For an independent film, 3 Needles has a dynamic cast of female leads (Stockard Channing, Olympia Dukakis, Sandra Oh, Lucy Liu, and Chloë Sevigny), and a budget large enough to support the globe-hopping storylines, but even so, it still flies under the film industry’s radar. The entire film follows the small events that lead to larger, more devastating effects through the ripples of the HIV epidemic, and based on this content alone, it’s may not seem like the first film that many consumers might want to pick up to watch. (“What? There are no talking animals? No middle-aged leading men dressed in drag to escape from some cornball situation? That simply will not do!”) I’m so glad that WICinema is giving 3 Needles the spotlight it deserves as the feature film selection for the 2008 Film Collection.

Not only is this film well produced, but also it is informative, thought provoking and even a little discomforting, as any film or media that is trying to accurately portray the confusion and devastation surrounding the current stage of the HIV epidemic should be. The film is comprised of three separate storylines that focus on these overlooked social and economic ripples that can have a ravaging effect on separate populations. Each narrative is distinguished by differing locations (China, Canada, and Africa), and linked by not only infection, but also the most distinct of human conditions - birth, death, sexuality, desperation, and love. Though the scenery and the subject matter maybe foreign to some viewers, everyone can understand the power that these emotions have. And because there are a wide variety of stories told, no matter what type of cinematic storytelling you enjoy, you’ll find a narrative to connect with.

What also makes this film stand out is the level of unapologetic social critique it presents. 3 Needles blatantly exposes economic gains as one of the chief motivators of the HIV virus. Almost every example of infection is due to the need for economic mobility, whether it is a father in China who needs funding to grow crops to provide for his family, or a porn star who is looking to support his family a world away. The film showcases the silent stories of an epidemic that is currently considered by our collective social consciousness as contained. Though our North American location has seen an exponential dip in the HIV infected populations throughout several regions over the past decade or so, this film reminds us that the issues and trials that happen farthest from our doorsteps are important and worth echoing.

Barbara’s story is communicated in chronological order, from her challenging childhood growing up in the South Boston projects, to her life now on the cutting-edge of cuisine. One of the highlights in of Barbara’s journey was the way she cleverly gained a four star culinary education by cleaning dishes for an instructor and in exchange she was allowed to sit in on classes. Slowly but surely she climbed the cooking ladder and became a rising star in the cooking world, all on her accord and under her own definitions.

We at WICinema love encouraging underdog stories like Barbara’s, but not only that, we love films created by women that are made to inspire women. The filmmaker, Maryanne Galvin (What’s Going On Up There?, The Pursuit of Pleasure) has explored and challenged different American narratives throughout her prolific career.  Some topics that she has covered include the evolution of female sexuality in the United States, and the effects of living an anti-consumptive life. I really enjoyed how Maryanne’s viewpoint that food and art are truly synonymous counterparts was woven throughout the film, and that both have the power to positively effect lives. Both art and food offer “something beyond the boundaries of [mere human] existence” which can give both greater powers to bring people and communities together. With Amuse Bouche, Maryanne keeps this basic message simple and uncomplicated, which makes the entire documentary pleasant and easy to swallow.

            My only other recommendation, besides seeing this enjoyable documentary, is to make sure you do not watch it on an empty stomach. This would be a fun film to watch with a few friends and a glass of wine and any snack of your choosing. And there’s no need to worry if you only have the boxed kind of wine around; I don’t think that Chef Lynch will say a word about it.


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“I never feel age ...
If you have creative work, you don't have age or time.”
Louise Nevelson 

Positive representations of women over the age of 50 within film, television, and almost all media outlets are few and far between… And it downright sickens me. It’s a rare occurrence that women over this age are ever shown as active creative agents, which is one of the main reasons why A Portrait of the Artist as an Old(er) Woman has such a powerful hold on me, and why I’m so glad that Women’s Independent Cinema has decided to feature this documentary on the July 2008 mailing. A Portrait focuses on the individual and affecting journeys of three octogenarian artists (Hanna Eshel, Margaret K. Johnson, and Hava Mehutan) who specialize in the detailed and time-consuming medium of three-dimensional art. Each artist’s story articulately details their individual global journeys and personal and familial situations that have either hindered their ingenuity or bolstered it. And the fact that the filmmaker, Tova Beck-Friedman, is an artist herself adds to the authenticity and strengthens the entire structure of each woman’s story.

Unlike many documentaries, A Portrait of the Artist as an Old(er) Woman displays each of these women’s stories in not just an informative manner but in a highly personal one as well. Each artist speaks about the intimate moments that have defined her as an artist. Hava describes the pivotal instant when, as a four-year-old, she saw a piece of iridescent glass that inspired her curiosity for color and shape, and sent her on a trajectory towards dabbling with art. And Margaret engages the audience by describing the specific ways that space and environment in her travels to the polar region revitalized her viewpoint on her artwork. And her child-like enthusiasm for discovering new artistic mediums is infectious; watching her made me feel like I was a part of a special, and almost private moment. Every detail and insight into these women’s artistic realms is a treat to view. These small and afflated moments were a breath of fresh air on my television screen.

Besides age and energy, each of the women artists also share together their unique experiences of juggling motherhood, and other roles that society restricted them to in the 1940’s and 1950’s, with their artistic lives. For example, Margaret “very much didn’t want to be married” when she was younger, because “marriage meant that whatever you were doing you stopped”. She did not want to adhere to the gendered social prescriptions that would limit her time spent as an artist, and it was only until her potential husband convinced her that children could wait and that nothing would change the amount of time that she could spend developing her creativity did she agree to be married. To hear each of these woman speak openly and defiantly about the social restrictions placed on them and their passions left me motivated to continue working towards breaking current gendered social restrictions that keep me down in my own local and personal world. Being entertained, informed, and stimulated by just one film? I savor the rare occurrence when a film has the ability to stir these strong feelings within me. I can only assume that Margaret, Hava and Hanna’s stories will have the same effect on an even wider audience.

A Portrait of the Artist as an Old(er) Woman is a wonderful documentary, and some of the best 30 minutes I’ve spent in a while. Who knows, it may even inspire you to pick up a paintbrush, or a slab of clay, or even a post-it pad and a number two pencil the next time you find some down time.

Aside from the original story, other components ensure that The Tackle Box is worth all the praise and stellar reviews that it has received. The inaudible atmosphere of the film coupled with a tender, yet somewhat arresting, storyline would prove difficult for any directing team, but the overall film is well composed and stunning to view. The somewhat surreal visual elements also break the film free from any molds that could limit it to being viewed as simply an arbitrary emotional piece. The responsibility for these lush cinematic components rely upon the inventive production duo Maria-White and Matthew Mebane (Charlie's Angels – Full Throttle), but the whimsical nature of the storyline can be attributed to writer Patti White, who penned “The Tackle Box” originally as a poem. This is the married couple’s first cinematic project together as the sole-production team, and their next film, Locker 13, is currently in the pre-production stage.

There is more than what meets the eye within The Tackle Box. It is an inspiring and gratifying film with a playful and almost unconventional demeanor. Truly, this short film brings new meaning to the notion that you carry a piece of someone you love with you, even after they’re long gone.