Dread and Disappearing

If you know me, you know that I love movies and, to complement that love of movies, I listen to and also love The Big Picture, the esteemed podcast from The Ringer with hosts Sean Fennessey and Amanda Dobbins. I do not miss an episode and, on occasion, I even listen to them discuss a movie that I have not seen. In fact, that frequently happens because getting to the theater is hard. I really have to carve out time, arrange for someone to watch the kids, and then, hope that what I want to see has not left theaters during the weeks it took me to secure said viewing time.

I was listening to such an episode (one in which the hosts discuss a movie I haven’t seen) in October, when Sean interviewed the writer and director of If I Had Legs I’d Kick You, Mary Bronstein. To help out, here’s the one sentence synopsis from IMDB, “While trying to manage her own life and career, a woman on the verge of a breakdown must cope with her daughter’s illness, an absent husband, a missing person, and an unusual relationship with her therapist.” The connection I feel to this movie (I still haven’t seen it!) and its writer/director is that Bronstein’s daughter had a serious illness and Bronstein played caregiver for a long, hard time. Okay, let’s go to the interview.

Right out of the blocks, Sean asks, “Do you remember the exact day you began writing it?”

Bronstein gives a long, eloquent answer, but one thing she says hits me so hard, some truth that I had felt before I listened to this pod, but a truth that was really good to hear someone else utter, especially an artist. Bronstein answers that she had a “sense of existential dread that I couldn’t put my finger on and, at first, I thought it was because the situation I was in, like, will she get better? What will happen? Then I realized it wasn’t that at all. It was the feeling that I felt like I was disappearing, because everything, every part of my being was put into taking care of her and making sure that she was gonna get better and we could get back to New York and get back to normal. But then I realized, oh wait, she is gonna get better and we are going to go back to New York and our home and it is going to go back to…normal. But like what then? What then? Because I’ve been in this state now for so long…in this caretaking role for so long it’s been my whole life, what then? What’s gonna happen?…In a very literal sense I felt myself disappearing, my being, my self, and I started writing…in that state.”

That’s the quote. And if you’ve been a caretaker for someone before, especially of a child with some disease, disorder, or illness, you know that regardless of the severity of that disease, it can be all consuming and it can completely suffocate the will you have to do anything else with your time, if you’re lucky enough to have any time leftover.

Although I didn’t realize it then, my time as a caretaker started nearly 12 years ago when my daughter was born at 26 weeks. She had, at times, a very rough NICU stay that lasted 109 days. After discharge, we were back at the hospital several times a week for appointments. That lasted months. Years later, we still had a lot of appointments, assessments, and scares. Then after teachers expressed concern, more assessments, a diagnosis of Autism Spectrum Disorder, Level 1, and new, ASD-focused, home therapy for years. Then another diagnosis, this time of ADHD, a common dance partner of ASD. Then individualized education program (IEP) meetings. Then 504 (not quite as accommodating as an IEP) meetings. Then more worry. Then back to an IEP.

All that time, much of my interests were pushed aside, as happens to any present parent, and I let worry for my daughter and her future absolutely break down hope I had for myself, belief that I would get to do anything else. I felt myself disappearing. There were fits and starts with writing, but I have gone years without it. Actually, the only thing that I have consistently practiced for the last 12 years, outside of managing the house and taking care of the kids, is running. That’s the one thing I have held fast to. I guess that’s why it became an obsession of mine, which if you don’t know, we haven’t spent much time together in the last decade. But trust me, if you stick around here for any length now, you’ll know.

Anyway, back to myself disappearing, dissolving into worry and insignificance. I started to hear a voice, my voice, and it has been urging me to make sure this part of me, the one that has always loved the written word, both reading and writing it, to make sure that part does not die like all the other parts. To save that part, that’s the end game, if you will. What will come of it? I am not sure, nor do I want to dwell on that either. I know it’s a big part of me and one worth saving, one that makes me a better person in my other roles of husband, dad, and son. But you’re still gonna get running posts and don’t forget movies. I love movies.

2 Good Documentaries

I regularly write movie reviews on a Facebook page I created a few years ago. When I feel like it, I’ll post them here as well. Both of the movies mentioned below are currently on Netflix.

Pantani: The Accidental Death of a Cyclist

The common cycling saga one hears about in the US is all about Lance Screen Shot 2015-09-04 at 1.24.48 PMArmstrong’s rise and fall, but this doc focuses on a cyclist who I’m embarrassed to mention I did not even know. Pantani raced in an age where every single team in the Tour and the Giro doped.

Had he been able to continue cycling, there does not seem to be doubt in people’s minds that he would have far exceeded Armstrong as the most successful doping cyclist to ever live.

The guy was a machine, seemed like he was made to ride a bike in a way that Armstrong never was. As soon as he hopped on his mom’s bike for his first training ride it was clear to his parents and his first coach that he was a prodigy. They were correct. But going pro turned out far more challenging than Pantani expected. The length of the rides were not a problem. The climbs were not a problem. The major challenge came when Pantani was introduced to the seedy underbelly of the cycling world at that time. This documentary follows Pantani’s arc as a professional, from his meteoric rise to the sudden, sad denouement.

Point and Shoot

This is a zany documentary about a zany kid who got his MA in IR from Screen Shot 2015-09-04 at 1.25.19 PMGeorgetown and then decided he hadn’t done anything cool, wasn’t a man, didn’t know crap, so he rode his motorcycle across the Middle East, came home, and then went back to fight alongside friends he made in Libya against Gaddafi and his army. Oh, and he was also imprisoned for five months during Libya’s civil war.

The guy is unique and he knows it. His moderate to severe OCD also plays a prominent role in his journey as would be expected. It’s a fascinating tale and it makes for one wild ride.

The Selma Snub

Going into the awkwardly long, movie award season, I remember Birdman had most Screen Shot 2015-08-19 at 4.23.34 PMof the momentum. Having seen it, I was not that surprised. The movie is shot in such an innovative way. The story was interesting. The acting superb. But the ending, the ending left something to be desired. Most people I have spoken with about Birdman mention that they walked out of the theater angry, confused, and generally wondering, what the hell just happened there? It seemed like the three positives I mentioned already, the cinematography, story, and acting overshadowed the overall effect, which was meh.

Come Oscar night, one could see the award for best picture coming a mile away, the meeting of it and Birdman was inevitable. At that point in time I had not seen all the Oscar favorites, Selma among them. I was extraordinarily late to Selma, having just watched it a few nights ago, but now I know just how badly that movie was robbed when it came to the award for best picture.

Selma is a movie that instantly grabs ahold of you and shakes you, it makes sure you are watching, it pleads with you to remember what you are seeing, and it begs you to not look away. It is powerful, important, and artistic. As a whole, it works in ways that Birdman and other movies from last year did not.

As I watched, I kept asking, how was this movie so drastically overlooked? Why is Oprah not in more movies? Because in this movie she instantly conveyed powerful emotion without even speaking in most scenes. What did Birdman have that this one did not besides Michael Keaton stomping through Times Square in his whitey tighties?

I can think of a number of things Selma has which Birdman did not. To borrow from MLK Jr., it has the “fierce urgency of now,” a story, unfortunately, quite relevant to today’s ongoing racial tensions and institutionalized racism. It evoked an important sense of disgust for a big slice of this country’s past. I think as Americans we occasionally have to be reminded of how blacks were treated then and how they are still victims today because of the color of their skin. To learn the latter, all that is required of us is to turn on the news or read a newspaper. For the former, sometimes it takes a talented director like Ava DuVernay to bring the events of Selma to the big screen in such a way that haunts us for hours and days to come. And, hopefully, longer.

Hollywood is selective about what trends it chooses to buck. The trend of the white, male director seems to be a lasting one. The trend of making the majority of movies for a male target audience ages 16-25 is here to stay. These trends should be bucked in favor of bringing back a more important trend, that of awarding the Oscar to the best picture of the year, not just the trendiest.