Nicole Giles is the Director of Marketing and Multicultural Affairs for the Greater Philadelphia Film Office (GPFO). Her predecessor, Chris Brooks, whom she met while conducting research for an unrealized film vendor expo, recruited her to work for the organization. Originally from Houston, Nicole says she had been “silently stalking” GPFO upon moving to Philadelphia from Los Angeles in 2001. After that chance meeting with Chris, she then met GPFO founder and executive director Sharon Pinkenson, and in less than a week she’d been hired.

Nicole works tirelessly for the Film Office - organizing events, marketing the city to production companies, launching advocacy campaigns and developing emerging filmmaker programs.

Q&A With Nicole Giles

I sat down with Nicole and asked her to fill me in on life at the Film Office and her vision for the future:
 

Maori: What are your plans for this year and beyond?

Nicole: We are moving with trends and technology and are retiring our printed Film and Video Production Guide. We are launching a new online interface for filmmakers and film fans. Through Greater Philadelphia Filmmakers, we will be rolling out more panels and workshops focusing on various business topics related to filmmaking.  As always, our mission is to create jobs for industry locals who want to live, work, learn and play here. My goal remains to encourage more people of color to get involved—as film vendors, in particular.

Maori: What should filmmakers know about GPFO that they don’t already know?

Nicole: I think filmmakers underestimate the extent to which we can help them prepare to apply for the Film Tax Credit. Who wouldn’t want 25% of their production budget credited back in the form of a tax credit that can be applied to your own tax liability or sold?
 

Maori: What are some of your goals for the multicultural filmmaker in Philadelphia?

Nicole: To help them think more about the business of filmmaking in this region.  Of course everyone wants to be the star, but sometimes it’s worth your while to consider the option of opening a lighting rental or audio production company while you explore your passion of directing.
 

Maori: What is your take on the pulse of the Philadelphia film and television community at the moment?

Nicole: It’s very exciting. We have talent from around the world working at local production companies, producing innovative content for television and special effects in post-production for features; plus, there are countless projects being produced for the web.

Maori: Where is your favorite place to catch a film in Philadelphia? Any particular screening series or venues or festivals come to mind?

Nicole: I love the Ritz Theaters in Old City. This past summer The Awesome Fest was a big hit. I moderated a panel for the screening of the Black Power Mixtape 1967-1975—it was dope! I also think the Headhouse District’s Annual Summer Indie Film Series was refreshing.
 

Maori: What’s been a shining moment for GPFO and the multicultural initiative thus far?

Nicole: Hosting the Filmmakers Lounge at the American Black Film Festival in 2008 was a highlight. I was able to raise the money for the sponsorship (thanks to State Rep. Tony Payton, Jr. and Jovan Goldstein) and I was happy that Philly was able to show love to filmmakers of color. Commitment to diversity and hiring people of color for a crew, etc., really has to be a top-down strategy. We saw this with Tanya Hamilton during the filming of Night Catches Us. We need more of this.

Maori: What are some upcoming projects or initiatives for the Film Office?

Nicole:  A few other major productions, which I cannot yet mention officially, are coming. TV production has really picked up in the region. There also seems to be quite an appetite for music videos here. Several hip-hop artists have been here recently; perhaps we’ll see more.

Insider Tip: Nicole is interested in being of service to the film community in the city! If you’re a still photographer, insurance broker, audio engineer, accountant, costume designer, art director, etc., contact her so you get listed in the GPFO directory.  Call 215-686-2668 or email .

For Valentine’s Day, I’m hoping you’ll join me in supporting an independent film made by local filmmakers. Exit Strategy is a romantic screwball comedy in the tradition of Judd Apatow and Nicholas Stoller, is a perfect date film.

Exit Strategy is a comedy about a relationship gone terribly wrong. James (Jameel Saleem, who wrote the script) gets evicted from his apartment and moves in with his girlfriend of three months Kim (Kimelia Weathers) and quickly discovers she's everything he never wanted in a woman. He enlists his best friend Carville (Quincy “QDeezy” Harris) and strangers, including Kevin Hart in a memorable cameo, to help him devise a way to get out of his relationship. However Kim is budging—breaking up just isn’t an option.

Philadelphia natives QDeezy (on-air personality at 107.9) and Saleem teamed up with executive producer Big Boy and first-time director Michael Whitton to produce the film on a shoestring budget of $100,000.

Insider Tip: Win a free pair of tickets to the opening and the exclusive after party on Twitter @philly360!

I sat down with QDeezy for an exclusive interview last week to discuss filmmaking in Philadelphia.

QDeezy Q&A

Maori: How did you get involved with the project?

QDeezy: Jameel and I had mutual friends and met five years ago. I’d already seen some of his Exit Strategy webisodes online and then ran into him in LA on a video set. We continued doing web skits and then I funded his first film, Let Go. Later on, he gave me the screenplay for Exit Strategy and I believed in it from the first day. I thought it was amazing and I said, “Dude, we have to make this film.”

Maori: How did you get the project started?

QDeezy: I was talking to my boss at the time, Big Boy, about making some projects outside of radio. I told him I had a script that I wanted to make a movie. I gave him the starting budget and he cut me a check. It was really that simple. I really appreciate him believing in my ability to make it happen.

Maori: Why this kind of movie—is it a new genre? What was your vision?

QDeezy: My vision was to make an urban movie that appealed to the mainstream. I feel like it is a new genre, we are broadening the depiction of blacks in films.

Maori: What was it like making Exit Strategy?

QDeezy: It was a fun adventure. This being my first film, I learned so much in a short period of time.

Maori: Do you have a story from set you remember that may be funny or interesting?

QDeezy: The day we had Kevin Hart on set was pretty memorable. We didn't have much time to shoot because Kevin was only in town for the day. He called my phone and said, “I have 20 minutes before I pick my kids up from school, let's do it!” On set it became Operation Kevin Hart, we rushed to get the shot set up. Two minutes later Kevin Hart walks in, he did his scene in 2 takes. He has been very supportive of Exit Strategy from day one. I really appreciate his friendship

Maori: Why is the premiere of the movie happening in Philadelphia?

QDeezy: This is home for me, and my radio station Hot 107.9 and Radio One are behind the movie 100 percent.

Maori: What project(s) do you have coming up next?

QDeezy: We are working on shooting another urban comedy about a married guy based in Philadelphia later this year. I’m working closely with the film office (Greater Philadelphia Film Office) and everything will be publicized later.

Exit Strategy opens February 10 in an exclusive engagement at:

AMC Franklin Mills

1149 Franklin Mills Circle

Philadelphia, PA 19154

AMC Loews Cherry Hill

2121 Route 38

Cherry Hill, NJ 08002
 

Dee Rees initially wrote Pariah as a feature script to work through her own coming-out process. Hailing from Nashville, she’d been living in New York and wrote the script during lunch breaks while interning on Spike Lee’s Inside Man. She shot a short version as her thesis project for NYU’s graduate film program, which did very well on the festival circuit. Rees was later invited to participate in both the Screenwriter’s and Director’s labs at Sundance where she work-shopped the script and began the plans to shoot the feature. Next up for Rees is a thriller called Bolo and a scripted series for HBO. We’re looking forward to more amazing work from this talented artist!

Maori: How did you come up with the title for the film?

Dee: Each of the main characters is a “pariah.” They all have their fears, desires, strengths and weaknesses, and isolations. One thing I worked on in the writing was showing the characters’ struggles to connect, and their worlds away from their families – where there are attitudes and expectations that they might not know how to handle.

Maori: Is the protagonist Alike’s story at all in line with your own coming-out story?
 

Dee: It’s semi-autobiographical. As I was coming into my sexuality, I started to become comfortable with who I was. But I didn’t know how to express that. Alike struggles in the same way. It seemed like you had to check a box—butch or femme. And I’m neither one of those things. I finally came to the conclusion that I don’t have to put on any personae; I can just continue to be who I am. And that’s what Alike comes to realize in her journey.

Maori: How different is Alike than a 17-year-old Dee?

Dee: Alike knows who she is. She’s assured about her sexuality even though she doesn’t know how to consummate it. She has this friend that is pulling her in one direction and her mother in another, and she’s caught in a tug-of-war and comes to realize that ultimately she can be who she is on her own. We are similar in that I liked poetry and was always a writer. As Alike discovers herself as a woman she also discovers herself as an artist, which I relate to.

Maori: Why did you decide to set the film in Brooklyn versus where you grew up in Nashville?
 

Dee: I set in it Brooklyn because I’d seen out and proud teenagers who were unafraid to be themselves, whereas I came out at 27 and struggled. Brooklyn provided a world where these girls could be themselves. This isn’t a story that could be set in the South. These clubs wouldn’t have existed.

Maori: Have your parents seen the film? What do they think?
 

Dee: They saw it in New York a month ago and their reaction was amazing. They told me they were proud of me and that they loved me. I hope that other people’s parents see the film. When I first came out to my parents they weren’t very accepting, and for them to now accept me and see this film—I never thought I would change their minds.

Maori: You earned a graduate business degree before going to film school—do you have any words of advice for folks who maybe think it’s too late to follow their dreams?
 

Dee: I got an MBA because I didn’t think it would be practical for me to be a writer, and I did what was expected of me. I thought I could write on the side. In my career, I wasn’t doing the creative things that I wanted to do. I wasn’t happy. Once I went to film school I was happy. I was fulfilled. Life is too short to not do what you were meant to do. I think that to the extent that you can, you have to make what you live for what you do. It’s never too late to start.

Maori: What’s your opinion regarding comparisons of Pariah to Precious?

Dee: I don’t really have an opinion. I think the films are compared because they are black films. But they are completely different experiences. Both stories are needed. They provide different voices and opinions. Mainstream films don’t get compared to each other. They are individual pieces of art. We should let both of these films exist on their own merits.

 

Maori: A lot of people are saying that you’ve made one of the most important films for LGBTQ folks of color—at least in this century—how does that feel? What kind of films do you want to be known for?

Dee: We just wanted to tell a story that meant something and would touch people. It feels good that it feels authentic and affirming and that it has been embraced by the community and outside of the community. I want to be known as a filmmaker that tells stories we don’t always see and that are interesting. I want to create stories that live in people’s minds and inspire them to look at themselves differently.

Maori: What do you hope Pariah accomplishes overall?

Dee: I think questioning and affirming your identity is a universal theme, and I hope that Pariah changes people’s minds and helps them to know that it is okay to be themselves no matter where you are coming from. There doesn’t have to be a binary presentation of gender. It is okay to not succumb to peer pressure. It is okay not to check any box and instead exist somewhere on the spectrum. I hope that the film causes some healing within families that are broken and that it heals hearts.

Pariah is now in theaters! Check it out here:

Landmark Theatres

Ritz at the Bourse

400 Ranstead Street

Philadelphia, PA 19106

By now you’ve more than likely heard about the narrative feature film directed by NYU grad Dee Rees—Pariah. The film, which had its world premiere at the 2011 Sundance Film Festival last January, has since received much deserved critical acclaim for its sensitive and emotionally-gripping portrayal of protagonist Alike’s coming-of-age and –out as a queer teen.

Set in Brooklyn, Pariah tells the story of a 17-year-old girl preoccupied with poetry and searching for romantic love. As she begins to embrace her sexuality and commence that awkward crawl towards adulthood, Alike battles her conventional parents and more flamboyant peers, all the while managing to continually progress toward a graceful freedom that she can call her own.

This film is not a tragic tale, and contrary to a few mentions in the urban blogosphere—it is not “Precious 2.0.” Pariah is lovingly and masterfully crafted. Rees has surrounded herself with a team of über-talented filmmakers including executive producer Spike Lee, cinematographer Bradford Young (who received an award at Sundance for his work on the film), producer Nekisa Cooper and actors Adepero Oduye (Alike), Kim Wayans and Charles Parnell among others—the entire cast is stellar.

The characters are all three-dimensional and smash open stereotypes. It’s not easy to love or hate any character outright. The costumes are seamless and the art direction is subtle and captivating. Cinematographer Young recently gave an interview in Shadow & Act where he discussed the visual aesthetic of the film and the importance of discovering new ways to present black bodies at their most beautiful. The overall effect of the film is not one that is overwrought, but rather has a fine sense of balance.

In our jaded times, Rees has managed to construct a story that hasn’t yet been told in this manner, that pulls on our hearts in all the right ways and encourages us to love ourselves (and our families)—whole.

Insider tip: There will be a special tastemakers screening on Wednesday, January 11 at 7:30pm at the Ritz East (125 S. 2nd Street). Philly 360° has a few tickets available! Follow Philly 360° on Twitter for a chance to win.

Pariah opens in Philadelphia on Friday January 13

Landmark Theatres: Ritz At The Bourse 5

400 Ranstead Street (Old City)

Philadelphia, PA 19106

Like many people I am often buying gifts—for any season—at the last minute. In between making films, curating a series, and writing, there’s just no time to stop in a million stores and find the perfect gift for everyone I love. The winter holidays are no exception. I’ve worked out of an office in Midtown Village for the past fours years, and I’ve gone to one place to buy gifts for friends, colleagues, and associates: Verde.

Verde is owned by Chef Marcie Turney and Valerie Safran, the pioneering young entrepreneurs whose three restaurants (Lolita, Barbuzzo, Jamonera) and three shops (Open House, Grocery) have transformed the culture of S. 13th Street. The boutique specializes in women’s accessories and carries a carefully curated collection of clothing and items for the home. The store also doubles as the retail home for Turney’s artisanal chocolates.

The staff is super helpful, the décor is inspiring, and I always find something to give and to get for myself!

Here are my Top 10 Picks for Winter Holiday Gift Giving

On October 30, Philadelphia-based writer/actor Yao Nunoo and director Deron Albright had their hometown premiere of the film The Destiny of Lesser Animals as a part of the Philadelphia Film Festival. I talked with both filmmakers about the process of making this contemporary epic and their hopes for the future of Philadelphia’s film community. The film screens again on Thursday, November 3.

In 2004, Deron was casting a short film and met with Yao who responded to an audition notice. They met at the Llanerch Diner in Upper Darby where Yao was the first to audition and ultimately, “…the only one I really needed to!” says Deron. And thus a partnership was born.

Fast-forward to 2007, Yao was working on crime drama script for a screenwriting class at UPenn. However, he was struggling with its narrative structure, which at the time was set in Philadelphia. His professor and mentor Mark Rosenthal suggested that he consider setting the film in Ghana, where Yao was born. He ran into Deron that same day, over drinks at Gojjo in West Philly, and mentioned the idea to him. They decided that day to make the film together.

That title The Destiny of Lesser Animals is derived from a Ghanaian proverb ‘Sibo ne kra, Dabo ne kra,’ which can be loosely translated as, “the destiny of the leopard is different than the destiny of lesser animals,” says Yao. “…For me, it's another way of saying ‘know thyself.’ Examining one's own path in life and discovering that what makes one important may not always be the thing one had always imagined.”

Deron received his MFA in film from Temple University in 1998. His short narrative The Legend of Black Tom premiered in 2005. The Destiny of Lesser Animals is his first feature film.  Deron has been on the faculty of Saint Josephs University since 2002. Yao moved to the United States to attend college and later became an actor when he moved to Philadelphia. He eventually attended the University of Pennsylvania and graduated with a degree in Film Studies.

The Destiny of Lesser Animals took a total of four years to complete. Yao finished the script in 2007, Deron moved to Ghana in the summer of 2008, principal photography took place in 2009. There was additional photography and scoring of the film in 2010, and the film premiered in New York in April 2011. The October 30 screening is its Philadelphia premiere.

While the majority of the film was shot on location in Ghana, (in Accra and Cape Coast) a few scenes were shot in Philadelphia focusing on the main character’s (Boniface, played by Yao) life in the United States.

“The idea of ‘place’ is very important to me in creating work—so the details of everyday life, no matter where it is that I live, play a large role in developing ideas, selecting images, etcetera,” says Deron.

“There is a lot of visual material here that I don't see in many places elsewhere,” says Yao. “There is a real sense of community and humanity, which makes it really easy for artistic expression and representation… Philly was the first city I moved to where I did not get lost. I discovered the huge immigrant community in West Philly, and the beautiful trolleys, and slowly the Sixers, and the Eagles became a religion. There has been no turning back. Philly has become my second home and I feel I have some real immutable roots.”

Once the dust settles on The Destiny of Lesser Animals, both filmmakers hope to get back into making new work. Yao is developing a script with acclaimed Ghanaian poet Nii Ayikwei Parkes, and Deron is developing a new screenplay called Invisible Son about the plight of an immigrant living in Philadelphia. Deron is also working on two video projects with community partners concerning gun violence in the city that will begin production in early 2012.

Watch the trailer here.

The Destiny of Lesser Animals

Directed by Deron Albright, Ghana/USA, 89 min.

Thursday, November 3 

7:30 p.m.

Ritz East B

125 S. 2nd Street

Philadelphia, PA

Insider fact: I worked as an associate producer for The Destiny of Lesser Animals!

The Philadelphia Film Festival, organized by The Philadelphia Film Society, is celebrating its 20th anniversary this year and is once again reeling in the heavy-hitting darlings of the worldwide cinema circuit. From October 20 through November 3 on eight screens throughout the city, 145 films from 35 countries will play to cinephiles and novices alike. A few of this year’s themes include: New French Cinema, Sight & Soundtrack, Sports in Motion, and The Graveyard Shift. There are some noteworthy procurements including opening night’s Like Crazy, directed by Drake Doremuss, winner of the Grand Jury Prize at Sundance, and the closing night film, The Descendants, directed by Alexander Payne (Sidewalks) and starring George Clooney. Make sure to check out the FREE panels!

Over the next two weeks I’ll be watching new films, interviewing directors, attending panels and parties, all in the name of reporting back to you, but in the meantime here are my “Top 10 Picks” for films you should see based on industry buzz (please note the films are in alphabetical order and not listed in order of preference).

The Destiny of Lesser Animals

Directed by Deron Albright, Ghana/USA, 89 min.

Sunday, October 30

7:30 p.m.

International House

3701 Chestnut Street

Thursday, November 3 

7:30 p.m.

Ritz East B

125 S. 2nd Street

Modeled in part on Akira Kurosawa’s classic Stray Dog, this moving crime drama is also the tale of one man trying to find his way home. With a beautiful sense of place and a refreshing pace, The Destiny of Lesser Animals delivers a rare look at contemporary Ghana.

Insider Tip: The director and lead actor are based in Philadelphia.

Watch trailer here.

I'm Carolyn Parker

Directed by Jonathan Demme, USA, 93 min.

Monday, October 24

7:45 p.m.

Ritz East A

125 S. 2nd Street

Lauded director Jonathan Demme (Silence of the Lambs, Beloved) had produced a fantastic new documentary chronicling five years in the life of New Orleans’ native Carolyn Parker, a single mother in the city’s Ninth Ward neighborhood, as she challenges local government in an attempt to rebuild her life post-Katrina.

Insider Tip: Demme will be present to introduce his film.

Watch trailer here.

Joe Frazier: When the Smoke Clears

Directed by Mike Todd, USA, 72 min.

Saturday, October 22

4:45 p.m.

Prince Music Theater

1412 Chestnut Street

Sunday, October 23

9:25 p.m.

Ritz East A

125 S. 2nd Street

Olympic gold medalist Joe Frazier is an international sports figure, but for much of his career his legend has been eclipsed by his rivalry with Muhammad Ali. This documentary brings Smokin’ Joe’s story to light for the first time and explore his experience with prejudice, fatherhood, and giving back to his beloved adopted city of Philadelphia. It is more than just a boxing film, it is the story of a son's love and admiration for his father and the Black experience in 20th and 21st Century America. 

Insider Tip: This screening is the film’s world premiere.

Watch trailer here.

Kevin

Directed by Jay Duplass, USA, 36 min.

Sunday, October 30

3:00 p.m.

International House

3701 Chestnut Street

Like Philadelphia, Austin is a music town full of supreme talents—often independent and not known outside of the city—whose impression is deeply felt by its residents. In the early 1990’s musician Kevin Gant’s folk-alternative style was an early muse for director Jay Duplass who sought to track down the elusive artist more than a decade after Gant disappeared in 1995.

Watch trailer here.

Like Water

Directed by Pablo Croce, USA,

Sunday, October 23

5:10 p.m.

Ritz East A

125 S. 2nd Street

Tuesday, October 25

5:00 p.m.

Prince Music Theater

1412 Chestnut Street

UFC fans know of Anderson Silva as one of the greatest mixed martial artists of all time. The longest-reigning Middleweight Champion, he is a legend in his own right. With a title derived from a Bruce Lee quote, first-time director Pablo Croce explores Silva’s training regimen and Zen-like philosophy—which may or may not keep him in the spotlight.

Watch trailer here.

Live At Preservation Hall: A Louisiana Fairytale

Directed by Danny Clinch, USA, 69 min.

Wednesday, October 26

5:45 p.m.

Rave Theater

4012 Walnut Street

Sunday, October 30

12:20 p.m.

Ritz East A

125 S. 2nd Street

The Preservation Hall Jazz Band has brought the homegrown jazz sounds of the French Quarter to the rest of the world for over fifty years. This documentary follows the band as they embark upon a special collaboration with Louisville’s blues-rock quartet My Morning Jacket for a one-night-only performance. The film captures an amazing sonic experience but also presents a symbolic change of the guard with the elder musicians passing down their traditions to the a new generation.

Watch trailer here.

Losing Control

Directed by Valerie Weiss, USA, 116 min.

Saturday, October 22

7:00 p.m.

International House

3701 Chestnut Street

Monday, October 24

7:45 p.m.

Rave Theater

4012 Walnut Street

Wednesday, October 26

7:00 p.m.

Bryn Mawr Film Institute

824 W. Lancaster Avenue

This touching romantic comedy written and directed by scientist/filmmaker Valerie Weiss tells the story of Sam (Miranda Kent), a young scientist who is striving in vain to reproduce an experiment she began four years ago. When her boyfriend Ben (Reid Scott, the adorable doctor on The Big C) proposes, Sam decides she needs to experiment to ensure that he is “The One”.

Insider Tip: The director is a native of Philadelphia.

Watch trailer here.

The Real Rocky

Directed by Jeff Feuerzeig & Mike Tollin, USA, 51 min.

Friday, October 21

8:00 p.m.

Ritz East A

125 S. 2nd Street

Wednesday, October 26

5:00 p.m.

Ritz Five

214 Walnut Street

While nearly all Philadelphians know the story of Rocky, few however know the story of former heavyweight boxer Chuck Wepner, hailing from nearby Bayonne, NJ. This documentary recaps Wepner’s life story, detailing the remarkable similarities to one Rocky Balboa. Wepner’s career as an unaccomplished heavyweight reached international renown when he was awarded a title shot against Muhammed Ali—and went toe-to-toe with Ali for fifteen rounds. The film fantastically details the Bayonne Bleeder’s astonishing career. 

Watch trailer here.

Remigration

Directed by Barry Jenkins, USA, 18 min.

Friday, October 21

5:00 p.m.

Rave Theater

4012 Walnut Street

Sunday, October 23

Noon

Rave Theater

4012 Walnut Street

Monday, October 24

4:30 p.m.

Ritz East B

125 S. 2nd Street

Exceedingly talented director Barry Jenkins (Medicine for Melancholy) wrote and directed this short speculative fiction film set in a future San Francisco that is entirely upper-class. The city then launches a ‘remigration’ program to bring scarce working-class families back to the city that pushed them out—because they need workers. Former engineer Kaya, his wife Helen a former teacher, and their sick daughter Naomi are faced with a crippling decision to stay in the hinterlands or return to a city they no longer know. This film was part of ITVS’s Futurestates a series of 11 short film exploring “possible future scenarios through the prism of today’s global realities.” 

Watch trailer here. 

Streets

Directed by Jamal Hill, USA, 90 min.

Friday, October 21

5:00 p.m.

Prince Music Theater

1412 Chestnut Street

Tuesday, November 1

10:10 p.m.

Ritz East B

125 S. 2nd Street

Streets is the dramatic tale of Nicole (One Life to Live’s Nafessa Williams), a teenager who begrudgingly moves to Philadelphia from the wealthy suburbs when her mother gets divorced and takes a high-profile job with the city’s District Attorney’s office. As Nicole explores the city’s streets, newfound friends put her in the middle of an escalating drug war and in the crosshairs of her mother’s own investigation. The film stars a cast of young charismatic actors including rappers Meek Mill, Omilio Sparks and Gillie Da Kid. Philadelphia plays a prominent role in the movie, featuring locations from Walnut Street to Washington Avenue.

Insider Tip: This film was produced by prominent community activist Charlie “Mack” Alston and directed by a Philadelphia native.

Watch trailer here.

Philadelphia Film Festival

October 20 through November 3, 2011

Various times and locations

Tickets and info at filmadelphia.org

Spoken word poetry has been gaining traction for the past two decades and what was once thought to be a fad continues to hold sway over new audiences. Philadelphia is home to several internationally recognized poets and spoken word artists: Ursula Rucker, Black Ice, Rich Medina, Yellow Rage, and Stephanie Renee, just to name a few.

The movement has even caught the attention of Generation Y. This past summer the Philadelphia Youth Poetry Movement (PYPM) took home top honors at the Brave New Voices International Youth Poetry Festival—the largest spoken word event in the world. Filmmaker and Pew Fellow Judy Leiff discovered a group of deaf teens who have been exploring ways of using American Sign Language (ASL) poetry to carve a space for themselves on the burgeoning youth poetry circuit. The resulting documentary film, Deaf Jam, has its Philadelphia premiere on October 6 at Community College of Philadelphia.  

Deaf Jam beautifully chronicles young deaf poets witnessing and participating in these contests for the first time. Performing in ASL, a dramatic visual language, the poets use rhythm, movement, and body language to create a cinematic equivalent to oral poetry. In the film, the poets use sign language and poetry not only to express themselves, but also to raise issues about disability and the future of ASL. Paralleling the journey of the poets and contributing to this bittersweet story is a counter-narrative, which traces the increasing erosion of this indigenous art form in the face of technologies and the public educational system attempting to mainstream the deaf into the hearing world.

Award-winning slam poet Michelle Meyers (of Yellow Rage) and ASL slam poet Aneta Brodsky, who is featured in the film, will perform and participate in a Q&A after the film.

The screening is free and open to the public. It is presented by ITVS Community Cinema and WHYY in partnership with Community College of Philadelphia, Greater Philadelphia Cares, and the Neighborhood Interfaith Movement. To RSVP visit whyy.org. ASL interpretation for the poetry and discussion is available. The film is formatted for viewing by both deaf and hearing audiences.

Deaf Jam

Thursday, October 6

6:30 p.m.

Community College of Philadelphia (Bonnell Auditorium)

1700 Spring Garden Street

Watch the trailer here.

We’ve all seen this film. Or at least some part of it. Perhaps no work of popular culture is more globally associated with our beloved city than Rocky. Written by and starring Philadelphia native Sylvester Stallone, the sleeper hit film launched the actor into the Hollywood celebrity-sphere and forever etched into our collective memory that run up the steps of The Philadelphia Museum of Art and the accompanying score by Bill Conti.

The classic rags-to-riches story of a neighborhood guy—He’s every nobody whoever needed somebody—who gets a shot at the big time has its heart in the right place and this is why it has impacted so many people across the globe. Rocky was nominated for ten and received three Oscars including Best Picture in 1976 as well as a Golden Globe Award. In 2006, the film was selected for preservation in the National Film Registry of the Library of Congress.

Parodied in The Simpsons, The Fresh Prince, The Nutty Professor (1996), and countless other moments in media, that run will live with us forever, and perhaps somewhere in our hearts a piece of Philadelphia legend.

The Philadelphia Film Society presents an opportunity to screen the film—the way it was meant to be seen—in widescreen and in the company of other cheering fans. See it this Wednesday at the Asylum Arena where both the sequel Rocky Balboa (2006) and The Wrestler (2008) were filmed!

Rocky (1976)

Wednesday, September 14, 2011

7:30 pm – 10:00 pm

Asylum Arena

7 W. Ritner Street

Tickets: FREE for Philadelphia Film Society members; $5 for Non-members

Buy tickets online

Watch the trailer here.