VILLAGE VOICE | April 25, 2018
A film-within-a-film is a well-worn narrative conceit, but one that seems more complicated in the context of a documentary. Madeleine Sackler’s extraordinary It’s a Hard Truth Ain’t It was shot entirely at the Pendleton Correctional Facility, a maximum-security state prison near Indianapolis. (The occasional animated interludes were done by Yoni Goodman, of Waltz With Bashir.) The incarcerated men there are both subjects and filmmakers in Sackler’s construction, talking about their lives in front of the camera while learning film lingo and devices from the classroom environment Sackler creates.
We sit in on the filmmaking lectures Sackler delivers to the inmates. (At the same time this was going on, she shot a separate feature at the prison: the narrative piece O.G., starring Jeffrey Wright and also showing at Tribeca.) During the sessions, the men interview each other about their experiences and discuss what they want to add to the final cut of the movie. We witness the canny results first-hand, as when the men decide to finally share — midway through, after we’ve gotten to know them — their sentences and crimes in the form of onscreen text just below their faces. Poverty, abuse, addiction, and racism all play familiar roles in these stories. But the haunting exchange that best illustrates the divide between the men and the director (who hails from a wealthy Connecticut family), along with most of us who see the film, comes when one of the inmates expresses incredulity at the fact that none of Sackler’s former high-school classmates have either been murdered or killed someone.
He asks, “No one?”
She replies, with certainty and sadness, “No one.”