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Documentary

Actor Laura Dern, center, with 'Common Ground' directors Rebecca Harrell Tickell and Josh Tickell.

Reviewed by Jeffrey Sanzel

According to the Chesapeake Bay Foundation, regenerative agriculture “describes holistic farming systems that, among other benefits, improve water and air quality, enhance ecosystem biodiversity, produce nutrient-dense food, and store carbon to help mitigate the effects of climate change. These farm systems are designed to work in harmony with nature, while also maintaining and improving economic viability.” Regenerative agriculture includes practices like no-tillage, planting cover crops, reducing chemical use, and planned grazing. 

In 2017, Josh Tickell published Kiss the Ground: How the Food You Eat Can Reverse Climate Change, Heal Your Body, & Ultimately Save Our World. The book purports that climate change is reversible through changing diets based on harvests from soil-nourishing, regenerative agriculture. 

Tickell (along with Rebecca Harrell Tickell) produced and directed the documentary Kiss the Ground (2020), which explored the issues raised in the book. The film shares interviews with farmers, scientists, and environmentalists. The focus is the power of healthy soil and its healing powers for humanity and the earth as a whole. Narrated by Woody Harrelson, the film features the well-known {model/ U.N. Good Will Ambassador Gisele Bünchden, NFL quarterback Tom Brady, etc.) along with authors and environmentalists. Kiss the Ground was lauded for its good intentions but received criticism for an often simplistic approach to the solution, especially concerning climate change. 

The follow-up, Common Ground, which launched globally on Amazon Prime on April 22 in honor of Earth Day, covers some of the same territory, with a spotlight on preservation of the soil. Again, central is the importance of properly cultivating the soil through regenerative agriculture. 

Common Ground opens with a letter “written” by various celebrities. Each is presented with a sonorous voiceover steeped in gravitas. The letter ends with, “It’s a matter of life and death.” If the information presented in Common Ground is even twenty percent accurate, this dark statement is harbinger of long-term and perhaps irrevocable damage. The film begins with a detailed explanation of regenerative agriculture, comparing it to the other less environmentally-friendly approaches. 

The film is most interesting and effective when it addresses agribusiness issues driving the market. Following the money trail exposes the private sector’s influences on government and education, with money filtered through land grant universities. Larger corporations have suppressed scientists and pressured the USDA, influencing the Farm Bill and driving subsidies into soy, wheat, and corn—all commodity crops. Agribusiness possesses the largest lobbying industry with twenty-three registered lobbyists for every member of Congress.

An exploration of the rise of industrial farming in post-World War II highlights the uses of chemicals in the forms of pesticides and toxic herbicides, labeled “the Green Revolution.” Most notably, Monsanto Company’s glyphosate product, Roundup, led to the 1980s genetically engineered crops—“ready grains”—that could resist Roundup. Gradually, revelations held Roundup responsible for damaging the health of thousands, leading to multiple successful lawsuits. (Monsanto sold the company to the German Bayer AG for sixty-three billion dollars.)

Common Ground gives a bleak picture of the small farmer who lives in hundreds of thousands of dollars of debt. The Farm Bill Cycle of Debt is a cyclical trap of the system dictating what (and how) to grow, boosting corporate profits, consumer illness, and farmers’ debt. Suicide rates among farmers are five times higher than the general population. Additionally, Common Ground touches on the racial disparity in farming, with the system showing an overwhelmingly biased preference towards white people. The discriminatory nature of the industry has only increased over the years.

While the film emphasizes much of the negative, it celebrates those who have succeeded in abandoning industrial farming. The alternatives are shown to have health and economic benefits—all linked back to regenerative agriculture.

The tone and style—and much of the documentary—shift from dark shadows to pastoral sunshine to peripatetic imagery. At times, Common Ground feels like clumsy public service announcements; at other points, it plays with the jarring cuts of a music video, with blaring, on-the-nose lyrics. The “behind the scenes” look at the stars — Laura Dern, Jason Momoa, Woody Harrelson, Ian Somerhalder, Donald Glover, Rosario Dawson, and many others recording their narratives is oddly and ineffectively “meta.” But Common Ground is well-paced and presents a clear path to transformation. 

Documentaries habitually select their focus as the greatest existential threat. Whether AI, plastics, water pollution, corporate manipulation, or conspicuous consumption, each sees its topic as the direst and the most important to be solved. Many point to the destruction of the environment, but each selects a different “demon” as the most dangerous. Common Ground is no different in this respect, and therefore, even in its specificity, it lands as a generic call-to-arms (or farms, as the case may be).

“The quality of what you eat determines the quality of your health. And a living soil is where it all begins.” While it might not convert the doubters, Common Ground is another reminder that through commitment and collaboration, environmental change is possible. 

The documentary is now streaming on Amazon Prime.

'Geraldine Ferraro: Paving the Way'

Kicking off a new free film series, Film@LIM, the Long Isand Museum, 1200 Route 25A, Stony Brook in partnership with the Greater Port Jefferson Northern Brookhaven Arts Council will screen Geraldine Ferraro: Paving the Way in the Carriage Museum’s Gillespie Room on Tuesday, March 4 at 7 p.m.

Enjoy an inspiring film about Geraldine Ferraro’s historic Vice-Presidential nomination, and the first full profile of the trailblazing woman who helped change the face of American politics forever.

Geraldine Ferraro: Paving the Way is a feature-length documentary about the life of the trailblazing woman who made history in 1984 as the first female Vice Presidential nominee on a major national party Presidential ticket.

The film profiles Ferraro’s journey from an impoverished childhood, the struggles she endured while growing up, and the hurdles she faced and overcame both professionally and personally in order to achieve what no woman had done before.

A primary focus of the film is Ferraro’s public service and political career, from District Attorney in Queens, NY, and later member of Congress, to the emotional night of her Vice Presidential nomination and the tough campaign that followed.  Though the Mondale-Ferraro ticket was ultimately not elected, the film explores how Ferraro’s nomination and her conduct during that campaign changed the national perception of what was possible for women.

The film features never-before-seen archival footage and stills, intimate interviews with Ferraro, and commentary by many leading political figures, both Democrat and Republican, as well as journalists who covered her campaign.

The screening will be followed by a talk from Donna Zaccaro, Geraldine Ferraro’s daughter and the film’s director and producer.

Admission is free but registration is preferred by visiting www.longislandmuseum.org/events or click here.

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Christopher Reeve played the cinematic hero Superman in four films. Photo courtesy of © Warner Bros./ DC Studios

Reviewed by Jeffrey Sanzel

Born in 1952, Christopher Reeve graduated from Cornell before studying acting at the Juilliard School, appearing in a range of stage productions. His cinematic work encompassed nearly two dozen films, including Somewhere in Time (1980), Deathtrap (1982), and The Remains of the Day (1993). But he will be forever remembered as the legendary Man of Steel in Superman (1978) and its sequels Superman II (1980), Superman III (1983), and Superman IV: The Quest for Peace (1987). 

In 1985, after learning to ride for the television version of Anna Karenina, Reeve became an avid equestrian. On May 27, 1995, his horse made a refusal (a failure to jump a fence which stops forward movement). Reeve fell and shattered his first and second vertebrae, resulting in a cervical spinal injury that resulted in paralysis from the neck down. 

Super/Man: The Christopher Reeve Story is a well-crafted, riveting documentary chronicling Reeve’s life, emphasizing his career as the cinematic superhero, his accident, and its aftermath. Directors Ian Bonhôte and Peter Ettedgui (who co-wrote the script with Otto Burnham) created a loving, dimensional tribute to a beloved personality in a sensitive but unflinching account. 

In the film’s first ten minutes, Reeve is established as Superman and superstar and quickly shifts to the accident: “In an instant, everything changed.” Over one hundred and four well-paced minutes, the filmmakers interview his children from his relationship with British modeling executive Gae Exton—Matthew Reeve and Alexandra Reeve Givens—and his son from his marriage to actor-singer Dana Morosini—Will Reeve. Exton, Glenn Close, Susan Sarandon, Whoopi Goldberg, Jeff Daniels, and John Kerry are interviewed, sharing their working and personal relationships with Reeve. 

The film touches on Reeve’s difficult childhood with unsupportive parents who divorced when he was three and remarried. In archival footage, Reeve discusses his father’s perpetual disappointment in his choices. Reeve saw theatre as providing a “neutral place that felt like home.” Theatre offered security with a beginning, middle, and end. The filmmakers emphasize his friendship with Juilliard classmate Robin Williams as well as his early days as a stage actor. While appearing in an off-Broadway play, Reeve flew to London for a Superman audition at Pinewood Studios. (Fellow castmate William Hurt discouraged him from selling out.) Immediately cast, the milestone changed the entire course of his career.

The film alternates between tracing the Superman films with his life post-accident, smartly weaving and contrasting the two worlds. His personal life is respectfully but thoroughly explored, focusing on his time with Exton and the birth of their two children. Realizing that they were incompatible, they separated but shared custody. Over the next several years, Reeve led a more Hollywood lifestyle until meeting Morosini. After a short courtship, Reeve realized he was ready to settle down, and they married in 1992. Their idyllic life was devastated just three years later.

The days immediately following the accident segue into the years of challenges and soul-searching. He states, “I ruined my life and everyone else’s.” The highly active Reeve pondered his shift from intensely “no fail” and “never quit” to a more reflective worldview. His sense of isolation, his weeks on the ventilator, and his fear of not just death but if I live, “Now what?” are part of the many interviews documented with Reeve. His shift in his approach to parenting is intimate and insightful. 

Super/Man draws on hundreds of hours of footage of Reeve’s struggles. (One odd note is the use of clips from the 1998 remake of Rear Window; they seem strangely integrated as they are not indicated as fictional.) Reeve became an outspoken activist, raising awareness for others in similar situations. He and Morosini founded The Christopher Reeve Foundation (later The Christopher and Dana Reeve Foundation), whose mission is “dedicated to curing spinal cord injury by advancing innovative research and improving the quality of life for individuals and families impacted by paralysis.” Reeve became a high-profile advocate, beginning with his first public appearance at the 68th Annual Academy Awards.

Central is the committed family bond—all three children, Exton, and, especially, Morosini—supported Reeve, who required twenty-four-hour care. (At the time, the cost was $400,000 a year.) Reeve’s gradual return to film, directing In the Gloaming and occasional acting appearances are traced until his sudden death on October 10, 2004 of heart failure at the age of 52. The coda is Morosini’s cancer diagnosis and passing two years later. 

The film is raw, compelling, and heartbreaking. Reeve lost much but embraced a difficult future: he made his path about giving visibility to those in similar straits. Ultimately, Super/Man is an honest and eye-opening look at the person who once said, “I am not a hero. I never have been, and I never will be.” On the contrary, Reeve was a hero in the real sense of the word—a person who has “the strength to persevere in the face of overwhelming obstacles.” Super/Man celebrates this truth.

The documentary is now playing in local theaters.

The Port Jefferson Documentary Series continues its Fall 2024 season with a screening of Checkpoint Zoo at the First United Methodist Church, 603 Main St., Port Jefferson on Oct. 17 at 7 p.m.

In the early days of the Ukraine-Russian war, the Feldman Ecopark, a beloved animal refuge in Ukraine’s second largest city, found itself caught in the crossfire. With the invading Russian army on one side and the Ukrainian front line on the other, thousands of animals were left trapped with little food and water. Against all odds, a courageous team of zookeepers and volunteers risked their lives to embark on a seemingly impossible mission: bringing these innocent creatures to safety.

Followed by a panel discussion with the director, Joshua Zeman on Zoom, moderated by Juliette Passer, J.D., Lecturer, Political Science Dept., Stony Brook University.

Film Info: https://ghostrobot.com/work/checkpoint-zoo

Tickets are $10 adults, $5 students at the door or at www.portjeffdocumentaryseries.com.

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Scott Peterson is currently serving life in prison for the murder of his wife, Laci. Photo courtesy of Netflix

Reviewed by Jeffrey Sanzel

The facts are these:

On Christmas Eve 2002, 27-year-old Laci Peterson, eight months pregnant with her first child, disappeared from her home in Modesto, California. Her husband, Scott, claimed to have last seen her at 9:30 a.m. Originally, Scott announced he was golfing but later revealed that he had gone fishing at the Berkeley Marina. When he returned home that afternoon, he found their dog, McKenzie, still leashed in the backyard. After showering and washing his clothes, Scott contacted Laci’s mother to see if Laci was there. Both Scott and Laci’s stepfather reported Laci missing. While investigating, detectives found Laci’s keys, wallet, and sunglasses in her purse and closet.

Scott Peterson is currently serving life in prison for the murder of his wife, Laci.
Photo courtesy of Netflix

Immediately, a massive search was underway. Initially, Laci’s in-laws defended Scott, but as the investigation continued, the police became more suspicious. On Dec. 30, Amber Frey contacted the hotline, revealing that she had been dating Scott since November as she believed he was single. She recorded their conversations over the next month. On Jan. 24, 2003, the information went public.

On April 13, the fetus remains of Conner, Laci’s unborn child, was discovered in San Francisco Bay. The following day, the remains of a woman—later identified as Laci—washed up a mile away from where Conner’s remains were found. The area was just a few miles from where Scott had been fishing.

Police arrested Scott Peterson on April 18 in La Jolla, California. In addition to knives and credit cards (and his brother’s I.D.), Scott had fifteen thousand dollars in cash. He had grown a mustache and beard and dyed his hair.

Scott’s trial began on June 1, 2004, with jury deliberations beginning on Nov. 3. On Nov. 12, Scott was found guilty of first-degree murder for Laci’s death and second-degree murder for Conner’s death. On Dec. 13, the jury recommended the death sentence, which a judge enacted on March 16. After years of appeals and accusations of an unfair trial (2012 to 2015), the death sentence was overturned on Aug. 24, 2020. He was resentenced on Dec. 8, 2021, to life in prison without the possibility of parole.

On Dec. 20, 2023, Scott Peterson’s request for a new trial was denied, and in January 2024, the Los Angeles Innocence Project began its representation of Scott Peterson, claiming that he was innocent.

Since 2002, millions of words have covered the tragic death of Laci Peterson. Thousands of articles and hours of media coverage. The Perfect Husband: The Laci Peterson Story aired on USA Network in 2004. In 2005, CBS broadcast the movie Amber Frey: Witness for the Prosecution. 

The case featured on The E! True Hollywood Story, True Crime with Aphrodite Jones, Murder Made Me Famous, Crime Junkie Podcast, The Laci Peterson Story: A Dateline Investigation, Snapped, Truth and Lies: The Murder of Laci Peterson, How It Really Happened, 48 Hours, 20/20, etc. A&E produced a six-part series, The Murder of Laci Peterson (2017).

Netflix now presents American Murder: Laci Peterson. Directed by Skye Borgman (Girl in the Picture, Abducted in Plain Sight), the three-part documentary offers little new information. It mostly focuses on interviews intercut with archival footage and blurry, slow-motion B-roll recreations. 

Part 1: “What Do You Mean, Missing?” highlights the first six days and establishes the Petersons as the “perfect couple.” Part 2: “I Wasn’t a Mistress” follows Amber Frey, Scott’s girlfriend, as she aids the police by taping their conversations. Part 3: “Nothing Can Change the Truth” takes the story from arrest through trial and conviction.

There is no question that this is a heartbreaking story. Laci’s disappearance and murder was terrible in every respect. However, the point of revisiting the murder is to shed new light and a new perspective. For the most part, American Murder fails to do this. 

Throughout the two-and-a-half hours, the filmmakers fail to address why this particular case grabbed the country’s attention from the first moment. It acknowledges that Scott Peterson was tried on a great deal of circumstantial evidence (no DNA, no witnesses, no definitive weapon) but goes no further, emphasizing his disturbing behavior and questionable personality. It almost celebrates the mob mentality at the announcement of the verdict. It also never addresses the Innocence Project taking up his case, suggesting that Laci was murdered by the burglars of the neighbor’s house. In short, the documentary leans into ominous chords, peripatetic cuts, and eerie images.

For the most part, the interviews add little insight. The detectives revisit the same material and perspectives. Journalist Gloria Gomez speaks of the media frenzy but takes no responsibility for being part of that circus. There is an uncomfortable interview with two of the jurors that offers little perspective. 

The one powerful throughline is Laci’s mother, Sharon Rocha. While reliving this is painful, she maintains dignity and clarity. She divides her life between before Laci and after Laci and knows that this changed everybody’s lives. One of the last things she states is, “You don’t get over it; you just get through it.” Her interview is the most valuable part of the documentary.

On Aug. 20, Peacock presents Face to Face with Scott Peterson, featuring his first interview in decades. Undoubtedly, this will be a different perspective, emphasizing alternate theories. 

Stepping back from pure objectivity, Scott Peterson was a liar, a cheat, a narcissist, and most likely murdered his wife, Laci, a kind, gentle person. Like any victim of a violent crime, her story deserves and needs to be told—but always with integrity, sensitivity, and raw honesty. Unfortunately, American Murder does not rise to this standard.

The three-part documentary is currently streaming on Netflix.

By Daniel Dunaief

Paula S. Apsell wants to correct one of the more insidious myths about Jews during the Holocaust.

Director Paula S. Apsell

The award-winning filmmaker is showing the documentary Resistance – They Fought Back at the Cinema Arts Centre in Huntington on July 25, offering numerous examples of Jews who fought against the murderous Nazi regime.

The film from Apsell, who will be at the Cinema Arts Centre screening to speak with the audience, chronicles resistance in many forms, from getting married in secret, to having children, to holding concerts, to caring for the poor, to smuggling food and weapons into ghettos and, ultimately, to guerilla combat.

These stories of courage and a readiness to fight back when any form of resistance could mean severe punishment or death not just for the person rebelling but for many others paint a completely different picture than the one in which Jews surrendered meekly to their fate.

“There were seven rebellions in death camps, and six of them were led by Jews,” said Apsell, who won numerous awards as executive producer for PBS NOVA films. “They still mustered the courage to rebel knowing they would die in the rebellion” and almost all of them did.

The survival rate among Jews in general and those who the Germans found were rebelling, which includes many in their late teens and early 20’s who were fighting to protect and defend their families, was low.

While she was an executive producer at PBS for the Nova science series in 2016, Apsell traveled to Lithuania near Vilnius, where she produced a documentary for PBS about Jews who were brought to a site to burn the bodies of thousands of other Jews whom the Nazis had murdered.

At night with shackles on, they used spoons to dig a tunnel over the course of 76 days. When they escaped, they filed off their shackles and raced towards a forest, with 11 of them surviving through the rest of the war.

Building on this story, Apsell, who worked with Lone Wolf Media and co-directed the documentary with Kirk Wolfinger, started gathering information for the Resistance film in 2019 and completed editing the movie in September of 2023.

Apsell, who herself is conservative about what she shares with her eight and 11-year old grandchildren, suggested the documentary is appropriate for juniors in high school or older, unless they have had some level of education about the Holocaust.

Compelling lives

Amid the many stories of courage and sacrifice, Apsell felt a particular connection with Bela Hazan.

A courier who brought information, money and weapons to the ghettos, Hazan posed as a Polish Christian woman and traveled along dangerous roads surrounded by Nazis who would imprison, torture or kill her if they knew of her work.

After Hazan survived the dangers of the war, her son Yoel Yaari, who hadn’t heard of his mother’s wartime activities, found two notebooks containing details about her work.

Yaari, who is the Henri and Erna Leif Professor for Research in Neurodegenerative Diseases at the Hebrew University Faculty of Medicine in Jerusalem, has told people through articles and his book “Portrait of a Woman” about his mother’s “astounding courage and what she had done for the Jewish people,” said Apsell. “We can all learn about courage in adversity.”

Apsell suggested that scholars knew about the way Jews had resisted, but that lay audiences often say they thought Jews went to their death as sheep to the slaughter.

Other ways to watch the film

Apsell is in the final stages of putting together a broadcast deal, which she hopes will be ready in January to coincide with Holocaust Remembrance Day, which is on January 27.

She also plans to work with organizations that have relationships with schools and libraries so students can access the information.

These stories “ought to be a much more visible part of the history of the Holocaust,” she said.

“I had a mission to tell these stories,” Apsell said. “I felt like it was a personal commitment and a responsibility” to share these stories.

While Apsell appreciates and acknowledges that people who weren’t Jewish helped their Jewish friends, neighbors and even strangers, she felt like the focus on resistance has often been on outside help.

“In this film, my emphasis was on Jews rescuing other Jews,” she said.

The film includes interviews with five Jewish survivors who were among the resistance fighters. Resistance also uses considerable archival footage from organizations that had recorded interviews. The film’s narrators include actors Corey Stoll, Dianna Agron and Maggie Siff.

Dr. Jud Newborn, lecturer, author and curator at the Cinema Arts Centre, had an immediate reaction when he viewed the film.

“I was stunned,” said Newborn, who is an expert on Jewish anti-Nazi resistance and served as the founding historian of New York’s Museum of Jewish Heritage. “No documentary covers the panoply of Jewish resistance in its many forms and in such a moving as well as revelatory manner.”

Newborn, who will host a discussion with Apsell right after the screening, added that he thought this was a “groundbreaking film.”

While Newborn describes all manner of Jewish resistance in his multimedia lecture programs, he learned new stories because the movie pulls together “the most cutting edge information,” he said. “The subject of Jewish resistance breaks stereotypes and is deeply inspiring and energizing and it’s also deeply moving because they had to overcome obstacles unlike any people under Nazi occupation or indirect rule.”

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The Cinema Arts Centre, 423 Park Ave., Huntington will screen Resistance – They Fought Back on Thursday, July 25 at 7:15 p.m. with filmmaker Paula S. Apsell in person followed by discussion with moderator Dr. Jud Newborn. Tickets are $18 per person in advance at  www.cinemaartscentre.org or at the box office.  For more information, please call 631-423-7610.

 

Catch a screening of the award-winning documentary 'Honorable But Broken' at Theatre Three on July 11 at 6 p.m.

By Julianne Mosher

A new documentary created by a former producer for ABC News and 60 Minutes, and with the help of different EMS groups across New York State, is heading to Port Jefferson next week for a free viewing of a powerful film that will remind people how important rescue services are. 

Michael Presta, deputy chief at Port Jefferson EMS, said he received a LinkedIn message from the film’s director and producer, Bryony Gilbey, asking if her 2023 award-winning documentary, Honorable But Broken: EMS in Crisis, could be shown in the area.

Catch a screening of the award-winning documentary ‘Honorable But Broken’ at Theatre Three on July 11 at 6 p.m.

After connecting with the Greater Port Jefferson Arts Council and Theatre Three, Presta was able to help get the film to play on Thursday, July 11 at 6 p.m. — for free — and for the first time on Long Island.

Gilbey, whose three children are EMS workers, developed the film after hearing the stories about what it was like being in emergency services pre, during and post COVID-19, plus the lack of funding these operations receive from the state and federal governments. The documentary was shot on location with EMS crews in Ossining, New York, and Montclair, New Jersey.

“The film has been circling the state for about a year now and it shows the challenges of delivering EMS services to the public,” Presta said, adding that local elected officials have been invited to attend.

“It helps paint a picture to the public and our politicians on what delivering EMS services in 2024 is like,” Presta added.

He noted that the Port Jefferson EMS helps and protects all of Port Jefferson and its surrounding communities including Mount Sinai and the Village of Port Jefferson, while also lending support to other local areas. 

When Presta started his career in Port Jefferson almost two decades ago, on average there were less than 1,000 calls per year. Now, he said, they’re around 3,500.

“It’s getting harder with rising costs to deliver EMS, not just here, but everywhere. Funding is needed to support that number of calls,” he said. “This movie will give people insight.”

Narrated by Sarah Jessica Parker, the goal of the documentary is to, “raise awareness of the systemic collapse of EMS and to advocate for change. Shockingly, most states don’t mandate the provision of EMS, so funding is unpredictable and inadequate. There is a critical workforce shortage, particularly in rural areas, which in turn has led to much longer response times.”

The goal, the documentary’s official website says, is to eventually get the film onto a streaming service so everyone can see it. On the film’s official website, people can donate to help fund that endeavor, as well.

And while Honorable But Broken is not part of the Port Jefferson Documentary Series, Kelly DeVine, head programmer of the series, said that when Presta approached her and Allan Varela, president of the Greater Port Jefferson Arts Council, looking for help, both groups jumped to volunteer their resources. 

Working alongside Theatre Three, the arts council offered to lend the theatre their personal movie screen so that the film could be played at the venue.

“The Port Jefferson Documentary Series is focused on bringing high-quality films normally only seen at top festivals or art house screens to our audiences and curating those titles to support our community partners and create impactful communal experiences,” DeVine said. 

As for other films coming to Port Jefferson, the documentary series is moving to a new venue and day of the week. The Methodist Church on Main Street across from Theatre Three will now show its films on Thursdays starting in September.

Theatre Three is located at 412 Main Street in Port Jefferson. The screening is free and no reservations are required. For more information, call 631-928-9100. 

For more information on Honorable But Broken: EMS in Crisis, visit www.honorablebutbroken.org.

From left, Raimundo Espinoza, founder and executive director of Conservación ConCiencia in Puerto Rico, is interviewed by Baratunde Thurston in Episode One of the docuseries. Photo courtesy of PBS

Reviewed by Jeffrey Sanzel

PBS’s Hope in the Water is a three-part docuseries investigating the world of aquafarmers and fishers. The series shows viable alternatives to providing food for an ever-growing population while supporting and sustaining the environment. Unlike many documentaries narrowing on the doom-and-gloom aspects, Hope in the Water leans into its name, celebrating individual and group efforts and emphasizing cooperative undertakings that have already made a difference. Climate change is touched upon but rarely central.

Baratunde Thurston in Episode One of ‘Hope in the Water’. Photo courtesy of PBS

Hope in the Water comes from the multi-award-winning producer David E. Kelley (Love & Death, Lincoln Lawyer, Big Little Lies) in association with four-time James Beard Award and Emmy Award winner Chef Andrew Zimmern and his production company, Intuitive Content (What’s Eating America, Family DinnerAndrew Zimmern’s Wild Game Kitchen, Feral).

Episode One, The Fish in the Sea, which premiered on June 19, breaks down into three sections. The first details the evolution of COAST—Community of Arran Seabed Trust—a Scottish grassroots movement that set out to “manage the seas on behalf of the next generation.” Inspired by a No-Take zone in New Zealand, COAST “campaigned to stop mobile fishing that damages [their] seabeds, jeopardizing future livelihoods and wildlife.” COAST saw the change and suspension of legal protections and faced governmental roadblocks but ultimately triumphed. The new approach led to a revitalization of the waters as well as a species abundance increase of 102%. 

A joyously energetic Baratunde Thurston provides much of the narrative drive in the second section, which takes place in Puerto Rico. Thurston is the host and executive producer of America Outdoors with Baratunde Thurston and the creator and host of How to Citizen with Baratunde. The Emmy-nominated hyphenate (host-producer-writer-public speaker) is the ideal cheerleader for issues that intersect technology, politics, and climate. 

A scene from Episode 2 of ‘Hope in the Water’/ Photo courtesy of PBS

Devastated by 2017’s Hurricane Maria, the middle of the documentary tells of the founding of the World Central Kitchen (preparing and feeding over four million survivors) and the grants given to fishers for boat repairs, new engine purchases, and repairing the fishing ecosystem. At the heart is the fishing of the diamondback squid. The large sea creature, often up to sixty pounds and fished from depths as deep as 1,700 feet, is almost entirely meat. The shift promotes resilience and moves away from a dependence on imports.

The final segment shows Hawaii’s He’eisa Fishpond, eighty-eight acres and an eight-hundred-year-old location of traditional Hawaiian aquaculture. Here, one indigenous woman strives to grow fish traditionally, keeping one hundred percent of the resources local. (Hawaii is the largest consumer of fish per capita in the nation yet imports most of its seafood. The market economy overturned the long-standing fishpond culture early in the twentieth century.) This third chapter is the most intimate and personal, highlighting the power of the individual to engage the community.

The film is quickly—if often peripatetically—paced, with a constant cutting from interviews to broad oceanic vistas—rarely holding for more than fifteen seconds. (There is a vague sense that creators fear losing their audience.) In addition to an array of talking heads—activists, scientists, environmentalists, fishers, politicians—historical footage, personal photos, legal documents, and newspaper clippings flash and integrate throughout. 

A scene from Episode 3 of ‘Hope in the Water’. Photo courtesy of PBS

Episode One opens with a storm in Puerto Rico, played for dramatic effect. The entire sequence repeats when the narrative returns to this thread with a mostly tacit conclusion, justified with a tag: “These are real people, and the story is dangerous,” which is all “part of the cost of the food that we eat.” These are minor cavils in an otherwise engaging and refreshing boost of optimism. While the film presents a variety of facts—we eat twice as much seafood now as we did fifty years ago—statistics never bog down the film or obscure the story’s humanity.

In a predominantly upbeat approach, Hope in the Water embraces the oceans as the heart of the earth’s survival. The film’s message is not one of “hands off.” It expresses the necessity to be aware of the environment but also acknowledges the “need to feed.” The film is a worthwhile fifty minutes that is a tribute to the strength of community and the power of individuals to make change for the greater good. It “starts with us.”

The series continues on PBS with Farming the Water on June 26, which highlights solutions to the pollution and environmental issues surrounding farmed fish, and concludes with Changing the Menu on July 3, taking up a diversification of seafood. To view the entire series online, visit www.pbs.org/show/hope-in-the-water/.

The Ward Melville Heritage Organization (WMHO) has revealed that the documentary Driving the Green Book, which features the historic Three Village Inn in Stony Brook, has won ‘Best Documentary’ at The People’s Film Festival in Harlem. The announcement was made in a press release on June 11.

On February 18, 2022, WMHO had the distinct pleasure of hosting filmmakers Saro Varjabedian, Mike De Caro, and Alvin Hall at the Three Village Inn. They discussed the Inn’s mention in the Green Book, an annual guidebook for African American travelers during segregation, highlighting safe and welcoming establishments across the nation.

In Driving the Green Book, WMHO President Gloria Rocchio explores the connection between the Green Book and the Three Village Inn, which was owned by philanthropist and businessman Ward Melville. She also delves into the history of the Dogwood Hollow Music Festivals in Stony Brook, which featured legendary African-American performers such as Duke Ellington, Louis Armstrong, and Count Basie from 1955 to 1970.

“WMHO is honored to have contributed to a project that sheds light on an important part of American history,” read the release.

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Nikola Tesla and Guglielmo Marconi are the subjects of Joseph Sikorski's newest documentary. Image courtesy of Apple TV

Reviewed by Jeffrey Sanzel

Award-winning filmmaker Joseph Sikorski’s works include Arbor Day (1990), The Return of the King? (1993), Tower of Babble (2001), and Tower to the People: Tesla’s Dream at Wardenclyffe Continues (2015). The subject of the last—Tower to the People—plays an integral part in his newest documentary, Invisible Threads: From Wireless to War. Co-written with Michael Calomino, Invisible Threads takes an intriguing look at the early days of wireless technology and the conflicts between inventors Nikola Tesla and Guglielmo Marconi. Central to the story is a mysterious radio station erected in West Sayville, New York, by the German-based company Telefunken in 1911.

At the outset, local residents had the impression the site was to be a chocolate factory. Changing its name to Atlantic Communications Company, Telefunken built its radio tower with little public knowledge. The Suffolk County News editor Francis Hoag investigated, revealing the organization’s actual purpose. From here, the film follows the rise of wireless communication and the conflicts between Tesla and Marconi. Eventually, World War I becomes central to the narrative.

Marconi focused on developing a method to send Morse code through long-distance wireless communication. In contrast, Tesla had broader aspirations: He wanted to send sound, pictures, power, and electrical lighting by the same means. Thus came the Marconi-Tesla wireless race. 

The Wardenclyffe Laboratory in Shoreham. Photo courtesy of Apple TV

Tesla’s interests lay in the process, and concerned himself less with the applications. Marconi became a brand, with early telegrams being dubbed “Marconigrams.” As wireless technology grew, its impact and uses expanded. In 1912, wireless messages sent from the sinking Titanic saved lives. This alone boosted the value of Marconi’s system. The friction between Marconi and Tesla led to accusations and eventual wrangling over patents and lawsuits that dragged on for years.

But the heart of the story is Telefunken, who shipped the component parts from Germany to Long Island, assembling the tower in near secrecy. The company quickly demonstrated the ability to send a message from Sayville to Germany—four thousand miles—without a relay station in between. Telefunken’s process refinement even surpassed Marconi, leading to the U.S. government expressing concern that a foreign power had this control.

An “instrument of peace, commerce, and goodwill” changed in 1914 with the outbreak of the European war. The fear that Telefunken exploited the station to aid the German war effort proved true. Even with government oversight and surveillance, Telefunken used the system to communicate with Berlin: Telefunken was a major cog in the spy network. 

Conspiracies, subterfuge, and disinformation were all part of the complicated situation that even involved the sinking of the R.M.S. Lusitania. The tale is rife with saboteurs, cryptography, and Secret Service involvement, swirling with disinformation, assassinations, and labor unrest. All led to America entering World War I and taking over Telefunken. 

The film touches on the growing anti-German propaganda inflaming the American populace, particularly directed towards immigrants. Sikorski states that the majority of German-Americans were pro-American in the rising anti-German atmosphere but were subject to a wide range of persecution.

One of the most fascinating chapters involves the “Nauen Buzz,” a puzzle centered around coded messages accidentally solved by amateur radio enthusiast Charles E. Apgar. Sikorski presents Apgar through actual audio interviews recorded in 1934.

Another intriguing section explores Telsa’s remote-controlled boats outfitted with weapons. After a demonstration, government representatives dismissed its value—losing the earliest example of drone warfare. 

Invisible Threads masterfully mixes interviews with historians, authors, scientists, and other experts (and even a descendant) with hundreds of photographs and newspaper clippings. Restored historical images and 3D models for new perspectives were created from existing 2D photos. In addition, Sikorski nimbly weaves archival footage and dramatic recreations. He eschews dialogue with the latter but presents them with voiceovers, ambient sounds, and compelling underscoring. Additionally, the film details architectural challenges and scientific innovations.

Sikorski wisely chose the rich, evocative tones of Tony Todd for the narration. Todd, best known as the titular villain in the Candyman series, conveys a perfect blend of interest, insight, and a hint of menace.

With Invisible Threads: From Wireless to War, Joseph Sikorski presents a detailed, intriguing chapter in the world of communication—“So much creativity, so much destruction.”— and Long Island’s place in that history.

The documentary is now streaming on Apple TV and a special 4K edition with exclusive extras is streaming on Vimeo On Demand.