Category Archives: Film

“THE GREEN PRINCE”— How A Son of Hamas Leader Came To Work For Shin Bet

the green prince

‘The Green Prince’

How A Son of Hamas Leader Came To Work For Shin Bet

Amos Lassen

In the new documentary, “The Green Price”, Mosab Yousef  tells how he, the son of a prominent Hamas leader becomes a Shin Bet spy. Gonen Ben Yitzhak explains his role in luring Mosab over to the Shin Bet and their operations carried out over the course of a decade from 1997 to 2007.  Director Nadav Schirman allows each man to explain his motivations with no intruding or directing questions.

Mosab tells us that he is motivated by disillusion with Hamas desires to bring peace to the region, although it is clear that he finds the subterfuge to be exciting. We do see his loyalties become tangled as the movie progresses. He does become the link between Hamas and Shin Bet plays one against the other. He ultimately turns on his father when he realizes that he would be safer in jail than in Ramallah. It is interesting that the Israelis suspect that Hassan, Mosab’s father, knows what his son is doing.

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Alarmed by what he hears, Mosab sells his father , Sheikh Hassan Yousef, down the river in a last-ditch attempt to keep him out of harm’s way, reasoning that he will be safer in jail than on the streets of Ramallah. The Israelis, for their part, suspect that Hassan secretly knows what his son has been up to all along.

The film is as tense as any Hollywood thriller and is a real psychological adventure. The title, “The Green Prince”, is for Mosab’s Israeli codename and the film brings together archival footage and reconstructed scenes as we await the arrival on screen of Mosab and wily Gonen Ben Yitzhak. When Ben Yitzhak first recruits Mosab he tells him to continue studying and become an important person in his community. Mosab tells us that this is exactly the same advice he got from his father. It is here that we realize that the film is a shifting triangle between a young man and two father figures. What is lacking is an interview with Sheikh Hassan but then  if he had appeared that would make the story so nice and clean and tied up with a bow. It is the tension at the core of the film that makes it so interesting. We do see that Mosab loves his father but he hates his father’s actions. He does respect Ben Yitzhak but we get the feeling that the Israeli is not playing fair.

All three, Mosab, Ben Yitzhak and Hassan are corrupt and each tries to make the best out of a situation that has good side. All three know that they are bound together and one goes down so do the others. That going down is pictures with grace here and that is very special.

It seems that the film’s strongest narrative points involve Mosab’s relationship with his father and Mosab’s explanation that his allegiances remained with his imprisoned father all along. In fact, the reason that Mosab joined the Shin Bet was to prevent the murders of Hamas leaders such as his father. He agreed to assist the Israelis as long as Palestinians would be imprisoned rather than executed for their crimes, and he says this loud and clear  when he says to those who still believe him to be a traitor that “you are not assassinated today because of this arrangement.” Mosab’s father, however, still believes him a traitor and has disowned him much like the majority of Palestinians. This is over emphasized at the end of the film when Mosab makes a speech and chokes back and wipes away tears. While this is quite moving what it does is reinforce the idea that the film is more interested in what we can really see than ambiguities and complicated detail.

 The film is something of a shadow play with the actors hiding in twilight and as the film goes forward the line between light and dark blurs more and more. It depends on the identity of the characters. Mosab tells us how he came to be imprisoned by the Israelis after brokering an arms deal, how his experience of Hamas in prison shook him to the core of his being, how he began spying for Shin Bet and how they pushed his position into intelligence and how Mosab used it to protect his family.

 There are two important relationships here—that of Mosab and his father and that of Mosab and Ben Yitzhak. It may sound strange but this is a family drama almost like a Greek tragedy as we see the struggle between Mosab’s loyalties to his father and to Yitzhak, to say nothing of his loyalties to the Palestinians or the Israelis and this is balanced by Mosab’s growing moral evolution. 

“MY NAME IS A BY ANONYMOUS”— Coming to DVD September 23

my name is A

“My Name Is A By Anonymous”

Coming to DVD September 23

Amos Lassen

 “My Name is A by Anonymous” is based on the Shocking True Crime of Teenage Killer Alyssa Bustamante. It has taken some three years and many battles and controversy to get this film released to DVD but now we have it.  Additionally the DVD contains two alternate cuts of the film, short films, deleted scenes, trailers, music videos, and more.

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 Alyssa Bustamant gained instant worldwide fame when she murdered her younger neighbor in 2009. The search for a missing girl exposes a dark world of lost and emotionally unstable teenagers who are responsible for the girl’s disappearance and eventual murder. The film is a disturbing, fascinating portrait of the alienation and despair found in teens that have been left to fend for their own purpose. Alyssa Bustamante was convicted and currently serving a life sentence for the ‘Thrill-killing’ of her neighbor Elizabeth Olten in 2009 and this is the basis for the film.

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This film is loosely based on the 2009 killing of 9-year-old Elizabeth Olten. Director Shane Ryan really creates an art house film that is going to be heavily talked about one way or another. We follow Alyssa who seems to have different personalities almost like alter egos one can say. The one that will startle some is the bulimic young woman who suffers sexual abuse by her dad. The film paints tragedy in such a way that this film is really dark from beginning to end. This movie was shot in many different ways including a mixture of found footage, black and white and first person storytelling with a story that is told thru chapters.  This is quite a difficult film to like. The characters just did not seem to come to life and I really did not care about any of them. The kids are a mess and seem to be rotten from within. One is bulimic, and has one messed up home life.  Another is an exhibitionist that has some serious daddy issue and another is an emo wanting to be dark and tortured, and proving it through cutting herself and swearing a lot. 

This section contains spoilers and I find it difficult to write about the film without giving some ideas away. When Alyssa finally kills Elizabeth, there is never any reasoning. She’s had a fucked up life.  As is made very obvious, the collection of girls is really different facets of Alyssa, and those different parts of this girl show the many ways that this character has had such a horrible life.  But even so, there is never any reason given, never any thought shown towards the eventual conclusion of the story.  Why does Alyssa kill Elizabeth? 

The technical aspects of the film are impressive even with the above and obviously sound overtook substance here. The film is visually beautiful and we see horrible things to see, shown in a beautiful way and this is a film that should be seen regardless of my criticism.

“WETLANDS”—- Opens in NYC and LA

“LIBERATING AND FEROCIOUSLY COMIC…
IF OSCAR DIDN’T HAVE A STICK UP HIS ASS,
JURI WOULD BE A NOMINEE FOR BEST ACTRESS”
- Peter Travers, Rolling Stone

“NOTHING LESS THAN THRILLING… VIVIDLY ILLUMINATED BY MS. JURI’S EXTRAORDINARILY UNPROTECTED AND UTTERLY FEARLESS PERFORMANCE”
- Jeannette Catsoulis, The New York Times

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“WONDERFULLY FILTHY AND WILDLY PERVERSE”
- Jenni Miller, A.V. Club

“WETLANDS IS DIRTY, EXPLICIT, ROMANTIC, TRAGIC, PSYCHEDELIC, RAUNCHY, SEXY, REPULSIVE FUN,
AND I LOVED EVERY MINUTE OF IT”
- J. Hurtado, Twitch
WETLANDS

BASED ON THE BESTSELLING NOVEL BY CHARLOTTE ROCHE
 
A FILM BY DAVID WNENDT
 
Starring Carla Juri, Christoph Letkowski and Meret Becker

OPENS IN NY ON FRIDAY, 9/5 AT THE ANGELIKA FILM CENTER

OPENS IN LA ON FRIDAY, 9/12 AT THE NUART & NATIONWIDE

View Theatrical Trailer
View “Pink-Band” Trailer
Official Selection:
Sundance Film Festival 
Locarno Film Festival
SXSW
Fantasia Film Festival
Eighteen year-old Helen Memel (Carla Juri) likes to skateboard, masturbate with vegetables and thinks that body hygiene is greatly overrated. Struggling with her parents’ divorce, she spends her time experimenting and breaking one social taboo after the other with her best friend, Corinna (Marlen Kruse). When a shaving accident lands her in the hospital, she sees it as a way to reconcile her parents and forms an unlikely bond with her male nurse, Robin (Christoph Letkowski). WETLANDS is an unapologetically vulgar coming-of-age tale about divorce, first love and anal fissures.
109 Minutes • Comedy • Not Rated • In German with English Subtitles
OPENS IN NY ON FRIDAY, SEPTEMBER 5

ANGELIKA FILM CENTER
18 W Houston St.
New York, NY 10012
(212) 995-2570
For Tickets and Showtimes

OPENS IN LA ON FRIDAY, SEPTEMBER 12

NUART THEATRE
11272 Santa Monica Blvd.
Los Angeles, CA. 90067
(310) 473-8530
For Tickets and Showtimes

Also, playing starting 9/19 in LA at Laemmle’s Playhouse 7 & Noho 7

TO FIND A THEATER NEAR YOU, PLEASE VISIT: WETLANDSMOVIE.COM

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Copyright © 2013 Strand Releasing, All rights reserved.

“LADIES FIRST”— 48 Israeli Comediennes

ladies first

“Ladies First”

48 Israeli Comediennes

Amos Lassen

48women: Comediennes, stand-up artists, celebrities, singers and actresses, each tells the filthiest chauvinistic joke she knows, it develops into a talk about men, sex, relations and humor. The result, apart from being extremely funny, enables the women to develop theories, thesis, and insights regarding life, intimacy, men and more. All in extreme openness. The last scene of the film consists of all of the women singing ‘I will survive’, each sings, one line from the song in a very animated manner.

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“15 TO LIFE: KENNETH’S STORY”— To Die in Prison

 

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15 to Life: Kenneth’s Story

A film by Nadine Pequeneza
52 minutes, color, Canada, 2014

The United States is the only country in the world that routinely condemns children to die in prison. This is the story of one of those children, now a young man, seeking a second chance in Florida.

At age 15, Kenneth Young received four consecutive life sentences for a series of armed robberies. Imprisoned for more than a decade, he believed he would die behind bars. Now a U.S. Supreme Court decision could set him free. “15 to Life: Kenneth’s Story” follows Young’s struggle for redemption, revealing a justice system with thousands of young people serving sentences intended for society’s most dangerous criminals.

Reviews

“Incredibly important.” Melissa Harris-Perry, host, MSNBC

“Powerful. . . . Moving.”
Bob Herbert, host, “Op-Ed.TV,” CUNY-TV, New York

“Harrowing. . . . Depicts a justice system that only perpetuates the sort of violence it was intended to keep in check.” Nina Liss-Schultz, Mother Jones

“Top 5 Staff Pick.” Christian Science Monitor

“Social-justice documentaries aren’t always as engaging as you’d like them to be—they can be preachy, decidedly one-sided or two-dimensional. Not so for this little gem. . . . it does a fine job of using one very human story to make a larger point about the criminal justice system. 4 stars (out of 5)” Erin Sullivan, Orlando Weekly

http://vimeo.com/101620957 

“ROCKS IN MY POCKET”— A New Kind of Animation—opens in NYC

In the new animated gem Rocks in My Pockets, Latvian-born artist and filmmaker Signe Baumane tells five fantastical tales based on the courageous women in her family and their battles with madness. With boundless imagination and a twisted sense of humor, she has created daring stories of art, romance, marriage, nature, business, and Eastern European upheaval—all in the fight for her own sanity.

Employing a unique, beautifully textured combination of papier-mâché stop-motion and classic hand-drawn animation (with inspiration from Jan Svankmajer and Bill Plympton), Baumane has produced a poignant and often hilarious tale of mystery, mental health, redemption and survival. 

 

Animator and filmmaker Signe Baumane in person
Wed Sep 3 and Thurs Sep 4 for Q&As following the 6:30 and 8:30 shows.

SIGNE BAUMANE ART GIVEAWAY
3 original drawings from the film will be given away at each Q&A!

 

EXCLUSIVE NEW YORK ENGAGEMENT
STARTS WEDNESDAY SEPTEMBER 3

323 6th Ave at West 3rd St, NEW YORK • 212-924-7771
BUY TICKETS ONLINE: www.ifccenter.com

(Currently only the 6:30 and 8:30pm shows are available for advance bookings.
More dates and times will be announced later today.)

ROCKS IN MY POCKETS WILL BE PLAYING
AROUND THE COUNTRY
CLICK HERE FOR OTHER CITIES

 

Visit the ROCKS IN MY POCKETS website
or follow us on Facebook

A ZEITGEIST FILMS RELEASE

“THE NOTEBOOK”— Learning from Evil

the notebook

The Notebook (“A nagy füzet)

Learning from Evil

Amos Lassen

 Despite its unfortunate American title, aligning it with a certain Nicholas Sparks adaptation, János Szász’s “The Notebook” is a thoroughly provocative WWII film. The protagonists are twin boys, played with convincingly deadened spirits by András and László Gyémánt, whose plight could easily degenerate into banal emotive cues. This is the story of twin siblings who endure the harshness of WWII in a village on the Hungarian border and look at their survival by studying and learning from the evil surrounding them.

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The film opens during the latter years of the war, as the adolescent Hungarian boys are handed over to their grandmother (Piroska Molnár), known by local villagers as “the witch”. Their mother, (Gyöngyvér Bognár), feared for their safety under the threat of impending air raids and so took them away. The grandmother is strict, stern and vulgar from the moment she takes in the boys She calls them names and assures them that their mother won’t be coming back for them. The grandmother’s presence seems to be something from a fairytale but this is not  fairytale of a film. It is more of a sensory exploration of wartime atrocities, something the boys become convinced they need to adapt to in order to survive.

The boys tell their father that they are keeping a notebook because he demanded they write down only the truth. Szász uses this concept as a kind of irony since the film expresses that which can never be absolutely true— the dramatic reenactment of catastrophe. It becomes even more ironic because the twins cannot be held up to a reasonable standard of discerning fact and fiction. We see this when the boys start beating each other and starving to make themselves impervious to the impending punishment they anticipate.

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But his is not sadistic humanism and we understand that what really happened could have been much worse than what we see here. By using a somewhat tender style  the twins go through a series of challenges to their bourgeois innocence. These include a German officer whose interest in the twins is purely pedophilic, a thieving woman with a cleft lip, and a woman who insists upon bathing with the twins, only to end up caressing, washing, and masturbating with one of their feet.  Granted these seem to be lurid but Szász  shows them as inevitable consequences of power gone awry. We see that true terror resides in its mimetic effects and transforms sensibility and desire just as thoroughly as it rips through flesh.

Sending children from the city to the countryside was a common one during World War II. In this film, it’s the catalyst for the degradation and corruption of two adolescent boys. While the boys’ father, a soldier, goes back to fight, their mother begs her own mother (who she hasn’t seen in 20 years) to take her children in, promising to come back when the war is over. The two boys are put to work, chopping wood, and drawing water. They attempt to nourish themselves by continuing with their lessons, studying the Bible, and writing an account of their lives in a notebook that their father gave them. They are to record their experiences for him during his absence.

There is not much plot— the film is comprised mostly of stark, difficult-to-watch vignettes in which the boys are subjected to painful or bizarre situations. Not only do they take abuse from their grandmother, the brothers are severely beaten when they attempt to track down a thief who’s stolen their wares. Then there is a starving German soldier they try to help who dies of cold and hunger in the woods near their home, and they see firsthand examples of anti-Semitism. There are also some dark sexual scenes here— a German officer living next door takes an odd interest in them, and a beautiful woman takes obvious pleasure from bathing with them (an act that seems to leave the boys mostly puzzled). Their best friend, a girl referred to as Harelip (Orsolya Toth), informs them that an easy source of cash is blackmailing the lecherous deacon.

The two brothers quickly become used to and tainted by their surroundings, almost reveling in their ability to toughen themselves. A particularly gruesome scene sees them punching and hitting each other in order to become immune to pain, and they begin killing insects and small animals, as well as standing up to their grandmother (who begins to look on them with a newfound respect)—and they only get worse from there. Big eyed and smooth skinned, they’re the picture of budding youth, yet both have truly hardened themselves. Their dead-eyed stares add an almost macabre sense of eeriness.

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The film is visually stunning. Though Grandmother’s house and the village are marked by poverty, the scenes are gorgeous to behold, contrasting sharply with the violence and abuse taking place. There is very effective use of symbolism, though it’s rarely subtle. The opening shot of the boys sleeping nestled against each other and breathing in sync, for instance, emphasizes their seeming innocence, while several shots of the dead insects is a frightening example of how twisted they’re becoming and a stand-in for the implied, off-screen deaths we aren’t seeing.

Their motivation, however, is not fully developed. Their parents’ apartment was  bourgeois and attractive and when they get to their grandmother’s things turn horrible. The two boys are seemingly well-grounded adolescents who snap—in fact, many of the worst things they experience happen after they’ve already turned. Viewers may find themselves questioning quite a lot when the credits finally roll: there’s a lot to unpack. This may not the most original treatment of the death of innocence and the corrupting influence of war, but overall this is a gripping and chilling work, taut and explosive.

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Referred to as One and the Other, twin actors Andras and Laszlo Gyemant are the unfortunate weak points in the film. Their performances are one note, the transgression from privileged, spoiled children to browbeaten, cold blooded killers is hardly depicted with any sort of emotional range by the twins, who seem either vacant or surly, with nary a modulated expression in-between. They appear too well kept  when we consider the undesirable conditions they’re placed in for so long.

“THE SEARCH FOR SIMON”— Looking for His Brother

the search for simon

“The Search for Simon”

Looking for His Brother

Amos Lassen

30 years ago, David’ Jones’s (writer/director Martin Gooch) younger brother Simon disappeared without a trace and has not been seen since. David is still looking, and the search for Simon has become his life. The brothers were boys when David disappeared and Simon really believes that he was abducted by aliens. When he shares this with writer/psychiatrist Eloise Eldritch (Noeleen Comiskey), she acts interested, although mostly because she sees this as a template for an obsessed character in her next novel. Eloise does wind up introducing David to a nice girl, Sally (Millie Reeves) yet by talking to David’s alcoholic mother Irene (Carol Cleveland), she believes that there may be more answers than David gets when he takes trips to UFO hot spots. 



 The film seems to be some kind of black comedy where nearly everybody acts mockingly or patronizingly toward David, and it’s okay to laugh at him because he acts so ridiculous. Gooch in his direction and the way he interprets the role sees David as both sympathetic and ridiculous and this is a very difficult balance to maintain.

The search has been an obsessive part of David’s life ever since his brother went missing, leaving him unable to form close relationships – even the few friends he has can barely stand to be around him because all he does is talk about Simon.

Gooch presents a world of UFO obsessives, re-enactment societies, tabletop game players, government conspiracies and more as David searches for his missing brother.  Being misdirected to Denmark by a Skype contact and fellow UFO seeker “Arctus The Alien”, David meets psychiatrist Eloise Eldritch who is writing a book on obsessive behavior.  Deciding that Simon will make a perfect subject for her book, she gets drawn into his strange world, whilst at the same time Simon seems to be forming his first real relationship.

Gooch blends science fiction, drama and comedy in a charmingly off-beat manner and it is great fun to see a writer/director striking out and doing something original and quirky.

“The Search For Simon” is not perfect by any means – the comedy side is be gently amusing rather than laugh out loud funny, and occasionally misfires, but the story of Simon and the overall narrative create a sweet and unexpected payoff.  There is a lot of sympathy with its main character, refusing to make fun of him because of his UFO obsession.  It would have been easy to make David an object of ridicule – the typical “socially inept UFO anorak obsessive” – but thankfully this isn’t the case.  Gooch presents his main character as a troubled soul who we can’t help but root for and whose ultimate storyline is actually quite moving.

As much an off-beat drama as it is a comedy, and there are some very, very silly moments. “The Search For Simon often feels as much of a character study (although a very off-beat character) as it does a comedy”.  It is often fun watch, and hopefully we will see more of what Martin can do with his unique brand of weirdness” in the near future.

“PARIS-MANHATTAN”— Obsessed with Woody Allen

parismanhattan

“Paris-Manhattan”

Obsessed with Woody Allen

Amos Lassen

Alice is a pharmacist who is obsessed with Woody Allen and has been since she was 15 years old. She has seen all of Allen’s films and she even imagines that she talks to him in the privacy of her home. One night she meets Pierre at a nigh-club and is pleased to learn that he likes jazz. Alice immediately thinks that he is Mr. Right. But Pierre falls in love with Helene, Alice’s sister and they are married.

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We move forward to years later when Alice is unmarried and running her father’s pharmacy. She believes that watching movies can heal many common diseases and she lends them to her customers. Her father has not given up hope to see her married but when Victor, an alarm technician meets Alice, she does not picture a future with him. But then one when Woody Allen is in Paris, Victor takes her to see him and he gives her some advice.

. Years later, Alice is a spinster that administrates the pharmacy that belonged to her father and believes that movies can heal many diseases. However her father insistently tries to find a husband for her. When the alarm technician Victor meets Alice, she does not see any future relationship with him. But one day, Victor brings Alice to meet Woody Allen in Paris and the director gives an advice to Alice.

This is a great film for fans of Woody Allen but others might not enjoy it as much. New writer/director Sophie Lellouche tries to follow in Allen’s footsteps by making this about layers of different sophisticated relationships within this one family. Some of it is very cute but it does not always work.

Early on we learn about Alice’s (Alice Taglioni) obsession with Allen in a voice-over that says that she and Woody Allen formed a connection when she first saw one of his films (Hannah and Her Sisters) at age fifteen, and that the two have maintained an annual “relationship” ever since. In the narrative’s present, Alice is single and working at her father’s pharmacy. Having found all answers to her questions in life so far through Allen’s acute screenplays, Alice comforts herself in her own idealized version of existence. She is quick to help others and she often lends DVDs of Allen’s films (or those of his influences like Ernst Lubitsch) to pharmacy clients because of her idea that movies can sure diseases. When she meets Victor (Patrick Bruel), she is so filled with past disappointments and film-fuelled expectations that her chances of happiness with him are threatened. 

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Alice Taglioni is relatively charming, but her character is not fully realized. She seems not to have an obvious drive; she feels entirely defined by her obsession with Allen.  I found the film to be reminiscent of Allen’s “Play It Again, Sam” in which we feel the director’s obsession with “Casablanca”. It is interesting to see that Allen has influenced and inspired this French film and we sense the affinity between Paris and Manhattan. Both cities are seen as romantic here as well as alluring. If you know Woody Allen’s films then you are probably aware that European filmmakers, i.e. Ernst Lubitsch and Billy Wilder, have influenced him. It is interesting now to see him influencing someone else.

“Paris-Manhattan” is an endearing and gratifying film but it seems to be such an homage to Allen that it loses some of its own identity. To compare it to films by Allen hurt it rather than help it but who know what this director has up her sleeve to next surprise us with.

“EVERGREEN: THE ROAD TO LEGALIZATION”— How Washington State Legalized Recreational Marijuana

evergreen

“Evergreen: The Road to Legalization”

How Washington State Legalized Recreational Marijuana

Amos Lassen

Washington State became the key battleground in the fight for cannabis prohibition reform.  It seems that a growing medical pot industry was paving the way for cultural change in Washington State, and the architects of Initiative 502 put forth a plan that they felt would balance the politics of the region and stand a chance to pass in November. However, many in the local cannabis community were vehemently opposed to I-502, saying that it imposed “harsh and scientifically arbitrary DUI laws, new taxes, additional restrictions and penalties that negatively impact youth, medical marijuana patients and care providers”.

This film documents the campaigns for and against I-502, the successful ballot initiative in 2012 that legalized recreational marijuana usage in Washington State, almost in real time. I-502 passed in November of 2012 and marijuana usage was legalized formally in December 2012. Director Riley Morton went to extraordinary lengths to provide ample time for arguments from both sides of the legalization issue.

The filmmakers had access to both sides as the campaign goes on. What was so interesting was that the opposition to I-502 came from marijuana activists who argued that a provision making it a DUI to drive with five nanograms of active THC was particularly punitive and would strengthen, not relax, existing drug laws. The pro-legalization side was made up of Rick Steves, the ACLU’s Alison Holcomb, Seattle City Attorney Pete Holmes and former Bush 43 US attorney appointee John McKay. The yes campaign was the new mainstream. And it won big – by more than 10 points.evergreen1

“Evergreen” is an important document for students of political history to see how a successful campaign is won, and how it’s lost. Dominic Holden a new editor, made an important point that the more the No campaign stressed the DUI component of the law, the more they were helping other side because polls overwhelmingly showed that people who were inclined to vote for legalization are far less comfortable with driving stoned. 

“Evergreen” understands its historical significance. It’s a relevant film while Washington State figures out just how it’s going to legalize marijuana usage, but it’ll also be worth seeing it again in five and ten years to see whose predictions came true.

 The film is an in-depth look at all of the difficulties and nuances activists faced in passing I-502, a piece of legislation in Washington State legalizing small amounts of marijuana. It is a serious look at both sides of the aisle, but the surprising thing is that the two sides aren’t pro-legalization vs. anti-legalization—we don’t see much in the way of anti-drug conservatism.

This is not a film designed to entertain. The film excels at showing each side of the debate, without forcing any conclusion or agenda on viewers. It’s still a very open question whether I-502 was the best legislation. The point comes across fairly clearly that small steps may be best when dealing with major paradigm shifts.

The majority of the film is a look at the process of drafting legislation, gathering support and signatures, and spreading the word through public forums. There are a few somewhat wild scenes of countercultural events like Hempfest, with all of the cannabis enthusiasts. It is a lesson in policy, civics, and argument, with little focus on actual cannabis culture.

Because the entire debate centers on whether or not the bill goes far enough, and not if the bill should exist at all, shows how far the cause of legalization has advanced. The real question is if and when the federal government will follow suit, but so far all that can be considered on that front is that the Obama administration announced that it will not challenge state legalization laws. This is an unbiased historical document of how dedicated people took the first steps toward introducing just a bit more reason into the law code.

Each side questions the other’s hidden motives, and the film records these insinuations instead of digging into each participant’s personal history so it might look at their merit. It’s clear, though, that there’s some truth on both sides, with pro-502 forces making serious concessions to law-and-order voters and anti-502 activists hanging to some unrealistic “all-or-nothing game plans” and in some cases having an economic interest in the status quo.

Washington’s experience informs other states’ efforts to move from decriminalization of certain uses to a broader, regulated legalization.