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| Jim Schermbeck | Jim Schermbeck | ||
| + | ==THE GROUND TRUTH== | ||
| + | . . . stunned filmgoers at the 2006 Sundance and Nantucket Film Festivals. | ||
| - | ==WHY WE FIGHT== | + | Hailed as "powerful" and "quietly unflinching," Patricia Foulkrod's searing documentary feature includes exclusive footage that will stir audiences. The filmmaker's subjects are patriotic young Americans - ordinary men and women who heeded the call for military service in Iraq - as they experience recruitment and training, combat, homecoming, and the struggle to reintegrate with families and communities. The terrible conflict in Iraq, depicted with ferocious honesty in the film, is a prelude for the even more challenging battles fought by the soldiers returning home – with personal demons, an uncomprehending public, and an indifferent government. As these battles take shape, each soldier becomes a new kind of hero, bearing witness and giving support to other veterans, and learning to fearlessly wield the most powerful weapon of all - the truth. |
| - | The film describes the rise and maintenance of the United States military-industrial complex while concentrating on wars led by the United States of the last fifty years and in particular on the 2003 Invasion of Iraq. It alleges that every decade since World War II, the American public has been told a lie to bring it into war to fuel the military-economic machine, which in turn maintains American dominance in the world. It includes interviews with John McCain, Chalmers Johnson, Richard Perle, William Kristol, Gore Vidal and Joseph Cirincione. The film also incorporates the stories of a Vietnam War veteran whose son died in the September 11, 2001 attacks and then had his son's name written on a bomb dropped on Iraq, a 23-year old New York man who enlists in the United States Army citing his financial troubles after his only family member died, and a former Vietnamese refugee who now develops explosives for the American military. | + | http://thegroundtruth.net/ |
| - | http://www.sonyclassics.com/whywefight/main.html | + | ==='The Ground Truth' hurts, but it's necessary=== |
| - | http://en.wikipedia.org/wiki/Why_We_Fight_%282005_film%29 | + | [[September 15, 2006]] There are two moments in ``The Ground Truth" when the film's unforgiving spotlight suddenly shines out at the audience sitting in the dark. One is when former US Army specialist Robert Acosta, maimed in the leg and minus a hand, tells of conversations with civilians since his return to the States. |
| + | |||
| + | |||
| + | ``How'd you lose your hand?" someone will ask. ``The war." ``What war?" ``Iraq." Pause. ``That still going on?" | ||
| + | |||
| + | The other sound bite is less damning, more of a personal challenge, and it comes when ex- US Army Reserve specialist Aidan Delgado simply says, ``Americans want to honor vets with yellow stickers rather than listening to them." | ||
| + | |||
| + | ``The Ground Truth" listens. Directed by Patricia Foulkrod but really written by the men and women whose tours of duty it describes, this short, sharp documentary is not about George Bush or left/right politics or 9/11. It's not even really about the war in Iraq. It's about the US soldiers who are fighting that war: why they went, what they saw, how they feel when they come back. | ||
| + | |||
| + | http://www.boston.com/ae/movies/articles/2006/09/15/the_ground_truth_hurts_but_its_necessary/ | ||
| ===credits=== | ===credits=== | ||
| - | directed by Eugene Jarecki | + | Directed by: Patricia Foulkrod |
| - | won the Grand Jury Prize at the 2005 Sundance Film Festival. | + | Writing credits: Patricia Foulkrod |
| + | |||
| + | Produced by: Patricia Foulkrod | ||
| + | |||
| + | Original Music by: Lee Curreri | ||
| + | |||
| + | Cinematography by: Reuben Aaronson | ||
| + | |||
| + | Film Editing by: Rob Hall | ||
| + | |||
| + | Sound Department: Samuel Lehmer | ||
| + | |||
| + | Other crew<br> | ||
| + | Amy Brown: researcher | ||
| + | Laura Weinberg: additional editor | ||
| + | |||
| + | ==IRAQ FOR SALE== | ||
| + | |||
| + | The story of what happens to everyday Americans when corporations go to war. Acclaimed director Robert Greenwald (Wal-Mart: The High Cost of Low Price, Outfoxed, and Uncovered) takes you inside the lives of soldiers, truck drivers, widows and children who have been changed forever as a result of profiteering in the reconstruction of Iraq. Iraq for Sale uncovers the connections between private corporations making a killing in Iraq and the decision makers who allow them to do so. | ||
| + | |||
| + | http://iraqforsale.org/ | ||
| + | |||
| + | ===War Profiteers, Profits Over Patriotism in Iraq=== | ||
| + | |||
| + | The tales sound like tortures from the Arabian Nights. Drivers sent to their deaths in empty convoys dispatched because the contractor is paid by the trip; men stripped naked in prison and attacked by dogs; troops in the desert drinking contaminated water, waiting for meals that never come. | ||
| + | |||
| + | But the stories are not fiction. They come from the American occupation in Iraq, a military operation that has privatized war to an unprecedented degree, using private, commercial companies for everything from feeding the troops to patrolling the streets. | ||
| + | |||
| + | This report explores the unprecedented use of private contractors during the Iraq war and occupation. It shows how the catastrophic failures in Iraqi reconstruction derive directly from the conservative ideology and policies of those who drove this war of choice. | ||
| + | |||
| + | http://home.ourfuture.org/reports/report-war-profiteers.pdf | ||
| + | |||
| + | ===credits=== | ||
| + | |||
| + | Directed by Robert Greenwald | ||
| ==THE POWER OF NIGHTMARES== | ==THE POWER OF NIGHTMARES== | ||
| Line 71: | Line 116: | ||
| http://news.bbc.co.uk/2/hi/programmes/3755686.stm | http://news.bbc.co.uk/2/hi/programmes/3755686.stm | ||
| - | ==IRAQ FOR SALE== | + | ==SIR, NO SIR== |
| - | The story of what happens to everyday Americans when corporations go to war. Acclaimed director Robert Greenwald (Wal-Mart: The High Cost of Low Price, Outfoxed, and Uncovered) takes you inside the lives of soldiers, truck drivers, widows and children who have been changed forever as a result of profiteering in the reconstruction of Iraq. Iraq for Sale uncovers the connections between private corporations making a killing in Iraq and the decision makers who allow them to do so. | + | In the 1960’s an anti-war movement emerged that altered the course of history. This movement didn’t take place on college campuses, but in barracks and on aircraft carriers. It flourished in army stockades, navy brigs and in the dingy towns that surround military bases. It penetrated elite military colleges like West Point. And it spread throughout the battlefields of Vietnam. It was a movement no one expected, least of all those in it. Hundreds went to prison and thousands into exile. And by 1971 it had, in the words of one colonel, infested the entire armed services. Yet today few people know about the GI movement against the war in Vietnam. |
| - | http://iraqforsale.org/ | + | The Vietnam War has been the subject of hundreds of films, both fiction and non-fiction, but this story–the story of the rebellion of thousands of American soldiers against the war–has never been told in film.This is certainly not for lack of evidence. By the Pentagon’s own figures, 503,926 “incidents of desertion” occurred between 1966 and 1971; officers were being “fragged”(killed with fragmentation grenades by their own troops) at an alarming rate; and by 1971 entire units were refusing to go into battle in unprecedented numbers. In the course of a few short years, over 100 underground newspapers were published by soldiers around the world; local and national antiwar GI organizations were joined by thousands; thousands more demonstrated against the war at every major base in the world in 1970 and 1971, including in Vietnam itself; stockades and federal prisons were filling up with soldiers jailed for their opposition to the war and the military. |
| - | ===War Profiteers, Profits Over Patriotism in Iraq=== | + | Yet few today know of these history-changing events. |
| - | The tales sound like tortures from the Arabian Nights. Drivers sent to their deaths in empty convoys dispatched because the contractor is paid by the trip; men stripped naked in prison and attacked by dogs; troops in the desert drinking contaminated water, waiting for meals that never come. | + | Sir! No Sir! will change all that. The film does four things: 1) Brings to life the history of the GI movement through the stories of those who were part of it; 2) Reveals the explosion of defiance that the movement gave birth to with never-before-seen archival material; 3) Explores the profound impact that movement had on the military and the war itself; and 4) The feature, 90 minute version, also tells the story of how and why the GI Movement has been erased from the public memory. |
| - | + | ||
| - | But the stories are not fiction. They come from the American occupation in Iraq, a military operation that has privatized war to an unprecedented degree, using private, commercial companies for everything from feeding the troops to patrolling the streets. | + | |
| - | + | ||
| - | This report explores the unprecedented use of private contractors during the Iraq war and occupation. It shows how the catastrophic failures in Iraqi reconstruction derive directly from the conservative ideology and policies of those who drove this war of choice. | + | |
| - | http://home.ourfuture.org/reports/report-war-profiteers.pdf | + | I was part of that movement during the 60’s, and have an intimate connection with it. For two years I worked as a civilian at the Oleo Strut in Killeen, Texas–one of dozens of coffeehouses that were opened near military bases to support the efforts of antiwar soldiers. I helped organize demonstrations of over 1,000 soldiers against the war and the military; I worked with guys from small towns and urban ghettos who had joined the military and gone to Vietnam out of a deep sense of duty and now risked their lives and futures to end the war; and I helped defend them when they were jailed for their antiwar activities. My deep connection with the GI movement has given me unprecedented access to those involved, along with a tremendous amount of archival material including photographs, underground papers, local news coverage and personal 8mm footage. |
| - | ===credits=== | + | Sir! No Sir! reveals how, thirty years later, the poem by Bertolt Brecht that became an anthem of the GI Movement still resonates: |
| - | Directed by Robert Greenwald | + | :General, man is very useful. |
| + | :He can fly and he can kill. | ||
| + | :But he has one defect: He can think. | ||
| - | ==THE GROUND TRUTH== | + | http://www.sirnosir.com/home_about_film.html |
| - | . . . stunned filmgoers at the 2006 Sundance and Nantucket Film Festivals. | + | ===CREDITS=== |
| - | Hailed as "powerful" and "quietly unflinching," Patricia Foulkrod's searing documentary feature includes exclusive footage that will stir audiences. The filmmaker's subjects are patriotic young Americans - ordinary men and women who heeded the call for military service in Iraq - as they experience recruitment and training, combat, homecoming, and the struggle to reintegrate with families and communities. The terrible conflict in Iraq, depicted with ferocious honesty in the film, is a prelude for the even more challenging battles fought by the soldiers returning home – with personal demons, an uncomprehending public, and an indifferent government. As these battles take shape, each soldier becomes a new kind of hero, bearing witness and giving support to other veterans, and learning to fearlessly wield the most powerful weapon of all - the truth. | + | Produced, Directed and Written by David Zeiger. |
| - | http://thegroundtruth.net/ | + | Produced by Evangeline Griego and Aaron Zarrow. |
| - | ==='The Ground Truth' hurts, but it's necessary=== | + | Edited by May Rigler and Lindsay Mofford. |
| - | [[September 15, 2006]] There are two moments in ``The Ground Truth" when the film's unforgiving spotlight suddenly shines out at the audience sitting in the dark. One is when former US Army specialist Robert Acosta, maimed in the leg and minus a hand, tells of conversations with civilians since his return to the States. | + | Narrated by Troy Garity. |
| + | Executive Producer - Peter Broderick. | ||
| - | ``How'd you lose your hand?" someone will ask. ``The war." ``What war?" ``Iraq." Pause. ``That still going on?" | + | Co-Producer - Louise Rosen. |
| - | The other sound bite is less damning, more of a personal challenge, and it comes when ex- US Army Reserve specialist Aidan Delgado simply says, ``Americans want to honor vets with yellow stickers rather than listening to them." | + | Associate Producers - William Short, Michael Slate. |
| - | ``The Ground Truth" listens. Directed by Patricia Foulkrod but really written by the men and women whose tours of duty it describes, this short, sharp documentary is not about George Bush or left/right politics or 9/11. It's not even really about the war in Iraq. It's about the US soldiers who are fighting that war: why they went, what they saw, how they feel when they come back. | + | Original Music by Buddy Judge. |
| - | http://www.boston.com/ae/movies/articles/2006/09/15/the_ground_truth_hurts_but_its_necessary/ | + | Sound Design - Tucker. |
| - | ===credits=== | + | Associate Editors - Duc Nguyen, Tucker. |
| - | Directed by: Patricia Foulkrod | + | Camera - May Rigler, David Zeiger. |
| - | Writing credits: Patricia Foulkrod | + | http://www.sirnosir.com/home_credits.html |
| - | Produced by: Patricia Foulkrod | + | ==WHY WE FIGHT== |
| - | Original Music by: Lee Curreri | + | The film describes the rise and maintenance of the United States military-industrial complex while concentrating on wars led by the United States of the last fifty years and in particular on the 2003 Invasion of Iraq. It alleges that every decade since World War II, the American public has been told a lie to bring it into war to fuel the military-economic machine, which in turn maintains American dominance in the world. It includes interviews with John McCain, Chalmers Johnson, Richard Perle, William Kristol, Gore Vidal and Joseph Cirincione. The film also incorporates the stories of a Vietnam War veteran whose son died in the September 11, 2001 attacks and then had his son's name written on a bomb dropped on Iraq, a 23-year old New York man who enlists in the United States Army citing his financial troubles after his only family member died, and a former Vietnamese refugee who now develops explosives for the American military. |
| - | Cinematography by: Reuben Aaronson | + | http://www.sonyclassics.com/whywefight/main.html |
| - | Film Editing by: Rob Hall | + | http://en.wikipedia.org/wiki/Why_We_Fight_%282005_film%29 |
| - | + | ||
| - | Sound Department: Samuel Lehmer | + | |
| - | Other crew<br> | + | ===credits=== |
| - | Amy Brown: researcher | + | |
| - | Laura Weinberg: additional editor | + | directed by Eugene Jarecki |
| + | |||
| + | won the Grand Jury Prize at the 2005 Sundance Film Festival. | ||
| ==links== | ==links== | ||
Revision as of 21:51, 10 October 2006
Contents |
THE BIG BUY
"By the time we finish this poker game, there may not be a federal government left! Which would suit me just fine." -Tom DeLay, 1994
In a stunning 1994 interview, shortly after the now infamous Republican revolution, Tom DeLay sat down and laid out his vision for America: to destroy the Department of Education, HUD, OSHA, the NEH, the NEA, the Environmental Protection Agency and the Department of Energy. His self-stated goal was to "completely redesign government."
The Big Buy: Tom DeLay's Stolen Congress is the story of how he did just that. It's the story of one of the most blatant power grabs in American history, and how a District Attorney in Texas turned out to be the biggest threat to the national DeLay Machine. The film is a warning about how easy it is for American democracy to be hijacked by a combination of relentless ambition and corporate millions. It makes the case that DeLay built a "custom-made Congress" that is still providing votes for his agenda.
DeLay's utter contempt for government made him a favorite of corporations. Over the next decade, they funded DeLay's rise to power with millions while wining, dining, and bank rolling an extravagant lifestyle complete with corporate jets, expensive restaurants and stays at plush golf resorts.
But Travis county D.A. Ronnie Earle is on his heels, and DeLay's made a mistake. He blatantly funneled banned corporate money to candidates in the 2002 Texas elections. This was the critical first phase of a take-no-prisoners plan to ensure a more hard-Right Republican U.S. Congress. DeLay's actions led to controversial redistricting in Texas that disenfranchised voters, set-off the largest upheaval in modern Texas political history and sent five new hard-Right Republican congressmen to Washington.
Texas grand juries have brought 41 indictments against eight corporations, DeLay's political action committee, a business lobby ally, three underlings and Tom Delay himself. But while Delay has given up his leadership post, his Texas takeover is still impacting all Americans daily. His Texas redistricting changed the face of the last Congress. The Central American Free Trade Agreement, the Energy Bill, Budgets and Budget Cuts that hurt college students, single parents and the working poor -- all passed in the last 14 months by less than the five votes DeLay won from his scheme in Texas. From now until the November elections- The Big Buy is destined to serve as a rallying cry for those who want to change "the house that Tom built" back into "the people's house."
The Big Buy is a feature length documentary that connects the dots between big money and big government. It's not a pretty picture.
http://tomdelaymovie.com/about.php
credits
Directed by
Mark Birnbaum
Jim Schermbeck
THE GROUND TRUTH
. . . stunned filmgoers at the 2006 Sundance and Nantucket Film Festivals.
Hailed as "powerful" and "quietly unflinching," Patricia Foulkrod's searing documentary feature includes exclusive footage that will stir audiences. The filmmaker's subjects are patriotic young Americans - ordinary men and women who heeded the call for military service in Iraq - as they experience recruitment and training, combat, homecoming, and the struggle to reintegrate with families and communities. The terrible conflict in Iraq, depicted with ferocious honesty in the film, is a prelude for the even more challenging battles fought by the soldiers returning home – with personal demons, an uncomprehending public, and an indifferent government. As these battles take shape, each soldier becomes a new kind of hero, bearing witness and giving support to other veterans, and learning to fearlessly wield the most powerful weapon of all - the truth.
'The Ground Truth' hurts, but it's necessary
September 15, 2006 There are two moments in ``The Ground Truth" when the film's unforgiving spotlight suddenly shines out at the audience sitting in the dark. One is when former US Army specialist Robert Acosta, maimed in the leg and minus a hand, tells of conversations with civilians since his return to the States.
``How'd you lose your hand?" someone will ask. ``The war." ``What war?" ``Iraq." Pause. ``That still going on?"
The other sound bite is less damning, more of a personal challenge, and it comes when ex- US Army Reserve specialist Aidan Delgado simply says, ``Americans want to honor vets with yellow stickers rather than listening to them."
``The Ground Truth" listens. Directed by Patricia Foulkrod but really written by the men and women whose tours of duty it describes, this short, sharp documentary is not about George Bush or left/right politics or 9/11. It's not even really about the war in Iraq. It's about the US soldiers who are fighting that war: why they went, what they saw, how they feel when they come back.
http://www.boston.com/ae/movies/articles/2006/09/15/the_ground_truth_hurts_but_its_necessary/
credits
Directed by: Patricia Foulkrod
Writing credits: Patricia Foulkrod
Produced by: Patricia Foulkrod
Original Music by: Lee Curreri
Cinematography by: Reuben Aaronson
Film Editing by: Rob Hall
Sound Department: Samuel Lehmer
Other crew
Amy Brown: researcher
Laura Weinberg: additional editor
IRAQ FOR SALE
The story of what happens to everyday Americans when corporations go to war. Acclaimed director Robert Greenwald (Wal-Mart: The High Cost of Low Price, Outfoxed, and Uncovered) takes you inside the lives of soldiers, truck drivers, widows and children who have been changed forever as a result of profiteering in the reconstruction of Iraq. Iraq for Sale uncovers the connections between private corporations making a killing in Iraq and the decision makers who allow them to do so.
War Profiteers, Profits Over Patriotism in Iraq
The tales sound like tortures from the Arabian Nights. Drivers sent to their deaths in empty convoys dispatched because the contractor is paid by the trip; men stripped naked in prison and attacked by dogs; troops in the desert drinking contaminated water, waiting for meals that never come.
But the stories are not fiction. They come from the American occupation in Iraq, a military operation that has privatized war to an unprecedented degree, using private, commercial companies for everything from feeding the troops to patrolling the streets.
This report explores the unprecedented use of private contractors during the Iraq war and occupation. It shows how the catastrophic failures in Iraqi reconstruction derive directly from the conservative ideology and policies of those who drove this war of choice.
http://home.ourfuture.org/reports/report-war-profiteers.pdf
credits
Directed by Robert Greenwald
THE POWER OF NIGHTMARES
Should we be worried about the threat from organised terrorism or is it simply a phantom menace being used to stop society from falling apart?
In the past our politicians offered us dreams of a better world. Now they promise to protect us from nightmares.
The most frightening of these is the threat of an international terror network. But just as the dreams were not true, neither are these nightmares.
In a new series, the Power of Nightmares explores how the idea that we are threatened by a hidden and organised terrorist network is an illusion.
It is a myth that has spread unquestioned through politics, the security services and the international media.
"Those with the darkest fears became the most powerful Together they created today's nightmare vision of an organised terror network."
A fantasy that politicians then found restored their power and authority in a disillusioned age. Those with the darkest fears became the most powerful.
The rise of the politics of fear begins in 1949 with two men whose radical ideas would inspire the attack of 9/11 and influence the neo-conservative movement that dominates Washington.
Both these men believed that modern liberal freedoms were eroding the bonds that held society together.
The two movements they inspired set out, in their different ways, to rescue their societies from this decay. But in an age of growing disillusion with politics, the neo-conservatives turned to fear in order to pursue their vision.
They would create a hidden network of evil run by the Soviet Union that only they could see.
The Islamists were faced by the refusal of the masses to follow their dream and began to turn to terror to force the people to "see the truth"'.
The Power of Nightmares will be broadcast over three nights from Tuesday 18 to Thursday, 20 January, 2005 at 2320 GMT on BBC Two. The final part has been updated in the wake of the Law Lords ruling in December that detaining foreign terrorist suspects without trial was illegal.
http://news.bbc.co.uk/2/hi/programmes/3755686.stm
SIR, NO SIR
In the 1960’s an anti-war movement emerged that altered the course of history. This movement didn’t take place on college campuses, but in barracks and on aircraft carriers. It flourished in army stockades, navy brigs and in the dingy towns that surround military bases. It penetrated elite military colleges like West Point. And it spread throughout the battlefields of Vietnam. It was a movement no one expected, least of all those in it. Hundreds went to prison and thousands into exile. And by 1971 it had, in the words of one colonel, infested the entire armed services. Yet today few people know about the GI movement against the war in Vietnam.
The Vietnam War has been the subject of hundreds of films, both fiction and non-fiction, but this story–the story of the rebellion of thousands of American soldiers against the war–has never been told in film.This is certainly not for lack of evidence. By the Pentagon’s own figures, 503,926 “incidents of desertion” occurred between 1966 and 1971; officers were being “fragged”(killed with fragmentation grenades by their own troops) at an alarming rate; and by 1971 entire units were refusing to go into battle in unprecedented numbers. In the course of a few short years, over 100 underground newspapers were published by soldiers around the world; local and national antiwar GI organizations were joined by thousands; thousands more demonstrated against the war at every major base in the world in 1970 and 1971, including in Vietnam itself; stockades and federal prisons were filling up with soldiers jailed for their opposition to the war and the military.
Yet few today know of these history-changing events.
Sir! No Sir! will change all that. The film does four things: 1) Brings to life the history of the GI movement through the stories of those who were part of it; 2) Reveals the explosion of defiance that the movement gave birth to with never-before-seen archival material; 3) Explores the profound impact that movement had on the military and the war itself; and 4) The feature, 90 minute version, also tells the story of how and why the GI Movement has been erased from the public memory.
I was part of that movement during the 60’s, and have an intimate connection with it. For two years I worked as a civilian at the Oleo Strut in Killeen, Texas–one of dozens of coffeehouses that were opened near military bases to support the efforts of antiwar soldiers. I helped organize demonstrations of over 1,000 soldiers against the war and the military; I worked with guys from small towns and urban ghettos who had joined the military and gone to Vietnam out of a deep sense of duty and now risked their lives and futures to end the war; and I helped defend them when they were jailed for their antiwar activities. My deep connection with the GI movement has given me unprecedented access to those involved, along with a tremendous amount of archival material including photographs, underground papers, local news coverage and personal 8mm footage.
Sir! No Sir! reveals how, thirty years later, the poem by Bertolt Brecht that became an anthem of the GI Movement still resonates:
- General, man is very useful.
- He can fly and he can kill.
- But he has one defect: He can think.
http://www.sirnosir.com/home_about_film.html
CREDITS
Produced, Directed and Written by David Zeiger.
Produced by Evangeline Griego and Aaron Zarrow.
Edited by May Rigler and Lindsay Mofford.
Narrated by Troy Garity.
Executive Producer - Peter Broderick.
Co-Producer - Louise Rosen.
Associate Producers - William Short, Michael Slate.
Original Music by Buddy Judge.
Sound Design - Tucker.
Associate Editors - Duc Nguyen, Tucker.
Camera - May Rigler, David Zeiger.
http://www.sirnosir.com/home_credits.html
WHY WE FIGHT
The film describes the rise and maintenance of the United States military-industrial complex while concentrating on wars led by the United States of the last fifty years and in particular on the 2003 Invasion of Iraq. It alleges that every decade since World War II, the American public has been told a lie to bring it into war to fuel the military-economic machine, which in turn maintains American dominance in the world. It includes interviews with John McCain, Chalmers Johnson, Richard Perle, William Kristol, Gore Vidal and Joseph Cirincione. The film also incorporates the stories of a Vietnam War veteran whose son died in the September 11, 2001 attacks and then had his son's name written on a bomb dropped on Iraq, a 23-year old New York man who enlists in the United States Army citing his financial troubles after his only family member died, and a former Vietnamese refugee who now develops explosives for the American military.
http://www.sonyclassics.com/whywefight/main.html
http://en.wikipedia.org/wiki/Why_We_Fight_%282005_film%29
credits
directed by Eugene Jarecki
won the Grand Jury Prize at the 2005 Sundance Film Festival.
