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Family Archives That Inspired: KING COAL

This post is part of a short series where I am sharing some behind the scenes info about the making of KING COAL

Documenting coal culture wasn’t enough. It was the seed for the film, but not the flower. The idea, the seed, needed patience and time. It needed nurturing. Oftentimes our first ideas are too obvious, but this process of germinating is not a passive experience. It is one I lost sleep over. Watering it daily through sitting down and forcing myself to write. Through digging through the archives. Through conversations with producers, Shane Boris, Diane Becker, and Peggy Drexler; editor, Iva Radivojević as well as my partner and director of photography, Curren Sheldon. Through relearning my own history and seeing the blindspots. Through letting go of what was acceptable in nonfiction storytelling, and making room for anything else. I looked to other traditions — family archives, poetry, folklore, magical realism, ghost stories, fables, dance and movement, the land itself, and sound art, among other cinematic tools — to help guide the final language of the film.

My own family archives began to be a portal in which I could imagine new and old narratives colliding. My family has been in Appalachia for nine generations. My great uncle, Roy Russell, documented the mundane and surreal moments of his life in the mountains. Moments of kids at play, of my great grandmother writing letters, of the first miners in my family, of decorating graves at the family cemetery, and of ladders that led to unknown caves. In the end, I learned that I needed to break open my ways of working. Of relearning how to tell stories, how to add more play into my nonfiction, to get to a deeper, more internal truth beyond an observed truth. My community is in need of grieving as a way of processing the impact coal has had on us. But I also was in need of this. I used this film as a way to grieve with my community and family.

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How It All Began: KING COAL

This post is part of a short series where I am sharing some behind the scenes info about the making of KING COAL

The film started in 2019 by documenting coal culture, seen through coal dust runs, pageants, coal shoveling contests, and coal education in the classroom. Some of these things have been around since I was a kid in the coalfields. Co-Producer Molly Born and I sought these rituals and traditions out to document a living archive. One of our very first shoots for this film was in a classroom with kids. Fred Powers, a retired miner, told stories of his time in the mines, labor disputes, and fatalities. He had no “kid filter” to his message about coal — it was neither pro or anti-coal, it was simply his story. Fred impressed us with his ability to walk the fine line of honoring the past, while calling out the injustices. The kids impressed us with their attention, curiosity, humor, and enthusiasm. It was clear, when the students asked “what is that?” as Fred held up a piece of coal, that this story of coal was not one of their own making, but instead one that was being handed down to them. As we documented the coalfields, it quickly became clear these coal-related rituals were dying traditions. Many of them were traditions born out of people’s fears of “the king” dying. So I started to ask — what new rituals do we need in life and in film to help us live? This led us to think more about the already-blurred lines between myth and reality, of the power and influence of coal, when it comes to life in the coalfields. 

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KING COAL premiering at 2023 SUNDANCE!

I am writing with exciting news that my latest feature film, "King Coal," will have its world premiere at the 2023 Sundance Film Festival.

I am so excited to be premiering in the NEXT section - a program that features "visionary works distinguished by an innovative, forward-thinking approach to storytelling." 

As many of you know, I have been working on this film since 2019, and I am extremely grateful to everyone who has helped me get to this stage of finishing. This film is truly a new creative exploration for me - and departure from my previous work - so to have the support of Sundance is incredible.

I just wanted to say THANK YOU as so many of you have been longtime supporters of me and this film.

Logline: The cultural roots of coal continue to permeate the rituals of daily life in Appalachia even as its economic power wanes. The journey of a coal miner’s daughter exploring the region’s dreams and myths, untangling the pain and beauty, as her community sits on the brink of massive change.

OFFICIAL ANNOUNCEMENT

SPECIAL THANKS

to supporters:
Creative Capital, USA Artists, The John Simon Guggenheim Memorial Foundation, Tribeca Film Institute, West Virginia Humanities Council, Catapult Film Fund, Field of Vision, Chicken & Egg, The University of Tennessee School of Art, Documentary Educational Resources - and many, many others!

to the team:
Katherine Drexler (EP) Heather Baldry (EP), Peggy Drexler (producer), Diane Becker (producer), Shane Boris (producer), Curren Sheldon (DP, co-producer), Iva Radivojević (editor), Molly Born (co-producer), Billy Wirasnik (production sound), Clara Haizlett (associate producer), Elijah Stevens (associate producer), Celia Rowlson-Hall (choreography), Shodekeh Talifero (breath percussion), Bobak Lotfipour (original score), Logan Hill (writing consultant) - and so many more.

Family and friends (so many!)
The Marsh Family, The Wilson Family, The McMillion Family, The Sheldon Family.
    
Forgive me, if failed to mention you here!
 

Read the news on Screen Daily

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In Memory of Julia Reichert

I am so deeply saddened to learn about Julia Reichert's (far left) passing. Julia was an Oscar-winning documentarian, who leaves behind a legacy filled with powerful reflections on the working class, and the role of filmmaking in activism. I was privileged to spend quite a bit of time with Julia in 2016, when we were both awarded the Chicken & Egg Breakthrough Filmmaker Award. Read about Julia's legacy here  and take the time to watch some of her and Steve Bognar's incredible work, including American Factory on Netflix. 

Julia and I bonded over the fact that we both chose, and derive great joy, from being rooted in "a place." She, in Ohio - me, in Appalachia. We spoke a lot about ethics, representation, and our responsibility to our communities and the documentary field, as a whole. She was a tough critic, which today I am very thankful for, but more importantly an advocate and cheerleader for us filmmakers, who are based outside of our industry's center. 

I will carry Julia's spirit with me.
Thank you Julia, for all that you contributed to our world.

Memorable quotes from Julia Reichert, reflecting her core principles around storytelling and activism

"I want to make films about people that are ignored, people who are invisible, people who have been left out of history."

“The idea of fairness, that’s very deep in me. And that’s why I became a filmmaker — to be part of the process of telling untold stories, of people who don’t get a fair shake."

"I love the idea that filmmakers are organizers, because the job of an organizer is to help bring about change and to help people see the world in a new way."

"I believe in the power of ordinary people. I believe that’s where the change has to come from, not from the top."

READ more here on IDA and here on MoMA.

I am honored to have been in the presence of these two greats who have since departed - D. A. Pennebaker and Julia Reichert.

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The Magic of Imagination and Storytelling: Lessons from "A Way of Being Free"

A deep dive into Ben Okri’s insights on imagination, creativity, and the role of storytelling in shaping personal and collective realities. The following are my personal book notes from reading A Way of Being Free.

Ben Okri, a British-Nigerian poet and novelist, is celebrated for his lyrical work that seamlessly blends the real with the surreal. A Way of Being Free, a collection of essays, offers meditations on the nature of creativity, imagination, and storytelling. Okri advocates for the power of stories and the uncharted realms of the imagination to shape human consciousness and challenge societal norms. His reflections are both philosophical and personal, shedding light on the artist's role in society. 

Imagination as the Ultimate Frontier

"The problem is with those who are frightened of the rather limitless validity of the imagination, frightened of people who continually extend the boundaries of the possible."

Okri opens the book by exploring the immense potential of human imagination. He notes that the issue lies not in a lack of imagination, but in the fear that stems from its vast, boundless nature. Those who "ceaselessly re-dream the world" are the ones who challenge convention and push humanity towards new possibilities. Okri views imagination as the driving force behind progress, creativity, and the expansion of human consciousness. His emphasis on the "frontiers people of the unknown and the uncharted" speaks to the need for a boldness of spirit in a world that often clings to the familiar. (Page 2)

 The Power of Mystery and Wonder

"The dreams of the people are beyond them, and would trouble them."

For Okri, there is an essential conflict between the world of poets and dreamers and the world of legislators and policy-makers. The latter are often uncomfortable with mystery and wonder because these cannot be quantified, measured, or legislated. Okri points out that mystery and dreams are central to human experience, and to deny them is to limit the scope of our existence. It’s the poets and artists who keep alive the yearning for the unknown and the unexplainable, challenging societal boundaries and inviting us to imagine more than what seems possible. (Page 3)

Embracing Challenges Through Creativity

"It is from the strength of your antagonist that you derive your greater authority."

Okri speaks to the power of adversity in shaping the artist’s voice. He suggests that challenges, whether external or internal, are essential for the artist's growth. The enemies that breed distractions and opposition are what push creators to be more than themselves. Rather than being disheartened by antagonists or challenges, Okri argues that they serve as a vital source of strength, compelling artists to transcend their limitations and dig deeper into their creative reservoirs. (Page 12)

 The Playfulness of Creation

"The artist should never lose the spirit of play."

Okri advocates for a playful approach to creativity. While hard work and seriousness are invaluable, Okri emphasizes the power of playfulness in artistic creation. By embracing a "smile in the soul," artists can approach daunting tasks with lightness and joy. This spirit of play, he suggests, allows the divided self to function as one, elevating the artist to a state of pure creativity where the ego dissolves, and the soul finds peace.

He observes that writing, at its best, is almost a blessed activity. When a writer is truly immersed in the creative process, it’s as if the mood or atmosphere they wish to convey finds the words on its own. (Page 18-19)

 The Tranquility of True Creation

"For me, tranquility is the sign of the invisible presence of grace."

In Okri’s reflections on the act of creation, he highlights the importance of serenity and calm in the creative process. He believes that true creativity arises when an artist is able to connect with a deeper sense of grace and inner peace. Tranquility, concentration, and meditation become the tools through which an artist can access the collective wisdom of humanity. This serene state of mind allows the artist to explore and solve even the most complex creative and human problems. (Page 23)

The Power of Storytelling in a Fractured World

"It may seem that because we live in a fractured world the art of storytelling is dead."

Okri acknowledges that in a world full of fragmented beliefs and competing realities, storytelling might seem like a lost art. However, he pushes back against this idea, insisting that storytelling remains one of the most vital ways of connecting people. Despite the fractured nature of the modern world, storytelling provides a continuous thread that links the human experience across time and space. Okri believes that through storytelling, we can reawaken a sense of wonder, mystery, and shared humanity. (Page 24)

The Subversive Nature of Storytelling

"Storytelling is always, quietly, subversive. It is a double-headed axe."

Storytelling, according to Okri, is not just an act of creation but also an act of quiet rebellion. He writes that stories lie silently in our brains, waiting to challenge us when we least expect it. They subvert complacency and offer alternative ways of seeing and being in the world. This double-headed axe cuts both ways: it challenges the listener or reader but also the storyteller. Stories have the power to shake foundations and disrupt established truths, making them one of the most potent tools for transformation and change. (Page 35)

Changing Lives Through Stories

"We live by stories, we also live in them."

Okri takes this idea further by asserting that stories are not just something we consume—they are the very fabric of our lives. Whether consciously or unconsciously, the stories we tell ourselves shape our identities, beliefs, and actions. Okri suggests that by changing the stories we live by, we can also change our lives. This notion ties into his belief in the transformative power of storytelling and its ability to rewrite personal and collective histories. (Page 37)

Certainty: The Enemy of Creativity

"Certainty has always been the enemy of art and creativity."

In Okri's view, rigid certainty limits the scope of human possibility and narrows our understanding of the world. He argues that when individuals, nations, or ideologies embrace certainty they lose the ability to imagine alternate realities or appreciate the marvelous variety of human experience. Creativity thrives in uncertainty, in the willingness to explore the unknown without needing definitive answers. Certainty, in contrast, stifles growth and leads to destructive violence and division. (Page 25)

The Storyteller as Guardian of Wisdom

"The storyteller's art changed throughout the ages."

Okri traces the evolution of storytellers from their ancient role as protectors of the tribe, fending off fear and dread with words and incantations, to their current position as the living memory of a people. Storytellers preserve the dreams, wisdom, and tragedies of their communities, keeping them alive for future generations. In this sense, they become more than entertainers—they are the keepers of history and the interpreters of the collective unconscious. (Page 30)

 Hope and Striving: The Magic of Transformation

"Hope and striving have magic in them."

Okri concludes his reflections by celebrating the power of hope and the beauty of struggle. He speaks of those who embark on monumental journeys to overcome their predicaments, suggesting that these individuals are luckier than they might think. There is something "awesomely beautiful" about the human spirit's determination to strive for a better future, even in the face of seemingly insurmountable odds. Okri captures this sentiment in his observation that "struggle is life," and it is through this struggle that individuals and societies can climb the metaphorical mountains toward new destinies. (Page 108)

The Power of Redreaming the World

"The only hope is in daring to redream one's place in the world."

At the heart of Okri’s philosophy is the belief that humanity’s greatest potential lies in its ability to imagine new realities. It is only through the act of “redreaming” the world that we can break free from the limitations of the past and move toward a better future. (Page 45)

The Sacredness of Life and Stories

"We are part human, part stories."

Okri’s A Way of Being Free is an invitation to embrace the boundless nature of imagination, to value the magic of storytelling, and to engage with the world in a spirit of playful yet profound creativity. It is a call to dream, to challenge certainty, and to dare to imagine a new world. Ultimately, Okri reminds us that storytelling is not just a form of art—it is the very essence of life. Through stories, we discover who we are, who we can become, and how we are all connected. (Page 92)

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Mastering Cinematic Language: Timeless Filmmaking Lessons from Maya Deren

Below is a post based on my book notes (with page number references) after reading the essays in the collection “Essential Deren: Collected Writings on Film.” I highly recommend you get your hands on a copy.

Deren’s films were a source of inspiration for me when I was making KING COAL. From editing techniques to the use of choreography, I was often referencing her film “At Land.” Below are some of the practical insights I drew from Deren’s films and theories, which can serve as guidance for filmmakers who wish to explore cinema as an art form.

BIO:
Maya Deren was an influential filmmaker, choreographer, and theorist who played a pivotal role in shaping American avant-garde cinema in the 1940s and 1950s. Born in Ukraine in 1917, Deren moved to the United States as a child and grew up to become one of the most innovative filmmakers of her time. Her work combined surrealism, psychology, mythology, and experimental techniques, and she is often regarded as the mother of American experimental film.

Her films, such as Meshes of the Afternoon (1943), At Land (1944), and Ritual in Transfigured Time (1946), challenged conventional narrative filmmaking by employing dreamlike imagery, nonlinear storytelling, and innovative use of camera techniques. Deren’s films did not rely on traditional plot structures but instead sought to explore inner realities, emotions, and abstract concepts through movement, visual metaphors, and surreal sequences.

FILMS:

Meshes of the Afternoon (1943): This short film is one of her most famous works and is known for its dreamlike atmosphere, symbolic imagery, and exploration of the subconscious mind. In this film, Deren plays a woman who experiences a series of repetitive, surreal events. The film’s non-linear narrative and use of multiple versions of the same character make it a touchstone for understanding how cinema can function as a tool for exploring subjective experience rather than just recording objective reality.

At Land (1944): Deren further pushed the boundaries of film with At Land, where she explored the fluidity of time and space. In the film, a woman (played by Deren) is washed up on a beach and moves through various locations in a seamless, surreal journey. The film uses techniques like continuous movement from one setting to another to create a sense of dreamlike transitions. It’s a great example of how Deren manipulated time and space, turning cinema into an almost mythological voyage.

Ritual in Transfigured Time (1946): This film takes Deren’s interest in movement to a new level by focusing on the ritualistic nature of human actions. It blends choreography, visual poetry, and psychological tension, transforming everyday gestures into a dance-like sequence that elevates the mundane into something symbolic and timeless.

Embrace Film’s Unique Nature

“Cinema can compose rhythms, juxtapose images, and encompass the abstractions of language.”

Deren argued that cinema should not simply imitate other art forms but embrace its distinct capabilities as a medium that combines visual art, movement, and rhythm (p. 113). In her films, she experimented with narrative structures, avoiding conventional storytelling in favor of exploring inner worlds and subjective experiences.

Takeaway: Think of film as an art form that combines movement, time, and space in ways that no other medium can.

Balance Control and Spontaneity

Deren introduced the concept of the “controlled accident,” where filmmakers maintain a balance between orchestrated elements and natural, spontaneous occurrences (p. 118-119). She allowed natural forces like wind and light to influence her films, blending them with intentional artistic choices.

Takeaway: Embrace the unpredictability of the world around you. Let natural elements—such as weather or the movements of non-professional actors—enhance the realism and texture of your film. In At Land, Deren uses the sea and the movement of the tide as part of the narrative, making nature a character in its own right.

Manipulate Time and Space

One of Deren’s most notable contributions to film is her exploration of time and space manipulation. In At Land (p. 121-126), she seamlessly transitions between locations, creating a fluid movement that blurs the lines between different settings. This allowed her to create surreal, dreamlike sequences that expanded the viewer's sense of reality.

Takeaway: Use editing and camera techniques to create fluidity between disparate places and times. This can evoke a dreamlike or mythological quality in your work. For instance, like we did in King Coal, you might explore the passage of time by juxtaposing historical footage with present-day images, creating continuity between the past and present.

Explore the Language of Movement

Deren viewed movement as central to the language of cinema, transforming ordinary gestures into poetic expressions (p. 125). “In Ritual in Transfigured Time,” everyday actions become part of a larger, ritualistic choreography, elevating them beyond their functional purpose.

Takeaway: Focus on the inherent beauty and rhythm of movement within your film. By highlighting movement, even in mundane actions, you can turn them into a visual metaphor.

INSERT VIDEO OF CELIA AND I TALKING ABOUT CHOREOGRAPHY

Create New Realities with Editing

For Deren, editing was not merely a way to assemble shots but a means of creating entirely new realities (p. 137-139). In Meshes of the Afternoon, she uses repetition and looping to convey the experience of being trapped in a dream, making editing a tool for constructing the narrative rather than just organizing it.

Takeaway: Use editing to shape and transform the viewer’s perception of time, space, and narrative. Through techniques like repetition, jump cuts, or visual metaphors, you can create new layers of meaning that wouldn’t exist without the filmic medium.

Harness the Magic of Cinema

Deren believed that cinema’s magic lay in its ability to make the fantastical seem real (p. 202). She often created new worlds or realities in her films by manipulating simple cinematic elements. This magical quality is present in works like Meshes of the Afternoon, where dream logic governs the film’s structure.

Takeaway: Use simple yet imaginative techniques to transform the mundane into the magical. Experiment with visual effects or editing techniques that create a sense of wonder or surrealism. In a project like King Coal, you might enhance the emotional power of a scene through surreal, symbolic visuals that depict the landscape as more than just a setting—it becomes a character, filled with meaning.

Plan Your Film with a Visual Eye

Deren planned her films visually (see below for an example of her film A Study In Choreography For Camera), ensuring that each shot could communicate her ideas without relying on abstract or unfilmable concepts (p. 153). She emphasized the importance of thinking visually, avoiding the trap of trying to represent abstract ideas like “never” or “forever” through purely narrative means.


storyboards from “A Study in Choreography for Camera”

Takeaway: Focus on how you can visually express the central ideas of your film. Instead of relying on dialogue or narration to communicate abstract concepts, find ways to show them visually. For example, rather than explaining the decline of the coal industry, King Coal might use visual metaphors like crumbling buildings or overgrown landscapes to evoke loss and transition.

Understand the Power of Duration

Deren’s films often use extended or slowed-down shots to create tension and draw attention to moments that would otherwise go unnoticed (p. 141). In “At Land,” her use of slow motion emphasizes the protagonist's journey in a way that heightens the viewer’s emotional investment.

Takeaway: Play with the pacing of your shots to create moments of tension or reflection. Extend certain scenes to allow the audience to fully absorb their significance.



Film as a Poetic Experience

Deren compared filmmaking to poetry, where the logic is not narrative but emotional and rhythmic (p. 211). She argued that films should not be bound by conventional narrative structures but should follow their own internal rhythm and logic, much like a musical composition.

Takeaway: Approach filmmaking as a poetic medium. Rather than being confined to traditional storytelling techniques, let your film evolve organically, with a focus on mood, atmosphere, and emotion. You might create sequences that focus on the sensory experience of the landscape or the rhythmic patterns of work, allowing the viewer to engage with the film as they would with a poem or piece of music.



Maya Deren’s films remind us that cinema can transcend mere narrative, focusing instead on the power of movement, time, and visual poetry.

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The Last Forest: A Chronicle of Appalachia’s Vanishing Wilderness

G.D. McNeill’s novel captures the slow destruction of a once-pristine forest, offering a poignant reflection on environmental loss and the irreversible impact of human greed.

Below are my book notes after reading The Last Forest.

The Last Forest by G.D. McNeill is a work of fiction, but its emotional resonance and portrayal of environmental destruction feel deeply real. Through the eyes of its characters, McNeill presents a gripping and sorrowful account of a wilderness lost to the forces of industrialization and human greed. Although set in a fictionalized version of Appalachia, the story's themes echo real-world events, offering a powerful reflection on the irreversible impact of deforestation.

The novel begins in an idyllic, almost mythical forest, a childhood paradise for the narrator and his family, before slowly unraveling into a scene of devastation. McNeill’s The Last Forest takes readers on a journey that starts in innocence and wonder and ends in disillusionment and loss.

A Fictional Eden: Childhood in the Forest

“G.D. and Uncle Dock’s part of it ran for 60 unbroken miles beyond our Pinnacle Mountain, a quarter million acres of hardwood forest.”

The story begins in what seems like an Edenic wilderness, a forest teeming with life, stretching for 15 million acres from the top of the Allegheny range to the banks of the Ohio River. In this fictional world, the narrator’s childhood memories are of a place where nature exists in perfect balance, largely untouched by human hands. It is a place of wild beauty, where eastern bison roam freely, and streams are filled with trout so plentiful that they are poured “like a silver cataract” into his mother’s dishpans. These scenes of abundance illustrate a world where humans live in harmony with nature.

The young narrator recalls standing in the kitchen, watching the men bring in their catch: “silver-sided, orange-bellied, red-speckled trout that G.D. called the ‘speckled beauties.’” The bounty of the forest is taken for granted, but the reader is soon made aware that this balance will not last. The forest, with its “long pavilions of shade” and “clear rolling rivers,” seems timeless and eternal—but as the novel progresses, the fragility of this world becomes evident.

The Gradual Destruction of the Wilderness

“When it all changed, it was not suddenly. There was no sudden summer or sudden fall; but gradually, as the years moved by, the song turned sour,” McNeill writes.

In The Last Forest, McNeill takes care to show that the destruction of this paradise was not immediate. The story charts the slow, creeping disappearance of the Appalachian forest, a loss that happens in small, incremental steps—each seemingly insignificant until the cumulative effect becomes overwhelming.

The fictionalized timeline traces the encroachment of industry, beginning in the 1880s when the first white pine trees were cut and floated downriver. Uncle Dock’s hopeful insistence that “by God, they can't take her; she’s too big for them” becomes tragically ironic as the story unfolds. The arrival of the railroad in 1900 marks a turning point in the novel. What was once thought to be too remote and vast to be destroyed is now accessible, as McNeill describes the Italian workers carving through the steep river cuts to lay the tracks that will allow the hardwood trees to be harvested.

 Fictional Wealth, Real Consequences

“Up at town, brick-and-brownstone houses were built; hardware stores and whiskey stills flourished, and boardwalks were laid down.”

As the lumber industry booms in the novel, towns are transformed. Wealth floods in, and prosperity seems to follow. But McNeill makes it clear that this prosperity is fleeting. The quick wealth of the lumber industry comes at a cost, especially to the forest itself. The heavy hardwood trees, once thought untouchable, are felled and sent out by log trains, and soon, the landscape bears the scars.

The novel paints a bleak picture of the aftermath. The rivers turn muddy, suffocating the trout with sawdust in their gills. Forest fires spread unchecked, and the once-majestic trees are left to rot on the hillsides. McNeill writes, capturing the heartbreak of a forest fighting a losing battle.

“They saw the roots of the great stumps sticking up three feet above the burned-out topsoil as though they still tried to clutch to the Earth”

 Zeke’s Return: A Ruined World

One of the most powerful moments in The Last Forest comes when the character Zeke returns to the mountains after years away, only to find the forest he loves unrecognizable. In a passage laden with symbolism, Zeke boards a slow-moving train that stops at countless small lumber plants, revealing just how much the industry has infiltrated the once-remote wilderness. As Zeke reflects on the "monotonous buzzing" of the saws cutting through the logs of ancient trees, he becomes increasingly uneasy.

When Zeke finally arrives, the sight that greets him is devastating. The house where he once spent his childhood has collapsed, the garden has grown wild, and the river that was once clear is now black and vile-smelling. McNeill describes Zeke's shock: "Where the garden had been there lay a weed-grown heap of tumbled brick, marking the spot where the boilers of the abandoned mill had rested." The woods, too, have changed beyond recognition. The great oaks that once lined the river’s bluffs are gone, and the hills, once covered in forest, have been reduced to bare, eroded slopes.

Zeke’s sense of loss is palpable as he surveys the damage. The great trees that had once been "personal friends" to him have been felled, and in their place, a wasteland stretches as far as the eye can see. His sorrow reflects the broader tragedy of the novel—the irreversible loss of a landscape and a way of life.

"If I’d dreamed it was like this, I’d never a asked ye tu come up here," Zeke laments.

The Dream of the Forest

Despite the destruction, McNeill’s narrator clings to the memory of the forest as it once was. The fictional world of The Last Forest is haunted by a deep, mystical connection to the wilderness. Even after its destruction, the narrator holds onto a vision of the forest, untarnished and untouched in his imagination.

"In my obsession and possession, the hunter men still walked. The great trees lifted forever across my vision, and the sounding water still ran.”

This dream of the forest, though, is just that—a dream. It remains distant, always just out of reach, "moving before The Seekers like the sun." The tragedy of The Last Forest lies not only in the physical destruction of the wilderness but also in the shattering of the idealized vision of nature that can never be reclaimed.

 Fiction and Reality: A Reflection on Environmental Loss

Though The Last Forest is a work of fiction, its themes are rooted in real-world events. McNeill’s novel mirrors the actual deforestation of Appalachia that occurred during the late 19th and early 20th centuries, as industrial logging swept through the region. In this way, the novel serves as both a fictional account and a powerful allegory for real life. The story offers a timeless lesson about the dangers of unchecked industrialization. We are reminded that the destruction of nature often happens slowly, in small steps, until it becomes too late to reverse. The Last Forest is not just a story about the past; it is a warning for the future.

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"Heroin(e)" won an Emmy!

"Heroin(e)" won an Emmy!

We're so honored that "‘Heroin(e)" was chosen - among an outstanding group of contenders - as the winner of the 2018 Emmy for "Outstanding Short Documentary." We dedicate this award to America's first responders, those in longterm recovery, and those still suffering from substance use disorder. 

Read more.

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"RECOVERY BOYS" PREMIERES TODAY ON NETFLIX AND IN NYC & LA THEATERS

I’m so excited to announce that my feature-length documentary, “Recovery Boys,” premieres today on Netflix and in theaters 6/29-7/5 in NYC (Metrograph) and LA (Laemmle Music Hall).

When we started making this film in 2016, we were interested in better understanding the process of recovery through the experiences of four men at a farming-based rehab in Aurora, W.Va. These incredible men opened their lives to us and for that we’re eternally grateful. It is their raw honesty and vulnerability that we know can make positive change in our society.

We hope that you'll watch the film, share with friends and family, and consider hosting a community screening to increase conversation around the country about the opioid crisis.

Visit our website to request a screening and download our educational guide.

We would love to hear your thoughts after watching - get in touch!

Elaine 

REVIEWS AND ARTICLES

“Unearths moments of raw revelation that quietly highlight our shameful lack of effective help…A moving yet cautionary tale and a painful reminder that recovery is a journey that never really ends.”

New York Times
 

“Intimate, poignant, and raw, establishing Sheldon as one of the most vital documentary filmmakers at the moment, especially on the often misunderstood subject of addiction. The social impact of a film like this shouldn’t be understated. Recovery Boys is a film with the power to break down potentially judgmental barriers that can stop someone’s chances to clean up their lives dead in their tracks.”

The Gate
 

“Set in the middle of this crisis, the film provides an exploration of male emotions will be refreshing to anyone who has grown accustomed to staid representations within popular culture, as will the film’s focus on people in recovery instead of people suffering from addiction.”

The Guardian
 

“A sober and unflinching glimpse into the heart of America’s opioid epidemic”

Ready Steady Cut

 

“Sensitive and life-affirming”

LA Times
 

“At times, ‘Recovery Boys’ is difficult to watch, both in its depiction of drug abuse and in the painful events that occur in the men’s lives. The goal of the film is clearly not to bring audiences down, though, but increase compassion for those who struggle with addiction. Life has not been easy for any of the ‘recovery boys,’ but they approach their 18 months in rehab with so much integrity and determination that it’s impossible to not cheer for them while watching the film.”

Bustle

 

“The immediate social impression of Recovery Boys is tremendous.”

Daily Dot
 

“There’s a tendency in politics to turn real misery into platitudes and abstractions; Elaine McMillion Sheldon’s documentary is the antidote.”

New York Magazine
 

 

CREDITS

A Netflix Original Documentary

DIRECTOR:
Elaine McMillion Sheldon

 

PRODUCERS:
Kerrin Sheldon
Kristi Jacobson
Elaine McMillion Sheldon

 

EXECUTIVE PRODUCERS:
Jason Spingarn-Koff
Zana Lawrence
Lisa Nishimura

 

EDITOR:
Penelope Falk

 

DIRECTOR OF PHOTOGRAPHY:
Kerrin Sheldon

 

COMPOSER:
Daniel Hart

 

CINEMATOGRAPHERS:
Kerrin Sheldon
Elaine McMillion Sheldon

 

ADDITIONAL CAMERA:
Daniel Kusnir
Gregory D. Neiser

 

SOUND RECORDISTS:
Elaine McMillion Sheldon
Kerrin Sheldon

 

FIELD RECORDIST:
Billy Wirasnik

 

POST PRODUCTION SUPERVISOR:
Jean Lane

 

ASSISTANT EDITORS:
John Fisher
Laura Karpas

 

ONLINE ASSISTANT EDITOR:
Frances Boone

 

ADDITIONAL EDITORS:
Elaine McMillion Sheldon
Kerrin Sheldon

 

MUSIC SUPERVISOR:
Doug Bernheim

 

SOUND DESIGNER and RE-RECORDING MIXER:
Tom Paul (Gigantic Studios)

 

SOUND EDITOR:
Kevin Peters (Gigantic Studios)

 

SOUND ASSISTANT:
Nathan Hasz (Gigantic Studios)

 

COLORIST:
Seth Ricart (RCO)

 

COLOR ASSISTANTS:
Bo Kim (RCO)
Natasha Wong (RCO)

 

COLOR PRODUCER:
Sheina Dao (RCO)

 

TITLE DESIGNER:
Chris Rubino


WITH SUPPORT FROM:
Threshold Foundation
Chicken & Egg Pictures
Chicago Media Project’s Impact Grant Fund
Documentary Educational Resources
Southern Documentary Fund
Points North Documentary Institute
Good Pitch
IFP
All Y'all Southern Documentary Collective

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"HEROIN(E)" NOMINATED FOR ACADEMY AWARD

Photo of Huntington Fire Chief, Jan Rader: By Rebecca Kiger/Netflix

We're so honored and humbled to share that "Heroin(e)" has been nominated for an Academy Award. "Heroin(e)" examines a public health crisis that many communities are struggling with, so for this topic to have captured the attention of the Academy means so much to us, as filmmakers, and to those on the front lines. As native West Virginians living in the midst of this crisis, we believe the stories of these three tenacious and resilient women are what this country needs - a message of hope and survival to show us a way forward.

Thanks to all of you for the ongoing support!
-Elaine & Curren

COMMUNITY EVENTS

  • 1/27/2018 Free Naloxone Training and "Heroin(e)" Screening (Charleston, W.Va.)

  • 2/15/2018 "Heroin(e)" screening at the WV Legislature (Charleston, W.Va.)

  • 2/15/2018 Free Public Screening of "Heroin(e)" at University of Charleston (7-8:30 PM)

  • 2/22/2018 Appalachian Narratives: Notes on Identity (Huntington, W.Va.)

  • 3/8/2018 WVU Women's History Month Exhibit (Morgantown, W.Va.)

Host your own community screening using our screening guides here: https://recoveryboysthefilm.com/resources/

RECENT PRESS

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WATCH "HEROIN(E)" TONIGHT ON NETFLIX

I'm so excited to announce that "Heroin(e)" is now available for streaming on Netflix. I can't wait for each and every one of you to meet Jan Rader, Necia Freeman and Patricia Keller. As filmmakers, we have witnessed first-hand how their dedication, empathy and courage changes lives on a daily basis in Huntington, W.Va. and now you, the viewer, can experience their passion through this 39-minute film.

After our screening at Telluride, several people approached me and shared their personal story of loss and desire to bring this film to their community. I'm happy to report that Netflix has made "Heroin(e)" available for educational/non-profit screenings, which allows individuals and organizations to host events and start conversations around this film. In the coming weeks, our website will include FAQs and guides that will instruct you how to host a screening in your community.

If this story impacts you personally, or you just want to share your thoughts after watching, please do so by using the hashtag #HeroineNetflix. This allows us to track the conversation and impact that this film is having on audiences. 

Also, on Sunday, September 17, please join us at the Camden International Film Festival where we will be screening "Heroin(e)" followed by a panel of experts on the opioid crisis. RSVP here.

Enjoy the film, share with friends and family, and please reach out with any feedback or thoughts. 

Thank you!
-Elaine McMillion Sheldon

SPREAD THE WORD

Listen to the interview on West Virginia Morning (NPR)
Read the interview on 100 Days in Appalachia
Watch and share the trailer #HeroineNetflix
Read and share with your local media

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"Heroin(e)" Premieres At Telluride Film Festival

I'm so excited to announce that my latest film, "Heroin(e)" will premiere this weekend at the 2017 Telluride Film Festival. "Heroin(e)" chronicles the stories of three women working to break the cycle of drug abuse and overdose in Huntington, West Virginia - a city with an overdose rate 10 times the national average. 

"Heroin(e)" is a Netflix Original Short Documentary and was supported by The Center for Investigative Reporting's Glassbreaker Films Initiative. 

-Elaine McMillion Sheldon

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Once a bustling industrial town, Huntington, West Virginia has become the epicenter of America’s modern opioid epidemic, with an overdose rate 10 times the national average. This flood of heroin now threatens this Appalachian city with a cycle of generational addiction, lawlessness, and poverty. But within this distressed landscape, Peabody Award-winning filmmaker Elaine McMillion Sheldon (Hollow) shows a different side of the fight against drugs -- one of hope. Sheldon highlights three women working to change the town’s narrative and break the devastating cycle of drug abuse one person at a time. Fire Chief Jan Rader spends the majority of her days reviving those who have overdosed; Judge Patricia Keller presides over drug court, handing down empathy along with orders; and Necia Freeman of Brown Bag Ministry feeds meals to the women selling their bodies for drugs. As America’s opioid crisis threatens to tear communities apart, the Netflix original short documentary Heroin(e) shows how the chain of compassion holds one town together.

 

CREDITS:
Directed by Elaine McMillion Sheldon
Produced by Kerrin Sheldon, Elaine McMillion Sheldon
Executive Produced by Jason Spingarn-Koff Zana Lawrence Lisa Nishimura (Netflix)
Executive Produced by Amanda Pike Christa Scharfenberg (CIR)
Cinematography by Kerrin Sheldon
Edited by Kristen Nutile
Music by Daniel Hart

View and share our trailer #heroinenetflix

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Betting On Trump

I recently directed, filmed and produced this film about Trump's promises to coal miners. It's part of a series with Marketplace called How The Deck Is Stacked.

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Filming for "11-8-16"

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Filming for "11-8-16"

I'm excited to be one of many filmmakers who will be documenting America this Election Day for a new documentary tentatively titled, "11-8-16." We're spread across the country filming in all corners with Americans from all walks of life. I will spend my day (starting at 4:30 am) with a coal miner named Eric. I'll go underground with him all day, then follow him to the voting booth and back home to see the results.

Check out the film's website and this article about it.

Also, we will be Periscoping during the day. So follow that here.

 

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