list http://www.spout.com/ Recent community activity around The Wild Horse Redemption on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/The_Wild_Horse_Redemption/347671/default.aspx Title: The Wild Horse Redemption
Year: 2008
Director: John Zaritsky
Plot: The rehabilitation of both horses and prison inmates alike form the foundation of documentary filmmaker John Zaritsky's look at the innovative Wild Horse Inmate Program at the Canon City Correctional Facility in Colorado. Located at the base of the majestic Rocky Mountains, the Canon City Correctional Facility annually receives mustangs that had roamed the American Southwest before being rounded up by the United States Bureau of Land Management. Upon arriving at the prison, each mustang is teamed with an inmate whose job it is to prepare the horses for such government service as patrolling the border. Professional trainers oversee the sessions, which demand that both man and beast display the profound levels of patience and understanding that often comes naturally to neither. It's dangerous work, but it's also endlessly rewarding for all involved. In the film, viewers follow head inmate trainer Anthony Edwards as he prepares for the challenges that await him in the outside world, as well as John Peterson, Edwards replacement in the program and the man who is forced to contend with a particularly tempestuous mustang named "Samson." By highlighting the experiences of an inmate named Clay who was frightened of horses upon entering the program but gradually learned to overcome his fear, Zaritsky shows just how transformative this unique program can be for prisoners who genuinely want to make a change for the better. ~ Jason Buchanan, All Movie Guide
Times Tagged: 4
Number of Lists: 1
Number of blog posts: 2
]]>Sat, 14 Jun 2008 23:00:48 GMTThe Wild Horse Redemption2008John ZaritskyThe rehabilitation of both horses and prison inmates alike form the foundation of documentary filmmaker John Zaritsky's look at the innovative Wild Horse Inmate Program at the Canon City Correctional Facility in Colorado. Located at the base of the majestic Rocky Mountains, the Canon City Correctional Facility annually receives mustangs that had roamed the American Southwest before being rounded up by the United States Bureau of Land Management. Upon arriving at the prison, each mustang is teamed with an inmate whose job it is to prepare the horses for such government service as patrolling the border. Professional trainers oversee the sessions, which demand that both man and beast display the profound levels of patience and understanding that often comes naturally to neither. It's dangerous work, but it's also endlessly rewarding for all involved. In the film, viewers follow head inmate trainer Anthony Edwards as he prepares for the challenges that await him in the outside world, as well as John Peterson, Edwards replacement in the program and the man who is forced to contend with a particularly tempestuous mustang named "Samson." By highlighting the experiences of an inmate named Clay who was frightened of horses upon entering the program but gradually learned to overcome his fear, Zaritsky shows just how transformative this unique program can be for prisoners who genuinely want to make a change for the better. ~ Jason Buchanan, All Movie Guide4Slightly Tagged (1-5)12http://www.spout.com/images/no_image.jpghttp://www.spout.com/films/The_Wild_Horse_Redemption/347671/default.aspxFilm http://www.spout.com/blogs/karina/archive/2008/6/14/31233.aspxPost By: Karina
Post To: Karina on SpoutBlog
Post Date: 6/14/2008 7:00:48 PM
Body: After the de rigeur delay at JFK (during which I learned of Tim Russert’s death via a single muted TV in an airport bar otherwise given over to Holland vs. France madness), I arrived in Vegas around 9:30 and went straight to The Palms, homebase of CineVegas and the hotel at which, as a member of the Shorts jury, I have been graciously sequestered This is only my second trip to the city, but it seems like The Palms is a bit of an anomaly. Of course, a casino is a casino is a casino––there’s no getting around the frosty air-conditioned air, the sense of time having stopped at permanent midnight, the carefully calibrated spectacle apparently meant to foster the illusion that all spending and gambling losses are imaginary (or, at least, less than earth-shatteringly consequential). But at The Palms there are no grandmother types pumping coins into slots, no middle American families crowded around a buffet, no foreign tourists spending obscene amounts of money on luxury kitsch. A spacious, multi-tower complex set several blocks off The Strip, it attracts an almost uniquely young crowd, more or less demographically synonymous with the Real World season that would seem to inspire their tourism. Here the film festival is hidden in plain site, planted in part of the casino’s multiplex and injected into the hotel’s culture; the average Palms guest, if not oblivious, then certainly at least blinded somewhat by the MTV-approved moral suicide mission for which they took the long weekend. The idea that such an environment could play host to serious films playing to serious cineastes who take it all very seriously might seem incongruous, but so far––and I write this having not seen a single film other than the shorts I’m jurying, though I plan to hit two screenings tonight––this contradiction just seems really exciting. Last night, at the CineVegas 10th Anniversary party, I had conversations about Carlos Reygadas, the degree of wink to the horror element of Baghead, Los Angeles’ newish Silent Movie Theater, and Ronnie Bronstein. Variety’s Robert Koehler valiantly argued the case that CineVegas is the preeminent discovery festival for “semi-narrative and non-narrative” film in North America. Janet Pierson convinced me that I have to see a SXSW 2008 selection that I missed called The Wild Horse Redemption, which she described as “cowboy porn about these felons who become horse whisperers” (hot, right?) And all of this took place about five paces away from a heavily-bodyguarded Britney Spears. Ah, Britney. Though Dennis Hopper, certainly the more impressive figure cinematically speaking, was apparently floating around last night as well, the presence of Britney Spears in a poolside cabana at the CineVegas party was enought to turn all of us serious cinema people into gawking gossips. I counted four people in her cabana––and every time I looked in, no one was speaking, and at one point, Ms. Spears herself appeared to be texting––but this micro-entourage required a full wall of security detail, and attracted a nearly-unnavigable crowd of on-lookers. Everybody tried to get a picture, but every time anyone got anywhere near enough with a camera, at least one bodyguard would raise a finger in a terrifying point, a silent gesture of pure terror (hence the file photo). Why was she here? Did the festival invite her? Did The Palms pay her to show up? Did she come to see movies? By the end of the night, there were no answers, beyond the obvious truth that we can talk about how Silent Light restores our faith in the big screen theatrical experience for days, but at the end of the day, that conversation will take place in a pocket within the What Britney’s Doing miasma that is the entertainment industry. But after less than a day here, I’m getting into the idea that there’s at least something subversive about putting that pocket in this place. Originally posted on:SpoutBlog » Karina Longworth
]]>Sat, 14 Jun 2008 23:00:48 GMTKarinaKarina on SpoutBlog6/14/2008 7:00:48 PM After the de rigeur delay at JFK (during which I learned of Tim Russert’s death via a single muted TV in an airport bar otherwise given over to Holland vs. France madness), I arrived in Vegas around 9:30 and went straight to The Palms, homebase of CineVegas and the hotel at which, as a member of the Shorts jury, I have been graciously sequestered This is only my second trip to the city, but it seems like The Palms is a bit of an anomaly. Of course, a casino is a casino is a casino––there’s no getting around the frosty air-conditioned air, the sense of time having stopped at permanent midnight, the carefully calibrated spectacle apparently meant to foster the illusion that all spending and gambling losses are imaginary (or, at least, less than earth-shatteringly consequential). But at The Palms there are no grandmother types pumping coins into slots, no middle American families crowded around a buffet, no foreign tourists spending obscene amounts of money on luxury kitsch. A spacious, multi-tower complex set several blocks off The Strip, it attracts an almost uniquely young crowd, more or less demographically synonymous with the Real World season that would seem to inspire their tourism. Here the film festival is hidden in plain site, planted in part of the casino’s multiplex and injected into the hotel’s culture; the average Palms guest, if not oblivious, then certainly at least blinded somewhat by the MTV-approved moral suicide mission for which they took the long weekend. The idea that such an environment could play host to serious films playing to serious cineastes who take it all very seriously might seem incongruous, but so far––and I write this having not seen a single film other than the shorts I’m jurying, though I plan to hit two screenings tonight––this contradiction just seems really exciting. Last night, at the CineVegas 10th Anniversary party, I had conversations about Carlos Reygadas, the degree of wink to the horror element of Baghead, Los Angeles’ newish Silent Movie Theater, and Ronnie Bronstein. Variety’s Robert Koehler valiantly argued the case that CineVegas is the preeminent discovery festival for “semi-narrative and non-narrative” film in North America. Janet Pierson convinced me that I have to see a SXSW 2008 selection that I missed called The Wild Horse Redemption, which she described as “cowboy porn about these felons who become horse whisperers” (hot, right?) And all of this took place about five paces away from a heavily-bodyguarded Britney Spears. Ah, Britney. Though Dennis Hopper, certainly the more impressive figure cinematically speaking, was apparently floating around last night as well, the presence of Britney Spears in a poolside cabana at the CineVegas party was enought to turn all of us serious cinema people into gawking gossips. I counted four people in her cabana––and every time I looked in, no one was speaking, and at one point, Ms. Spears herself appeared to be texting––but this micro-entourage required a full wall of security detail, and attracted a nearly-unnavigable crowd of on-lookers. Everybody tried to get a picture, but every time anyone got anywhere near enough with a camera, at least one bodyguard would raise a finger in a terrifying point, a silent gesture of pure terror (hence the file photo). Why was she here? Did the festival invite her? Did The Palms pay her to show up? Did she come to see movies? By the end of the night, there were no answers, beyond the obvious truth that we can talk about how Silent Light restores our faith in the big screen theatrical experience for days, but at the end of the day, that conversation will take place in a pocket within the What Britney’s Doing miasma that is the entertainment industry. But after less than a day here, I’m getting into the idea that there’s at least something subversive about putting that pocket in this place. Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2008/6/14/31232.aspxPost By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 6/14/2008 7:00:37 PM
Body: After the de rigeur delay at JFK (during which I learned of Tim Russert’s death via a single muted TV in an airport bar otherwise given over to Holland vs. France madness), I arrived in Vegas around 9:30 and went straight to The Palms, homebase of CineVegas and the hotel at which, as a member of the Shorts jury, I have been graciously sequestered This is only my second trip to the city, but it seems like The Palms is a bit of an anomaly. Of course, a casino is a casino is a casino––there’s no getting around the frosty air-conditioned air, the sense of time having stopped at permanent midnight, the carefully calibrated spectacle apparently meant to foster the illusion that all spending and gambling losses are imaginary (or, at least, less than earth-shatteringly consequential). But at The Palms there are no grandmother types pumping coins into slots, no middle American families crowded around a buffet, no foreign tourists spending obscene amounts of money on luxury kitsch. A spacious, multi-tower complex set several blocks off The Strip, it attracts an almost uniquely young crowd, more or less demographically synonymous with the Real World season that would seem to inspire their tourism. Here the film festival is hidden in plain site, planted in part of the casino’s multiplex and injected into the hotel’s culture; the average Palms guest, if not oblivious, then certainly at least blinded somewhat by the MTV-approved moral suicide mission for which they took the long weekend. The idea that such an environment could play host to serious films playing to serious cineastes who take it all very seriously might seem incongruous, but so far––and I write this having not seen a single film other than the shorts I’m jurying, though I plan to hit two screenings tonight––this contradiction just seems really exciting. Last night, at the CineVegas 10th Anniversary party, I had conversations about Carlos Reygadas, the degree of wink to the horror element of Baghead, Los Angeles’ newish Silent Movie Theater, and Ronnie Bronstein. Variety’s Robert Koehler valiantly argued the case that CineVegas is the preeminent discovery festival for “semi-narrative and non-narrative” film in North America. Janet Pierson convinced me that I have to see a SXSW 2008 selection that I missed called The Wild Horse Redemption, which she described as “cowboy porn about these felons who become horse whisperers” (hot, right?) And all of this took place about five paces away from a heavily-bodyguarded Britney Spears. Ah, Britney. Though Dennis Hopper, certainly the more impressive figure cinematically speaking, was apparently floating around last night as well, the presence of Britney Spears in a poolside cabana at the CineVegas party was enought to turn all of us serious cinema people into gawking gossips. I counted four people in her cabana––and every time I looked in, no one was speaking, and at one point, Ms. Spears herself appeared to be texting––but this micro-entourage required a full wall of security detail, and attracted a nearly-unnavigable crowd of on-lookers. Everybody tried to get a picture, but every time anyone got anywhere near enough with a camera, at least one bodyguard would raise a finger in a terrifying point, a silent gesture of pure terror (hence the file photo). Why was she here? Did the festival invite her? Did The Palms pay her to show up? Did she come to see movies? By the end of the night, there were no answers, beyond the obvious truth that we can talk about how Silent Light restores our faith in the big screen theatrical experience for days, but at the end of the day, that conversation will take place in a pocket within the What Britney’s Doing miasma that is the entertainment industry. But after less than a day here, I’m getting into the idea that there’s at least something subversive about putting that pocket in this place. Originally posted on:SpoutBlog
]]>Sat, 14 Jun 2008 23:00:37 GMTSpoutBlogSpoutBlog on spout.com6/14/2008 7:00:37 PM After the de rigeur delay at JFK (during which I learned of Tim Russert’s death via a single muted TV in an airport bar otherwise given over to Holland vs. France madness), I arrived in Vegas around 9:30 and went straight to The Palms, homebase of CineVegas and the hotel at which, as a member of the Shorts jury, I have been graciously sequestered This is only my second trip to the city, but it seems like The Palms is a bit of an anomaly. Of course, a casino is a casino is a casino––there’s no getting around the frosty air-conditioned air, the sense of time having stopped at permanent midnight, the carefully calibrated spectacle apparently meant to foster the illusion that all spending and gambling losses are imaginary (or, at least, less than earth-shatteringly consequential). But at The Palms there are no grandmother types pumping coins into slots, no middle American families crowded around a buffet, no foreign tourists spending obscene amounts of money on luxury kitsch. A spacious, multi-tower complex set several blocks off The Strip, it attracts an almost uniquely young crowd, more or less demographically synonymous with the Real World season that would seem to inspire their tourism. Here the film festival is hidden in plain site, planted in part of the casino’s multiplex and injected into the hotel’s culture; the average Palms guest, if not oblivious, then certainly at least blinded somewhat by the MTV-approved moral suicide mission for which they took the long weekend. The idea that such an environment could play host to serious films playing to serious cineastes who take it all very seriously might seem incongruous, but so far––and I write this having not seen a single film other than the shorts I’m jurying, though I plan to hit two screenings tonight––this contradiction just seems really exciting. Last night, at the CineVegas 10th Anniversary party, I had conversations about Carlos Reygadas, the degree of wink to the horror element of Baghead, Los Angeles’ newish Silent Movie Theater, and Ronnie Bronstein. Variety’s Robert Koehler valiantly argued the case that CineVegas is the preeminent discovery festival for “semi-narrative and non-narrative” film in North America. Janet Pierson convinced me that I have to see a SXSW 2008 selection that I missed called The Wild Horse Redemption, which she described as “cowboy porn about these felons who become horse whisperers” (hot, right?) And all of this took place about five paces away from a heavily-bodyguarded Britney Spears. Ah, Britney. Though Dennis Hopper, certainly the more impressive figure cinematically speaking, was apparently floating around last night as well, the presence of Britney Spears in a poolside cabana at the CineVegas party was enought to turn all of us serious cinema people into gawking gossips. I counted four people in her cabana––and every time I looked in, no one was speaking, and at one point, Ms. Spears herself appeared to be texting––but this micro-entourage required a full wall of security detail, and attracted a nearly-unnavigable crowd of on-lookers. Everybody tried to get a picture, but every time anyone got anywhere near enough with a camera, at least one bodyguard would raise a finger in a terrifying point, a silent gesture of pure terror (hence the file photo). Why was she here? Did the festival invite her? Did The Palms pay her to show up? Did she come to see movies? By the end of the night, there were no answers, beyond the obvious truth that we can talk about how Silent Light restores our faith in the big screen theatrical experience for days, but at the end of the day, that conversation will take place in a pocket within the What Britney’s Doing miasma that is the entertainment industry. But after less than a day here, I’m getting into the idea that there’s at least something subversive about putting that pocket in this place. Originally posted on:SpoutBlog http://www.spout.com/members/0/tags/prison/MemberTagFilms.aspxprison
Number of films tagged: 2437

Number of people who tagged: 62

Number of times used: 167

]]>Tue, 01 Dec 2009 19:02:27 GMT243762167Tag http://www.spout.com/members/0/tags/horse/MemberTagFilms.aspxhorse
Number of films tagged: 754

Number of people who tagged: 26

Number of times used: 51

]]>Wed, 23 Sep 2009 14:35:53 GMT7542651Tag http://www.spout.com/members/0/tags/SXSW/MemberTagFilms.aspxSXSW
Number of films tagged: 213

Number of people who tagged: 14

Number of times used: 274

]]>Thu, 02 Apr 2009 02:26:40 GMT21314274Tag http://www.spout.com/members/0/tags/inmate/MemberTagFilms.aspxinmate
Number of films tagged: 268

Number of people who tagged: 5

Number of times used: 5

]]>Tue, 28 Jul 2009 13:02:37 GMT26855Tag http://www.spout.com/members/0/tags/sxsw-film-festival/MemberTagFilms.aspxsxsw-film-festival
Number of films tagged: 182

Number of people who tagged: 5

Number of times used: 230

]]>Thu, 24 Sep 2009 02:07:10 GMT1825230Tag http://www.spout.com/members/0/tags/south-by-south-west/MemberTagFilms.aspxsouth-by-south-west
Number of films tagged: 102

Number of people who tagged: 2

Number of times used: 127

]]>Fri, 07 Mar 2008 20:08:39 GMT1022127Tag http://www.spout.com/members/0/tags/south-by-southwest-2008/MemberTagFilms.aspxsouth-by-southwest-2008
Number of films tagged: 103

Number of people who tagged: 2

Number of times used: 129

]]>Tue, 01 Apr 2008 18:40:32 GMT1032129Tag http://www.spout.com/members/0/tags/trainingprogram/MemberTagFilms.aspxtrainingprogram
Number of films tagged: 111

Number of people who tagged: 1

Number of times used: 1

]]>Tue, 28 Jul 2009 13:02:37 GMT11111Tag http://www.spout.com/members/0/tags/horsetrainer/MemberTagFilms.aspxhorsetrainer
Number of films tagged: 59

Number of people who tagged: 0

Number of times used: 0

]]>Tue, 28 Jul 2009 13:02:37 GMT5900Tag http://www.spout.com/members/0/tags/rehabilitation-criminal/MemberTagFilms.aspxrehabilitation-criminal
Number of films tagged: 32

Number of people who tagged: 0

Number of times used: 0

]]>Tue, 28 Jul 2009 13:02:37 GMT3200Tag http://www.spout.com/members/0/tags/wild-undomesticated/MemberTagFilms.aspxwild-undomesticated
Number of films tagged: 192

Number of people who tagged: 0

Number of times used: 0

]]>Tue, 28 Jul 2009 13:02:37 GMT19200Tag