hiroshima and Nagasaki, which resulted in WHITE LIGHT/BLACK RAIN. That was such a rewarding experience, both creatively and personally, that I wanted to do more. Another reason is that my father, along with his parents and sisters, was at Heart Mountain. He died about ten years ago having never ever talked about it. I hoped making the film would give me a better understanding of who he was through the stories of other Nisei (second generation Japanese Americans) who were there. And it did. I learned a lot. I also took on it because of my admiration for the people involved. The Heart Mountain Wyoming Foundation, which raised the funds for the film and built the Interpretive Learning Center, is made up of Nisei, Sansei, Wyoming folk, historians, foundation people and politicians, all working together to preserve the history and tell the Heart Mountain story. They're a great group of people with rare commitment and determination, and I wanted to be around that. Q: A lot of Japanese Americans have strong opinions about the camps and how the story should be told. Were you concerned about pressure over what to include or exclude? A: Not really. Yes, there are loud voices in the community that drown out the softer ones, but I want to hear whatever anyone has to say. From that I follow-up on what strikes me, then start filming and see what happens. I don't make message films. My criterion is: Is it a good story told in compelling way that will connect to the audience? If it's not, the viewer won't care. This film is a super condensed history, so I had to leave a lot out. I'd like to do a longer feature-length version because we're losing that generation fast. There is so much more to the story, fascinating stuff that is rarely talked about. Q: Were there any surprises for you? A: I was surprised how openly several of the interviewees talked about racism. From my experience, Japanese Americans usually aren't comfortable identifying themselves as victims of racism. Many feel that acknowledging it lessens them and makes them sound self-pitying Most talk about it in a roundabout way that's hard to decipher. But to come out and say, "It was racism," that's not typical. I don't know whether the people I interviewed are more outspoken than most Japanese Americans or if things have changed that much in thirty years, but I never heard Nisei talk so openly. One wonderful surprise is how much of the visual documentation of life in the camp was done by Japanese Americans. Some of the camps didn't allow cameras inside. At Manzanar, Toyo Miyatake snuck a lens into the camp and made his own camera out of wood and plumbing supplies. But it wasn't as restrictive at Heart Mountain. Professional and amateur photographers ordered equipment and film stock from mail order catalogues and shot photos and filmed openly. ALL WE COULD CARRY features a wonderful sequence of color photos of a bon odori and a sumo competition shot by Bill Manbo. Also, there's 8mm home movie footage by two amateur filmmakers. It gives you a different sense of the camps than the government footage. Of course, people tend to pose, smile and wear their best clothes in the photos so they're not quite snapshots of everyday life. Q: You obviously took the film very personally. A: I take the subject personally. I know a lot of JAs are tired of hearing about the camps. Some are embarrassed by it. I used to be, depending on how people brought it up. But, over the years, I've come to see how much the camp experience shapes Japanese American life, for all of us. I'm not saying it's a good thing. It's tragic how big it is. We lost something, a vital piece of ourselves, because of the camps. I have a lot of anger about it. I think a lot of people who hear the story for the first time want the ending to be different, they feel the Japanese Americans were too passive. I don't think they were. Immediately after Pearl Harbor, the government picked up anyone who might be a leader — schoolteachers, priests, judo instructors, businessmen — separating them and putting them in special prisons. A few people rebelled — Gordon Hirabayashi, Min Yasui and Fred Korematsu — and they were arrested and thrown in jail. If you dissented or resisted, you were arrested. Then they let the young adults leave the camps, to join the Army or take menial jobs in the Midwest, and only the old people and the children were left. What were they going to do? The government broke the community and it has struggled ever since. The camp experience is huge, not only for the people who went through it, but for their children, grandchildren and on and on. Any Japanese American whose parents or grandparents were in the camps who says it's not part of who they are is fooling him or herself. It completely redirected and perverted Japanese American life. Imagine what California would be like now if the Japanese Americans hadn't been stripped of their rights, property and businesses 70 years ago. We'd be a major factor in the economic, social and cultural life of the state. That's why I wanted to get involved with the Heart Mountain project, because it's Japanese Americans taking responsibility, this time with lots of great support, to tell the story of what happened to our community because of racism. Q: The film ends with one of the interviewees saying "You just keep on going." Why did you choose those last words? A: I wanted the film to reflect what I call Nisei style. When they talk about camp, they usually end their stories with, "Well, that's the way it was" or "It couldn't be helped" or "It was hard, but it could've been worse." It's very Nisei to underplay the drama, to be humble. I wanted that feel. I don't know if people will get it or not. But I like the understated, conversational feel of the film's last words. It's two sisters, Yaeko Abe and Jene Deguchi. Jene says, "Well, we hope that it never happens again" like a mother reminding her children to be good. Then Yaeko says, "You can't be worrying about what you lost always and just keep on going." Then Jene adds, "I agree" and Yaeko says, "Yeah." It's very Japanese American. http://www.farallonfilms.com/youtube daily 0.75 2016-08-17 http://www.farallonfilms.com/in-progress-herenot-here daily 0.75 2017-08-24 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1493927047780-8FK1HCNNP2MR31GUB9S1/Tony-wide-1.png In the works... https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1493926890616-SWAGHGU4ZUQD7L0HNDZO/SamnangandChyun.png In the works... https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1493927496035-3BS1JPHINCR7SQK0MJA1/Minh.png In the works... https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1493927532838-LFDT4YZNYS7HSYSLZAFI/Ivy.png In the works... https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1493927576920-ME0DT16FBJATT7K8CPTK/Gurinder.png In the works... https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1493927615903-F1A3F9AU26CO5X4KZA5P/Eiko.png In the works... http://www.farallonfilms.com/crew-2 daily 0.75 2024-06-19 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1503030681179-WQRAZOMGMBAFRIK6Y0Q6/Film_2w_SevenSamurai_original.jpg CREW https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1503944851248-OTB7M2B0I78WGTKQQ4NL/nogami%2B%26%2Bcrew.jpg CREW https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1503944941702-BMRQ8ITCOG8780MFZYBN/crew+%26+band+1.JPG CREW https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1503084221756-60WQ4N8VI96S0424DWSZ/filming+shimohira.jpg CREW https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1572300327379-WU3KGVQ8BMC5BP3ONV72/steven+%26+zand.jpg CREW https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1503939248395-6LUYLY10HM3XVI6H0E10/SO-LOTT_2a-copy_2.png CREW https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1572299897408-5SHVFX17EJJIG9GJMZ42/tokyo21.jpg CREW https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1503941653713-WOO01YTRVQ557AIWX1Z1/SO-85_1.png CREW http://www.farallonfilms.com/pix-1 daily 0.75 2025-11-12 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1502486859864-Q9XMYULQ11UW6YU3LCBN/IMG_2124.jpg Pix https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1502487500977-8O4ACS7SEHDSCHERRMLB/image-asset.jpeg Pix Sept 2016 Driving to Albuquerque, NM, after the Telluride Film Festival. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/8580e97f-6417-428e-ab2e-1e091e3fe5f1/IMG_0331.jpeg Pix - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1513200317374-VEK50MJ9ZEUTCA3IGXRK/IMG_0739+%281%29.jpg Pix https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1513201056094-9H0KK1YXF3C38LQK8RAZ/IMG_0868.jpg Pix https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1502749607706-S91PO44BFE7C22RVNEPC/IMG_1733.jpg Pix https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1503080289847-C8AYETGMQVA1GGCLGY27/DSC07820.jpg Pix https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1503361294353-I4PWDC0U0GNCOVDD4LO9/uni.jpg Pix https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1503682381305-SINE3YH98SJJSTZPIK4B/Eiga_fan.jpg Pix Kyoko Kagawa movie magazine covers from the 1950s https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1503682791838-67T126WXU3JZSQG9UB0W/Hanatsubaki.jpg Pix https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1503682852241-BJWJP8EPU5EKMBHTT2KR/Eiga_joho.jpg Pix https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1503032551438-R45I0YEHAAXC7IL2IJR4/Mischa+06.jpg Pix https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1503034742945-7ET37SVNG8BIA7DZ2T22/Pocketz+04.jpg Pix https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1503034769059-CJI3LXZP2OAWOO9O0NSR/Bobby+01.jpg Pix https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1503475493063-OE8BJ20WDU57FP5SRWFE/Pocketz+%26+Clint+01.jpg Pix https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1513331419287-VYGLJAH9IWVAYWXVY7N3/sff2007a.jpg Pix http://www.farallonfilms.com/top-ten daily 0.75 2024-10-11 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1544580595540-9U6IB9O1RCDZMESORHCC/EarlySummer7.jpg Top TEN - Top Ten Favorite Films Kuniko Miyake and Setsuko Hara in Early Summer (1951). https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1631037334674-DDTMZPK06QFKOKQXS7NU/Buster-Keaton-in-The-Gene-018.jpg Top TEN Buster Keaton in Sherlock Jr. (1924). https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/3701b2f8-47bb-4e9e-a788-9823165e9044/Vertiig.jpg Top TEN - Make it stand out Kim Novak in Vertigo (1958). https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/ab60b375-6b5e-4e6c-aa22-4a4c092ca6ce/el.jpg Top TEN - Make it stand out Delia Garcés and Arturo de Córdova in El (1955). https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/b8fd7989-157f-4395-b1b8-bbe5b735c738/852580-69914-zqkjvhelvv-1506885746.jpg Top TEN - Make it stand out Maggie Cheung and Tony Leung in Wong Kar-Wai’s In the Mood for Love (2000). https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/4256c8ea-8071-4d71-8e16-45e741efde88/KIBHZWGVVUI6LKMQMH5DBMPXNE.jpg Top TEN - Make it stand out From Isao Takahata ONLY YESTERDAY (1991). https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1631040066946-AEETXJM2HVT1OMERAG8F/64945397.cms.jpeg Top TEN - Make it stand out Subir Bannerjee as Apu in Pather Panchali (1958). http://www.farallonfilms.com/news-1 daily 0.75 2025-11-12 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/0891e89b-e67c-44c7-a2d2-0a134cd143d5/DDPosterRays_27x40_WallyColorCard_2025-09-10.jpg News - Diamond Diplomacy Premiere Illustration by Yoko Komura https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470960699471-8IBQKRITXH4FFEM0BTKP/image-asset.png News https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/d859f8ec-4f2f-4655-96a8-e7bc0a98b41f/912MAynKlYL._AC_UY436_FMwebp_QL65_-1.webp News https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1572291897963-C65IH8NJEISKRFUGXMNI/Trilogy.jpg News https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470169424954-HSP6YV1ZGEL6WRF5CB4R/image-asset.png News https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470169532140-DZD7P571G1D68LM96CAJ/image-asset.png News https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466108577915-AF7L1D69ZKQHWH3LEQKY/image-asset.png News https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1464595602506-DAK49ZQO022UYLT0Q2FW/Screen+Shot+2016-05-24+at+4.17.21+PM.png News https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1464595979111-626T0BEQHLHBO8QHVAUL/image-asset.png News https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466108163109-9LS3ZEZXDHP64DTLZTHE/stevenawards.png News https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466108377770-YSIIGXJPJZHTJTSMRAX8/Screen+Shot+2016-05-24+at+4.17.51+PM.png News https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466453499787-4SJWQ89Q56AVYL0KYK8C/image-asset.png News http://www.farallonfilms.com/filmography daily 0.75 2025-05-24 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1571861886126-VF5CVOC3OVVCGX0BC2HH/TP+two+hula+.jpg Filmography https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1572297731914-P2KGJ9EE3EZGOK7ENRSK/LISA+magic.jpg Filmography Lisanne Sklyer and Ramon Abad in THE LISA THEORY http://www.farallonfilms.com/watch daily 0.75 2025-11-12 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1575498872483-1CBL6Y4CWK7HK9HPWF7Y/IMG_1148.jpg WATCH - avoid the crowds stream these films for FREE http://www.farallonfilms.com/a-line-becomes-a-circle daily 0.75 2025-10-13 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1718054887834-A5Q7EM76VSLGNAISSEMJ/TONY%2Bwide.jpg 50 YEARS https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/8bd04683-2bf4-462f-813c-58ea5c4cc76e/tokyo2.jpg 50 YEARS - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/531b71b3-ff8c-4e40-91c1-b0ae275f8786/tokyo2.jpg 50 YEARS - Make it stand out Whatever it is, the way you tell your story online can make all the difference. http://www.farallonfilms.com/news-copy daily 0.75 2025-09-30 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/0891e89b-e67c-44c7-a2d2-0a134cd143d5/DDPosterRays_27x40_WallyColorCard_2025-09-10.jpg News (Copy) - Diamond Diplomacy Premiere Illustration by Yoko Komura https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470960699471-8IBQKRITXH4FFEM0BTKP/image-asset.png News (Copy) https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/d859f8ec-4f2f-4655-96a8-e7bc0a98b41f/912MAynKlYL._AC_UY436_FMwebp_QL65_-1.webp News (Copy) https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1572291897963-C65IH8NJEISKRFUGXMNI/Trilogy.jpg News (Copy) https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470169424954-HSP6YV1ZGEL6WRF5CB4R/image-asset.png News (Copy) https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470169532140-DZD7P571G1D68LM96CAJ/image-asset.png News (Copy) https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466108577915-AF7L1D69ZKQHWH3LEQKY/image-asset.png News (Copy) https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1464595602506-DAK49ZQO022UYLT0Q2FW/Screen+Shot+2016-05-24+at+4.17.21+PM.png News (Copy) https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1464595979111-626T0BEQHLHBO8QHVAUL/image-asset.png News (Copy) https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466108163109-9LS3ZEZXDHP64DTLZTHE/stevenawards.png News (Copy) https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466108377770-YSIIGXJPJZHTJTSMRAX8/Screen+Shot+2016-05-24+at+4.17.51+PM.png News (Copy) https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466453499787-4SJWQ89Q56AVYL0KYK8C/image-asset.png News (Copy) http://www.farallonfilms.com/approximately-nels-cline-bunny-test daily 0.75 2025-11-12 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/c4e353a0-0f9a-44bf-9da3-446de8cb08e0/NC+GUITAR.jpg Approximately Nels Cline (BUNNY TEST) https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1595373313798-HIX5VSJGW56B32Q8UIGW/NC+GUITAR+2.jpg Approximately Nels Cline (BUNNY TEST) https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1595373388158-82S832XU20874BD1YFCS/NC+YELL.jpg Approximately Nels Cline (BUNNY TEST) https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1595373396626-LX3RRSR367SLGHG5ICWK/YH+HAND.jpg Approximately Nels Cline (BUNNY TEST) https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1595373417251-ZYLGKIXGKU4Q1XU2C2IL/R+MILES+5.jpg Approximately Nels Cline (BUNNY TEST) https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1595373429311-6ZTYGIMRDOMI0M3UL8IQ/DH+BASS%5B1%5D.jpg Approximately Nels Cline (BUNNY TEST) https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1595373442468-WRU8K2PAGVDSP5ZCFAMD/CK+CU+2.jpg Approximately Nels Cline (BUNNY TEST) https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1595373476685-1A16DHATJSRUZYNLOPBR/cline-2191.jpg Approximately Nels Cline (BUNNY TEST) https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1595374007867-N9Z4EZQLBMQTPSAMWSEB/YH+1.jpg Approximately Nels Cline (BUNNY TEST) https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1503957442295-6N7G8QS3GKNJ6KX5DZGW/NelsCline-Poster_v8-lo-res+%281%29.jpg Approximately Nels Cline (BUNNY TEST) http://www.farallonfilms.com/approximately-nels-cline-bunny-test-copy daily 0.75 2025-11-12 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/c4e353a0-0f9a-44bf-9da3-446de8cb08e0/NC+GUITAR.jpg Approximately (BUNNY VIDEO PAGE) http://www.farallonfilms.com/news-bunny-trailer-test daily 0.75 2025-11-12 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/c95bed99-4d70-4112-96ce-7eba984c020e/Screenshot+2025-11-12+at+11.34.16%E2%80%AFAM.jpg News (BUNNY TRAILER TEST) - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1ee55481-c518-46d7-ad65-2ec31ed835ea/912MAynKlYL._AC_UY436_FMwebp_QL65_-1.webp News (BUNNY TRAILER TEST) https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1572291897963-C65IH8NJEISKRFUGXMNI/Trilogy.jpg News (BUNNY TRAILER TEST) https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470169424954-HSP6YV1ZGEL6WRF5CB4R/image-asset.png News (BUNNY TRAILER TEST) https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1470169532140-DZD7P571G1D68LM96CAJ/image-asset.png News (BUNNY TRAILER TEST) https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466108577915-AF7L1D69ZKQHWH3LEQKY/image-asset.png News (BUNNY TRAILER TEST) https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1464595602506-DAK49ZQO022UYLT0Q2FW/Screen+Shot+2016-05-24+at+4.17.21+PM.png News (BUNNY TRAILER TEST) https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1464595979111-626T0BEQHLHBO8QHVAUL/image-asset.png News (BUNNY TRAILER TEST) https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466108163109-9LS3ZEZXDHP64DTLZTHE/stevenawards.png News (BUNNY TRAILER TEST) https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466108377770-YSIIGXJPJZHTJTSMRAX8/Screen+Shot+2016-05-24+at+4.17.51+PM.png News (BUNNY TRAILER TEST) https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1466453499787-4SJWQ89Q56AVYL0KYK8C/image-asset.png News (BUNNY TRAILER TEST) http://www.farallonfilms.com/crushed-the-oxycontin-bunny-test daily 0.75 2025-11-12 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1647896472029-90YG5EXMCLW9H9FICG4W/pill_hand_rough.jpg Crushed: The Oxycontin (BUNNY TEST) https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473973282061-FU7V66A3XU5WXC5P6GH2/Taco_bell_front.png Crushed: The Oxycontin (BUNNY TEST) - Crushed: The Oxycontin Interviews In 1996, Purdue Pharma launched Oxycontin, offering “smooth and sustained pain control all day.” Doctors, hospitals and patients immediately embraced the semi-synthetic opioid, making it the best-selling prescription painkiller in America, bringing in $31 billion in revenue for Purdue, and leading to widespread abuse and the opiate/heroin addiction epidemic that is now plaguing the country. Crushed: The Oxycontin Interviews presents five young people – Jordan, Liz, Clayton, Rachel and Richard -- whose lives have been forever changed by Oxycontin. Their stories detail the nightmare of the pain relief/addiction/recovery/relapse cycle; describing how they got addicted; the drug’s effect on their lives and the people around them; what they had to do to sustain their habits; and their struggle to get clean or die. It is a provocative and intimate portrait of how Oxycontin devastates lives. Produced by Tom Gorai and Steven Okazaki for Blackwood Entertainment Group & ShadowCatcher Entertainment, LLC 2010 / Documentary / 18 minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971896429-VLH6NJECA4JNPRUXPLRP/rachel_crushed_4.png Crushed: The Oxycontin (BUNNY TEST) - Crushed: The Oxycontin Interviews In 1996, Purdue Pharma launched Oxycontin, offering “smooth and sustained pain control all day.” Doctors, hospitals and patients immediately embraced the semi-synthetic opioid, making it the best-selling prescription painkiller in America, bringing in $31 billion in revenue for Purdue, and leading to widespread abuse and the opiate/heroin addiction epidemic that is now plaguing the country. Crushed: The Oxycontin Interviews presents five young people – Jordan, Liz, Clayton, Rachel and Richard -- whose lives have been forever changed by Oxycontin. Their stories detail the nightmare of the pain relief/addiction/recovery/relapse cycle; describing how they got addicted; the drug’s effect on their lives and the people around them; what they had to do to sustain their habits; and their struggle to get clean or die. It is a provocative and intimate portrait of how Oxycontin devastates lives. Produced by Tom Gorai and Steven Okazaki for Blackwood Entertainment Group & ShadowCatcher Entertainment, LLC 2010 / Documentary / 18 minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473973306580-AVN5LGKIV5E6M14JJF97/richard_needle_spoon.png Crushed: The Oxycontin (BUNNY TEST) - Crushed: The Oxycontin Interviews In 1996, Purdue Pharma launched Oxycontin, offering “smooth and sustained pain control all day.” Doctors, hospitals and patients immediately embraced the semi-synthetic opioid, making it the best-selling prescription painkiller in America, bringing in $31 billion in revenue for Purdue, and leading to widespread abuse and the opiate/heroin addiction epidemic that is now plaguing the country. Crushed: The Oxycontin Interviews presents five young people – Jordan, Liz, Clayton, Rachel and Richard -- whose lives have been forever changed by Oxycontin. Their stories detail the nightmare of the pain relief/addiction/recovery/relapse cycle; describing how they got addicted; the drug’s effect on their lives and the people around them; what they had to do to sustain their habits; and their struggle to get clean or die. It is a provocative and intimate portrait of how Oxycontin devastates lives. Produced by Tom Gorai and Steven Okazaki for Blackwood Entertainment Group & ShadowCatcher Entertainment, LLC 2010 / Documentary / 18 minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971925561-CXOCLMCZJXNEP0LXHAIT/clayton_crushed.png Crushed: The Oxycontin (BUNNY TEST) - Crushed: The Oxycontin Interviews In 1996, Purdue Pharma launched Oxycontin, offering “smooth and sustained pain control all day.” Doctors, hospitals and patients immediately embraced the semi-synthetic opioid, making it the best-selling prescription painkiller in America, bringing in $31 billion in revenue for Purdue, and leading to widespread abuse and the opiate/heroin addiction epidemic that is now plaguing the country. Crushed: The Oxycontin Interviews presents five young people – Jordan, Liz, Clayton, Rachel and Richard -- whose lives have been forever changed by Oxycontin. Their stories detail the nightmare of the pain relief/addiction/recovery/relapse cycle; describing how they got addicted; the drug’s effect on their lives and the people around them; what they had to do to sustain their habits; and their struggle to get clean or die. It is a provocative and intimate portrait of how Oxycontin devastates lives. Produced by Tom Gorai and Steven Okazaki for Blackwood Entertainment Group & ShadowCatcher Entertainment, LLC 2010 / Documentary / 18 minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971909232-U5NU4F6GPM2LFNTZ5O6Z/ricahrd_needle.png Crushed: The Oxycontin (BUNNY TEST) - Crushed: The Oxycontin Interviews In 1996, Purdue Pharma launched Oxycontin, offering “smooth and sustained pain control all day.” Doctors, hospitals and patients immediately embraced the semi-synthetic opioid, making it the best-selling prescription painkiller in America, bringing in $31 billion in revenue for Purdue, and leading to widespread abuse and the opiate/heroin addiction epidemic that is now plaguing the country. Crushed: The Oxycontin Interviews presents five young people – Jordan, Liz, Clayton, Rachel and Richard -- whose lives have been forever changed by Oxycontin. Their stories detail the nightmare of the pain relief/addiction/recovery/relapse cycle; describing how they got addicted; the drug’s effect on their lives and the people around them; what they had to do to sustain their habits; and their struggle to get clean or die. It is a provocative and intimate portrait of how Oxycontin devastates lives. Produced by Tom Gorai and Steven Okazaki for Blackwood Entertainment Group & ShadowCatcher Entertainment, LLC 2010 / Documentary / 18 minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971959412-2VWU8FU73BP0M8YM600S/liz_crying_2.png Crushed: The Oxycontin (BUNNY TEST) - Crushed: The Oxycontin Interviews In 1996, Purdue Pharma launched Oxycontin, offering “smooth and sustained pain control all day.” Doctors, hospitals and patients immediately embraced the semi-synthetic opioid, making it the best-selling prescription painkiller in America, bringing in $31 billion in revenue for Purdue, and leading to widespread abuse and the opiate/heroin addiction epidemic that is now plaguing the country. Crushed: The Oxycontin Interviews presents five young people – Jordan, Liz, Clayton, Rachel and Richard -- whose lives have been forever changed by Oxycontin. Their stories detail the nightmare of the pain relief/addiction/recovery/relapse cycle; describing how they got addicted; the drug’s effect on their lives and the people around them; what they had to do to sustain their habits; and their struggle to get clean or die. It is a provocative and intimate portrait of how Oxycontin devastates lives. Produced by Tom Gorai and Steven Okazaki for Blackwood Entertainment Group & ShadowCatcher Entertainment, LLC 2010 / Documentary / 18 minutes https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/1473971974665-11J4KGZCN3DCH1434MRN/guy_2_crushed.png Crushed: The Oxycontin (BUNNY TEST) - Crushed: The Oxycontin Interviews In 1996, Purdue Pharma launched Oxycontin, offering “smooth and sustained pain control all day.” Doctors, hospitals and patients immediately embraced the semi-synthetic opioid, making it the best-selling prescription painkiller in America, bringing in $31 billion in revenue for Purdue, and leading to widespread abuse and the opiate/heroin addiction epidemic that is now plaguing the country. Crushed: The Oxycontin Interviews presents five young people – Jordan, Liz, Clayton, Rachel and Richard -- whose lives have been forever changed by Oxycontin. Their stories detail the nightmare of the pain relief/addiction/recovery/relapse cycle; describing how they got addicted; the drug’s effect on their lives and the people around them; what they had to do to sustain their habits; and their struggle to get clean or die. It is a provocative and intimate portrait of how Oxycontin devastates lives. Produced by Tom Gorai and Steven Okazaki for Blackwood Entertainment Group & ShadowCatcher Entertainment, LLC 2010 / Documentary / 18 minutes http://www.farallonfilms.com/crushed-bunny-video-page-copy daily 0.75 2025-11-12 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/c4e353a0-0f9a-44bf-9da3-446de8cb08e0/NC+GUITAR.jpg CRUSHED (BUNNY VIDEO PAGE) (Copy) http://www.farallonfilms.com/stream daily 0.75 2025-11-14 https://images.squarespace-cdn.com/content/v1/5667345f2399a3eb464bf7e4/c95bed99-4d70-4112-96ce-7eba984c020e/Screenshot+2025-11-12+at+11.34.16%E2%80%AFAM.jpg WATCH - Make it stand out Whatever it is, the way you tell your story online can make all the difference.