Far from the Tree

PRESENTS FAR FROM THE TREE A FILM BY RACHEL DRETZIN 93 MIN / US / COLOR / 2018 / ENGLISH FILM FESTIVALS DOC NYC 2017 – WORLD PREMIERE MONTCLAIR FILM FESITVAL 2018 – OPENING NIGHT IFF BOSTON 2018 DISTRIBUTION NY PR CONTACTS: LA PR CONTACTS: CONTACT: SHANNON TREUSCH ANNALEE PAULO LAURA SOK APRIL TONSIL CHRISSIE BOCK ALICIA BOZZONE ERICA ABRAMS 42 WEST 11 PENN PLAZA FALCO INK PR 1840 CENTURY PARK E NEW YORK, NY 10001 NEW YORK, NY 10016 #700 T: 646 273 7214 T: 212 445 7100 LOS ANGELES, CA 90067 F: 646 273 7250 [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] www.ifcfilms.com For images please visit our extranet: http://extranet.ifcfilms.com/ (login: ifcguest01, password: kubrick; select “FAR FROM THE TREE”) SYNOPSIS FAR FROM THE TREE follows families meeting extraordinary challenges through love, empathy, and understanding. This life-affirming documentary encourages us to cherish loved ones for all they are, not who they might have been. Based on Andrew Solomon’s award-winning, critically acclaimed, New York Times bestselling non-fiction book “Far From the Tree: Parents, Children and the Search for Identity.” FAR FROM THE TREE When readers and critics called Andrew Solomon’s prize-winning 2012 book FAR FROM THE TREE a cultural touchstone, few would have guessed that, just a few years later, much of the world would enter an era that has been called “the end of empathy.” We are witnessing deadening daily battles based on issues of difference and identity. The film adaptation of FAR FROM THE TREE looks beyond politics to a more resilient institution: the family, where the most profound differences can unite people instead of pushing them apart. Its transcendent portraits offer a reminder of the best within us, as we see that a parent’s limitless love can trump anything. Inspired in part by his family’s struggle to accept him as a gay man, Solomon began researching children who fall “far from the tree” in a variety of ways. The result was his bestselling Far From the Tree: Parents, Children and the Search for Identity, now out in twenty-four languages and the recipient of more than fifty national and international awards. In it, he draws on stories about sexual and gender orientation, physical and developmental deviations, and behavioral anomalies such as criminality. Solomon examines the hopes and dreams, triumphs and disappointments that are a part of every family and concludes that everyone who has children has children who are different in some ways, and that we share the experience of loving our children despite and because of the ways they deviate from what we imagined when we set out to have children. “Almost no one,” Solomon has said, “looks at his or her children’s problems and wants to exchange the kids for a better model. We love the children we have.” Each form of difference can feel isolating, but if we recognize that everyone struggles with such differences, we can arrive at profound truths about love. The New York Times Book Review wrote, “This is a passionate and affecting work that will shake up your preconceptions and leave you in a better place. It’s a book everyone should read and there’s no one who wouldn’t be a more imaginative and understanding parent—or human being—for having done so.” Based on Solomon’s book, the new documentary FAR FROM THE TREE explores the difficulties and rewards of raising and being a child whose experience is vastly different from that of his or her parents. Directed and produced by Emmy®-winning filmmaker Rachel Dretzin, it follows families coping with the challenges presented by Down syndrome, dwarfism, autism, and having a child in prison. Their profound, sometimes heartbreaking, but ultimately hopeful stories are related with extraordinary candor and transparency; this is a film rooted in the myriad forms of intimacy. Like the book, it provides lessons in love that far outstip its immediate subjects, but also makes us unafraid of differences by which we might otherwise have been very much intimidated. It’s hard to hate someone whose story you know, and the film adaptation of Far From the Tree provides stories that can mitigate the surging hatred around us. It is a film that restores dignity to people whose rights are under siege, a rare window into the lives of others. Each of the film’s central families tells a unique story, but Dretzin deftly uncovers parallels that touch on issues of community, understanding and self-acceptance. She has interwoven Solomon’s own story with them. Deeply compassionate, the film illustrates how families that face extraordinary challenges meet them in the most ordinary ways: with love, empathy, and a desire to understand one another. It encourages us to cherish loved ones for all they are, not who they might have been. In demonstrating how families have learned to love children who are different from them, it shows us all how to love the diversity in our world—how to find in aberrance not a threat, but a shimmering, new beauty. It’s a crucial film for a time when the American mainstream has begun to erase such lives. FAR FROM THE TREE ABOUT THE PRODUCTION “Having a severely challenging child intensifies life … I would not wish to trivialize the difficulty of these identities, but I knew about all that going in. The revelation was all the joy.” — Andrew Solomon Far From the Tree: Parents, Children and The Search for Identity A self-described “weirdo” as a child, Andrew Solomon’s interests included opera and the poetry of Emily Dickinson. But it was his being gay that gave him a fraught relationship to his parents. “My mother imagined that her first-born son would be part of the real mainstream — the kind of kid who was popular at school, athletic, at ease in the world, and basically quite conventional,” he says in the film. “And instead, she got me.” So the National Book Award-winning author of The Noonday Demon decided to investigate the ways in which other families deal with their differences. The result, Far From the Tree: Parents, Children and The Search for Identity, comes to the seemingly contradictory conclusion that it is in fact our diversity that unites us. Solomon wrote the book both to understand his own life better and to understand the kinds of difference by which he was made uncomfortable. The result of ten years of exploration and interviews with some three hundred families, Solomon’s book was an epic undertaking. Filmmaker Rachel Dretzin read the book after it was featured in the New York Times Book Review. “I couldn’t get it out of my mind,” she remembers. “I went out and bought it that day and devoured all 800 pages. When I finished it, I read it again. What appealed to me, aside from Solomon’s craft as a writer, was the book’s ‘shimmering humanity,’ as one critic put it.” Solomon proposes that parents who must struggle to love and understand their child often arrive at a deeper love following those struggles. It was something Dretzin says she felt intuitively, but the families whose stories the author had chronicled were living proof. “He showed the beauty and the purpose of caring deeply for someone who isn’t easy to care for,” she explains. “It’s an experience that reveals your own compassion to you, revealing things you might not know about yourself. I found it a thoughtful, philosophical statement about life, about parenting, and about love.” As a documentary filmmaker, Dretzin immediately recognized the cinematic potential of the book and was immediately excited by the prospect of turning it into a film. “There’s a built-in drama and narrative arc to many of the stories,” she explains. “But I also felt that, while Andrew’s writing is incredibly visual, the experience of actually seeing these people who we consider so different would add yet another layer.” Featuring an array of ordinary people facing extreme challenges, Dretzin’s new documentary, FAR FROM THE TREE, tells the stories of parents and children dealing with exceptional circumstances and finding profound meaning in the experience, as seen through their own eyes. Solomon was approached by more then thirty filmmakers after the book came out, but Dretzin, he said, understood its themes more clearly than anyone else; “We formed an almost instant intellectual and emotional alliance that has never wavered. We agree on all the moral questions the book asked, and that the film now presents in a new and gorgeous way.” Reading the book and making the film challenged Dretzin’s assumptions that “disabilities” define people’s lives in a negative way. “Previously, I would see someone and think, ‘I feel so bad for them,’ or look away,” she admits. “Solomon brought their great humanity, strength and power to the forefront. He recognized the joy in communities and lives that most of us see as unfortunate.” Producer Jamila Ephron agrees, adding, “I can’t think of any other works that have increased people’s capacity for empathy in a way that comes close to this. You don’t end up the same as when you started.” Solomon admits to some trepidation about including his own story in the book and the film. The point of doing so, he says, was to try to break down barriers that keep people from being open about their experiences. “If telling my story could contextualize these other stories and be helpful to people, then I was willing to do it.

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