Film Screening: An Encounter with Simone Weil

The following is a press release for the Center's upcoming screening of Julia Haslett's exquisite documentary An Encounter with Simone Weil. For more about Simone Weil and Julia Haslett, see my post here.

Quest for a compassionate life is subject of film to be screened
at Opalka Gallery October 16

Dialogue with director Julia Haslett follows exclusive presentation of her 

acclaimed documentary An Encounter with Simone Weil

Acclaimed director Julia Haslett will lead a discussion following the screening of her new documentary An Encounter with Simone Weil on Sunday, October 16 at 4 p.m. at the Opalka Gallery at the Sage College of Albany. The exclusive Capital Region screening and discussion is organized by the Center for Documentary Arts at The Sage Colleges and the Opalka Gallery. The event is opened to the public.

An Encounter with Simone Weil is a moving portrait of French philosopher, educator, and activist Simone Weil (1909-1943), who spent most of her too-short life advocating for the socially and politically disadvantaged. Using Weil’s writings and teachings, Haslett tells the dramatic story of an extraordinary young woman whose decision to act on her convictions led her into hardship and spiritual revelation. In her quest to understand Weil (pronounced “veigh”), filmmaker Julia Haslett confronts profound personal questions about her own moral responsibility toward society at large and her family.

Haslett begins with Weil’s belief that, “Attention is the rarest and purest form of generosity.” With this quotation as the film’s moral center, Weil’s extraordinary biography is revealed through archival film shot during her lifetime, previously unseen family photos, and modern footage of places she lived and worked, as well as interviews with key people connected to Weil. Haslett then uses Weil’s experience as a framework for her own life, including intimate vérité footage of the filmmaker’s family and personal hardships. Drawing on current news and observational footage, Haslett’s narration draws provocative comparisons between Weil’s insight and the world today. The result: a deeply moving and unique film that questions what it means to bear witness to suffering, and plumbs the quest to live a compassionate life.

Filmmaker Michael Moore chose An Encounter with Simone Weil for a Special Founders Prize at the 2011 Traverse City Film Festival. The documentary was also an official selection at the prestigious Full Frame Documentary Festival earlier this year.

In her brief life, Simone Weil (1909-1943) fought in the Spanish Civil War, worked as a machine operator and farm laborer, debated Trotsky, and was part of the French Resistance. The daughter of affluent Jewish parents, she spent her life advocating for the poor and disenfranchised in France and for colonized people around the world, bravely organizing and writing on their behalf. A consummate outsider, who distrusted ideologies of any kind, Weil left behind a body of work that fills fifteen volumes and established her as a brilliant political, social, and spiritual thinker.

In her writings, she analyzed power and its dehumanizing effects, outlined a doctrine of empathy for human suffering, and critiqued Stalinism long before most of the French left-wing. She believed intellectual work should be combined with physical work, and that theories should evolve from close observation and direct experience. And, after three Christian mystical experiences, she began grappling with religious faith, its role in human history, and the shortcomings of organized religion. Her ideas have influenced countless people, including Susan Sontag, Graham Greene, and T.S. Eliot. The New York Times described her as “one of the most brilliant and original minds of twentieth-century France.” But by far her biggest advocate was the existentialist philosopher Albert Camus, who played a major role in getting her work published after her death.

“I made this film for personal and political reasons,” says director Haslett. “The questions it poses are fundamental and the stakes it raises are quite literally life or death. The film can take a while to sink in, but my idealistic hope is that once it does, it will bring a little more compassion into the world.”

Haslett will discuss the making of the film, and answer audience questions, immediately following the screening. The one-time-only showing will be in the theater of the Opalka Gallery on the campus of the Sage College of Albany, 140 New Scotland Road. Parking is free on campus. Admission is $5, free for Sage students with a valid ID.


The screening and discussion are a presentation of the Opalka Gallery and the Center for Documentary Arts, as part of the 2011 MoHu Festival of Arts. The event inaugurates the Center’s ongoing series of film screenings, readings, and artist appearances featuring narratives of hope, dignity, and compassion that can transform individual lives and impact collective experience.

“I am extremely pleased to host Julia Haslett,” said Timothy Cahill, director of the Center for Documentary Arts. “Simone Weil, and Julia’s film about her, embody the values of ethical engagement and artistic excellence the Center for Documentary Arts stands for.”

The Center for Documentary Arts, hosted by The Sage Colleges, is a not-for-profit cultural organization founded in 2009 to raise humanitarian awareness and foster compassion. Last year, the Center mounted the photography exhibit Battlesight: Dispatches from Iraq and Afghanistan by International Photographers at the Arts Center of the Capital Region.

Love and Justice

Hugo Perez

For the past week I have been ruminating on what was in every way a fine and moving evening last Tuesday, when we screened Hugo Perez's Neither Memory Nor Magic, a film portrait of Hungarian poet Miklós Radnóti. I had moist eyes more than once as I watched this beautiful and poignant work, which, though it depicts the life of a man who died miserably in the Holocaust, is ultimately about life, not death; courage, not fear; beauty, not brutality. Radnóti's poems, the few I know from the film and from Carolyn Forché's anthology Against Forgetting: Twentieth Century Poetry of Witness, have burrowed deep into me. He bore witness to the barbarity of the Nazi labor camps where he was imprisoned, with a voice at once elegiac and indomitable, and though he never flinched from the horror of his circumstance, his poems ultimately are expressions of profound love. Love for his wife Fanni, for the music of language, for the world:

. . . tonight the moon is so round!
Don't go past me, my friend— shout! and I'll come around! 
                                                                              
I was just admiring, up there, your eyes' blue sheen,
when it clouded over, and up in that machine
the bombs are aching to dive. Despite them, I am alive

My definition of the "documentary arts" is broadly inclusive, as evidenced in the mission state on this page; it's meant to embrace all art that bears witness to the struggle, striving, and triumph of the human spirit. Bearing witness in this sense is no passive, legalistic stance. It demands an active engagement with the world and, perhaps more deeply, a committed relationship to soul. As Forché writes in the introduction to her book, witnessing art "will have to be judged . . . by its consequences." Among the consequences must include art's ability to advocate for life, to stand on the side of compassion, generosity, care; in short, to love. As a position, this is not at all simple or easy. The instinct of a great many artists who fall loosely under the heading "documentary" is, I observe, not toward love as much as justice. I once asked the poet Hayden Carruth which of those two imperatives was "more important"; he declared in favor of justice, since justice implied love. I'm not entirely sure I agree with his choice, but the logical equation is not at all straight-forward: all love may encompass justice, but too few things that pose as "justice" can be said to espouse love. Indeed, the concept of justice is commonly defined according to the duality of good and evil, a useful dichotomy if one is in need of enemies or dominion, but not one that accommodates grace. Grace, simply put, is treating others not necessarily as they "deserve," but as love requires — as fellow travelers on a divine journey. This is a radical notion, one that runs counter to logic and experience, yet it seems to me just where we can situate Radnóti, and where the artists I most admire reside. This does not mean I take no interest in art that seeks to expose injustice or address suffering. Far from it. That is also an act of witness. Yet I have long believed, and maintain more strongly now than ever, that art's greatest power is not as a mirror, but as a torch, beacon, guide, path — whatever metaphor works for you — to higher consciousness. Art elevates humanity not so much via the enlightenment of argument and evidence as through the illumination of the soul's mysteries and wisdoms.

This is what Hugo's film accomplishes. There are passages in it as moving as any I've seen in a documentary film; in one, the screen painfully dissolves to black, a darkness broken by one of Radnóti's poems like a herald from heaven. I want to express my gratitude to Hugo for his work and for being my guest in Albany, and thank all those who attended and stayed for the lively Q&A afterward. More screenings are planned for the future; the Opalka Gallery, my partner in last week's event, will be co-host and venue for a series of four films beginning in October. I am currently programming that series and will have more information to share on it shortly.

The audience during the Q&A

Poetry excerpts from "Forced March" and "Letter to My Wife," translated by Emery George, from Against Forgetting: Twentieth Century Poetry of Witness, edited by Carolyn Forché. 

Neither Memory Nor Magic

On April 12, the Center for Documentary Arts is pleased to present, in collaboration with the Opalka Gallery at The Sage Colleges, Hugo Perez's Neither Memory Nor Magic, a stirring film profile of Hungarian poet Miklós Radnóti. The film, presented as part of Holocaust Remembrance Month, will be screened at 6:30 in the theater of the Opakla Gallery at Sage College of Albany, 140 New Scotland Avenue in Albany.

Radnóti is one of Hungary's foremost poets and a national hero. He was a fervent nationalist and anti-fascist; this activity and being born a Jew condemned him during World War II to internment in a series of forced labor camps, where he died.


Hugo Perez travelled throughout Hungary and Serbia to film NMNM, which is built upon the poignant, courageous poems found in the notebook Radnóti had when his body was discovered. This is the synopsis from the filmmaker's website:

In the spring of 1946, a mass grave was unearthed in the Hungarian village of Abda. Twenty-two decayed bodies were found sprawled in the pit. One of the bodies found in the grave was that of the poet Miklos Radnoti, shot into the grave by Hungarian fascists eighteen months earlier. Found in the front pocket of his coat was a small notebook soaked in his bodily fluids. It was laid out to dry in the sunlight and when examined later revealed the poets last poems carefully handwritten onto the ruled lines of the notebook. In the so-called Bor Notebook, Radnoti, through poetry, told the story of the last six months of his life, months spent first as slave labor in a Nazi labor camp in Bor, Serbia, and then on a three-month forced march from Serbia to the small village of Abda where he was killed when he was too weak to continue.   

Radnoti’s final poems serve as the backbone of the narrative of NEITHER MEMORY NOR MAGIC to reveal the story of a poet who continued to write poetry even as he faced almost certain death. Through the use of evocative and lyrical Super8 footage, readings of the poems to represent Radnoti’s account of his life, and interviews with some of those who knew him best and who got to know him in his last days, NEITHER MEMORY NOR MAGIC tells the story of one poet’s triumph over the inhumanity of his age –a story previously untold outside of Hungary.

I urge everyone in the area who can attend to see this haunting and beautiful documentary. Hugo Perez will be present to discuss the work following the screening. More about Radnóti, Perez, and the film in a future post.