After 16 years on the run James "Whitey" Bulger, notorious Boston gang leader, FBI informant, and inspiration to Jack Nicholson's character in The Departed, was finally brought to justice, having been charged with 19 counts of murder and forced to stand trial in federal court. This portrait reveals the revolting depths of law enforcement corruption as told through court documents and shows the grief caused to Bulger's victim's families, one a witness who is found dead during the proceedings. Joe Berlinger's documentary on the trial of the popularized longtime head of the Winter Hill Gang and fugitive contains the kind of solid first person accounting the director is known for (Paradise Lost) in addition to good background details, although the film does tend to go in circles.

*** out of ****

In May of 1993, the mutilated bodies of three young children were found in the woods near Robin Hood Hills of West Memphis, Arkansas and soon thereafter three teen aged boys were charged with the murder. Filmmakers Joe Berlinger and Bruce Sinofsky began documenting the case, offering time to both the victim's family as well as the accused and, as the case began to take the national spotlight, it becomes clear that this is no straightforward prosecution. As questionable police interrogation techniques surface, circumstantial evidence is used by the prosecution, and an overzealous stepfather to one of the victims begins hoarding the spotlight, a great doubt is a cast over the accused's guilt. (Spoilers) Beginning with "The Child Murders at Robin Hood Hills" in 1996, returning six later in visit the West Memphis 3 in prison and get updates from the participants in "Revelations", and finally with their release in the latest installment entitled "Purgatory", Berlinger and Sinofsky use the medium of film to present a gross miscarriage of justice and to call into question the justice system and how our prejudices affect our judgement. The "Paradise Lost" films are a surreal and powerful look at a harrowing case, which also can come off as manipulative and self-promoting. At times, even the filmmakers areguilty of bearing the same kind of prejudice which led to the conviction of its subjects. Still, Berlinger and Sinofsky have a great eye for this kind of filmmaking and it is the small details, such as one of the defendants combing his hair before appearing on the stand or people laughing before giving serious interviews to news cameras, that give these films such power. Beginning with the grisly murders, it would have been impossible to see where this case led and in spite of some questionable practices of their own, Berlinger and Sinofsky have crafted a heartbreaking look at a tragic event rocking a small town, that speaks volumes about our justice system and our prejudices.

So the nice weather has prevented me from seeing as many films as usual and travel plans will unfortunately make this my last film at this year's event, but once again, and it goes without saying, this year's Cleveland International Film Festival was a tremendous experience. I urge you to head down to Tower City, catch a flick or two, and take part in our wonderful festivities. Although I am sad to see my own participation end this year, it couldn't have ended with a better film, whose subject is someone I've now long admired.

In 1986, after becoming obsessed with a cassette tape of a South African performer, Paul Simon traveled to Johannesburg to play with local musicians and record the amalgamation of American pop and African music that would come to be known as his magnum opus Graceland. While the album was a tremendous success and helped heightened awareness of the evils of apartheid, many saw Simon's involvement as a breach of the U.N.'s cultural embargo with South Africa. Now, 25 years later, Simon travels to South Africa to discuss the events with Dali Tambo, a member of the African National Congress who staunchly opposed the collaboration. Meanwhile Paul Simon reorganizes old friends including Ray Phiri, Joseph Shabalala and the rest of the members of Ladysmith Black Mambazo for a reunion celebration. "Under African Skies" is an incredible jubilation in Simon's groundbreaking album and the wondrous native music which led to its conception, and also an intriguing tale of the wicked modern segregationist system and how a great artist came to be involved with it and several of its victims. The film was made by documentary stalwart Joe Berlinger  who does an excellent job of meshing old footage and newly shot ones, which are given great immediacy through the closeup camerawork. In ignoring the inanities of politics and being true to his own talent and vision, Paul Simon was able to make known the great artists of a culture, bring awareness to a serious social problem, and leave a lasting and masterful mark on the music world.