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The Last Class captures the final semester in the distinguished 40+ year teaching career of Robert Reich, former U. S. Secretary of Labor under the Clinton Administration. Despite a long list of professional accolades, it is clear that Reich's true passion has always been teaching. Filmmakers Elliot Kirschner and Heather Kinlaw Lofthouse deliver a surprisingly emotional and intimate portrait of this pivotal moment-not just the closing of a chapter, but the beginning of a new one. For Reich-known affectionately as "Bob"-retirement doesn't signal an end to his mission, but rather a continuation of his lifelong commitment to exposing economic inequality and advocating for a more just America. Lofthouse, who produced the film, also serves as Executive Producer of Inequality Media and the Inequality Media Civic Action group, two key platforms through which Reich continues his work.

The film portrays Robert Reich not as the well-known public figure, but as a passionate and deeply committed teacher. It skillfully balances his confidence with moments of professional vulnerability, revealing the human side of a man who has spent decades in both academia and public service. Reich's teaching goes beyond delivering information-he inspires his students to cultivate curiosity and embrace critical thinking. He emphasizes that one of the foundations of a healthy democracy is civic participation, and that nurturing the next generation of thoughtful leaders begins in the classroom. For Reich, the process of understanding a problem-through careful analysis and reflection-is more important than simply arriving at the correct answer on a test. He encourages his students to look beyond surface-level data and ask what it truly reveals about deeper issues. Above all, he fosters a classroom culture of dialogue and self-reflection, reminding students that real leadership doesn't require authority-it requires insight, empathy, and the courage to think independently.

Director Elliot Kirschner and editor Josh Melrod skillfully bring an energetic rhythm to The Last Class, matching Robert Reich's enthusiasm with brisk pacing and thoughtful editing. Kirschner has acknowledged that, for a documentary of this scale, they didn't shoot an extensive amount of footage-making Melrod's task of assembling the final product all the more impressive. What began without the clear intention of becoming a feature-length film evolved into one through the strength of its material and the direction taken in post-production. Viewers will appreciate the creative visual touches, such as lingering shots of students' footwear and sidewalks-symbolic nods to youth, individuality, and the grassroots foundations of civic participation. With the recent success of Inequality Media's short-form content across platforms like YouTube, TikTok, and Instagram, there was ongoing discussion about whether a traditional feature-length documentary would resonate with younger audiences. Even after its New York premiere, that question remains. Yet, the film's timely themes-cultural and economic inequality, civic engagement, and the future of democracy-are powerful and relevant enough to draw in a diverse audience of cinephiles, students, and socially curious viewers into independent and arthouse theaters across the country.

The music, curated by Heather Guibert, adds a lively and jazz-infused layer to the film's atmosphere. Featuring licensed tracks from a wide range of influential musicians, the soundtrack brings both emotional depth and kinetic energy to the storytelling. Its rhythms help drive the film's pacing and create seamless transitions between scenes. The creative spirit of Robert Reich's lectures is beautifully mirrored in the freeform improvisation of the jazz, reinforcing the film's themes of intellectual curiosity and dynamic learning. The result is a soundtrack that not only enhances the viewing experience but also reflects the vitality and momentum of the students at UC Berkeley.

Reich's near-sermonic lectures and candid backstage reflections offer reassurance that the next generation-at least figuratively-is indeed "alright," and that there is still reason to hope for a better future. Yet, he doesn't shy away from the complexities of the current moment, acknowledging that while today's challenges may differ from those of the past, the urgency for what he calls "hopeful pessimism" over outright cynicism has never been greater. It's this balance-of realism and idealism-that defines both Reich's teaching style and the film's emotional core. One especially fitting musical choice, a track Reich frequently uses to jolt his students awake, comes from none other than Aretha Franklin. Her anthem "Respect" serves as an unofficial headline for Reich's remarkable teaching career-a legacy built on compassion, conviction, and an unwavering respect for the power of knowledge and dialogue.

Filmmaker Robert Schwartzman brings audiences an inside look at the legendary rock band The Zombies. Their contributions to the 60's British Invasion and notoriety weren't fully realized until their entry into the Rock and Roll Hall of Fame almost 50 years after their #1 chart topping single, "Time of the Season". An official selection at the SXSW Film & TV Festival in 2023, the film is now starting a theatrical tour across the country starting in New York, Los Angeles and other cities this spring. The illustrious music journalist Matt Pinfield joined Schwartzman and Colin Blunstone for an intimate Q&A panel after the film screening at the legendary Quad Cinema in Greenwich Village, NYC. The film showcases interviews with the original surviving members, Rod Argent, Colin Blunstone, Hugh Grundy, and Chris White with photos of archival footage of the late Paul Atkinson.

Hung Up on a Dream is a thoughtfully crafted documentary that weaves together a rich tapestry of archival photographs, vintage film footage, and rare audio recordings spanning more than five decades. Through this carefully curated collection, the film offers a vivid and immersive journey into the evolution of The Zombies, tracing their origins, rise to fame, and lasting influence on the music of the 1960s. Director Robert Schwartzman delivers more than just a nostalgic tribute-he creates a resonant and emotionally engaging portrait that honors the band's artistic achievements and enduring legacy. By blending intimate storytelling with historical context, Schwartzman succeeds in celebrating not only the music but also the spirit and innovation that defined a transformative era in rock history. The Zombies disbanded before they could witness the delayed acclaim of their seminal 1968 album Odessey and Oracle, highlighting the often-unforgiving nature of the business despite the brilliance of their work.

Hung Up on a Dream is more than just a documentary-it's a heartfelt homage to one of the most underrated yet influential bands of the British Invasion. With Robert Schwartzman's thoughtful direction and a treasure trove of archival material, the film not only chronicles The Zombies' journey, but also captures the enduring spirit and musical brilliance that finally earned them long-overdue recognition. For longtime fans and new listeners alike, this documentary is a moving, nostalgic reminder of the power of perseverance, artistry, and the timeless magic of rock 'n' roll.

Filmmaker Peter McDowell presents a deeply personal and emotionally compelling documentary about his late brother, Jimmy McDowell. A Vietnam War veteran, Jimmy tragically passed away at the age of 24 in 1972, shortly after being discharged from the military. Jimmy in Saigon sheds light on his brother's complex experience in Vietnam, showing how, as a reluctant draftee, Jimmy harbored mixed feelings about the war and America at the time. Despite his initial reservations, he ultimately grew to embrace life in Saigon. Over the course of nearly 15 years, McDowell embarked on a heartfelt quest to uncover the truth behind his brother's mysterious death, delving into the nuances of Jimmy's life as a young civilian navigating the counterculture lifestyle in a war-torn city.

McDowell's direction leads audiences on a vivid and mysterious journey across the globe-from the outskirts of Saigon to France and throughout the U. S. Using his own resources, McDowell tracks down long-forgotten friends, acquaintances, and potential past love affairs, piecing together events from more than four decades ago. Cinematographer Bret Hamilton's work enhances this travelogue of connections, striking a delicate balance between intimacy and emotional distance. This visual approach helps to convey the raw emotions of the film without overwhelming the viewer, especially when tensions run high. Jimmy in Saigon is a deeply moving exploration of family love and the generational weight of grief, offering a remarkably touching portrayal of a brother's search for truth. After a successful run on the indie festival circuit, the film is making its U. S. theatrical debut this spring at Cinema Village in NYC, with Q&A sessions featuring Peter McDowell and his brother John McDowell, who contributed the original music.

Animator Triet Le brings a beautifully moving touch to the film with an illustrated version of a photograph featuring Jimmy on the beach with his young Vietnamese friend, Dung. This "animated photograph" becomes a poignant visual motif throughout the documentary, reappearing at key moments to highlight the subtle, yet deeply significant connection between Jimmy and Dung. McDowell uses these moments to explore the friendship in a time and place where such bonds were often kept out of view, allowing the audience a rare, intimate glimpse into a story that had long been veiled in silence.

The original music composed by John McDowell and Sabina Sciubba adds a deeply expressive layer, enhancing the film's depth with a tender and evocative score. McDowell's compositions subtly underscore the journey of loss and remembrance, with each note mirroring the complex feelings of grief, love, and longing that permeate the narrative. His music doesn't simply accompany the visuals; it amplifies the raw vulnerability of the story, drawing the audience deeper into the filmmaker's personal search for truth. Whether it's the somber, reflective moments or the bursts of nostalgia, McDowell's score captures the film's emotional core with striking beauty, making it an integral part of the storytelling. His music serves as both a personal tribute to his brother and a universal expression of the pain and beauty found in the process of coming to terms with the past.

Jimmy in Saigon is a powerful and evocative documentary that transcends the typical war story, offering a deeply personal exploration of loss, memories, and the complexities of family. Through Peter McDowell's candid direction and his brother John's emotive music, the film paints a rich, multifaceted portrait of a man torn between the turmoil of war and the allure of a foreign land. It's a poignant meditation on the unspoken emotional scars left by conflict, the passage of time, and the enduring bonds of love that shape our understanding of the past. There is a deep sadness throughout, yet the film ultimately leaves the audience with a sense of inspiration-reminding us that truth, no matter how buried, is always waiting to be uncovered. Like the song "Let the Sunshine In," it suggests that the light of truth can eventually shine through, bringing clarity and healing to the dark secrets of the past. Jimmy in Saigon is a remarkable achievement in documentary filmmaking, one that resonates long after the credits roll.