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    Free screening at Rice Media Center

    Acclaimed documentary We Still Live Here examines resurrection of ancientWampanoag language

    Joe Leydon
    Nov 30, 2011 | 9:04 am

    So here's the pitch: Jessie Little Doe, a Native American social worker, starts to have recurring dreams in which vaguely familiar people from another era talk to her in an incomprehensible language. Jessie — a feisty and inquisitive thirtysomething — is befuddled and annoyed: Why can't these folks just speak English? Only gradually does she realize that they're speaking Wampanoag, the ancient language of her tribal ancestors. A language no one had used for more than a century.

    "It is a story of Native Americans taking charge of their history and their identities," the filmmaker says, "reaching back to the words of their ancestors and forward to their children's futures."

    These and other events send Jessie and members of the Aquinnah and Mashpee Wampanaog communities on an odyssey to uncover hundreds of documents written in their language. Which in turn leads her to pursue a master's degree in Linguistics at MIT and, more important, accomplish something no one has ever done before – bring a language alive again in an American Indian community many generations after its last Native speakers had passed away. Jessie's now six-year-old daughter, Mae Alice, is the first Native speaker of Wampanaog since a time before movies talked and radios broadcast.

    It may sound like the stuff of uplifting fiction, but it's actually the true-life tale compellingly told by award-winning filmmaker Anne Makepeace in We Still Live Here. The acclaimed documentary, a presentation of Public Television's Independent Lens series, will have a free screening at 7 p.m. Wednesday at the Rice Media Center as part of the ongoing Community Cinema project.

    "I was profoundly moved by this story," Makepeace told PBS NewsHour, "and by Jessie herself, who never ceased to amaze me with her earthy humor, her loyal friendship, and her fierce dedication to the work of reviving the language."

    Even so, Makepeace feared she would face resistance if she tried to make a movie about that revival:

    Jessie and other members of the Wampanoag Language Reclamation Project had a strict policy of never allowing their language to be used in anything that could be sold. They had refused many requests by teachers, filmmakers, and writers for translations and use of the language, because they want to nurture the language and keep it to themselves, at least until they reach a critical mass of fluent speakers."

    And there was another complication: Makepeace's own family history.

    My ancestors were Puritans who came to the Massachusetts Bay Colony in 1630," Makepeace said, "and over the decades and centuries [they] proceeded to co-opt Wampanoag lands" in present-day Massachusetts and Rhode Island. "Distant Makepeace relatives own Ocean Spray, and have thousands of acres of cranberry bogs in what was once Wampanoag territory. One of my direct ancestors took part in the Great Swamp Massacre during King Philip's War, a devastating conflagration that decimated Native people in New England in 1676."

    Near the of 2007, however, Makepeace mustered the courage to approach Jessie and her associate, Linda Coombs.

    "I told them that I would love to make a film about the resurrection of their language, that their story had grabbed me by the heart and wouldn't let go. I said that I didn't know how I would do it but that I felt it was an incredibly important story, that it had reached a place very deep in me and that I would be honored to tell it. And then I told them of my family history, even though I feared that this would put an end to the idea right then and there.

    "Instead, they listened carefully, and when I was done, one of them simply said, 'You're closing the circle.'"

    Now that We Still Live Here is complete and in circulation — the film is getting public screenings in many other venues nationwide, and is available on DVD —Makepeace hopes it will inspire the efforts of other indiginous people.

    "It is a story of Native Americans taking charge of their history and their identities," the filmmaker says, "reaching back to the words of their ancestors and forward to their children's futures. My hope is that Native Americans and indigenous people around the world whose languages and cultures are endangered will take heart and renew their efforts to revive and revitalize their Native tongues, so that this country and this world retains its rich and infinitely varied cultural diversity.

    "I would also like every American to see this film and acquire a deeper understanding and a greater awareness of the Indian people they celebrate at Thanksgiving every year, and of the unique and diverse histories and cultures of Native American communities living in our midst."

    We Still Live Here will be screened at Rice Media Center at 7 p.m. Wednesday. Click here for details.

    Joe Leydon writes about movies on MovingPictureBlog.

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    Movie Review

    Offbeat drama Pillion features command performance by Alexander Skarsgård

    Alex Bentley
    Feb 20, 2026 | 4:30 pm
    Alexander Skarsgård and Harry Melling in Pillion
    Photo courtesy of A24
    Alexander Skarsgård and Harry Melling in Pillion.

    Describing the new movie Pillion is almost an act of futility. It contains a variety of seemingly disparate parts that coalesce into a whole to make it utterly fascinating. Few other recent films have been able to walk the line between filthy and wholesome in quite the way this one does, and that’s only because few other filmmakers would actually dare to try.

    It centers on Colin (Harry Melling), a meek man in his mid-thirties who still lives at home with his parents, Pete (Douglas Hodge) and Peggy (Lesley Sharp), while working a dead-end job giving out parking tickets. While performing in a barbershop quartet at his local pub, Colin catches the eye of biker Ray (Alexander Skarsgård), who summons him for a clandestine hook-up the following day (which just so happens to be Christmas Day).

    With barely a word exchanged between them, Ray establishes a dominance over Colin that quickly leads to them starting a relationship in which Colin does anything Ray asks. And that means more than just sex: Colin, whether desperate for any kind of affection or unlocking a side of himself he hadn’t known, readily agrees to cook, clean, shop, and basically do whatever else Ray wants him to do.

    Written and directed by first-time feature filmmaker Harry Lighton, the film is astonishing in the way it’s able to mine humor from Colin and Ray’s atypical bond. To call Ray “unfeeling” might not be totally accurate, but the way he treats Colin borders on cruel. However, the way Lighton structures the film, it’s easy to understand why someone like Colin would be willing to go along with the situation. It’s both hilarious and heartbreaking to see Colin debase himself in a variety of ways.

    On the flip side is Colin’s heartfelt arc with his parents. It’s established right away that Peggy, who is sick with cancer, is a bit too involved with Colin’s love life, with the opening scene featuring her setting him up on a blind date. But their easy acceptance of his queerness and desire to see him find love is as heartwarming as it gets. The juxtaposition between the wholesomeness of their family and Colin’s new life is also the source of a good amount of comedy.

    Lighton does not shy away from the sexual side of Colin and Ray’s relationship, and the scenes he depicts are as graphic as you are likely to see in an R-rated film. Some go up to and a little past what might be expected in a mainstream movie (including the use of a certain fake appendage). Other times they play out in a comical way to illustrate just how far Colin has progressed from the person he was when the film started.

    Skarsgård, who stole the show in the Charli XCX movie The Moment, is the attraction in more ways than one in this film. The part calls for someone who’s not only impossibly handsome, but also a person who can stop dissent with just a glance, and he lives up to both qualities equally well. Melling, best known for playing Neville Longbottom in the Harry Potter movies, also embodies his role perfectly. He plays Colin as weak enough to be run roughshod over by Ray, but not so hopeless as to not be worth rooting for.

    Pillion (which is the name of the secondary seat on a motorcycle on which Colin rides multiple times in the film) operates at a storytelling level that is difficult to achieve. Many people will not fully understand the film’s central relationship, but the way it is showcased by Lighton makes it compelling, gut-wrenching, and sexy.

    ---

    Pillion is now playing in theaters.

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