I’m extremely excited to announce that this year’s recipients of the Sarah Jacobson Film Grant are:
Susan Mogul, for her project Rude Girls, a documentary about the Southern California feminist art movement in the 1970s.
Abby Moser, for her project Grrrl Love and Revolution: Riot Grrrl NYC, a documentary about the feminist music movement in New York in the 1990s.
Lana Wilson and Martha Shane, for their project Trust Women: The Story of Two American Abortion Doctors, about Dr. Leroy Carhart and Dr. Warren Hern, two of the very few late-term abortion providers left in this country.
There is more about the winners after the jump. I can’t overstate the strength of the submissions–it was incredibly hard just to narrow down the field to a smaller group of finalists, and harder still to pick amongst them. I want to thank the judges: Allison Anders, Michelle Handelman, Kathleen Hanna, Lee Jacobson, and Catherine Tyc for taking on this task.
There were a lot of documentary entries, and obviously three documentaries won, but I want to stress that the grant is open to all types of projects–experimental, narrative, non-fiction, and anything you can dream up. Sarah would flip her lid if she knew all of these amazing people were making work no matter how big the challenges.
I’ve been talking to some of you about doing a small traveling film festival for DIY and indie spaces–basically a program of shorts and trailers. More on that in a few weeks.
I have a few more people to thank: Sam Green, the founder of the grant, for his advice and for being the fiscal sponsor, and Ruth and Lee Jacobson, for everything. And the DONORS! Thank you to everyone who contributed to the Indiegogo campaign. You are helping to make dreams come true.
Again, congratulations to the winners and thanks again to everyone for entering!
Susan Mogul on Rude Girls:
The feminist art movement that emerged in LA in the 70s produced work that was anything but cool. It was messy, bloody, shocking, zany, and raised issues about being female that were supposed to stay behind closed doors—rape, menstruation, the drudgery of housework, and sexuality. The most emblematic example, Womanhouse, was an installation in an abandoned Hollywood house created by the feminist art program at CalArts in 1972. It included a menstruation bathroom, a female mannequin trapped in a linen closet, and a performance where a woman ironed a sheet for an hour.
Here’s her trailer:
Abby Moser’s description of her film:
Revolution, Grrrl-Style Now!: Riot Grrrl in NYC fills a significant gap in the history and representation of Riot Grrrl, in that it is the only film that provides an in-depth investigation of the movement while it was happening and from the perspective of an entire Riot Grrrl chapter. For three years, Abby attended Riot Grrrl meetings, went to Riot Grrrl events and interviewed any Riot Grrrl who was willing to speak on camera. Riot Grrrl was very much a grassroots movement, and while Bikini Kill was a catalyst for Riot Grrrl, it was the community of girls on the ground that made this movement what it was—a point underscored by Bikini Kill themselves. This film is a product of the Riot Grrrl community, not only because other women in Riot Grrrl helped with sound, interviews and videography, but because it is the production of the relationships built through this movement (and the way the filmmaker changed by being involved).
(Trailer coming soon!)
Lana Wilson and Martha Shane describe Trust Women:
TRUST WOMEN tells the stories of Dr. LeRoy Carhart and Dr. Warren Hern, two of the last physicians in the country who publicly acknowledge that they provide late abortions, despite the constant harassment and threats they face as a result.
After the murder of Dr. George Tiller last June, there is only a handful of American doctors left who provide late abortions to women who seek them. TRUST WOMEN is a feature-length documentary film that will paint a vivid portrait of the lives of two of these physicians—Dr. LeRoy Carhart and Dr. Warren Hern—who have now become major targets of the “pro-life” movement, yet continue to risk their lives every day to do work which they believe literally save women’s lives.
(They aren’t quite ready to release a trailer yet)