Fracking, God and charity: A man and a nation seek answers in “The Overnighters”

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Along the Highway 85 corridor in Adams and Weld counties, folks have some sense of what happened in Williston, N.D., when the oil boom took hold. Stop by any hotel in the area on any given day, the vacancies are harder to come by. Or travel the highway for any amount of time, alongside the growing number of trucks devoted to oil-and-gas industry activity — fluids, heating, drilling and beyond.

Being part of the boom is an amazing cultural phenomenon, and just as it is in Colorado as part of the Denver Basin boom, fracking was the key to the Bakken shale boom of Williston.

But more often than not, the common traits of boomtowns easily hide what’s happening under the surface. That was the case of pastor Jay Reinke, the focus of director Jesse Moss’ landmark documentary, “The Overnighters.”

“It’s easy to become a façade … and the result is always pain,” Reinke intones in the film’s opening minutes. That façade includes the vision of prosperity associated with becoming an economic powerhouse when O&G comes to town. The new business and tax revenues also mean new faces — dozens and then hundreds of people who have made the pilgrimage to Williston on the promise of jobs that, by and large, have largely been filled by the time they arrive.

Reinke knows the reality is uglier than the vision the migrant workers were sold on, as he opens his church to the many of them who have nowhere to stay. When the church floors are filled, he opens the parking lot for those who wish to sleep in their cars. After that, he welcomes some into his own home.

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But it’s not the mass of humanity that has come to town with nowhere to turn that makes the situation ugly — it’s the reaction from Reinke’s neighbors and city officials, who have no answer for the overcrowding beyond questioning Reinke’s charity and handcuffing his efforts.

The drama that unfolds between Reinke, his current parishioners and the town as a whole raises questions of what truly is the Christian thing to do — especially when questions arise in the local newspaper as to whether the pastor is harboring sex offenders.

The tensions throughout also provide a foreshadowing for a personal drama developing between Reinke and his family. We get a sense of what is building up as Reinke consoles one of the many men he’s welcomed into his church: “I’m broken,” he admits, “We’re broken.” The pastor’s private struggle is one that threatens to leave him as lost and looking for answers as the hundreds he’s managed to shelter and care for amid Williston’s boom and subsequent housing crises.

Moss took it upon himself to stay in Reinke’s church for months on end, learning the stories of those who became part of the “overnighters” program there and the daily battle Reinke faced in trying to warm the people of Williston to the work he was doing. It’s an incredibly up close and sometimes painfully personal look at how this one community behaves when tested by the unthinkable influx of souls in search of the American dream out on the well pad — and it’s a sobering reminder of tremendous costs involved when one man sacrifices as much as he can for what he sees as the only right thing to do.

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“The Overnighters” is unfathomably poignant not just for Front Range communities such as ours that are currently enjoying the swell of economic growth from O&G activity, but for an entire country that sees a horizon of better days ahead but all too many reminders of the Great Recession still around us — and the human lives that feel it all, through both bad and good.

“The Overnighters” — one of 15 films selected for the Academy’s shortlist of Best Documentary Features for 2014 — opens Dec. 5 for a weeklong run at the Alamo Drafthouse in Littleton, followed by a run at the Sie FilmCenter in Denver starting Dec. 19. Running time: One hour, 30 minutes. Four and a half stars out of five.

Festing: SDFF37, “Imber’s Left Hand”

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If there was one thing that truly captured the American attention over the course of the past year — more so than the fleeting scandals in pro sports, social media memes or the zeitgeist TV shows and films — was the Ice Bucket Challenge fundraiser benefiting the ALS Association.

The ice bucket challenge rushed through every medium and every state just like the gravity-fueled plumes of frigid water onto the heads and shoulders of celebrities, politicos and average folk alike. Hardly anyone could have foreseen its magnificent viral trend.

In much the same way, watching Jon Imber work in his final months at the beginning of director Richard Kane’s moving documentary and then reconciling the great artist and teacher’s fate is like a sobering bucket of ice water to your soul. So many people took part in the trendy challenge, and yet so many may never see ALS up close or personal such as we see with Imber, his wife and his friends and colleagues as he adjusts to painting without the use of his dominant right hand and eventually not so much of his left hand either. We’re not necessarily thinking about the pain or the tremors in his body because Imber subdues them physically and finds them translating into new and unexpected strokes in his work.

In fact, the structure of going back through Imber’s early influences and early works does even more to put distance between the viewer and the ending in store, in such a way that it becomes a true storytelling experience via Imber’s contemporaries and friends rather than a simpler, straightforward exhibition of the man’s struggle toward the end of his life – instead, it’s an exhibition of his very being. Just as Imber describes a painting of his son Gabe as “a way to grab ahold of something that’s disappearing or lost,” this documentary captures a glimpse of a man who seems so vital and invigorated despite knowing he has a death sentence – a man who continues to grab ahold of what he’s about to lose, committing his time to portraits of friends and loved ones, allowing them to live on along with himself as the maker of their canvassed visages.

“Imber’s Left Hand,” beyond being a fascinating look into the life of an artist, also serves as a fine companion piece for another SDFF37 selection – “Cows Wearing Glasses” – in its examination of a storied artist’s choices regarding production and motivation when the former becomes all the more difficult to achieve, even if the latter abounds. Kane shows that Imber had plenty of both, lacking only time.

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But for all its somber stakes, “Imber’s Left Hand” is far more in line with the SDFF37 panel reflecting on the work of Roger Ebert, as both men were weighed down by their physical ailments yet remained as strong-minded and strong-willed in their respective crafts right up until the end, and Kane captures dozens of captivating, personal and private moments that contextualize all the work Imber did before being unable to do any more.

“Imber’s Left Hand” gets its first SDFF37 screening at 7 p.m. Saturday, Nov. 15, at the Sie FilmCenter, followed by a 9 p.m. Sunday, Nov. 16, screening and another at 2 p.m. Monday, Nov. 17, also at the Sie.

Festing: SDFF37, Friday, Nov. 14

I will admit to being somewhat ill-prepared to talk about the slate of films showing Friday, Nov. 14, at the 37th Starz Denver Film Festival. As the festival heads into its big weekend, I can only attest to having seen three of the day’s offerings (save for “A Dangerous Game,” which was discussed yesterday): “Traitors” (4:30 p.m. at the Denver Pavilions), “El Critico” (4 p.m. at the Sie FilmCenter in the Maglione Theatre), and “The Midnight Swim” (9 p.m. at the Pavilions).

Of those three, I recommend both “El Critico” and “The Midnight Swim.”

“The Midnight Swim” is a very well-crafted, atmospheric tale of sisters who convene at their mother’s lakeside home after she’s gone missing and is presumed dead. Although the reliance on a found-footage style undermines a bit of what’s going on here with unnecessary contrivances, it remains a well-acted and intense watch.

Director Hernán Guerschuny’s “El Critico” is a fun take on an Argentinian film critic’s dogged search for an apartment and his work to avoid becoming a romantic-comedy cliche as he pursues a love interest who makes him rethink his views on the more-sentimental features he regularly pans in his paper. It plays at 6:45 p.m. at the Sie FilmCenter.

As for the titles worth checking out sight unseen, I’m keen on checking out Joshua Oppenheimer’s “The Look of Silence” (a follow-up to his magnificent documentary “The Act of Killing”) at 6:15 p.m. at the Sie FilmCenter, and “Charlie’s Country,” which garnered Best Actor honors in the Un Certain Regard category of this year’s Cannes festival for Aboriginal actor David Gulpilli. “Charlie’s Country” has its first screening of the fest at 9:30 p.m. at the Sie.

Festing: SDFF37, Nov. 13

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In addition to not having had a chance to catch up with any of the red-carpet films prior to their screening at the 37th Starz Denver Film Festival, I’ve always been interested in giving a glimpse into the rest of the schedule. Not long after Opening Night, SDFF37 launches into its first semi-full-day of programming on Thursday, Nov. 13, with a number of fine options. Here’s a brief look at what’s on tap for Nov. 13:

— The big buzz around director Jean-Marc Vallée’s “Wild,” starring Reese Witherspoon as the intrepid Cheryl Strayed, figures to be the hottest ticket of the day, and the festival added a second screening in anticipation of the demand to catch this biographical feature that screened earlier this year at Telluride. Screenings are set for 4:15 and 7:30 p.m. at the Denver Pavilions.

— Anthony Baxter won the Best Documentary Award at SDFF34 for “You’ve Been Trumped,” and his follow-up feature, “A Dangerous Game,” screens at 4 p.m. at the Denver Pavilions. This time around, Baxter — who will be in attendance for post-screening Q&A — delves deeper into the environmental issues posed with the development of mega-luxury golf resorts around the globe, including biz magnate Donald Trump’s attempts to build in Scotland and Dubrovnik, Croatia.

— One of the most-talked-about documentaries of SDFF37 will get its first look with audiences at 7 p.m. at the Denver Pavilions: Director Jesse Moss’ “The Overnighters,” which follows the lives of those experiencing the oil boom in North Dakota and the ramifications when a local pastor attempts to help when the boom goes bust.

— Advance tickets are already sold out for the Friday, Nov. 14, screening of the “Outside the Lines” student film collection, so it’d be a good bet to try and see it at 9 p.m. Thursday at the Sie FilmCenter. The short films program includes entries from Poland, Germany, Italy and the United States on a variety of intriguing subjects and subject matter.

Anton Yelchin’s “5 to 7” named as Opening Night film of 37th Starz Denver Film Festival

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Somebody in the programming offices for the Denver Film Society really has a thing for Anton Yelchin.

After his 2011 romantic drama “Like Crazy” played Opening Night of the 34th annual Starz Denver Film Festival, the “Star Trek” actor’s newest film will be back in that same red-carpet spot for the 37th annual Starz Denver Film Festival with “5 to 7,” starring opposite Berenice Marlohe as a down-on-his-luck writer who falls for the wife of a French diplomat.

The film is the debut feature of writer-director Victor Levin, who has been a writer and producer on AMC’s “Mad Men” in recent years. The red carpet proceedings are followed by an 8 p.m. screening Wednesday, Nov. 12, at the Buell Theatre in Denver.

For information on VIP Opening Night ticket packages, visit DenverFilm.org.

Starz Denver Film Festival announces the sports documentary America needs right now: “Touch the Wall”

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America loves a good sports story, and that particular brand has been in short supply this year, whether it’s the NFL’s domestic violence scandal, corruption allegations in FIFA, or people getting run over on race tracks.

Even the world of competitive swimming has had to endure the slings and arrows of scrutiny after the DUI arrest and suspension of Olympic megastar Michael Phelps.

So it’s a fine marriage of timing and circumstance that the 37th annual Starz Denver Film Festival will host the world premiere of a feature-length documentary on Colorado’s own Olympic megastar in the making, Aurora’s Missy Franklin.

“Touch the Wall,” which chronicles Franklin and silver medalist Kara Lynn Joyce on their trip to the 2012 London Games, will debut at 2 p.m. Saturday, Nov. 15, at the Buell Theatre in Denver.

The documentary, directed by Grant Berbeito and Christo Brock, was the first official title announced for this year’s festival, which is held primarily at the Sie FilmCenter and Denver Pavilions theaters downtown. The co-directors, Franklin and Joyce will be on hand for the screening with a question-and-answer session following.

Advance tickets for the screening are available — $12 for Denver Film Society members, $15.50 for general public — at the FilmCenter, 2510 E. Colfax Ave., Denver, or online at www.denverfilm.org.

The rest of the festival’s schedule, including Opening Night, Big Night and Closing Night red-carpet titles, are set to be announced later this month.