Seen at Tribeca (Post 3 of ?): Indian Point
In the wake of the Fukushima nuclear power plant disaster several years ago, increased scrutiny has piled on the nuclear power industry. On a local level, residents, journalists and regulators alike are players in an increasingly complex environmental and regulatory space where there are raised concerns over the safety of the nation’s aging plants.. The heavily populated New York City metropolitan area is no exception. Check out this recent New York Times article for evidence; this is but one of several alarming pieces covering the 50+ year-old Indian Point nuclear facility on the otherwise picturesque Hudson River.
Aptly titled Indian Point, the documentary, directed by Ivy Meeropol, features Indian Point employees, anti-nuke activists, environmental journalists and a host of other key players who have a stake in the long term outcome of the plant. Two points of interest on this front – a husband/wife tandem of anti nuclear activist and environmental journalist, and most notably, former chairman of the U.S. Nuclear Regulatory Commission, Gregory Jaczko, who by the account of the film was forced out of his position by a powerful and insular industry hell bent on growth amidst an increasingly alarmist court of public opinion.
In general, Indian Point is very much a paint by numbers documentary, not offering much in the way of ‘entertainment’, per se. But what makes it a watch of interest is that it provides some background information on the history of the facility and raises some questions as to the facility’s sustained viability amid the perceived imminent threat posed to the region.
Seen at Tribeca (Post 2 of ?): A Ballerina’s Tale
A Ballerina’s Tale is a “behind the curtain” look at world famous American Ballet Theater soloist Misty Copeland; Copeland is only the fourth African American to hold such a role in the company’s history.
Director Nelson George chronicles Copeland’s prodigious rise from her early days in California, her move to New York City in her teens and ultimately how she challenged people’s notions of what a “traditional” ballerina should look like. From here, the accounting of her life takes us up to the present day, with Copeland’s ascension as professional, including many of her triumphs (Firebird, Swan Lake) and setbacks (career threatening injuries). For me, the real treat of A Ballerina’s Tale, is how her career milestones are accented by the presence of her mentors, many of whom were trailblazing dancers in their own right; in fact, several make appearances in the film.
Sure, there are things I would have loved to see (a little more about her family life and background and the impact it had on her careers), but I will let this pass, given the documentary’s subject and importance. I am allowing myself, just for a moment, to reflect on what watching a film like this can mean for a young woman who has dreams, but feels that they will come to nothing (“so why bother?”). Fortunately, we get a brief hint of this in a scene where Misty meets a few of her younger fans. Moments like these resonate with me. In fact, it made me recall my own childhood days as a ballet/tap dancer. While I did not have great dancing ambitions, save for making it into pointe toes (that did not happen), I imagine if would have felt any different if the “rock star” of ballet during my time was someone I could relate to culturally.
In other words, I am confident that A Ballerina’s Tale can serve as a source of inspiration for others, much in the way that Sally Ride and Dr. Mae Jemison inspired me to want to become an astronaut.
And as we enter an age where appreciation for the various classical art forms is waning, Copeland stands heads above all as a beacon and ambassador that can (and hopefully will) inspire a new generation of dancers. This film is a good advertisement of that ability to transcend.
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