The 1970s. Moments of the lives of Ed and Jane Pincus, their sons Ben and Sami, and their friends, at a time when political unrest revolutionized human relations as well. Five years of their life captured through intimate moments, holidays, trips, conversations, games played with their kids, thoughts about their relationship, weaving a story that embodies both a filmic experiment and the lightness of direct cinema.
Ed Pincus (New York, NY, USA, 1938 - Boston, MA, USA, 2013) graduated from Brown University and went to Harvard to study philosophy. He began filmmaking in 1963, developing a direct cinema approach to social and political problems. In 1969, he created the Film Section at MIT in Boston, and he taught film studies at Harvard from 1981 to 1983. After making Diaries: 1971-1976 (1980), he took a hiatus from teaching and filmmaking, and he moved to Vermont to become a beekeeper and flower-grower. He made his comeback to cinema in 2005, collaborating with Lucia Small in the making of The Axe in the Attic, which was presented at the Torino Film Festival. He is the author of Guide to Filmmaking (1968) and co-author of The Filmmaker’s Handbook (1984-2008) with Steven Ascher.
Black Natchez (coregia/codirector David Neuman, doc., 1967), One Step Away (coregia/codirector David Neuman, doc., 1967), Panola (coregia/codirector David Neuman, doc., 1969), Harry’s Trip (doc., 1968), Portrait of a McCarthy Supporter (doc., 1969), The Way We See It (doc., 1969), Life and Other Anxieties (coregia/codirector Steve Ascher, doc., 1977), Diaries: 1971-1976 (doc., 1981), The Axe in the Attic (2007, coregia/codirector Lucia Small), One Cut, One Life (coregia/codirector Lucia Small, doc., 2014).
“It was a time of upheaval in people’s personal relations. Everything was on the table. Feminism had a slogan: “The personal is political.” Filmmaking technology was rapidly evolving. It became possible for the first time to shoot single-person sync. A crew of one meant that intimate relations could be filmed in a documentary. Films could be shot over a long duration without skyrocketing costs. I decided to do an experiment. I would film for five years, not look at the footage, leave it in the can for five more years and then edit.”
Ed Pincus, Moe Shore, Ann Schaetzel
Cambridgeport Film Corporation