S1.E7 ∙ San Quentin

'My Best Friend' is about love, but, it is also about responsibility, saying goodbye, and grieving. Even though this film faces the subject of death and dying, it is not meant to be a sad film, but a tribute to the love and close bond we have with our animals.

In 'Gert's Secret' a 102-year-old superstar is born: Gert Stevenson is a happy survivor in one of society's unhappiest institutions: a nursing home. While other residents struggle to survive, Gert -- one of the most delightful characters to light up any screen -- has learned the art of living well. What is her secret?

This is a film about America, what people think is wrong with America today, how we as a people can help each other in these current socioeconomic and political times, and if they feel that God needs to bless America again. If so, why and how can God do that, and what the people feel is a needed solution to our current situation in our country today. This is a 'Peoples' voice, set with interviews, bands, musicians, and words and point of views through song and original videos that portray their message.

My wife (Julie) had surgery to remover her thyroid due to cysts that had developed. She went into the procedure with the understanding that it was a simple surgery. I filmed a little of what she went through during her stay at the hospital. The results of her surgery were unexpected.

The life of a family of fishermen, in the inland delta of the Niger river in Mali, is stricken by the effects of globalization: the rise of the price of oil and basic goods, the collapse of fish stocks and the signs of global warming. The film reflects the passage of traditions, a relation to history and memory in a region where persist traces of the origins of things.

'Camp' explores the secrets that underscore a personal relationship to Jewish history and culture. Through a look at 3 camp environments, I engage with a queer re-telling of the traditional Purim story, the censored passages in Anne Frank's diary, and a haircut given to me by my grandfather in order to reveal the ways in which these secrets haunt the surface of our cultural moments. CAMP is framed through a play on the word 'camp' utilizing a camp sensibility amidst an analysis of temporary built environments. Through this frame I engage with what we choose to keep hidden in these contemporary moments, and point to a larger fear of speaking out against injustice as a cause for silence.