Irish Film Review @ Cork Film Festival: One Million American Dreams

Loretta Goff discovers the secrets of New York’s mass graves in Brendan Byrne’s One Million American Dreams.

Brendan Byrne’s One Million American Dreams brings into focus the often unnoticed Hart Island, a small New York City island that is used as a burial ground for the city’s unclaimed dead, and for those whose families cannot afford burial expenses. Byrne’s documentary takes a personal approach to the subject matter, following the stories of four families with members buried here. In doing so, he removes the anonymity of the Hart Island cemetery, reinscribing it with the narratives of these individuals and providing a sort of commemoration for them that is not fully offered on the island itself.

Introducing the film at the 63rd Cork Film Festival, Byrne commented on his own relationship with New York City, from his first visit at age 17, when he was in complete awe, to his multiple returns that have also revealed the city’s tougher edge. When he was made aware of a two-minute recorded news piece on Hart Island he realised it deserved more attention and that he could make a whole film about it. This led to One Million American Dreams, which he describes as “a difficult love letter to the place I’ve had a longstanding love affair with” that takes a “deeper look into the soul” of the city.

Several animated segments in the documentary, along with narration by Sam Rockwell, provide viewers with the necessary historical details of Hart Island, which are expanded upon in interviews with scholars, journalists and politicians. We learn that burials began there in 1869, with over one million individuals laid to rest on the island to date, that it was also used as a Union Civil War camp (amongst other things) and that it is currently run by the Department of Correction, with inmates employed to bury the bodies and no access to the general public. These details are made more visceral with the striking animations that accompany them. One of these, in particular, stands out; it shows layers upon layers of nameless coffins piling up below the island, forming it, but also giving shape to a human head, reminding us that each coffin contains an individual that had a part to play in the story of New York City, and that those who are marginalised should not be forgotten or cast away.

Our attention is turned to some of these marginalised individuals through the stories of the families affected by loved ones’ burials on Hart Island. We meet an African-American Vietnam War Vet whose baby daughter was buried there while he was away, a Cuban family whose father died alone with dementia in the city, a Puerto Rican woman whose stillborn child was due to be buried on Hart Island and the family of a man suffering from drug and alcohol addiction who ultimately ended up there without his family’s knowledge. Through their stories, not only is Hart Island personalised, but we are confronted with the deeper underlying issues affecting New York City and contemporary American culture more broadly—racism, immigration, substance abuse and poverty.

Commenting on his film in a Q&A after the screening, Byrne noted that he used the cemetery on Hart Island, and the stories that emerged from it, as a “frame to confront issues that still face America”, which are threaded throughout the film. We see this in the stories of the individuals that the documentary follows, but also through the film’s carefully crafted cinematography. This captures the beauty of New York City—in the bright lights of Time’s Square, the skyline and diverse groups of people—but also its struggles and darker sides, focusing attention on the homeless sitting overlooked on busy streets and those that exist in the fringes. A particularly striking image follows the ferry travelling out to Hart Island as it, and the island are engulfed in fog. This offers a skillful visual depiction of the islands shrouded nature, cast into the shadows of the dazzling city.

Discussing the process of making the film, Byrne noted that the project as a whole took between three and four years (with 18 months of filming). He commented that it was a process to get the stories of the individuals, but that “without their stories we wouldn’t have the film”. It is the honesty of these that resonates with the audience, offering the documentary’s powerful social commentary.

One Million American Dreams is a timely, well-crafted, poignantly shot and animated documentary that speaks to a number of contemporary social issues neatly encapsulated by Hart Island—the story of which is remarkable in itself.


One Million American Dreams screened on Saturday, 17th November 2018 as part of the Cork Film Festival   (9 – 18 November)



JDIFF 2012 Real To Reel Cinema Review: Calvet

Jameson Dublin International Film Festival

Real to Reel: Calvet

Thursday, 23rd February, 4:00pm, Cineworld

It’s Scarface meets doodling. When you get a fascinating subject for a documentary you must be half way there. Like the jaw-dropping life story of John Healy documented in Paul Duane’s John Healy: Barbaric Genius which was screened at last year’s Jameson Dublin International Film Festival, the subject of this documentary, Jean Marc Calvet, has battled his way through addiction and self destruction, homelessness, run-ins with the law and unsavoury types along with bodyguarding and scamming for good measure, before dramatically finding redemption through painting.

The first 30 minutes contains a heart stopping recollection of a scam carried out by Calvet in Tony Montana’s old stomping ground of Miami and in another nod to the Cuban, the titles are in blood red accompanied with thumping sound track.  This is no ordinary documentary.

Calvet is an intriguing subject; flawed, selfish and egocentric but also searingly honest and talented, indeed a price of $100,000 is placed on a painting of his by a gallery owner in New York. One gets the sense that the documentary is helping him exorcise some of his demons, just some as he looks like he holds plenty in reserve, and spurs him on to try and make good on mistakes he made in the past, in particular trying to contact his son that he abandoned many years ago as he is about to turn 18.

In the Q&A chaired by Dr. Harvey O’Brien, co-producer Brendan Byrne and Editor  Paul Carlin met in person for the first time.  Byrne said he is drawn to stories of redemption and justice but that in this case when he heard the story he thought it was too good to be true.  He also felt that it should have at least reached the Oscar® longlist for Best Documentary but the fact that it is predominantly in French held it back. Carlin said the main difficulty was the pacing and that he didn’t want to treat it as an art documentary.

But is it a true story?  Byrne believes it is 100% true and the thought that it wasn’t didn’t cross his mind until after the movie was screened and someone else brought it up.  My own thoughts are, as often happens, this story is too unbelievable and outlandish to have been made up.


The documentary does raise some unanswered questions that were answered at the Q&A.

Byrne, who seems well used to the festival Q&A circuit, revealed that Calvet is indeed taking a risk going public, and the possibility of him being found and killed by his former employer is a plausible but to his mind unlikey threat.

Regarding the crew filming Calvet at intensely private family meetings Byrne believed that the camera spurred him and pushed him into doing things that otherwise he might have backed out on.  After discussions with family members that he had a crew there they consented to being filmed.

Gordon Gaffney

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