An exclusive sneak peek at Prisoner of Her Past

The trailer for Kartemquin's new 2010 release Prisoner of Her Past will be made exclusively available this week to subscribers to the Kartemquin newsletter. If you'd like to be the among the first to see the trailer, please sign up here. All new sign-ups this week will be sent the newsletter containing a link to the video and a password to enter. There's also an exclusive interview with Steve James on his new film No Crossover: The Trial of Allen Iverson and a review of new DVD Taylor Chain Parts I & II. Don't miss out!   Continued

No Crossover is a 'Slam Dunk'

In a "Grade A" review True/Slant's Piet Levy stated that Steve James' No Crossover: The Trial of Allen Iverson "is a complex, thought-provoking film with no easy answers, but plenty of challenging questions. Kudos to James for asking them." Read the review here. Director Steve James (Hoop Dreams) attended Sunday's sold-out screening at the Gene Siskel Film Center, and will again present a 'sneak peek' of the film on Thursday February 4th at 8:15pm. Get tickets here. Continued

Amnesty International Human Rights Arts Festival to showcase Kartemquin films

Kartemquin Films will share a collection of activist documentaries, including Labor Stories, Taylor Chain I & II, Golub: Late Works are the Catastrophes, and new 2010 feature Prisoner of her Past, at the first ever Amnesty International Human Rights Art Festival in Silver Spring, Maryland during April 23-25th 2010. Kartemquin's Jerry Blumenthal and Judy Hoffman will attend. Screening times are as follows: Prisoner of Her Past (4/24, 12pm) Continued

Pat Aufederheide nominated for a 2010 WeMedia "Game Changer" Award

Kartemquin Board Member Patricia Aufderheide has been chosen as a 'Community Choice' finalist for the 2010 WeMedia "Game Changer" Awards. The awards recognize "projects, ideas and organizations leading change and inspiring a better world through media." Pat has been nominated for her groundbreaking work at the American University Center for Social Media in producing Codes of Best Practices in Fair Use for Documentary Filmmakers, Media Literacy Educators, and Online Video creators. As she states, Continued

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