Radical Acts of Care: Act I
Forough Farrokhzad & Madeline Anderson
August 27 – September 27, 2020
The House is Black
Forough Farrokhzad | Iran | 16mm > digital | 22 min | 1962 The only film made by the celebrated poet Forough Farrokhzad, The House is Black is a masterpiece of poetic documentary and a key precursor to the Iranian New Wave. The director lived among a leper colony where she created this humanist portrait of people suffering various physical afflictions. Farrokzhad herself had experience with institutional care, as she was separated from her only child and suffered mental afflictions as a result, which led to her being hospitalized. The House is Black won the Grand Prix at Kurzfilmtage Oberhausen in 1964.—Greg de Cuir Jr. Film courtesy Janus Films / The Criterion Collection. * This film available for streaming in North America only *
I Am Somebody
Madeline Anderson | USA | 16mm > digital | 30 min | 1970 One of the earliest and most important documentary films made by an African-American woman, I Am Somebody visualizes the struggle of unionized hospital workers in South Carolina who demonstrate on the streets for improved labor conditions. The care that Anderson shows for these women and their demands mirrors the care that these workers are tasked with providing to a society that considers them as less than equal. This film has been selected by the Library of Congress for preservation in the National Film Registry as a significant work in United States film history.—Greg de Cuir Jr. Film courtesy the artist and Icarus Films
Forough Farrokhzad
Forough Farrokhzad (1934–1967) was born in Tehran, and is considered one of Iran's most significant poets. Her poems describe a nuanced female point of view and life experience with aching beauty and deep passion. Farrokhzad published multiple volumes in her lifetime, including Reborn (1964), her fourth collection, considered a major achievement at the time. Her short, poetic documentary The House is Black (1962) is a landmark of Iranian cinema and the modern documentary in general. It is the only film she directed in her short lifetime. Farrokhzad died tragically in a car accident in 1967. Her poetry remained banned for more than two decades after the Islamic Revolution.Madeline Anderson
Madeline Anderson earned a bachelor's degree in psychology from New York University. She began her film career in the late 1950s as a production manager and editor, working for legendary filmmakers Richard Leacock and Shirley Clarke. In 1960, Anderson directed Integration Report One, which is widely considered to be the first documentary directed by a Black woman in the United States. Anderson was inducted into the Black Filmmakers Hall of Fame (1993) and was an honoree of the Smithsonian National Museum of African American History and Culture (2018). Her film I Am Somebody was inducted into the canon of the Center for African American Media Arts at the Smithsonian that same year. She lives in Brooklyn, New York. Portrait of Madeline Anderson (above and landing slide): Myrna SuarezRadical Acts of Care: Act I
Forough Farrokhzad & Madeline Anderson
August 27 – September 27, 2020
The House is Black
Forough Farrokhzad | Iran | 16mm > digital | 22 min | 1962 The only film made by the celebrated poet Forough Farrokhzad, The House is Black is a masterpiece of poetic documentary and a key precursor to the Iranian New Wave. The director lived among a leper colony where she created this humanist portrait of people suffering various physical afflictions. Farrokzhad herself had experience with institutional care, as she was separated from her only child and suffered mental afflictions as a result, which led to her being hospitalized. The House is Black won the Grand Prix at Kurzfilmtage Oberhausen in 1964.—Greg de Cuir Jr. Film courtesy Janus Films / The Criterion Collection. * This film available for streaming in North America only *
I Am Somebody
Madeline Anderson | USA | 16mm > digital | 30 min | 1970 One of the earliest and most important documentary films made by an African-American woman, I Am Somebody visualizes the struggle of unionized hospital workers in South Carolina who demonstrate on the streets for improved labor conditions. The care that Anderson shows for these women and their demands mirrors the care that these workers are tasked with providing to a society that considers them as less than equal. This film has been selected by the Library of Congress for preservation in the National Film Registry as a significant work in United States film history.—Greg de Cuir Jr. Film courtesy the artist and Icarus Films