Reels for Radicals

Portfolio Description

Film screenings by Paper Tiger TV and Deep Dish TV highlighting the work of political filmmakers and creating space for critical dialogue.

About Paper Tiger ::: Paper Tiger TV is an open, non-profit, volunteer video collective that has been creating fun, funky, truly alternative media since 1981! PTTV strives to create awareness of how media can be used to affect social change and empower communities to create their own grassroots media.

Reels for Radicals began in December 2015. Since then, we have shown the following films:


Reels for Radicals event poster for All Day All Week: An Occupy Wall Street Story Film Screening and Discussion

All Day All Week: An Occupy Wall Street Story + discussion with Director Marisa Holmes
In 2011, there were occupations of squares happening all across the globe. People were rising up in response to the global financial crisis and for real democracy. It was a moment of upheaval when anything seemed possible.

In this context, on September 17th, 2011, a two-month encampment of Zuccotti Park, renamed Liberty Plaza, began in the financial district of NYC. Occupy Wall Street (OWS) was an autonomous zone of activity with general assemblies engaging in directly democratic processes and working groups self-organizing to meet basic needs. It was a liberated space.

The non-fiction feature film, All Day All Week: An Occupy Wall Street Story, tells the story of OWS from the perspective of those who lived it. Filmed by and in conversation with participants, the film offers a glimpse inside the daily life of occupation as well as reflections on the experience.



We are the Palestinian People: REVOLUTION UNTIL VICTORY (1973) on 16mm (!!!) + panel discussion with Lamis Deek (NYC-based human rights attorney born in Palestine), Matt Meyer (War Resister’s International), Libor Von Schonau (co-founder of the Art and Struggle collective and former vice-chair of the Middle East Crisis Committee), and Felice Gelman (Where Should the Birds Fly producer and Palestinian solidarity activist).

“Made by a breakaway faction of the US Newsreel collective Pacific Newsreel, We Are the Palestinian People (Revolution Until Victory, 1973) edits exclusively archival footage into a detailed, historical reconstruction of the conflict. Great attention is paid to the political genesis of Zionism, the role of colonial Britain in assigning Palestine to zionists and the strategic role Israel has played ever since in the control and monopoly of the world’s most sought-after commodity, oil. While other titles stressed the internationalist dimension of the Palestinian revolution by linking it to other anti-colonial struggles, the same concept is rendered here specularly – for if anti-imperialism is a transglobal phenomenon, so is repression.”
– Sight and Sound Magazine


Good Fortune Reels for Radicals poster

Good Fortune + discussion with Producer and Editor, Jeremy Levine

GOOD FORTUNE, directed by Landon Van Soest, explores how massive international efforts to alleviate poverty in Africa may be undermining the very communities they aim to benefit. Through intimate portraits of two Kenyans battling to save their homes from large-scale development organizations, GOOD FORTUNE examines the real-world impact of international aid. In the rural countryside, Jackson’s farm is being flooded by an American investor, who hopes to alleviate poverty by creating a multi-million dollar rice farm. Across the country in Nairobi, Silva’s home and business in Africa’s largest shantytown are being demolished as part of a United Nations slum-upgrading project.




Here Come the Videofreex Reels for Radicals

Here Come the Videofreex + discussion with Director Jon Nealon, Skip Blumberg (founding member of the Videofreex), and DeeDee Halleck (founder of Paper Tiger TV, co-founder of Deep Dish TV and Professor Emerita of UCSD)

HERE COME THE VIDEOFREEX, directed by Jon Nealon and Jenny Raskin, tells the story of the most radical video collective of the 1960’s and 70’s. It is the quirky tale of ten people’s optimism and creativity, and their vision of what television could have become at a time when the three big networks ruled the TV airwaves.





from_the_other_sideFrom the Other Side + discussion with Kevin Duarte (member of the New York State Youth Leadership Council)

FROM THE OTHER SIDE, directed by Chantal Akerman, looks at the situation of Mexican immigrants at the border between Agua Prieta, a Mexican border town in the state of Sonora, and Douglas, Arizona, the city on the other side. The first half of the film is set in Mexico. Between static and tracking shots of desert landscapes and the border wall, Akerman interviews people who plan to or have attempted to cross the desert into the US, including a young boy in an orphanage. She quietly interviews an older couple whose son died in the desert when his group lost their way.


Report Back From Standing Rock + discussion with Iraq Veterans Against the War (IVAW) and other veterans who recently returned from Standing Rock, Paper Tiger TV, and The Native and the Refugee 

A report back and analysis on the current occupation of Standing Rock with members of the Iraq Veterans Against the War (IVAW), The Native and the RefugeePaper Tiger Television, and photographer/multimedia artist, Vanessa Teran. Short video presentations by Matt Peterson of The Native and the Refugee and Julie Ludwig of Paper Tiger Television followed by a discussion about the indigenous-led resistance of the Dakota Access Pipeline and ways to support the water protectors.


Rojava Report Back: Building Autonomy in Syria (co-hosted with Woodbine) + discussion with member of the YPG (People’s Protection Units) and TEV-DEM (Movement for a Democratic Society)

Discussion on the complex political situation in northern Syria, the practice of democratic confederalism in the region, and direct involvement of international volunteers in this historic movement. They will also share details on everyday life within Rojava, which rarely makes it to the news we receive in the United States. 

This follows reports by a number of members of Woodbine on trips taken to Kurdish regions of Turkey, Iraq, and Syria over the last 2 years, to learn about the practice of building democratic autonomy in war-torn nation-states. Many around the world have flocked to the region to learn about this movement, with the idea that what’s taking place offers an example of how to build a new shared life amid ruins.


Do Not Resist + discussion with Black Lives Matter Activists, Elsa Waithe and Keegan Stephan

DO NOT RESIST, directed by Craig Atkinson, is an urgent and powerful exploration into the militarization of American police forces. Starting on the streets of Ferguson, Missouri, as the community grapples with the death of Michael Brown, the film offers a stunning look at the current state of policing in America and a glimpse into what it means for the country’s future. The film puts viewers in the center of the action, including a ride-along with a South Carolina SWAT team and inside a police training seminar, before exploring where new technologies including predictive policing algorithms could lead the field next.


Ordinary Fascism + discussion with writers and political theorists, Matt Peterson and A.M. Gittlitz 

ORDINARY FASCISM, directed by Mikhail Romm, pulls out all the stops in its selection of documentary material to draw the viewer not only into absolute horror about fascism and nazism in the 1920s-1940s Europe, but also to a firmest of convictions that nothing of the sort should be allowed to happen again anywhere in the world. It is “a most powerful reflection on fascism and the holocaust. The film follows on the one hand the tradition of earlier films about fascism and the holocaust, but differs in the commentary provided by the voice of the author: The analysis offered here focuses on Romm’s strikingly everyday voice, which speaks with the intonation of dialogic situations and draws on a range of discursive devices, oscillating between traditional commentary, subjective intervention and ironic usurpation of film figures. The interaction of vocal performance, audio commentary and visual montage is then compared to the reuse, with different intent, of the same documentary footage in Hartmut Bitomsky’s Deutschlandbilder (FRG, 1983) and Reichsautobahn (FRG, 1986).” – 


Hiroshima Bound + discussion with Director Martin Lucas
HIROSHIMA BOUND, directed by Martin Lucas, is a haunting hour-long essay-style interrogation of the traumatic mix of memory and amnesia that constitutes America’s understanding of the bombings of Hiroshima and Nagasaki, built from a mix of re-examined archival material, survivor testimony, personal meditation and visits to sites including The Lawrence Radiation Laboratory at Berkeley, White Sands Missile Proving Grounds, and the International Center of Photography in New York.

The image of the mushroom cloud has always been a black hole, a destroyer of meanings. 70 years later, how can we see Hiroshima? 



Anarchist Filmmaking with Nick Macdonald

An evening with Nick Macdonald shorts including: Break Out!, No More Leadershit, The Liberal War, Still Attica Remains, and Acts of Revolution + discussion on the role of anarchist cinema. 

An independent filmmaker in the 1970s, working on shoestring budgets, Nick Macdonald is known for The Liberal War (1974), which was acquired by the Museum of Modern Art (NYC) for its Study Collection in 1976. Another film, Break Out!, premiered in 1971 at the original Film Forum on West 88th Street in New York City. Rather than using traditional documentary footage, Macdonald’s political films are more personal, shot largely in his apartment to create metaphors, through collage and guerrilla skits, for the historical narrative of his voice-over narration.


What Farocki Taught & SCUM Manifesto + discussion with Director Jill Godmilow 

POST-REALIST FILM NIGHT WITH JILL GODMILOW, filmmaker and Emeritus Professor in the Dept. of Film, Television, and Theatre at the University of Notre Dame. Jill Godmilow has earned a substantial reputation as a film director and educator whose work varies in form from documentary, to speculative historical fictions, to replica. Her provocative writings on documentary theory and practice are used in university courses all over the country. Her Kill the Documentary As We Know It (Journal of Film and Video, 2002), is a punishing manifesto against traditional pedagogical documentaries and cinema verité practice. In it, she provides a list of “‘Do Nots” aimed at disabling old documentary habits and setting non-fiction on a new course, which today she calls “post-realist”. Her work is groundbreaking and critically important for documentary media makers and theorists.