Susan Kerns (She/Her)

Who will lose out when ACA health insurance subsidies expire? Here’s a look at who could be affected by the end of the Affordable Care Act credits and how much prices could change.

Some 22 million Americans are set to lose health insurance subsidies by the end of the year.

Here's who it will affect and what will happen if the subsidies are allowed to expire:

From Executive Producer Michael Moore and Palestine's Official Submission for the 2025 Academy Awards, From Ground Zero is a collection of revealing stories from 22 Palestinian filmmakers.
Tickets for From Ground Zero 10/2 at 7 PM and more Milwaukee Muslim Film Fest screenings: mkefilm.org/mmff

Charing Cross Tube Station has been temporarily renamed Haring Cross in tribute to Keith Haring’s iconic artwork.

There are free prints & a temporary gallery in a usually unused part of the station, displaying 2 original 1986 artworks featuring Absolut Vodka

Open 17 - 18th Sep

New silent auction items just dropped! Including a 3-night stay at The Dunes for $100 and VERY reasonably priced VERY fancy booze! Closes Sunday and all proceeds support Milwaukee Film my.onecause.com/event/organi...

A young black man sitting in front of a barber shop

Ben Shahn
Natchez, Mississippi
October 1935

In the early 1930s, Shahn learned a great deal from Walker Evans, whose studio he shared. But Shahn did very little picture taking after he left the Farm Security Administration in 1938.

Holding Liat screens Thurs, Sept 18, 6:30pm at Milwaukee Film’s Oriental Theater as part of the Dialogues Doc Fest. One screening only so a must see!

Holding Liat review: ‘A loving family rent apart by October 7’ ★★★★ - The Jewish Chronicle This documentary reveals the anguish and shock of a family torn asunder by the massacre, and its attempt to reconcile the horror with their politics of peaceful coexistence

Holding Liat review: ‘A loving family rent apart by October 7’ ★★★★

www.thejc.com/life/holding...

‘It’s so different from the media narrative’: telling a different story of 7 October Brandon Kramer’s documentary Holding Liat follows an Israeli family torn apart by the Hamas attacks, but clinging to hopes of reconciliation

Documentary "Holding Liat" examines the anguish of a hostage family in Israel. "We are being led by crazy people on both sides,” he complains, reserving particular contempt for Netanyahu, whom he believes to be using the suffering to extend his political life.
www.theguardian.com/film/2025/se...

Holding Liat review – powerful study of a family torn apart by Hamas’ 7 October attacks Brandon Kramer’s documentary complicates any simple view of the Israel-Gaza war in its portrait of one family’s agonising divisions

Holding Liat review – powerful study of a family torn apart by Hamas’ 7 October attacks

In 1995, PBS ran a lavish ten-part documentary called American Cinema whose final episode was devoted to "The Edge of Hollywood" and the increasing influence of young independent filmmakers - the Coens, Jim Jarmusch, Carl Franklin, Q. Tarantino et al. It was not just unfair but bizarre that David Lynch's name was never once mentioned in the episode, because his influence is all over these directors. The Band-Aid on the neck of Pulp Fiction's Marcellus Wallace - unexplained, visually incongruous, and featured prominently in three separate set-ups-is textbook Lynch. So are the long, self-consciously mundane dialogues on pork, foot massages, TV pilots, etc. that punctuate Pulp Fiction's violence, a violence whose creepy/comic stylization is also resoundingly Lynchian. The peculiar narrative tone of Tarantino's films - the thing that makes them seem at once strident and obscure, not-quite-clear in a haunting way — is Lynch's tone; Lynch invented this tone. It seems to

me fair to say that the commercial Hollywood phenomenon that is Mr. Quentin Tarantino would not exist without David Lynch as a touch stone, a set of allusive codes and contexts in the viewer's deep-brain core. In a way, what Tarantino's done with the French New Wave and with Lynch is what Pat Boone did with Little Richard and Fats Domino: he found (rather ingeniously) a way to take what is ragged and distinctive and menacing about their work and homogenize it, churn it until it's smooth and cool and hygienic enough for mass consumption. Reser voir Dogs, for example, with its comically banal lunch-chatter, creepily otiose code names, and intrusive soundtrack of campy pop from dec ades past, is Lynch made commercial, i.e. faster, linearer, and with what was idiosyncratically surreal now made fashionably (i.e. "hiply") surreal... Take the granddaddy of in-your-ribs Blue Velvet references: the scene in Reservoir Dogs where Michael Madsen, dancing to a cheesy '70s tune, cuts off a hostage's ear. This just isn't subtle at all. None of this is to say that Lynch himself doesn't owe debts-to Hitchcock, to Cassavetes, to Bresson and Deren and Wiene. But it is to

say that Lynch has in many ways cleared and made arable the contempo- rary "anti-Hollywood" territory that Tarantino et al. are cash-cropping right now.12 Recall that both The Elephant Man and Blue Velvet came out in the 1980s, that metastatic decade of cable, VCRs, merchandis- ing tie-ins and multinational blockbusters, all the big-money stuff that threatened to empty the American film industry of everything that wasn't High Concept. Lynch's moody, creepy, obsessive, unmistakeably personal movies were to High Concept what the first great '40s noir films were to toothy musicals: unforeseen critical and commercial successes that struck a nerve with audiences and expanded studios' and distribu- tors' idea of what would sell. It is to say that we owe Lynch a lot. And it is also to say that David Lynch, at age 50, is a better, more complex, more interesting director than any of the hip young "rebels" making violently ironic films for New Line and Miramax today. It is particularly to say that - even without considering recent cringers like Four Rooms or From Dusk to Dawn - D. Lynch is an exponentially bet- ter filmmaker than Q. Tarantino. For, unlike Tarantino, D. Lynch knows that an act of violence in an American film has, through repetition and desensitization, lost the ability to refer to anything but itself. This is why violence in Lynch's films, grotesque and coldly stylized and symbolically heavy as it may be, is qualitatively different from Hollywood's or even anti-Hollywood's hip cartoon-violence. Lynch's violence always tries to mean something.

9a a better way to put what i just tried to say Quentin Tarantino is interested in watching somebody's ear getting cut off; David Lynch is interested in the ear.

There's an interesting section in David Foster Wallace's piece about Lynch's Lost Highway, where he talks about the difference between Lynch and Tarantino (and how much Lynch was an influence on a whole crop of filmmakers)

Susan is here to tell you a little bit more about the upcoming fest, and Robyn is here to... make sure you're really listening 😡💕
Explore the ever-changing world of Documentary Film with us at Dialogues Documentary Film Festival presented by Potawatomi Casino Hotel Sept 18–21: mkefilm.org/ddf
#mke

We had a wonderful time on Wednesday introducing several films featured in the 2025 Dialogues Documentary Fest! Thank you to everyone who came out for a preview of DDF movie magic starting September 18th through the 21st.
Make sure not to miss out: mkefilm.org/ddf #documentaryfilm #filmfestival

Julia Sweeney spoke with the director of a new documentary called We Are Pat after the IFC screening tonight. I've shared my thots. My ★★★★★ review of It's Pat on Letterboxd boxd.it/9ZctG1 ☯️
f. @papapishu.bsky.social & @screenslate.bsky.social

YouTube video by The Duke Mitchell Film Club Cooley High (1975) Trailer

Michael Schultz surprised folks by stopping by last night’s Black Lens happy hour and screening of The Last Dragon! Don’t miss his Q&As today for Car Wash and Cooley High at Milwaukee Film’s Oriental Theatre! youtu.be/YFbwmvg3M5c?...

Wall of posters at the NY Art Book Fair, mostly poitical, including messages like "YOU CANNOT COVERUP GENOCIDE," "GENDER LIBERATION," WE WANT TO LIVE FREE," "ACTUP*OCCUPY," "A Benefit for Jesse Jackson," and much more

The NY Art Book Fair doubles as a tremendous display space for agit-prop and activist posters and graphics.

Absolutely worth checking out for that alone, if that's one of your interests.

At MOMA PS1.

nyabf2025.printedmatterartbookfairs.org/visit

Very proud of Jay! One of my fave former students 💖

Happy New Liquid Mike Record Day and New Jens Lekman Record Day to all who partake

#AugustMovieChallenge
#Moviesky
Day 26 - African American Role Model in a Movie
Richard Pryor in Car Wash!

Episode 252: The Last Dragon (1985) Michael Schultz's The Last Dragon is the story of Leroy Green (Taimak), a young man on a quest to find wisdom who's beset by gangsters and the Shogun of Harlem.

Happy Birthday to Taimak! Hear him on our episode about THE LAST DRAGON: www.projectionboothpodcast.com/2016/01/epis...

Flipo con la carrera del direcor afroamericano MICHAEL SCHULTZ. Lo de los mosaicos no es NADA: con 86 años, sigue al pie del cañón dirigiendo episódicos de todo tipo (de Starsky & Hutch a Found pasando por New Girl o Allie McBeal), dirigió musicales de Broadway o videoclips de los Fat Boys. MI ÍDOLO

Bored at work today? Check out the variety of things in the Milwaukee Film silent auction! Movie-themed art, fancy booze, a chat with Gordon Quinn, and a cult starter pack? Yes, please! my.onecause.com/event/organi...

Comparsa Review - Sarah G. Vincent Views Sarah G. Vincent Views' hot take on Comparsa

New review: Comparsa
#ComparsaFilm #Comparsa #DougAnderson #VickieCurtis #Guatemala #femicide #documentary #Spanish #Peronia #genderbasedviolence #arts #AsociacionPeroniaAdolescente #HogarSeguro #2017GuatemalaOrphanageFire #womeninfilm Woods Hole Film Festival
sarahgvincentviews.com/movies/compa...

SXSW '25: Elaine Epstein on Arrest the Midwife — Hyperreal Film Club Filmmaker Elaine Epstein on her SXSW premiere of Arrest the Midwife, a documentary on the plight of three midwives in the Northeast.

I got to sit down with filmmaker Elaine Epstein and talk about her very relevant reproductive rights documentary ARREST THE MIDWIFE hyperrealfilm.club/reviews/arre...

Amid a Maternal Mortality Crisis, Midwives Are Being Targeted  Since 2007, Jezebel has been the Internet's most treasured source for everything celebrities, sex, and politics...with teeth.

Midwives are being criminalized for providing care in a system that’s failing pregnant people.
“Arrest the Midwife” follows 3 CPMs arrested in NY amid a worsening maternal mortality crisis.
📍Midwives save lives. Let them work.

zurl.co/niCc8

Midwifery Is as Old as Birth Itself. Why Are We Still Fighting for It? As long as women have been giving birth, people have assisted mothers and newborns up to and through childbirth—making midwifery one of the world’s oldest occupations. The International Day of the Mid...

"Arrest the Midwife," a new documentary that debuted at @sxsw.com this year, follows a criminalized midwife, the Mennonite women who rallied behind her, and the political battle to legalize life-saving care.
msmagazine.com/2025/05/04/a...

🎥 Arrest the Midwife tells the story of 3 midwives criminalized for providing care in U.S. maternity care deserts. Over 2,000 babies safely delivered—still, they're on trial.

zurl.co/Qagad

YouTube video by ZeitgeistFilms A Photographic Memory - official US trailer

This doc blew me away - Rachel Elizabeth Seed's powerful documentary "A Photographic Memory" (also screening this Wed. night at Nitehawk @nitehawkcinema.bsky.social Prospect Park , Bklyn / Aug 6 at 7PM ) Praised by NYT, @variety.com , LA Times & more - www.youtube.com/watch?v=wtcZ... Highest recomm.

A Photographic Memory - Cinema Chicago A filmmaker pieces together a picture of her mother, a renowned Chicago-born photojournalist, attempting to close the gap between herself and the woman she never knew.

A PHOTOGRAPHIC MEMORY - the journey of dir Rachel Seed pieced together fragments of the life of her mom she never knew, thru home movies, photos, journals she left behind & the memories of those who knew her. Hauntingly moving! Best doc of the year 🦋🦋🦋🦋🦋
www.chicagofilmfestival.com/film/a-photo...

We Are Pat Review (Tribeca): The Quest to Redeem It's Pat In WE ARE PAT, filmmaker Rowan Haber gathers a group of trans comedians to see if they can recontextualize Julia Sweeney's SNL character Pat.

Probably my favorite film from Tribeca so far, WE ARE PAT is a fantastic look at Julia Sweeney’s SNL character Pat. It is thoughtful and funny and a little bit of a nostalgia trip. Love it. Review below! #tribeca #moviesky #filmsky

A New Documentary Wonders If ‘It’s Pat’ Is Problematic — And Invites Julia Sweeney to Join the Discussion Filmmaker Rowan Haber and the former ‘SNL’ star talk to Cracked about their thought-provoking documentary ‘We Are Pat’ and why the character still inspires debate more than 30 years later

The documentary WE ARE PAT examines the legacy of Julia Sweeney's popular (and controversial) androgynous SNL character Pat. I had a long talk with Sweeney and director Rowan Haber about trans comedy and the tricky matter of deciding what humor is "problematic."