AN INJURY TO ONE

Përshkrimi

With parts of the country in the grips of a newly radicalized mood, it’s tempting to wonder what an American political cinema would look like. As it is, the most prominent model we have is Michael Moore, a lightning-rod figure whose agitprop bluster can be both cathartic and frustrating. Most of what we think of as political documentary is strictly content over form, determined above all to get across the stakes surrounding a particular issue. The picture is even less encouraging in the fiction arena, where openly political filmmakers such as John Sayles or even Oliver Stone are very much outliers.

Biografia e Regjisorëve

A chance meeting in Havana with legendary Cuban film propagandist Santiago Alvarez changed the course of Travis Wilkerson’s life. He now makes films in the tradition of the “third cinema,” wedding politics to form in an indivisible manner. In 2015, Sight & Sound called Wilkerson “the political conscience of American cinema.” His films have screened at scores of venues and festivals worldwide, including Sundance, Toronto, Locarno, Rotterdam, Vienna, Yamagata, the FID Marseille and the Musée du Louvre. His best-known work is an agit-prop essay on the lynching of Wobbly Frank Little called “An Injury to One,” named one of the best avant-garde films of the decade by Film Comment. His most recent fiction feature, “Machine Gun or Typewriter?” premiered at Locarno 2015 and was awarded Best International Feature at DokuFest (Kosovo). It has since screened worldwide and was recognized as one the finest films of the year on numerous lists including La Furia Umana and DesistFilm. His writings on film have appeared in Cineaste, Kino!, and Senses of Cinema. He has taught filmmaking at the University of Colorado and Film Directing at CalArts, and was the inaugural Visiting Fellow of Media Praxis in the Pomona College Media Guild. Presently, he is a Visiting Assistant Professor of Film at Vassar College. He is also the founding Editor of Now: A Journal of Urgent Praxis.