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Episode Info: This episode is dedicated to 2019 AFI DOCS featuring an interview with Festival Director Michael Lumpkin, group discussion of three features playing this year and an interview with Chris and Linda Goldstein Knowlton of WE ARE THE RADICAL MONARCHS.   Group Review of Three films at 2019 AFI Docs: Recorder: The Marion Stokes Project / 2019 (Director: Matt Wolf) Slay the Dragon / 2019 (Directors: Barak Goodman & Christopher Durrance) We Believe in Dinosaurs / 2019 (Directors: Clayton Brown & Monica Long Ross   Film Featured in Interview Portion: We are the Radical Monarchs / 2019 (Director: Linda Goldstein Knowlton)   Other Documentaries Mentioned: American Factory / 2019 (Directors: Julia Reichert & Steven Bognar) The Apollo / 2019 (Director: Roger Ross Williams) The Brainwashing of My Dad / 2016 (Director: Jen Senko) Dark Money / 2018 (Director: Kimberly Reed) Gay Chorus Deep South / 2019 (Director: David Charles Rodrigues) The Great Hack / 2019 (Director: Karim Amer, Jehane Noujaim) Maiden / 2019 (Director: Alex Holmes) Maya Lin: A Clear Strong Vision / 1995 (Director: Freida Lee Mock) Mike Wallace is Here / 2019 (Director: Avi Belkin) The Professional: A Stevie Blatz Story / 2019 (Director: Daniel Labarbera) Raise Hell: The Life and Times of Molly Ivins / 2019 (Director: Janice Engel) Remember My Name / 2019 (Director: A.J. Eaton) Rigged: The Voter Suppression Playbook / 2019 (Director: Michael Kasino) Ruth: Justice Ginsberg in Her Own Words / 2019 (Director: Freida Lee Mock) Sea of Shadows / 2019 (Director: Richard Ladkani) True Justice: Bryan Stevenson's Fight for Equality / 2019 (Directors: George Kunhardt, Peter W. Kunhardt & Teddy Kunhardt)   Timestamps: 03:07 - Interview with AFI Docs Festival Director Michael Lumpkin 17:04 - Group Review of three films playing at 2019 AFI DOCS 35:01 - Chris interviews Linda Goldstein Knowlton of WE ARE THE RADICAL MONARCHS 47:17 - Doc Talk   Website/Email: www.fogoftruth.com disinfo@fogoftruth.com   Credits: Artwork by Hilary Campbell Intro music by Jeremiah Moore Editing by Christopher Llewellyn Reed Transitional music by BELLS (thanks to Christopher Ernst)
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