POV Community Engagement & Education DISCUSSION GUIDE

Iris A Film by Albert Maysles

www.pbs.org/pov LETTER FROM THE FILM TEAM

As a documentarian, I happily place my fate and faith in reality. It is my caretaker, the provider of subjects, themes, experi - ences—all endowed with the power of truth and the romance of discovery. And the closer I adhere to reality the more hon - est and authentic my tales. After all, the knowledge of the real world is exactly what we need to better understand and therefore possibly to love one another. It’s my way of making the world a better place.

Albert Maysles (1926-2015) Director, Iris

When fellow producer Jennifer Ash Rudick emailed Maysles Films to say she thought that fashion and design legend Iris Apfel could make a good subject for a film, we had a vague idea of who Iris might be, but we didn’t really understand who she was until she came to our Harlem office and sat for a short meeting that ended up lasting hours. My father was so ex - cited to work on a film about Iris. He loved her style, her storytelling and her drive. Although I had worked with him on so many endeavors, from restructuring Maysles Films to assisting on shoots, this was the first time that I collaborated with him on a film—and it was the most intense project yet. It was an amazing experience. It was beautiful to watch my dad film Iris, calmly and patiently with curiosity and persistence.

It was a long project. We filmed for more than four years, and there was a part of all of us, I think, that didn’t want it ever to end. Albert wanted to keep filming, and Iris kept coming up with new excuses for us to show up at her home.

Toward the end of filming, producer Laura Coxson and cameraman Nelson Walker were privy to Iris discussing how she put an outfit together. For years we had been begging to get into her personal closet! Finally she agreed to show us how she put together different looks. This scene, which now begins our film, shows her attention to detail and the flair for style that she puts into absolutely everything she creates, from the White House fabric to interior design to the perfect cake for the 100th birthday of her husband, Carl, in 2015.

Iris is a workaholic, passionate and curious in all aspects of her life. She’s someone who learns every day by doing what she loves. In that way, she’s so much like Albert.

Rebekah Maysles Producer, Iris

DISCUSSION GUIDE Iris |2 TABLE OF CONTENTS CREDITS

2 Letter From the Film Team Writer 3 Introduction Faith Rogow, PhD 4 Potential Partners Insighters Educational Consulting

4 Key Issues Guide Producers and Background Research, POV 4 Using This Guide Eliza Licht 5 Background Information Vice President, Content Strategy and Engagement, POV

5 Iris Apfel Aubrey Gallegos 6 Albert Maysles Director, Community Engagement and Education, POV 7 General Discussion Questions Alice Quinlan Coordinator, Community Engagement and Education, POV 7 Discussion Prompts 9 Taking Action Simone Leung Community Engagement and Education, POV 10 Resources

11 How to Buy the Film Design: Rafael Jiménez

Copy Editor: Natalie Danford

Thanks to those who reviewed this guide:

Laura Coxson Producer, Iris

Rebekah Maysles INTRODUCTION Producer, Iris and Managing Director, Maysles Films, Inc.

Iris (90 min.) pairs the late documentarian Albert Maysles (Grey Gardens, Gimme Shelter), 87 at the time the film was made, with Iris Apfel, the quick-witted, flamboyantly dressed then 93-year-old style maven who has been an outsized presence on the New York fashion scene for decades. More than a fashion film, the documentary is a story about cre - ativity and how a soaring free spirit continues to inspire.

Iris reminds us that conformity is overrated. Supremely con - fident in her own aesthetic choices, she nevertheless rejects the notion that others should follow her lead rather than their own hearts. Work dominates her privileged and glam - orous life, but not in a burdensome way, because, as Iris says, “If you’re lucky enough to do something you love, everything else follows.” The film’s portrait of this engaging woman proves that there’s nothing inherently old-fashioned about old age.

DISCUSSION GUIDE Iris |3 POTENTIAL PARTNERS KEY ISSUES

Iris is well suited for use in a variety of settings and is es - Iris is an excellent tool for outreach and will be of spe - pecially recommended for use with: cial interest to people looking to explore the following topics: • Your local PBS station • Groups that have discussed previous PBS and POV • aging films relating to fashion, biographical portraits of • Iris Apfel creative women or aging, including Girl Model, • art Ping Pong, Sweet Old Song, The Genius of Marian, • beauty Patti Smith: Dream of Life, Beaches of Agnès and Cutie and the Boxer. • biography • Groups focused on any of the issues listed in the • creativity Key Issues section • culture • Middle and high school students, Girl Scout • design troops, youth groups and clubs • fashion • Senior centers and women’s clubs • gender • Faith-based organizations and institutions • individualism • Cultural, art and historical organizations, • New York City institutions and museums • women in business • Civic, fraternal and community groups • women’s studies • Academic departments and student groups at • work ethic colleges, universities and high schools • Community organizations with a mission to promote education and learning, such as local libraries.

USING THIS GUIDE

This guide is an invitation to dialogue. It is based on a belief in the power of human connection, designed for people who want to use Iris to engage family, friends, classmates, colleagues and communities. In contrast to initiatives that foster debates in which participants try to convince others that they are right, this document envisions conversations under - taken in a spirit of openness in which people try to understand one another and expand their thinking by sharing view - points and listening actively.

The discussion prompts are intentionally crafted to help a wide range of audiences think more deeply about the issues in the film. Rather than attempting to address them all, choose one or two that best meet your needs and interests. And be sure to leave time to consider taking action. Planning next steps can help people leave the room feeling energized and optimistic, even in instances when conversations have been difficult.

For more detailed event planning and facilitation tips, visit www.pov.org/engage

DISCUSSION GUIDE Iris |4 BACKGROUND INFORMATION

Iris Apfel for brands such as Coach and Kate Spade. She even teaches fashion courses as a visiting professor for the University of Iris Barrel Apfel was born on August 21, 1921 in Astoria, Texas with an eye to exposing students to the lesser-known Queens. As a child of the Depression, she was taught by her yet hugely rewarding aspects of the fashion scene. Today, mother the importance of using accessories to create Iris is a fashion icon, widely known for the work that, she dozens of outfits using a few basic articles of clothing. Even says, “I have quietly been doing for most of my life.” with this in mind, Iris lusted after items she couldn’t afford, often roaming the aisles of the original Loehmann’s in Brook - Sources: lyn to admire the accessories for sale there. Iris’s interest in Brodesser-Akner, Taffy. “Iris Apfel Doesn’t Do Normcore.” The New the visual world grew as she studied art and art history at York Times Magazine, Apr. 9, 2015. New York University and the University of Wisconsin. http://www.nytimes.com/2015/04/12/magazine/iris-apfel-doesnt-do- Iris met Carl Apfel in 1947 and the two married a year later. normcore.html Though Iris confesses she never had a business plan, she Brody, Richard. “Iris Apfel’s Art of Style.” The New Yorker , Apr. 29, 2015. quickly became a successful interior designer. For one home, http://www.newyorker.com/culture/richard-brody/iris-apfels-art-of-style Iris wasn’t able to find the right fabric, so she drew a pattern Dargis, Manohla. “Review: In ‘Iris,’ Albert Maysles Explores Iris Apfel’s herself. A friend’s father, a master weaver, made the fabric Style.” The New York Times , Apr. 28, 2015. and asked the couple to go into business with him. Old http://www.nytimes.com/2015/04/29/movies/review-in-iris-albert- World Weavers, a legendary textile and design company, maysles-explores-iris-apfels-style.html launched in 1950. Iris and Carl travelled the world to collect Heller, Nathan. “Style Icon Iris Apfel on Her Starring Role in a New unique fabrics and furnishings for their clients’ homes. From Documentary.” Vogue , Apr. 28, 2015. Morocco to Lebanon, they sourced textiles to export, while http://www.vogue.com/13256850/iris-apfel-documentary-albert- Carl, always equipped with a camera, captured photos of Iris maysles/ doing business—sorting through piles of fabrics in a town La Ferla, Ruth. “At 90, Fashion’s Latest Pop Star.” The New York Times, square, haggling with a craftsman over a price or admiring a Aug. 23, 2011. http://www.nytimes.com/2011/08/25/fashion/iris-apfel- detail on a piece of clothing. They were quickly recognized 90-stylish-and-on-hsn-up-close.html within the interior design industry for their original fabrics The Metropolitan Museum of Art. “Rara Avis: Selections from the Iris and sharp eye, and they went on to handle numerous Apfel Collection.” restoration and design projects, including several projects in http://www.metmuseum.org/press/exhibitions/2005/rara-avis- the White House during multiple presidential administra - selections-from-the-iris-apfel-collection tions. Wilkinson, Isabel. “Iris Apfel on Individuality, Her New Movie, and Being After the couple sold their business in 1992, Iris’s attention Famous.” New York: The Cut , Apr. 15, 2015. turned to fashion. By combining her findings from high-fash - http://nymag.com/thecut/2015/04/iris-apfel-on-individuality-fame- ion houses, local flea markets in New York’s Garment District and-more.html and pieces from decades of international travel, Iris estab - Wilkinson, Isabel. “Remembering Carl Apfel: A Style Icon in His Own lished a reputation as one of the great collectors of fashion. Right.” T Magazine , Aug. 26, 2015. Her process of creating outfits from distinct articles of cloth - http://www.nytimes.com/2015/08/26/t-magazine/carl-apfel-in- ing and layers upon layers of jewelry defied aesthetic con - memoriam.html ventions in favor of an individual style. Wisconsin Alumni Association. "Iris Apfel Is Ready for Her Close-Up." Yet it was not until she was in her eighties that she became On Wisconsin, Summer 2014. widely recognized in the fashion world. In 2005, the Metro - http://www.uwalumni.com/awards/daa_apfel/ politan Museum of Art’s Costume Institute opened an exhi - bition, Rara Avis: Selections From the Iris Barrel Apfel Collection , that celebrated Iris’s collection of clothing and accessories—and her personal aesthetic. The exhibition brought Iris into the public eye and transformed her into, as she puts it, a “geriatric starlet.” Since then, Iris has been featured in a number of magazines, including Vogue , and has appeared in fashion advertising campaigns

DISCUSSION GUIDE Iris |5 BACKGROUND INFORMATION

Albert Maysles a classic American documentary. In 1992, the Library of Con - gress saluted the film for its historical, cultural and aesthetic This is an edited excerpt from Albert Maysle’s biography significance. available online at mayslesfilms.com. Albert was made a Guggenheim Fellow in 1965. Salesman Two of America’s foremost nonfiction filmmakers, Albert and his next two films became cult classics. Gimme Shelter Maysles and his brother, David (1932-1987), are recognized (1970) is a dazzling portrait of Mick Jagger and the Rolling as pioneers of “direct cinema,” the distinctly American ver - Stones on an American tour that culminated in a killing at sion of French “cinéma vérité.” They earned their distin - the notorious concert at Altamont. Grey Gardens (1976) cap - guished reputations by making nonfiction feature films, in tures on film the haunting relationship of the Beatles, a which the drama of human life unfolds as is, without scripts, mother and daughter living secluded in a decaying East sets or narration. Hampton mansion. These films were released theatrically to Born in Boston to parents who were Jewish immigrants from great acclaim. Eastern Europe, Albert earned a B.A. from Syracuse Univer - In 1994, the International Documentary Association pre - sity and an M.A. from Boston University, where he then sented Albert with its Career Achievement Award. He also taught psychology for three years. He made the transition received the 1997 John Grierson International Gold Medal from psychology to film in the summer of 1955, when he took Award for documentary from the Society of Motion Picture a 16mm camera to Russia to film patients at several mental and Television Engineers, the American Society of Cine - hospitals. The resulting film, Psychiatry in Russia , was Al - matographers’ 1998 Presidents Award—given for the first bert’s first foray into filmmaking. Several years later, the time to a documentarian—the Boston Film/Video Founda - Maysles brothers took a motorcycle journey from Munich to tion’s 1998 Vision Award, the 1999 Hot Docs Lifetime Moscow and along the way shot their first collaborative film, Achievement Award and numerous other awards. In 1999, this one about the Polish student revolution. Eastman Kodak saluted Albert as one of the world’s 100 In 1960, Albert was co-filmmaker of Primary , a film about the finest cinematographers. Democratic primary election campaigns of John F. Kennedy Note: Albert Maysles died on March 5, 2015, five months after and Hubert Humphrey. The use of handheld cameras and the premiere of Iris at the New York Film Festival. synchronous sound allowed the story to tell itself. With their fine-tuned sense of the scene-behind-the-scene, the Maysles Sources: brothers made Meet Marlon Brando (1965) and With Love Gates, Anita. "Albert Maysles, Pioneering Documentarian, Dies at 88." From Truman (1966). Then they came out with the landmark The New York Times, March 6, 2015. nonfiction feature film Salesman (1968), a portrait of four http://www.nytimes.com/2015/03/07/movies/albert-maysles- door-to-door Bible salesmen from Boston. It won an award pioneering-documentarian-dies-at-88.html from the National Society of Film Critics and is regarded as Maysles Films. "Biography." http://mayslesfilms.com/biography/

DISCUSSION GUIDE Iris |6 GENERAL DISCUSSION QUESTIONS

Immediately after the film, you may want to give people a At the end of your discussion, to help people synthesize few quiet moments to reflect on what they have seen or what they’ve experienced and move the focus from dia - pose a general question (examples below) and give people logue to action steps, you may want to choose one of some time to themselves to jot down or think about their these questions: answers before opening the discussion: • What did you learn from this film that you wish • What did you learn from this film? everyone knew? What would change if everyone • If a friend asked you what this film was about, what knew it? would you say? • If you could require one person (or one group) to • If you could ask Iris Apfel a single question, what view this film, who would it be? What would you would you ask her? hope their main takeaway would be? • A month from now, what do you think you’ll • Complete this sentence: I am inspired by this film (or remember most from this film? discussion) to ______.

DISCUSSION PROMPTS

Philosophies and Life Lessons watching you.’ She said, ‘You’re not pretty. And you’ll never be pretty. But it doesn’t matter. You have something much If you were writing an article entitled, “Iris Apfel’s Advice for better. You have style.’” What messages do you think Iris a Successful Life,” what would it say? took away from that experience? How do you think you What did you learn about Iris from her relationship with her would have felt hearing those words? husband, Carl? What did you learn about love, marriage and happiness? Fashion Iris recalls feeling abandoned when her own mother went to work. When asked about not having children, she responds, What messages have you heard/do you hear about what “I learned a long time ago, you can’t have everything. And I you are supposed to wear? What were/are the most com - wanted a career. And I wanted to travel… You can’t do mon or influential sources of those messages? How do those everything. It’s impossible. Something has to give. And messages compare to Iris’s advice? sometimes it’s you.” What would you say to women who Iris shows the shoes she wore at her wedding and quips, want children and also want fulfilling careers? “They’re back in style. If you hang around long enough Of her curiosity and sense of humor, Iris says, “I think those everything comes back.” What does this truism tell you are the two great gifts that I got in my cradle. I really believe about fashion? that.” What gifts have you received and what role do they Harold Koda, former curator in charge of the Costume Insti - play in your life? tute of the Metropolitan Museum of Art, says, “Iris is an artist. What do you think of Iris’s assertion that “it’s better to be What she uses all of her clothing and her accessories to do happy than well-dressed”? Do you agree? If not, why not? If is compose a new vision.” Think about the way you define so, how does it show up in your day-to-day wardrobe art (or artist). Do you think the label applies to Iris Apfel? choices? Iris laments that the current generation doesn’t have any Iris recalls an encounter with Mrs. Loehmann (of the famous sense of history. In contrast, she always saw that “everything department store) as follows: “She used to fixate on me. She is interrelated, and that politics and science and economics really made me very uncomfortable. And one day she and fashion and all that are all in one and part of the same. called me over. And she said, ‘Young lady? I’ve been And I applied it. I know if you look at a dress, it’s affected by

DISCUSSION GUIDE Iris |7 DISCUSSION PROMPTS

all of those things. I mean you can almost tell what was Iris is opposed to plastic surgery to hide the signs of aging. going on at that period.” Take a look at what people in the How is using plastic surgery to alter your image different room are wearing. What do you think your outfits tell you from choosing clothing or accessories to alter your image? about current politics, science, economics and fashion? In your view, why do people (especially women) feel the need to have plastic surgery? Would you consider having What do you think Iris would say about a television show like plastic surgery? Why or why not? Fashion Police? How about “reality” shows that provide glimpses into aspects of the fashion industry, such as Amer - Aging ica’s Next Top Model or Project Runway ? What role does Iris’s age play in people’s responses to her? What can she do because she is in her nineties that a young Fitting In woman might not get away with? What can’t she do be - cause she is old in an industry that focuses most of its en - Iris encourages people to express their individualism through ergy and resources on the young? their wardrobes. How do you think your community would Toward the end of the film, Iris admits that the only things react to someone who dressed like Iris? What’s the general she thinks are important enough to worry about are things reaction to people who dress differently from those around like health, because “as you get older you realize that all them? Why do you think that’s the case? these other things are just [snaps her finger to indicate gone Iris states, “I like individuality. It’s so lost these days. There’s in a moment].” How do the things you focus on change with so much sameness. Everything is homogenized. I hate it.” age? She also says, “Downtown, they think they’re stylish but they Iris says, “To tell you the truth, when I get up in the morning, all wear black. And it’s not really style. It’s a uniform.” Have everything I have two of, one hurts. And that’s the way it is. you ever felt pressure to dress a certain way? What circum - I mean when you’re older a lot of people just… give in to that. stances or environments make it possible for a person to But I mean, unless it’s something really serious… you just challenge the norm and what circumstances make people have to push yourself. And then you go out and you start to feel like they can’t take fashion risks? do things. You forget about yourself. Otherwise, you can just Iris says she learned about accessorizing from her mother sit there and brood all day long. I mean, you can’t not do during the Great Depression, when a single scarf or a single what you did. People say what an energy and everything I dress had to be worn on multiple occasions. What do you have, but it’s nothing like what I used to have. Now I get think her mother would say to young people today who feel tired.” In what ways are your own experiences of aging (or that popularity and success rely on wearing the “right” brand with aging loved ones) similar to or different from Iris and of jeans or shoes? Carl’s experiences?

Culture Iris pulls elements of her outfits from “all over the place,” at one point even showing a Chinese shaman’s jacket that she transformed into cocktail wear. In your view, is this cross- cultural borrowing a form of cultural co-optation (where a dominant culture takes from another in a way that obscures and disempowers the culture of origin)? How would you dis - tinguish between cultural appropriation and creativity in - spired by cultural intersections?

What did you learn from Iris about the art of haggling?

What do you think Iris means when she says, “I don't happen Additional media literacy questions are available at: to like pretty”? She also acknowledges that most of the www.pbs.org/pov/educators/media-literacy.php world doesn’t share her view. Why do you think that’s the case?

DISCUSSION GUIDE Iris |8 Taking Action

• In an afterschool program for middle school girls, lead a discussion on the pressure to wear (or not wear) certain types of clothes or brands. Investigate the source of those messages. Invite everyone to talk about Iris’s unique style and imagine what they might wear if no one was judging them. Consider posting comments on fashion blogs, social media sites or retailers’ websites about the messages they are sending about “proper” or “fashionable” attire.

• Celebrate the accomplishments of older women in your community.

• Host a screening for a local women-in-business group. Discuss how to encourage women to take chances and believe in their own visions as Iris did and does.

• Put together your own museum retrospective by gathering fashions from people in your community. Include explanations about time periods and cultures that are represented in the exhibit.

• Iris says, “All the great handcrafted trades are going down the tubes. Some have already gone. And then there’s nobody left to teach them. And you’ll have all kinds of machine- made junk.” Find craftspeople working in the fields of textiles and/or fashion in your community and help them publicize their work. Create opportunities for them to teach their crafts to others.

DISCUSSION GUIDE Iris |9 RESOURCES

FILM-RELATED WEB SITES

IRIS MAYSLES DOCUMENTARY CENTER magpictures.com/iris Maysles.org This is the film’s official website, which offers general infor - The Maysles Documentary Center is a nonprofit organization mation about the film. focused on documentary films and educational program - ming in New York City’s Harlem neighborhood. MAYSLES FILMS, INC. mayslesfilms.com The website for the film production company founded by Albert and David Maysles discusses Iris, the company’s other films and other projects.

Original Online Content on POV To further enhance the broadcast, POV has produced an interactive website to enable viewers to explore the film in greater depth. The Iris website—www.pbs.org/pov//iris—offers a streaming video trailer for the film; an interview with members of the film team; a list of related websites, articles and books; a downloadable discussion guide; and special features..

What’s Your POV? Share your thoughts about Iris by posting a comment at http://www.pbs.org/pov/Iris

Interviews and Features COSTUME INSTITUTE OF THE METROPOLITAN MUSEUM OF ART: “RARA AVIS: SELECTIONS FROM THE IRIS Architectural Digest: BARREL APFEL COLLECTION” “IRIS APFEL’S EXUBERANT APARTMENT” www.metmuseum.org/exhibitions/listings/2005/iris- http://www.architecturaldigest.com/story/iris-apfel- barrel-apfel manhattan-apartment-article The website for the 2005 exhibition of Iris Apfel’s collection Amanda Vail wrote a 2011 feature article on Iris Apfel’s Man - contains lots of information about both the woman and her hattan apartment. collection. See www.metmuseum.org/press/general-infor - mation/2011/the-costume-institute for a history of the Cos - THE AUSTIN CHRONICLE: tume Institute and click on “Blogs” on the bottom left for “STORIES THAT TELL THEMSELVES” even more information. http://www.austinchronicle.com/screens/2000-02- 11/75859/ PEABODY ESSEX MUSEUM: “RARE BIRD OF FASHION: In this wide-ranging interview conducted by Anne S. Lewis THE IRREVERENT IRIS APFEL” in the year 2000, Albert Maysles discusses his philosophy of www.pem.org/exhibitions/21- direct cinema. rare_bird_of_fashion_the_irreverent_iris_apfel – This page on the museum’s website describes a 2009-2010 exhibit on Iris Apfel and includes a fun, interactive “paper doll” feature that allows users to dress a mannequin in Iris Apfel style.

DISCUSSION GUIDE Iris |10 HOW TO BUY THE FILM

To order Iris for home use, visit magpictures.com/iris.

Produced by American Documentary, Inc., POV Community Engagement and Education POV is public television’s premier showcase POV's Community Engagement and Education team works with for nonfiction films. The series airs Mondays at educators, community organizations and PBS stations to pres- 10 p.m. on PBS from June to September, with primetime specials ent more than 650 free screenings every year. In addition, we during the year. Since 1988, POV has been the home for the distribute free discussion guides and standards-aligned lesson world’s boldest contemporary filmmakers, celebrating intriguing plans for each of our films. With our community partners, we in- personal stories that spark conversation and inspire action. Always spire dialogue around the most important social issues of our an innovator, POV discovers fresh new voices and creates inter- time. active experiences that shine a light on social issues and elevate the art of storytelling. With our documentary broadcasts, original American Documentary, Inc. www.amdoc.org online programming and dynamic community engagement cam- American Documentary, Inc. (AmDoc) is a multimedia company paigns, we are committed to supporting films that capture the dedicated to creating, identifying and presenting contemporary imagination and present diverse perspectives. stories that express opinions and perspectives rarely featured in POV films have won 32 Emmy® Awards, 18 George Foster mainstream media outlets. AmDoc is a catalyst for public cul- Peabody Awards, 12 Alfred I. duPont-Columbia University Awards, ture, developing collaborative strategic engagement activities three Academy Awards®, the first-ever George Polk Documen- around socially relevant content on television, online and in com- tary Film Award and the Prix Italia. The POV series has been munity settings. These activities are designed to trigger action, honored with a Special News & Documentary Emmy Award for from dialogue and feedback to educational opportunities and Excellence in Television Documentary Filmmaking, two IDA community participation. Awards for Best Continuing Series and the National Association of Latino Independent Producers (NALIP) Award for Corporate Major funding for POV is provided by PBS, The John D. and Commitment to Diversity. More information is available at Catherine T. MacArthur Foundation, the John S. and James L. www.pbs.org/pov. Knight Foundation, Corporation for Public Broadcasting, and POV Digital www.pbs.org/pov National Endowment for the Arts. Additional funding comes from Nancy Blachman and David desJardins, Bertha Foundation, Since 1994, POV Digital has driven new storytelling initiatives The Fledgling Fund, Marguerite Casey Foundation, Ettinger and interactive production for POV. The department created Foundation, New York State Council on the Arts, New York City PBS's first program website and its first web-based documen- Department of Cultural Affairs in partnership with the City Coun- tary (POV's Borders) and has won major awards, including a cil, Ann Tenenbaum and Thomas H. Lee, and public television Webby Award (and six nominations) and an Online News Asso- viewers. POV is presented by a consortium of public television ciation Award. POV Digital continues to explore the future of in- stations, including KQED San Francisco, WGBH Boston and dependent nonfiction media through its digital productions and THIRTEEN in association with WNET.ORG. the POV Hackathon lab, where media makers and technologists collaborate to reinvent storytelling forms. @povdocs on Twitter.

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