Connor Lockie, Slug Magazine
Lois Vossen, Independent Lens Executive Producer
On one level, “Man on Fire” is an investigation into the human spirit. As Charles Moore said in his “suicide” letter, “Our human race is impressed most of all with innocent suffering, and is moved significantly by little else. It isn’t important that I be remembered, but that someone cared enough to give up everything for the sake of others.” These words hold truth for us as a society, yet I, and others, question why someone chose this extreme measure to get our attention. I believe everyone has a piece of Moore in them, whether they are aware of it or not. This yearning to do more, to help others, to sacrifice for the larger good, compels our humanity. So when someone like Moore comes around, at least on the surface, we find ourselves awestruck, riddled with contradicting emotions. On one hand, we see the goodness in Moore, the love of humanity that compelled his actions; yet, on the other hand, the pain of his death overwhelms us too. This complexity was compounded with questions that others were asking in and around Grand Saline: Why did he do it? Is racism still in Grand Saline? Did he actually change anything? These questions were the seeds we planted, and through the process of filming, nurtured, in order to give some semblance of resolve for such an extreme act. Unfortunately (but also quite naturally), the answers to these questions are not so “black and white.” Thus, I hope this film inspires others to also ask these questions and sparks a real conversation on Moore’s death and the reality of racism. Inevitably, some people will write off Moore as crazy, using facts such as “we got a black president” (a quote from the film) to claim that racism doesn‘t exist anymore. However, I believe the answers are more complicated than that. “Man on Fire” uses Moore’s self-immolation as a vehicle to explore this small, mostly white town known for its racism. Moore’s death thus becomes the means to scratch beneath the surface of Grand Saline. The film captures the reality of small town Texas, illustrating Friday night football games, rodeos, homecoming parades, skating rinks, flea market sales, local businesses, and more. Nonetheless, the town of Grand Saline is just a microcosm for the rural south and inevitably America as a whole.
- Joel Fendelman
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Director, Producer, Editor, Cinematographer
Currently residing in New York City, Joel Fendelman has written, produced and directed a number of award-winning narrative and documentary films. His achievements include winning the IDA Documentary Award for “Man on Fire,” premiering his short film “Game Night” at the Tribeca Film Festival in 2016 and winning numerous awards for his first and second narrative feature films “Remittance” and “David,” including “Best Screenplay” at the Brooklyn Film Festival in 2016 and the prestigious “Ecumenical Prize” at the Montreal World Film Festival in 2011. Joel strives to embrace socially conscious stories that deal with religion, social class, minorities and communicates the underlying connection between us all. He holds a Masters in Fine Arts from the University of Texas, Austin.
James Chase Sanchez is an Assistant Professor of Writing and Rhetoric at Middlebury College. His research interests are in cultural and racial rhetorics, public memory, and writing assessment, and his research has appeared or is forthcoming in College Composition and Communication, Pedagogy, Journal of Contemporary Rhetoric, Present Tense, and Writing Program Administration. Sanchez has long been fascinated with the stories of his hometown, Grand Saline, TX, and will be completing an academic manuscript about his hometown in the next couple of years.
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