by Judith Helfand
Premiere Date: June 17, 1997
Battling personal grief, corporate power, and her mother's guilt, Helfand turns the camera on herself and her family to document her battle with DES-related cancer.
by R.J. Cutler and David Van Taylor
Premiere Date: August 5, 1997
What does it take to be a perfect candidate in a cynical age? A Perfect Candidate Is an up-to-the-minute critique of our campaign process — and a twisted journey into the underbelly of american politics.
by Steven Lipscomb
Premiere Date: June 10, 1997
While chronicling his mother's recent struggle to become a Southern Baptist pastor, filmmaker Steven Lipscomb uncovered a whirlwind of change and a rising tide of opposition to women as senior church leaders.
by Deborah Kaufman, Bari Scott and Alan Snitow and
Premiere Date: July 29, 1997
Why is the mere mention of Blacks and Jews in the same breath so riddled with complexity?
by Laura Simon
Premiere Date: July 1, 1997
Teacher/filmmaker Laura Simon takes us inside her school's classrooms and faculty lounge, where a California law will deny public education to the children of undocumented immigrants.
by Jane Wagner and Tina DiFeliciantonio
Premiere Date: July 22, 1997
This POV classic film offers a rare and disarming peek into the very real lives of teenage girls in South Philly in the early 1990s.
by Jay Rosenstein
Premiere Date: July 15, 1997
Charlene Teters, a Spokane Indian, evolves from mother and student into a leading voice against the merchandising of Native American sacred symbols as sports mascots.
by Michael Smith
Premiere Date: June 24, 1997
An excruciatingly tender look at the frayed lives of the family and friends of Jesse Rahim Hall, a promising young hip hop artist from East Oakland, California killed in a drive-by shooting.
by Alan Berliner
Premiere Date: June 3, 1997
Alan Berliner drags his reluctant father kicking and screaming down memory lane to probe the swirls of conflict and affection that bind every family.
by Alex Rubin and Jeremy Workman
Premiere Date: July 8, 1997
Obsessively confusing and abusing the lines between life and art, writer-director Henry Jaglom challenges the boundaries of filmmaking and viewer endurance.