Welcome to WeeklyWilson.com, where author/film critic Connie (Corcoran) Wilson avoids totally losing her marbles in semi-retirement by writing about film (see the Chicago Film Festival reviews and SXSW), politics and books----her own books and those of other people. You'll also find her diverging frequently to share humorous (or not-so-humorous) anecdotes and concerns. Try it! You'll like it!

Tag: Sundance film festival

“Hanging by a Wire” Screens at Sundance

A still from Hanging by a Wire by Mohammed Ali Naqvi, an official selection of the 2026 Sundance Film Festival. (Courtesy of Sundance Institute.)

“Hanging by a Wire,” a 77‑minute documentary by Mohammed Ali Naqvi, follows the terrifying ordeal of eight passengers—six of them teenagers—left suspended in a cable car after one of two supporting cables snapped. What began as an ordinary school commute across the mountains of northern Pakistan on the morning of August 22, 2023, became a day-long fight for survival. The boys were left dangling 900 feet in the air, 5,250 feet from their destination, with the world watching and praying that rescue crews could reach them in time.

Like other disaster documentaries involving trapped miners or the Thai boys’ cave rescue, this story carries the same desperate plea: “Tell the world we want help.” What unfolds is a series of competing rescue attempts—some heroic, some chaotic, and all marked by the urgency of lives literally hanging in the balance.

SKY PIRATE

The first rescuer to reach the site was Sahib Khan, a self-styled “sky pirate,” who arrived around eleven in the morning. He successfully rescued one boy before being ordered to stop. As he explains it, “After I rescued the boy, I got a call telling me to shut the operation down.” Sahib was disturbed by this and said the reason was “ because I am poor.” Despite that, he later shares that people in Pakistan now recognize him and thank him for his bravery.

HELICOPTER RESCUE

Sonia Shamroz Khan, the district police commander, called in an experienced helicopter pilot, Lt. Col. Zain Ali, after four and a half hours. One of the boys, Irfan, was the only passenger eventually lifted out by helicopter. Unable to secure the harness that was passed down to him, he held onto the rope with his hands alone. Before attempting it, he told his father, “Dad, whether I live or die today, I’m going to jump.”Irfan’s father said, “When they told me he had made it to the helicopter, that’s when I opened my eyes.” A second helicopter arrived later, but the downdraft from the rotors violently shook the cable car, nearly flipping it.  Another boy, Niaz, told his father, “I might die today.” Once rescued, Niaz said simply, “There was pure joy when my feet finally hit the ground.”

A still from Hanging by a Wire by Mohammed Ali Naqvi, an official selection of the 2026 Sundance Film Festival. (Photo courtesy of Sundance Institute.)

ZIP-LINE RESCUE

Next came Ali Swati, a gym owner and zip‑line operator whose father once scolded him for not joining the Army. Determined to redeem himself in his family’s eyes and save the boys, he made a dangerous attempt shortly after dark. Ali was selected as the third rescuer because of his experience with his zip-line business, money and the equipment he already possessed.

The initial efforts by Ali were challenging. The wire shook under his weight; the car shook. Terrified, the boys screamed, “Why do you want to kill us? Why are you putting more weight on the cable car?” Tensions flared between Swati and the sky pirate perched on top of the car, but ultimately the priority became getting the boys out alive.

RESCUE TIME-LINE

A real‑time timeline heightens the film’s tension. Brendan McGinty’s aerial cinematography captures both the beauty and danger of the remote terrain and there was ample film footage of the crisis taken that day, which is used.

The boys were eventually saved, but their trauma lingers. One says, “We feel like we’ve been given a second chance to live.”  Rizwan shared that he still relives the incident in nightmares and added, “I still feel scared whever I pass by the cable car.” Irfan continues to avoid the site, saying “There is a fear in my heart.”

Most remarkably, the ruined cable car still remains suspended  from the damaged cable today, a grim monument to the day eight lives were left hanging by a wire.

 

 

“American Doctor” Screens at Sundance 2026

A still from American Doctor byPoh Si Teng, an official selection of the 2026 Sundance Film Festival. (Courtesy of Sundance Institute | photo by Ibrahim Al Otla.)

“American Doctor” is a Sundance documentary that follows three physicians grappling with the unbearable gap between what they’ve witnessed in Gaza volunteering at Nasser Medical Complex in Khan Yunis and what the world is willing to acknowledge regarding the reality of what is going on in Gaza. As I watched this documentary I recognized the familiar feeling that, when those in power lack human morality and compassion, the real life crises you are witnessing feel  hopeless. The doctors’ concern that their efforts are futile is just one more battle to be fought.

It doesn’t matter if we’re talking about senseless violence in the Ukraine, Gaza, Iran or Minneapolis, the feeling is the same. As articulated at one point by one of the doctors in this powerful documentary: “There’s an institutional trend to silence and speaking out about this. From the boards of every single university, from the boards of hospitals: they just don’t care at what cost this is achieved…Most American physicians are horrified, but they are too frightened to speak up….”  Consider that documentary statement as it relates to January 6th, Alex Pretti in Minneapolis, and  victims of senseless violence in any  ongoing war:  “They don’t give a shit about anybody else as long as they kill the person they’re after.”

CINEMATOGRAPHERS

Director Poh Si Teng keeps the cameras closely focused on the work of three American doctors in Gaza at the Nasser Medical Complex in Khan Yunis, letting the doctors’ exhaustion, anger, and quiet despair speak louder than any narration. Cinematographers include Ibrahim Al-Otta, Ramzy Haddad, Arthur Nazaryan, Chris Rentaria,  and Poh Si Teng, with editing by Ema Ryan Yamazaki and Christopher White.

The result is a film that radiates a specific kind of helplessness — not the helplessness of uninvolved bystanders, but of experts who have seen the consequences of violence up close and personal and still can’t get anyone to listen to them. We see the physicians returning to the United States to speak to representatives at Chuck Schumer’s office, John Cornyn’s office, Ted Cruz’s office—all for naught. This feeling of tilting at windmills is so widespread, so ubiquitous, that you walk away from the experience of this film  overwhelmed by the realization that Kelly Ann Conway’s “alternative facts,” when truth is what is required in society, has contributed mightily to the mess we are all now mired in.

THE DOCTORS

“The American” doctors followed in the Sundance documentary are (l to r) Dr. Thaer Ahmad, Dr. Mark Perlmutter, Director Poh Si Teng and Dr. Fereze Sidhwa. (Photo from AFT)

The doctors are Dr. Fereze Sidhwa, a trauma surgeon from California and a Zoroastrian who actively wonders whether his inability to let the injustice of this genocide go on without protesting proactively in perpetuity is what is keeping him from finding the girl of his dreams. Dr. Mark Perlmutter: a Jewish orthopedic surgeon from North Carolina. As a Jew, he is more at liberty to speak out against the repressive far right regime of Benjamin Netanyahu, and he does so. He also shares that his father was a physician who helped concentration camp survivors in World War II, upon arriving with U.S. forces. The third doctor is Dr. Thaer Ahmad, a  Palestinian-America from Chicago who is an Emergency Room doctor in real life with a wife and two darling children.  He encounters more hassles than the other two doctors just to be allowed to enter Gaza as a volunteer, often being left at the border by red tape just hours before  entry. (“It’s a degree of inconvenience that’s essential. The Israelis choose to notify you that you are not being allowed in literally the night before.”)

All three are risking their lives to go into Gaza and attempt to treat dire injuries under the most primitive conditions. Since the Israeli Army intentionally targets hospitals, there is nowhere for the trapped populace—especially the children—to seek care. The doctors banded together to write an opinion/editorial entitled “As Surgeons We Have Never Seen Such Cruelty Like Israel’s Genocide in Gaza.” The X-ray machine at Nasser Medical Complex has been broken for 11 months; there are only 2 operating rooms.

THE TASK

The three weary doctors are followed amongst their colleagues in Gaza through the halls and operating rooms  of the Nasser Medical Complex in Khan Younis. In the 1 hour and 33 minute film, the hospital is hit by Israeli forces three times. In the film’s finale, a rocket hits the second floor men’s surgical ward, incinerating a 15-year-old boy whom the doctors had just saved. We see two little boys, aged 2, dead and brought in carried in their grieving father’s arms. A ten-year-old has no pulse in her left arm and shrapnel injuries to her foot.  If she survives, she is going to lose both legs and her left arm. Early in the film, the doctors remark on the number of children brought in with gunshot wounds to the head, which they say cannot be simply accidental. The killing of children here is 600 times that in the Ukrainian conflict.

The Council on American-Islamic Relations (CAIR), the nation’s largest  civil rights and advocacy organization, has called for streaming platforms in America to carry this documentary, saying: “This important documentary shows, through the eyes of three heroic Americans, the reality of Israel’s genocide in Gaza.  All Americans should see this film.  We urge all streaming services in the nation and worldwide to host and promote the film.”

POLITICS ASIDE

Poh Si Teng, director of American Doctor, an official selection of the 2026 Sundance Film Festival. (Courtesy of Sundance Institute | photo by Marcus Yam.)

After Dr. Ahmad appears with Dana Bash on CNN, he received a particularly hostile e-mail cheering for “Hamas to renege on the hostage deal before the Sunday deadline so that Israel can finish the job of eliminating the presence forever of every single Palestinian member of Hamas. Chew on that, Doctor.” The Israelis have protested that the Palestinian Hamas forces often hid their headquarters under hospitals, to avoid detection. Israel used that as their justification for bombing hospitals. We are all aware of the precipitating event when 251 civilians in Israel were kidnapped by Hamas on October 7, 2023.

Dr. Ahmad’s response is: “I’m not a spokesperson for anybody. I’m not ‘pro’ anything. I’m a Palestinian who wants to see babies that look like my babies not being killed any more.” Over 1700 health care workers have lost their lives in Gaza since Israel launched its retaliatory attack on Gaza. 94% of the hospitals in Gaza have been damaged or destroyed, including the Nasser Medical Complex.

The U.S. has provided $21.7 billion in military aid to Israel since October 7, 2023, when Hamas attacked Israel and took 251 hostages, according to a report by Brown University’s Watson School of International and Public Affairs.

EMOTIONS UPON DEPARTURE

At the end of the film, on March 18, 2025, when most of the Nasser Hospital seemingly collapses after bombing, the doctors must leave; they feel guilt. “When you leave, you really feel that you have no right to leave. You get this feeling of a kind of shame,” says Dr. Fereze Sidhwa. “I don’t feel like I should have left, because nobody was there and nobody was coming in to replace me. I think it would have been better to have stayed on. I had some access to media and to people who could write about these things.” Also articulated is this thought: “The people in Gaza told us that we have to advocate on their behalf.  None of us wants to, but we all feel a sense of duty.”

  • Peer-reviewed analysis in The Lancet estimated 64,260 traumatic deaths in Gaza by June 30, 2024, rising to over 70,000 by October 2024.
  • Demographics: Studies indicate that 59.1% of these deaths in Gaza are women, children, and the elderly.
  • Over 100,000 Palestinians have been injured.

CONCLUSION

A companion piece for “American Doctor” is 2024’s “No Other Land,” a film made by a Palestinian-Israeli collective that shows the destruction of the occupied West Banks’ Masafer Yatta by Israeli soldiers.

“American Doctor” is a very powerful firsthand account of what has happened and is happening in Gaza, told by those who have made multiple trips there to try to help. As the “Vanity Fair” Sundance team that wandered into this one when they couldn’t get into “Shitheads” said, “It’s the most powerful thing we’ve seen at Sundance, so far.”

“American Doctor” underscores the need for people of good moral fiber to stand up against and speak out against  injustice anywhere, whether in a place far from home or on our own doorstep. If it is wrong and the PTB have presented a “truth” or rationale  built on lies, that must be called out by people of good conscience.

From “American Doctor:” “First responders and journalists are being attacked. Every aspect of life has bee destroyed.  There’s been no accountability. Who is going to bring the perpetrators to justice?  Who is going to prosecute them?  Who is going to confront the perpetrators in a way that they cannot rest without seeing us. It’s the only way that we can achieve accountability and justice.”

Do those words from “American Doctor” apply in other settings?

Yes, they do.

Let’s all act like we get the message that might does NOT make right and we must unite,as Minnesota has, to stand up for our neighbors and the sanctity of human life.

Australian Short “Stranger, Brother” Screens at Sundance on September 25, 2025

Tiaki Teremoana in Stranger, Brother. (2025)

Tiaki Teremoana of “Stranger, Brother” (Courtesy of Sundance Film Festival).

The opening sequence at Sundance Film Festival on Saturday, January 25th, 2025, for “Stranger, Brother,” an Australian short directed by Tongan/Australian director Annelise Hickey, is a beautiful ocean scene, silhouetting charismatic lead Tiaki Teremoanna who plays Adam. The music (Will Morrissey composed) is good. The gorgeous horizon quickly morphs into a street scene, shot with  jerky hand-held strobe-like effects by Director of Photography Matthew Chuang Acs.

The camera work was very effective to illustrate Adam’s recent  dissolute lifestyle, including time spent distracting himself from his real life and his original family of origin.  Costa-Gavras used the jerky hand-held camera technique way back in 1969’s “Z” and critics internationally swooned. It has since become a cinema staple. It is used effectively in the scenes that depict Adam’s attempts to run away from his real life and  family  by living life in the fast lane in night-time Australia.

It is a surprise when—after a night spent partying—Adam’s half-brother Moses (called Moss) turns up unexpectedly  on Adam’s  doorstep. The younger boy (Moses) has a different mother than Adam. Their Aboriginal father has provided no advance warning about Moses’ arrival or why he might be visiting. Adam does ask (“So, are you gonna’ tell me why you’re really here?”) but the younger brother does not immediately answer.

The two make a trip to the grocery store and exchange normal conversational banter about the relative “hotness” of Laura (Charly Thorn), but it isn’t until they are together on the beach that there Is a real break-through in communicating, as Adam finally succeeds in contacting their mutual father by phone and learns that Moses’ mother, Mary, is dying in hospice. Moss is upset and tense and the brothers nearly come to blows on the beach. Adam seems to realize, in that moment, that he has an obligation as Moses’ older  half-brother, to provide some stability and a haven for a young boy in distress. It is fitting that the end of the short film takes place where it began, on the shore of the same beautiful beach where it began.

The film was shot on the unceded lands of the Boonwurrung and Wurundjeri people of the Kulin nation, which is sacred Aboriginal land.

The lead (Tiaki Teremoana) as Adam is particularly charismatic and the message about accepting and supporting one’s family, no matter how fractured that family may be, is clear. The sound, music, and cinematography help drive home that point.  Director Annelise Hickey, who earned an award as the emerging Australian filmmaker at the 2023 Melbourne Film Awards has supervised an interesting and meaningful 14’ 31” short film that premiered at the Egyptian Theater at Sundance on Saturday night, January 25, 2025.

The film’s short synopsis read:

“Two estranged half-brothers are thrust together when 10-year-old Mose unexpectedly appears on millennial Adam’s doorstep. Annoyed by the disruption to his care-free life, Adam struggles to contact their elusive father for answers but is met with silence. Tensions rise as Mose begins to suspect that Adam is ashamed of him, while Adam discovers the poignant truth: Mose’s mother is dying. The brothers clash in a heated confrontation that ultimately reveals their unspoken need for each other.

Meet the Artist

Panelist Name

Annelise Hickey is a narrative filmmaker from Naarm (Melbourne). Her debut short, Hafekasi (2023 Tribeca Film Festival, BFI London Film Festival), earned a Narrative Short Special Jury Mention. Hickey is the recipient of the 2023 Emerging Australian Filmmaker award at the Melbourne Film Festival. (Photo courtesy of the Sundance Film Festival).

Credits

  • Director(s)

    Annelise Hickey

  • Screenwriter

    Annelise Hickey

  • Producers

    Tessa Mansfield-Hung

    Josie Baynes

  • Director of Photography

    Matthew Chuang ACS

  • Production Designer

    Francesca Carey

  • Edited by

    Grace Eyre

  • Music Composer

    Will Morrissey

  • Sound Designer

    Sean Wilkinson

  • Colorist

    CJ Dobson CSI

  • Executive Producer

    Jarred Osborn

  • Principal Cast

    Tiaki Teremoana

    Samson Uili

    Charly Thorn

    Patrick Livesey

  • Year

    2024

  • Category

    Short

  • Country

    Australia

  • Language

    English

  • Run time

    15 min

  • Company

    Wildebeest Films

  • Contact

    annelise@wildebeest.com.au

 

“A New Kind of Wilderness” Is 2024 Sundance World Cinema Grand Prize Winner

Sundance Film Festival is ending its 40th run on January 28th. I’ve been streaming many of the award winners, including these, in  alphabetical order:

  • “A New Kind of Wilderness”
  • “A Real Pain”
  • “Daughters”
  • “In the Summers”
  • “Kneecap”
  • “Little Death”
  • “Porcelain War”
  • “Suncoast”

[I’ll be telling you about the above films in installments over the next few days, so tune in.]

Although “A New Kind of Wilderness” is first on the list because it is alphabetically first, I think it may be my favorite of the 8 listed, which are award winners. “A New Kind of Wilderness” won the World Cinema Grand Jury Prize.

The beautiful part of “A New Kind of Wilderness” is that it is a documentary, but also contains a wonderful story of how a couple in Norway (he is British; she is Norwegian) chose to drop off the grid and raise their children on a farm in Norway. As Nik, the father of Freja, Falk, Ulv and step-father of Ronja tells us, “We want to be independent, free, and full of love.” He added, “We govern our own lives…When you choose a life that is so dependent on yourself, you have a certain authenticity.”

The children have no television, no electronic devices, are home schooled, and learn about growing their own food and hunting and butchering animals for food. The father, Nik, warns the children that traditional schooling teaches, “You can be yourself, but only if you fit in and follow the rules.”

But then the children’s mother, Maria Gros Daine, dies and the group is forced to sell the farm and move to the city. They also spend 4 months in England visiting Nik’s parents, but the kids obviously do not want to move to England, although he temporarily considers it, because, as he said, “It’s a lot harder being alone.”

George MacKay in Captain Fantastic (2016)

The entire story was basically the 2016 film “Captain Fantastic” starring Viggo Mortensen and written and directed by Matt Ross. The director was Silje Evensme Jacobsen and she got the idea of the film from Maria’s blog wildandfree.no and worked on developing the gorgeous images from it (Maria was a professional photographer) into this film. It was very well done and the plot mimicked Matt Ross’ plot line as the children are gradually introduced to the electronic world and school and they begin to enjoy learning and socializing, which is both a good thing and a bad thing. It is a good thing because living off the grid is also an isolating experience, but it is also bittersweet to hear Frija tell her father she would rather go to school than play hooky and go camping with him.

It was a beautiful film and all of the issues in the “Captain Fantastic” film were addressed using real-life participants in the adventure of dropping out of normal life to live an exceptional life, the good, the bad, and the ugly of it all.

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