Showing 1 - 10 of 294 Film, TV, Video annotations

2001: A Space Odyssey

Kubrick, Stanley

Last Updated: May-17-2023
Annotated by:
Bonanni, Luke

Primary Category: Performing Arts / Film, TV, Video

Genre: Film

Summary:

The film is divided into three parts. 

Part I: The Dawn of Man The film opens in the late Pliocene, 3 million years ago, as a tribe of pre-human apes struggles for survival in a harsh wildland. They forage for wild plants, run from predators, and are forced to retreat from their watering hole by an opposing tribe. Returning to their shelter, the apes stumble upon a tall, black monolith, which they cautiously touch. The apes then begin using nearby animal bones as weapons, allowing them to hunt for meat and seek violent retribution against their enemy tribe. Celebrating his victory, an ape stands on his hind legs and tosses his bone weapon into the air. With the weapon soaring into the sky, the film abruptly cuts to a satellite orbiting Earth. The year is now 2001, and scientist Dr. Heywood Floyd (William Sylvester) is traveling via space shuttle to a Moon base that has unearthed a monolith on the lunar surface. As Heywood and his research group gather for a photo in front of the monolith, a shrill, piercing tone fills their radio transmission, and the film cuts to black.  

Part II: Jupiter Mission: Eighteen Months Later A team of American scientists aboard the spaceship Discovery One has been sent on a mission to explore Jupiter. The team consists of the pilots, Dr. Dave Bowman (Keir Dullea) and Dr. Frank Poole (Gary Lockwood), three scientists in cryo-stasis, and the Heuristically programmed ALgorithmic supercomputer, HAL 9000 (Douglas Rain). HAL runs all onboard operations with mathematical precision but confides in Dave that he is anxious about their mission. HAL predicts that a communication device on the ship’s exterior will fail if it is not urgently repaired. Dave pilots an extravehicular activity (EVA) pod and retrieves the device but finds nothing wrong. HAL maintains that his prediction is correct and suggests the device should be allowed to fail to identify the problem. Mission Control advises that their supercomputer ascertained that HAL has made an error, which HAL denies, stating the only error is human error.  

Dave and Frank shut themselves in an EVA pod, outside the range of HAL’s microphones, and decide to shut down HAL if his prediction proves to be untrue. However, HAL’s camera records this surreptitious conversation and he reads the pilots' lips. Frank leaves the Discovery in an EVA pod to reinstall the communication device. HAL hijacks the EVA pod and uses it to remove Frank’s air supply, killing him. Dave sees Frank’s body floating off into space and asks HAL what happened, to which HAL replies he doesn’t know. Dave quickly jumps into another EVA pod, forgetting his helmet. While Dave retrieves Frank’s body outside the Discovery, HAL turns off the life support for the scientists in cryo-hibernation, killing them. HAL then locks the door to the EVA bay, denying Dave entry back onto the Discovery. HAL tells Dave that the plan to deactivate him will compromise the mission.  

Dave ejects himself from his EVA pod and manually opens the emergency airlock, miraculously surviving without his helmet. Back aboard the Discovery, Dave disconnects HAL’s circuits, while HAL pleads with Dave to stop. As he ceases to function, HAL reveals that his “mind is going” and that he is “afraid.” Dave is shaken by “killing” HAL. With HAL offline, a recording from Heywood automatically begins playing, revealing that the true purpose of the Jupiter mission is to investigate a signal that the lunar monolith sent to Jupiter.  

Part III: Jupiter and Beyond the Infinite Dave, now the lone surviving member of Discovery One, arrives in Jupiter’s orbit. He encounters a massive monolith orbiting the planet. As Dave approaches the monolith in an EVA pod, he enters a tunnel of intense flashing colors. He awakens in a neoclassical apartment. He then experiences a strange aging phenomenon, which ends with him as an old man lying in bed. He sees the monolith at the foot of the bed and reaches for it. The film ends with Dave transformed into a fetus suspended in a ball of light, orbiting Earth.

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Still Alice

Glatzer, Richard; Westmoreland, Wash

Last Updated: May-11-2023
Annotated by:
Sharma, Sneha

Primary Category: Performing Arts / Film, TV, Video

Genre: Film

Summary:

Still Alice is a dramatic film based on a novel by neuroscientist Lisa Genova. It is the story of Alice Howland (played by Julianne Moore), a Columbia University linguistics professor whose life is upended by the diagnosis of early-onset familial Alzheimer’s disease shortly after her 50th birthday. What begins insidiously with difficulty finding a word during an important lecture, and getting lost on a familiar running trail, rapidly progresses to more devastating lapses in memory and cognition that are a stark contrast from Alice’s usual function. On top of this, the family is faced with the reality that Alice’s children are also at risk for this genetic condition.  

Scenes of Alice’s life are intermixed with her extensive cognitive evaluation by a neurologist. In the office, we watch her struggle to remember the name and address of an imaginary person within minutes of her neurologist telling her; at home, we observe the way she forgets beloved recipes, and even the people she has met just moments before.   

As the film progresses, it becomes increasingly painful to watch the deterioration of Alice’s condition, and the effect it has on her loved ones. We see the raw humanity of her grappling with this in various realms—in a particularly heartbreaking scene, she experiences incontinence for the first time because she can’t find the bathroom in her own home. In a later scene, she forgets her daughter after watching her perform in a play. Throughout the film, she clings desperately to her phone, in which she has listed certain essential questions about her life that she feels, if eventually forgotten, warrant her suicide by overdosing on sleeping pills.  

Despite these enormous challenges to both her sense of self and her relationships, Alice’s character is presented with the resilience of so many individuals who suffer from Alzheimer’s disease. In a pivotal scene, Alice speaks at an Alzheimer’s Association conference; despite needing to highlight each sentence as she reads it to remember what she has already said, she is able to share her story authentically as the audience and her family is moved to tears.   

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Ava

Mysius, Léa

Last Updated: Apr-17-2023
Annotated by:
Teagarden, J. Russell

Primary Category: Performing Arts / Film, TV, Video

Genre: Film

Summary:

The movie opens with an idyllic, bright, summer beach scene at a seaside resort somewhere along the French coastline. The beach teems with waders and sunbathers enjoying the weather and each other. Ava, a thirteen-year-old girl vacationing with her single mother and baby sister, is napping on a rock wall. A large, black dog makes its away along the beach and encounters the sleeping Ava. She awakes, startles, and the dog runs off. She follows the dog to its owner, Juan, who is in the midst of a lover’s spat. The police come and take Juan away—he doesn’t have “papers.” This is not the last time Ava meets both Juan and his dog.

While on this holiday, Ava sees her ophthalmologist who informs her that her eyesight is worsening—she has retinitis pigmentosa, and a form that progresses to blindness more rapidly than other forms. The ophthalmologist tells Ava: 

Your field of view will shrink and you’ll lose your night vision before the circle closes. It can happen very young...Soon you won’t see well in low light...at night when a place is poorly lit, say...You’ll lose your sight soon.

Ava is shattered. She wishes that the ophthalmologist was dead: “He ruined our summer,” she says to her mother, who in response pledges, “we’ll have a great summer. We have two weeks. That’s good. They won’t spoil our summer. Screw them.” What happens during these two weeks comprises most of the movie.

Ava sees her prospects for the future vanish as her vision deteriorates. She needs to get as much life in as possible before then, and it begins with the time she has left at the beach. Feeding this urgency is Ava’s concern that the end of civilization could be nearing based on evidence a recreation staff member provided, and the approval her mother gives for engaging in sex: “My first time was very early. I was thirteen like you. I understand you wanting to try. I couldn’t stop you. You’ll do as you want, I know.” With this permission from her mother and feeling “My mother is probably unhappy with a daughter like me,” little pressure is left that could counter Ava’s desire to accelerate the accumulation of life experiences, no matter how risky. 

And so Ava is off and running, making her first act stealing Juan’s dog. This eventually brings them together. Juan is older, looking like he’s in his late teens, and he’s on the lamb. She joins him and experiences sex, plunder, violence, and close calls with police. We are left wondering what will happen to Ava; the circle is closing. 

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Living

Hermanus, Oliver

Last Updated: Apr-13-2023
Annotated by:
Brungardt, Gerard

Primary Category: Performing Arts / Film, TV, Video

Genre: Film

Summary:

Living is a remake of Akira Kurosawa's Ikiru, itself his homage to Tolstoy's novella The Death of Ivan Ilyich. The screenplay is by Kazuo Ishiguro, who may be the perfect person for the job - born in Japan, raised in Britain, Nobel laureate in literature. The movie stays faithful to the original (some scenes almost frame for frame) while at the same time providing a more contemporary time, place, and English language (with the run time decreased from 143 to 102 minutes) all combining to provide a greater accessibility for many today. 

The protagonist, Mr. Williams (Bill Nighy), is the long-standing director of the bureaucratic Public Works Department in post-WWII London. When given a terminal prognosis he starts asking the big questions of life, quickly finding out that not only does he not know the answers but is struggling to phrase the proper questions.
 
After a brief time trying to find his answers through a night on the town, Williams befriends a former Public Works employee, a bright and vivacious young lady who, journeying with him, leads him to the threshold of what he is looking for. The film remains loyal to one of Kurosawa's most acclaimed devices when, after his funeral, we are told the rest of Williams' journey to find himself as his co-workers share their memories, piecing together the final few weeks of his life.    

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Severance

Stiller, Ben

Last Updated: Nov-21-2022
Annotated by:
Brungardt, Gerard

Primary Category: Performing Arts / Film, TV, Video

Genre: TV Program

Summary:

The titular "severance" surgical procedure is the ultimate answer to the work-life balance conundrum - separating work consciousness from personal consciousness. The person's work-self has no memory or knowledge of their personal-self, and vice versa. Lumon Industries and its employees do this for seemingly good reasons (e.g. to assuage grief) but unanticipated and darker motives are in tension throughout the series as its nine episodes follow a core team of four office workers navigating the realities of having had this procedure done.

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The Mouth Agape

Pialat, Maurice

Last Updated: Nov-07-2022
Annotated by:
Teagarden, J. Russell

Primary Category: Performing Arts / Film, TV, Video

Genre: Film

Summary:

“Can you take your mother home? There’s no point our keeping her here,” the doctor says to Phillipe about his mother, Monique. Her breast cancer has spread to her spine and probably her brain. Monique had been staying with Phillipe and his wife, Nathalie, in their cramped apartment in Paris during her treatment. They took her to her home in Auvergne, and there she remained, confined to her bed, until she died. 

Monique’s husband, Roger, cared for her while also managing the family retail clothing store beneath their apartment. He spoon-fed her, cleaned her, and tried to make her comfortable with the aid of visiting nurses. Phillipe and Nathalie came from Paris to help care for Monique and provide some relief for Roger. As Monique deteriorated, she required more and more of their attention, which was made all the more difficult when she lost her ability to speak. Fatigue set in and nerves frayed. Nevertheless, when Monique died, tears were shed, hugs were shared, and memories were recounted. 

Through it all, though, not one of three family members exhibited a bit of grace. As they had before Monique became ill, they lied to each other, cheated on each other, and stole from each other while caring for her. None were above physical abuse—“you slapped me for no reason,” Nathalie reminds Phillipe, Roger paws his female customers just below where Monique lies ill in her bed. Monique, no angel herself, had behaved similarly before cancer crimped her style. After the funeral, Roger returned to his store, and Phillipe and Nathalie to Paris, where they ostensibly would pick up where they left off with their lives of banal wantonness. 
 

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Annotated by:
Dammeyer, Kristen

Primary Category: Performing Arts / Film, TV, Video

Genre: Film

Summary:

Life According to Sam provides insight into the life of Sampson “Sam” Berns and his family. At the beginning of the film, Sam states, “I want you to know me.” Accordingly, the film alternates between highlighting Sam’s experiences as he navigates life as a teenage boy and his participation in the first ever clinical trial for progeria.  At the start of the film, Sam is a 13-year-old boy in middle school. As with many other boys his age, his interests include Legos, music, and spending time with his friends, or his “bros” as he affectionately calls them.  

But Sam was diagnosed with progeria just prior to his second birthday. Progeria is a rare disease that affects approximately 250 children worldwide, caused by a genetic mutation which codes for the formation of an abnormal toxic protein, protegrin, that builds up in organs over time. It is a premature aging syndrome that causes progressive cardiovascular decline and for which there is no cure. The average age of death for these children is 13, and they die primarily of heart attacks and strokes.  

At the time of Sam’s birth his mother Leslie was a pediatric intern and his father, Scott, a pediatric emergency medicine physician. After his diagnosis, the family devoted themselves to progeria, an orphan disease which at the time had no identified genetic etiology, no foundation, no research, and no treatment. With the help of Leslie’s sister Audrey, the family started The Progeria Research Foundation, which raised over $1.25 million dollars, funded the discovery of the gene for progeria, and began the first clinical trials to test treatment for the disease. 

In the film, Leslie spearheads the first ever clinical trial for the treatment of progeria. The drug, lonafarnib, had demonstrated efficacy in mice and was FDA approved for a clinical trial including 28 children from 16 countries. The children would receive the medication for 2.5 years and return to Boston Children’s Hospital three times per year for a battery of tests. At the end of the trial, Leslie goes through the arduous process of writing up the results and submitting the trial for publication in hopes of making the drug more widely available for children with progeria. In the end, the trial results are published and the results for individual patients are released. While the medication falls short of being a cure, there are glimpses of hope in patients whose disease progression has been slowed or even reversed.

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The Dropout

Meriwether, Elizabeth

Last Updated: May-19-2022
Annotated by:
Sood, Shefali

Primary Category: Performing Arts / Film, TV, Video

Genre: TV Program

Summary:

Based on the 2021 podcast of the same title produced by Rebecca Jarvis, The Dropout is an 8-episode miniseries starring Amanda Seyfried as the infamous biotechnology fraudster Elizabeth Holmes and Naveen Andrews as her much older boyfriend-turned-accomplice, Ramesh “Sunny” Balwani. The miniseries documents the real-life story of Elizabeth Holmes and her evolution from an ambitious, dedicated and somewhat awkward teenager into a ruthless, immoral and still quite awkward CEO of Theranos, a company she founded after dropping out of Stanford her sophomore year. She claimed to develop technology to run hundreds of diagnostic medical tests on a single drop of a patient’s blood. She defrauded hundreds of doctors, investors, pharmaceutical companies and even Walgreens along the way and put hundreds of patients who received faulty Theranos blood test results at risk. This year, Holmes was found guilty on four counts of fraud by a federal grand jury.

The miniseries begins in Holmes’ childhood and utilizes footage from her federal deposition and media interviews to document her evolution from having an innocent desire to invent something to help people to a grifter who put others in danger without a second thought. In her teenage years, Holmes idolizes Steve Jobs. Instead of boyband posters in her room, she has photos of him with Apple products. She spends a summer in China in a language immersion program, where she meets a man 30 years her senior, Sunny Balwani, and strikes up an uncomfortable friendship after learning of his success in business. She is shown to be somewhat of an outcast in school, practicing being excited for a party in a mirror and speaking almost every day with Balwani instead of her peers. Her conversations with Balwani mostly are about her ideas to help people and her desire to be a billionaire. This goal of helping others pushes her to study biomedical engineering at Stanford. She proudly proclaims to family friend Dr. Richard Fuisz, a physician-turned-inventor, that she is in the top 10% of applicants. At Stanford, she is incredibly focused on her goal to invent, and with an unrelenting fervor, she enrolls in graduate level classes and pitches ideas to professors. She is a teacher’s pet; however, when she pitches her idea for a medical drug delivery patch to Dr. Phyliss Gardner, a highly accomplished physician and researcher, her world crashes. Dr. Gardner immediately shoots down her idea and tells her to focus on her schoolwork before trying to invent the next big thing. Holmes can’t take no for an answer and quotes Yoda from Star Wars: “Do or do not. There is no try.” Dr. Gardner responds that in medicine and science, some things are impossible and recognizing that is also part of the scientific process.

This all changes soon after pitching an idea for a blood test using a single drop of blood to Dr. Channing Robertson, an influential chemical engineer at Stanford. He backs her idea and gives her capital for a company. She encourages her parents to let her drop out of Stanford, citing Steve Jobs, Michael Dell and other influential tech leaders as examples, and uses her tuition money to establish Theranos.   

Theranos, a combination of the words therapy and diagnosis, takes off, with significant roadblocks, fueled only by Holmes' dreams. Holmes neither has the scientific background nor the leadership skills to lead the company.  She does little in the chemistry labs and her lack of engineering, chemistry and medical knowledge prevents her from being able to pitch the idea successfully to healthcare venture capitalists. The blood testing device requires technology that would take years to build and require significant scientific collaboration that does not exist at Theranos. She needs data for investors that the devices are complete and work, so enrolls the faulty, not yet completed devices in a trial testing the blood of cancer patients. This leads to a tense encounter between lead engineer Edmond Ku and Holmes outside a cancer clinic. Ku states that he is an engineer, not a healthcare provider, and he is uncomfortable looking these patients in the eye and testing their blood on a machine he knows does not work. He is clearly very upset; but Holmes forces him to go inside and collect the samples. The clinical trial goes nowhere. 

After almost running the company into the ground, she convinces the Board to let her stay CEO if she brings on Balwani, with whom she is in a romantic relationship, as chief operating officer. Balwani offers advice on how to be a CEO of a tech company and encourages her to change her management style. The departments at Theranos become siloed to a point that scientists have no idea what is happening in the executive, marketing and media departments and vice versa. All information comes from Holmes. She spends no more time in the lab and has no meetings with lab personnel, but her name is on every patent. She markets herself as a young female tech CEO in a landscape dominated by men in sweatshirts. Her charisma and newfound business acumen allows her to secure a deal with Walgreens in which Theranos’ devices will be in Walgreens Wellness Centers for use by patients. She does not tell any of the scientists working on the device and does not consult any physicians. She shares no data with Walgreens about the design of the device, its accuracy or validity, citing trade secrets. When her lead chemist, the celebrated Dr. Ian Gibbons, catches wind of this plan, he confronts Holmes, who fires him on the spot for not having the same vision. Amidst pressure from the scientists, she rehires him the next day, but prevents him from working in the lab ever again. The toxic environment created by Holmes eventually causes Dr. Gibbons to commit suicide.   

The Theranos devices for the Walgreens agreement fail quality control checks and cannot be used.  Holmes and Balwani create a plan in which they use Siemens devices with Theranos logos to run the single drop blood patient samples which have been diluted to provide enough sample to be read by the Siemens machine. This leads to wildly inaccurate results being sent to patients. Examples include a high estrogen reading in a woman with a history of ovarian cancer, suggesting remission; a high thyroid hormone level in a pregnant woman already on thyroid medication, almost prompting her doctor to alter her dosage, which would be fatal for the fetus; and a high troponin level in a man with cardiovascular disease indicating he may be having a myocardial infarction. The lab technicians are aware of these inaccurate results. Eventually two techs, Erika Cheung and Tyler Schultz, the grandson of former Secretary of State George Schultz a and a Board member at Theranos, leak what is happening to a journalist, John Carreyrou at the Wall Street Journal, despite immense legal and physical threats from Holmes and Balwani. Eventually, using evidence from Cheung, Schultz, former scientists at Theranos, and physician-advocates among others, Carreyrou writes an article in the Journal exposing Theranos and Holmes for what they are --frauds. This spirals into the Centers for Medicare and Medicaid Services shutting down Theranos labs indefinitely and leads to thousands of lawsuits regarding Theranos products. Holmes loses all credibility and is arrested on federal charges of fraud and conspiracy to commit fraud.   

In the last scene, Holmes visits the office with her new dog to speak with a former Theranos lawyer, who can no longer find a job as a result of the scandal. She boasts about her new boyfriend. The lawyer confronts her, “you hurt people.” Holmes denies this vehemently saying she just ‘failed to deliver’ as CEO and runs frantically out of the office where she breaks down while waiting for her Uber. 


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The First Wave

Heineman, Matthew

Last Updated: Apr-18-2022
Annotated by:
Bruell , Lucy

Primary Category: Performing Arts / Film, TV, Video

Genre: Film

Summary:

First Wave documents the early days of the COVID-19 pandemic at Long Island Jewish Medical Center (LIJ) in New York from March through June of 2020.  It opens with a graphic scene of a rapid response team trying to save a patient with COVID whose heart has stopped.  Despite their efforts, the patient dies.  After the team pauses for a minute of silence at the bedside, the grueling work of saving lives continues. 

The film follows Dr. Nathalie Dougé, an internist who was born in the Bronx to Haitian parents. Most of her patients are Black, Hispanic or immigrant.  Two patients with COVID are essential workers: Brussels Jabon, a Filipino nurse who undergoes an emergency C-section after she is brought to the emergency room, and Ahmed Ellis, a school safety officer with the NYPD.  Both have young children and supportive families.

Nurses hold up IPads so families can Facetime with the patients.  It’s terrifying and sad for the families to see the patients on screen and not to be present when they are needed the most. It’s emotionally difficult for the healthcare team as well who are the only ones to hold a patient’s hand during these encounters.  One nurse describes the effect of holding the phone while family members have five minutes to Facetime with patients, “You become the family member, and it seems like you’re losing your family.”

The emotional toll of losing so many patients, while fearing that they too may contract the virus and bring it home to their own families, weighs heavily on the healthcare teams.  They are trained to compartmentalize, to separate work from personal life but their empathetic response to their patients follows them home.  “I think about him every night when I go home,” nurse Kelli Wunsch says of Ahmed. “I just want him to do well.”

Scene after scene of teams rushing to resuscitate a patient who has coded are interspersed with more hopeful moments of a reunion between husband and wife, the sound of the song “Here Comes the Sun” when a patient is taken off the ventilator, and the cheerful encouragement of a physical therapist working to help a patient regain enough strength and mobility to be discharged. At times the camera moves outside the confines of the hospital to the outside world:  Dr. Dougé alone at home with her dog celebrating her birthday with friends over zoom, eerily empty streets during the lockdown, and families anxiously awaiting news from the hospital.  We see bodies taken to refrigerated trucks and people cheering the health workers at 7pm from windows across the city.

In May, when protests erupt following George Floyd’s murder, Dr. Dougé, joins the protest with other frontline workers carrying a sign, “Racism is a Public Health Issue” and ”I Can’t Breathe” scrawled on her surgical mask.  Amid the “I Can’t Breathe” cries of the protestors, she relives the myriad times she has heard her patients gasping those words to her just before they are placed on ventilators. 

Both Brussel and Ahmed become stable enough to be taken off the ventilator and released from the hospital to return home to their families.  Despite their recovery from the acute phase of the illness, it is clear their health remains severely compromised.  As the cheers of the staff in the hospital lobby fade, tough work lies ahead for these patients and their families.    

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Fauci

Hoffman, John; Tobias, Janet

Last Updated: Mar-14-2022
Annotated by:
Yin, Ellen
Salman, Akbar

Primary Category: Performing Arts / Film, TV, Video — Secondary Category: Performing Arts /

Genre: Film

Summary:

“The Jesuit philosophy is ‘Men for Others,’” states Dr. Fauci, the titular subject of the documentary Fauci, as he explains how his public school experiences informed his medical career. Indeed, it sets the tone for the rest of a film that traces the beginning of Dr. Fauci’s career as an infectious disease physician through to his role in the creation of PEPFAR, the 2014 Ebola outbreak, and his present day responsibilities in the current pandemic. The documentary bounces primarily between the 1980s HIV/AIDS epidemic and the start of the COVID-19 pandemic in 2020. In both, we see that Dr. Fauci stands as a figure of great controversy, and we are shown his thought process in navigating the court of public opinion.

The film starts off interviewing Dr. Fauci about his childhood in Bensonhurst, Brooklyn where he was exposed to the Jesuit philosophy that would dovetail with his choice to go into public health service when he was drafted into the Vietnam War. Though he began his medical career with aspirations for a private practice on Park Avenue, Dr. Fauci realized that his true calling lay in “trying to figure out diseases that people were dying from” at the National Institute of Allergy and Infectious Diseases where he soon faced one of the greatest public health challenges of the 1980s – piecing together a way to combat a mysterious new disease that was killing more and more Americans. 

This, of course, sounds very familiar to the intended audience of the documentary. It is a parallel that Dr. Fauci himself is well aware of, stating that COVID-19 feels like a “diabolical repeat” of his experiences in the 1980s but that “the difference is [the] divisiveness dominating COVID-19 . . . we’re going to get through it in spite of this divisiveness and this politicization. We’re not going to get through it because of it.” The film leans heavily into this contrast, showcasing the evolving attitudes of many AIDS activists as Dr. Fauci went from “the enemy” to a man sitting in on ACT UP meetings and engaging in a dialogue that would culminate in a historic address at the 1990 International AIDS Conference – an address that highlighted the need for physician-scientists to incorporate the feedback of the individuals they were trying to help and reminded activists of the compassion that physician-scientists have for their patients. 

In the scenes taking place in 2020, we see an explosion of both positive and negative press coverage of Dr. Fauci as the COVID pandemic kicks into high gear. His inconsistencies regarding mask guidance, his direct challenging of President Trump, and his struggle to deal with increasing death threats against himself and his family are put on full display. The documentary does not shy away from showcasing Dr. Fauci’s vulnerability with multiple instances of a tearful Fauci recounting the deterioration of many of his AIDS patients and the “post-traumatic stress” that those experiences induced. These moments of vulnerability are threaded in with images of and commentary from his wife Christine Grady and his daughter Jennifer, a clear attempt to give us a sense of Anthony Fauci the human being and not just Dr. Fauci the public servant. 

As the film draws to a close, Fauci and his wife take a walk through the COVID-19 Memorial on the National Mall in Washington DC. “When you're involved in a race to stop a horrible disease, you always feel like you’re not doing things quickly enough, or well enough,” he reflects. “One of the most mysterious aspects of our universe is how viruses have transformed our civilization . . . And the one thing I can hope for . . . is that emerging infections do not inevitably become pandemics . . . I am optimistic that the lessons that we’ve learned will prevent that from happening.” After watching this documentary, it is an optimism that is easy to share. 

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