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Jun 11, 2020
Here's what the Wex Film/Video team has for you to watch this week. It's a mix of free exclusives and features presented in partnership with independent distributors that help support the work we do.
Image courtesy First Run Features
"Has an emotional impact that not many docs can equal."—Hollywood Reporter
Commemorate Pride month by spending time with For They Know Not What They Do, a thoughtful documentary that looks at four families navigating the confluence of religion, sexual orientation, and gender identity in today’s America. The film is the latest release by Daniel Karslake, director of the acclaimed doc For the Bible Tells Us So.
More about the film
Buy your ticket.
Image courtesy of the filmmakers
“I wanted to tell a story that was as hard-hitting and effective as it could possibly be, and get an audience member enraged enough that he or she would want to take action.”—codirector and Wex Film/Video Studio Editor Paul Hill in Columbus Monthly
Read more about the film and watch for free through June 18.
Images above and at top of page courtesy of Disturb Films US
"Fashion and female friendship become tools of resistance in “Papicha,” Mounia Meddour’s partly autobiographical feature whose extreme tonal flips — from gaiety to trauma, tenderness to tragedy — only make it all the more touching."—New York Times
Image courtesy of Cinema Guild
"An inspired reversal of Luis Buñuel’s That Obscure Object of Desire, which had two different actresses playing the same woman, the film casts one actress playing multiple versions of herself — or so it would seem."—Variety
Image courtesy of the artist
"Circumstantial Pleasures uses a variety of photos and illustrations—of everything from drugstore shelves to plastic gloves and Amazon founder Jeff Bezos—to paint a hectic, unnerving portrait of contemporary times."—Columbus Dispatch
Image courtesy of KimStim
"Adapting a play by Charles Péguy, Dumont turns the tale into a dialectical spectacle: he stages military musters like Busby Berkeley productions, seethes at the torturers’ rationalizations, delights in hearing his actors declaim the scholars’ sophistries, and thrills in the pugnacious simplicity of Joan’s defiant responses, which reduce her captors’ pride to ridicule."—The New Yorker
