The hundred people in tenuous housing in California who give similar statements in LONG STORY SHORT respond to one another, directly or indirectly, in a convergence of people, whether isolated individuals or those placed in groups and aligned. "A hundred ways of being poor and a hundred ways of saying it close-up combine to form a polyphonic account. "An original piece of editing, which exploits the split screen principle in a way that is as pertinent as it is original."- Telerama "An incredible work of montage on the collective power of speech."- Maria Bonsanti, Artistic Director, Cinema du Reel One of the key messages that comes through is how difficult it is to live in poverty, and how much resourcefulness it takes simply to manage daily life. Together in the film for the first time, Americans who are rarely acknowledged or listened to form a virtual collective. While individuals whom Bookchin filmed in separate spaces appear onscreen in their own visual spaces, mirroring the isolation of their experiences, words flow between them like a musical ensemble. MacArthur Grantee Natalie Bookchin, an artist whose work has been shown at the Pompidou Centre, the Whitney Museum and the Tate, uses the film to amplify the voices of the displaced and dispossessed. Numerous interviews are stitched together to form a polyphonic account of American poverty told from the inside. In the moving and immersive film LONG STORY SHORT, over 100 people at homeless shelters, food banks, adult literacy programs, and job training centers in Los Angeles and the Bay Area in Northern California discuss their experiences of poverty: why they are poor, how it feels, and what they think should be done about American poverty and homelessness today. Now he's out in public and everyone can see and Long Story Short are included on one DVD.
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