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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

    Jennifer Lawrence plays mom on the edge in artsy drama Die My Love

    Alex Bentley
    Nov 10, 2025 | 11:15 am
    Jennifer Lawrence in Die My Love
    Photo by Kimberley French/courtesy of MUBI
    Jennifer Lawrence in Die My Love.

    Writer/director Lynne Ramsay does not make feel-good movies. Her previous two films —You Were Never Really Here and We Need to Talk About Kevin — were about a traumatized veteran who tracks down missing girls for a living and parents reckoning with a child who might be a sociopath, respectively. Her latest, Die My Love, has a story as dark as its title.

    Grace (Jennifer Lawrence) and Jackson (Robert Pattinson) are a married couple who move into a run-down house that used to belong to Jackson’s uncle, who shot and killed himself on the property. That doesn’t exactly scream “great vibes,” but the somewhat manic duo quickly introduce a child into the equation, an event that forms a schism between two people who previously seemed to be on the same off-kilter wavelength.

    While Jackson works to provide for the family, Grace is left to take care of the baby and herself at the somewhat remote house. She doesn’t appear to be a big fan of the arrangement, engaging in all manner of odd behavior, like crawling around the floor, talking to herself, and taking the baby on miles-long walks to visit her mother-in-law, Pam (Sissy Spacek), who’s not doing well herself after recently losing her husband, Harry (Nick Nolte).

    Ramsay, who co-wrote the film with Enda Walsh and Alice Birch, foregrounds Grace’s experience above all others, but the film is far from straightforward. The idea of post-partum depression is raised as a reason for Grace’s weird behavior, but as both she and Jackson are introduced as two people who skew to the “ab” side of normal, it’s difficult to say that everything she does is due to feelings that arise after giving birth.

    Plus, Grace has plenty to be upset about in general, including living in a death house, being left alone with their child the majority of the time, and Jackson bringing home a yapping dog without even so much as a conversation. But the manifestation of her anger/depression is hard to parse, as Ramsay includes scenes of her carrying around a butcher knife, meeting up with a mysterious figure on a motorcycle, and other strange things that may or may not actually be happening.

    There is clearly a lot of metaphorical work being done by seemingly random things like the reappearance of a black horse on multiple occasions, blaring rock music that accompanies several scenes, and the use of the 1x1 aspect ratio by Ramsay. It’s easy to feel the intensity of the film’s central relationship and their conflicts even if you can’t make heads or tails of the allusions that the filmmaker seems to love.

    Lawrence is put through the wringer almost as much as she was in Darren Aronofsky’s Mother!, and her performance is one that can be felt strongly. Still, because the narrative is unclear, she often appears to be overwrought in certain scenes. Pattinson never fits well with his uncaring and/or oblivious character. Spacek makes a nice impression in a limited amount of screen time, but why Ramsay chose to use the ultra-talented LaKeith Stanfield in the nothing part of the motorcycle rider is baffling.

    Those who love to dig into symbolism and non-linear storytelling will have a field day with the arty Die My Love. But for everyone else, anything Ramsay might have been trying to say about the difficulties of being a mother gets buried under many scenes that don’t make any logical sense and over-the-top acting that’s only fit to match the bizarreness of the film itself.

    ---

    Die My Love is now playing in theaters.

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