Herman’s House - “What kind of home does a man who has spent 35 years in solitary confinement dream of?” The injustice of solitary confinement and the transformative power of art are explored in Herman’s House, an Emmy-award winning feature documentary by Angad Bhalla that follows the unlikely friendship between a New York artist and one of America’s most famous inmates as they collaborate on an acclaimed art project.
Mumford Farms - In July 2010, inspired by the work Anna had been doing with the local food community in NYC, she began a film project about her family’s corn and soybeans farm in Indiana. Mumford Farms, located near the confluence of the Wabash and Ohio Rivers, has been in her family for six generations.
The Misprint - a nonsense news source for the global citizen (featuring plentiful livestock & occasional goiters) courtesy of hard hitting journalist M.G. Reddy.
Scrabble Night - documentary by Adrianna Hernandez-Stuart. The remarkable women of 41 Eastern Parkway have been neighbors for over twenty years. Now that most of them are retired and have lost their partners, old friendships have grown stronger and new ones have formed. Every Wednesday, they come together to eat, drink, play, and connect. Recently, Scrabble night’s star player Joanne has been grappling with the declining health of her husband. Amid the comfort and camaraderie of the weekly gatherings, she must come to terms with this painful part of the aging process.
U.A.I.L. Go Back - After spending months with Indian villagers who had been resisting an alumina project backed by the Canadian company Alcan, Time of Day member Angad Bhalla produced his first independent project U.A.I.L. Go Back. Used widely as an organizing tool to pressure Alcan over its involvement, after a 4 year campaign Alcan eventually withdrew from the project.
Writings on the Wall - documentary by Angad Bhalla. With infectious optimism, three young men eke out a living in India’s largest cities using public art to express their hopes and dreams. In Delhi, Azad paints film billboards as an escape from the destruction of his home and personal art by government bulldozers. In Bombay, Ashok paints traditional images to keep alive his Warli tribal heritage even though he’s abandoned his rural life for the opportunities of the city. Throughout Madras, G Mani puts his name on posters idolizing a film star, gaining power and prestige at odds with his job selling peanuts. For some the public walls hold the most private hopes.