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FEATURE:
Sundance Film Festival
January 28, 2005    Episode no. 822
Read This Week's November 7, 2008
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BOB ABERNETHY, anchor: Also this week, at the Sundance Film Festival in Park City, Utah, the first screenings of independent feature films drew criticism for their obsession with sex.

But the U.S. documentaries this year are another story. As usual, many look at the world from a point of view well left of center. But an unusual number of this year's entries reflect their directors' concerns with justice, peace, religion, and ethics. Judy Valente reports.

Photo of Sundance Film Festival banner JUDY VALENTE: The Sundance Film Festival: the Holy Grail for independent filmmakers. For documentary filmmakers, Sundance is especially important. Documentaries screened here often attract worldwide media attention.

PATRICIA FINNERAN (American Film Institute): Filmmakers seek to understand the world that we live in.

VALENTE: For the first time in the festival's history, 8 of the 16 films competing in the documentary category center on either ethical or religious themes.

Ms. FINNERAN: I think the idea of looking at religion and its influence on our choices is definitely growing. So I think the question one could ask is: Is this the year of the ethical, religious documentary?

VALENTE: The people who make documentaries are often on the left of the political spectrum -- sometimes even the far left.

Ms. FINNERAN: Artists ask themselves questions about what matters in the world and make films out of that impulse.

VALENTE: More times than not, their films challenge the status quo.

Photo of EUGENE JARECKI EUGENE JARECKI (WHY WE FIGHT): Documentary makers don't work for large corporations. They don't work for anybody who's going to pressure them.

Ms. FINNERAN: Documentary is uniquely suited to address religious and ethical concerns, because it -- a filmmaker has the opportunity to explore an issue in depth. Audiences want to get beyond the kind of partisan politics and punditry and really understand and really learn something.

VALENTE: This year's crop of films delve into such topics as sex education in schools, the consequences of false imprisonment, the exploitation of global workers, the causes of war, and corporate scandal.

In THE EDUCATION OF SHELBY KNOX, young Shelby Knox challenges the school board in Lubbock, Texas to include information on contraception and AIDS prevention in sex education classes -- and not just abstinence only -- after several teens in the town get pregnant or contract sexually transmitted diseases.

Photo of ROSE ROSENBLATT and MARION LIPSHUTZ ROSE ROSENBLATT (THE EDUCATION OF SHELBY KNOX): I grew up you know, in a religious home. My own life mirrors a lot of her development. She's a religious, devout Christian. She pledges to be a virgin until she's married.

MARION LIPSHUTZ (THE EDUCATION OF SHELBY KNOX): Shelby's about to get a chastity ring from her parents.

SHELBY KNOX (THE EDUCATION OF SHELBY KNOX): I commit to not have sexual relations with anyone until I am married, and that is my personal commitment to God.

Ms. ROSENBLATT: Lubbock has one of the highest rates of teen pregnancy and STDs in the state of Texas and nationwide.

She sees kids all around her. She knows these statistics. She sees there's some warp there, you know, some disconnect. She discovers that this isn't working, herself, and she tries to make a change.

Ms. LIPSHUTZ: I would welcome any kind of conflict around it because I feel so comfortable about the choices that we made and how we represented that elusive truth.

Photo of MARC SIMON MARC SIMON (AFTER INNOCENCE): That's Herman Atkins, and that's his father, who is a California highway patrolman. And Herman was in large part the inspiration for this film.

VALENTE: Thirty-one-year-old Marc Simon is a first-time filmmaker, and an attorney. His documentary, AFTER INNOCENCE, grew out of his work as a law student helping ex-prisoners, exonerated through DNA testing.

Mr. SIMON: Herman couldn't even walk down the street in public by himself, because that's how his nightmare started. He was walking down the street and a police officer picked him up.

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HERMAN ATKINS (AFTER INNOCENCE): When I got tried and was found guilty, my whole faith, my whole belief, was shattered about the justice system.

Mr. SIMON: Parolees, who are factually guilty and then released, get help from the system to help them get back on their feet, but the exonerated don't get any assistance.

Sundance, I believe, saw this as an opportunity to educate the public about a shadowed issue that needs to be brought out to the light.

VALENTE: MARDI GRAS: MADE IN CHINA explores the lives of Chinese workers who earn the equivalent of 10 cents an hour making Mardi Gras beads. Its creator, David Redmon, is a self-taught, first-time documentary maker, who spent 5 years making the film on a budget of about $12,000.

Photo of DAVID REDMON DAVID REDMON (MARDI GRAS: MADE IN CHINA): I'm seeing globalization as lived by people who make the majority of our consumer goods in the United States on a daily basis. What do they dream about, you know? What do they like to do?

This is everything she has made up to that point. And they put 'em in these bags and they go and weigh them. It's got their names, how many pounds they've each produced. And then it becomes a split-screen dialogue between the workers and revelers.

I hope that it silences people for a second so that they can then begin to reflect, "Wow, hmm, what does this mean, what is my role? How am I implicated in this whole global process?"

VALENTE: Eugene Jarecki's film, WHY WE FIGHT, examines the forces that lead nations to war. Jarecki's film reflects his pacifist beliefs.

Narrator (WHY WE FIGHT): For every shooter out there and every man with a gun, there are hundreds behind, supporting, providing the ammunition, the boots, the gas for the tanks.

Unidentified Woman Defense Worker (WHY WE FIGHT): I don't guess I'm real proud of the fact that I make bombs, you know, for what they're used for. I think about when I see something explode over there, did my hands actually help make that bomb? I'd rather really be helping Santa make toys.

VALENTE: Alex Gibney's film examines the people at the top of the Enron Corporation and what led to the demise of the once powerful energy company.

Photo of ALEX GIBNEY ALEX GIBNEY (ENRON: SMARTEST GUYS IN THE ROOM): To me, Enron was kind of a moral report card for the nation.

Bit by bit by bit, people lost their way morally. And I think they did so because they were allowed, inside the corporation, to believe that what they were doing was almost a kind of game, and they lost any sense of larger perspective.

Voice on tape (ENRON: SMARTEST GUYS IN THE ROOM): Hey, this is David up at Enron. There's not much demand for power at all here. And we're -- if we shut it down, can you bring it back up in three or four hours?

Photo of ALEX GIBNEY Mr. GIBNEY: Here you have California traders for Enron who were calling power plants, telling them to shut down in the middle of an energy shortage in order to drive prices higher.

What I hope people will get out of this, though, is that they'll look at it and say, "Would I really have done the right thing?"

VALENTE: Other films at the festival deal with such topics as a Mormon rock star, the clergy sex abuse scandal, and human cloning.

Photo of PATRICIA FINNERAN Ms. FINNERAN: To the extent that religious and ethical issues are core to human beings' understanding of their role in the world, I think filmmakers will continue to, and maybe increasingly, address those issues.

VALENTE: Filmgoers will be able to see some of these films on television or in movie theaters in the next few months, and THE EDUCATION OF SHELBY KNOX on network television.

Ms. KNOX (In Final Scene of THE EDUCATION OF SHELBY KNOX): God wants you to question and God wants you to do more than just blindly be a follower, because He can't use blind followers. But He can use people like me who realize that there's more in the world that can be done and good things that can be done.

VALENTE: For RELIGION & ETHICS NEWSWEEKLY, I'm Judy Valente.

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