"Rachel," showing at this year's Traverse City Film Festival, is a powerful, emotionally and politically devastating documentary by director Simone Bitton that tells the story of Rachel Corrie, a 22-year-old American activist who was run over and killed while trying to prevent an Israeli bulldozer from demolishing Palestinian homes in the Gaza Strip. Rachel's parents, Craig & Cindy Corrie, will accompany the film to the festival and attend its screenings, as well as sit on the "Palestine and Vine" panel on Thursday, July 30. We spoke to Craig & Cindy about their daughter's life and work, the circumstances surrounding her death, and the documentary that is shining a renewed spotlight on her story.

Craig & Cindy Corrie

Traverse City Film Festival: Rachel's story and the details of her death were well-documented in the American media, and in many ways came to symbolize the complexity of the Israeli-Palestinian conflict and America's role in that struggle. For those who may not have heard Rachel's story, can you share what motivated her to become a peace activist in the Middle East and what the circumstances were surrounding her death in 2003?

Cindy Corrie: Rachel was interested in social justice issues from a very young age. At the time 9/11 happened, she was a college student and was taking a class called Local Knowledge, which focused on how events on the local level fit into the global scale. 9/11 shifted what every student in that class was doing. When it became apparent that our response to the attack was going to be retaliation in Afghanistan and possibly Iraq, the peace movement resurfaced in a big way. 9/11 sent Rachel on a search to figure out why that attack happened, which led her to studying the Middle East and the conflict between Israel and Palestine.

Still from "Rachel"

That summer, many of the students traveled with the International Solidarity Movement (ISM) to the Middle East. ISM has two mandates: Freedom for Palestinian people, and the use of non-violent forms of resistance. One of Rachel's friends returned from that trip and talked to her about Gaza and the great need for people from ISM to be there. Rachel studied Gaza, and it became her view that it was the most forsaken of the occupied territories. She felt she needed to be there. Like many families, ours was pretty removed from this issue - we didn't know what was going on there. But she studied Arabic, she bought us books so we could learn about the conflict. Then, in early 2003, she finally traveled there.

Craig Corrie: We didn't financially support her going. I spent 1970 in the military in Vietnam, and I learned from that experience, you don't volunteer to go. I didn't give her money, because I didn't want to facilitate her leaving. [Pauses] I wish I had. Because I wanted her to know - and by the end, she knew - how proud I was of her. But we were afraid. The scene she was describing, based on my experience, was a military out of control.

Cindy: We would have preferred she didn't go. But I knew how important it was for her to define her own path. She thought and felt very deeply; she needed to do something meaningful with her life. My approach was to listen and become informed and support her the best I could.

TCFF: Since Rachel's death, there has been a steadily increasing movement to share her words and experiences with a broader audience, including her published emails, a play, the Rachel Corrie Foundation website and now this film. What was your reaction to this film being made, and to the final product?

Craig: Simone (Bitton)'s film may be the closest thing we ever get to an investigation into Rachel's death. We are still seeking accountability for what happened to our daughter. [Note: The Corries have filed a civil lawsuit against Israel over Rachel's killing, with a court date set for March of 2010 - the seventh anniversary of her death.]  It's not completely comprehensive - no film could be - but it does focus on important issues around Rachel's case.

Cindy: The film provides a wonderful window into the human experience of the impact of her death and how that affected people. It's also a heartfelt expression of why and how people resist when they believe their government is doing something wrong. Anyone who has experienced a loss like we have will know what I mean when I say we live with it every day of our lives.

Vigil in Olympia, Wash.

Cindy: We're pro-people, but we're very against the Israeli occupation of Palestine. It's a humbling experience as an American to visit the Middle East and see the destruction there and know the role our country is playing in that. The question at the time of Rachel's death shouldn't have been, "What was Rachel doing there?" It should've been, "What were the bulldozers doing there? What is our money doing there?" Our view is, our tax dollars helped pay for the bulldozer that killed our daughter. The task Rachel left us with is to try and help Americans realize our responsibility in what's happening over there, as well as our ability to change the situation.

TCFF: "Rachel" had its U.S. premiere at Tribeca earlier this year. What has the reaction to the film been like so far? How does its message fit into the message of Rachel's work and life?

Cindy: We weren't sure what to expect initially, but the reception has been wonderful. The film seems to really have a strong impact on audiences. In the movie, it shows how justice can be held hostage by politics, but also demonstrates how people who witness injustice can carry on and maintain their heart in spite of tremendous obstacles. Rachel refused to ignore marginalized people. Whether it was the homeless, the mentally ill, or the oppressed…she cared for them.

Craig: What I think Rachel demonstrated is that you have to act on your values. Without action, what you believe doesn't mean a thing. Values are not something to be discussed with friends over wine. They're meant to be acted upon. That's what Rachel did.

Rachel Corrie

"Rachel" plays Wednesday, July 29 at 6:30 p.m. at the Old Town Playhouse and Thursday, July 30 at noon at the State Theatre during the Traverse City Film Festival. For ticket information, click here.

During last summer's film festival, I ran into Steve "Lips" Kudlow and Robb Reiner of metal band Anvil downtown after they had just performed for a packed house at Lars Hockstad Auditorium. Though I missed the screening of "Anvil! The Story of Anvil" (Sacha Gervasi's documentary on the band) that preceded the concert, I'll never forget the band's show: thrashing, loud, and enthusiastically received by the mostly middle-aged, polite and decidedly non-metal crowd. The sight of '80s metal gods rocking out in my elementary school - and Michael Moore headbanging in the aisle - put a perma-grin on my face for the rest of the night.

Anvil Performing at Lars Hockstad Auditorium

But it was Lips and Robb themselves who left the biggest impression on me. Though every inch metal rockers in appearance, the frontmen - now middle-aged - were sweet, gracious and humble, still buzzing over the warm reception they had at the concert. "That was f*$&@#$ great, man," Lips enthused when I ran into him, rubbing his hands together. When I asked why the band is still playing together after all these years, chasing an elusive - and often embittering - dream of mega-success, Lips responded: "Because we are rockers, man. This is what we do. It's who we are. How do you stop being who you are?"

Why success has eluded a band as hard-working and talented as Anvil is the mystery at the center of Gervasi's movie, playing for a full theatrical run at the State this week. In the early '80s, Anvil shattered the rock scene with their groundbreaking heavy metal albums, paving the way for acts like Whitesnake, Anthrax and Metallica to come in. The leaders of those bands, all of whom broke through to superstardom, reflect on Anvil's influence in the movie's opening sequence.

"I remember thinking, 'They're going to turn the music world upside down,'" says Lars Ulrich of Metallica. Anthrax's Scott Ian was similarly mesmorized, recalling saying of the band: "If we can't be better than that, we should just go home." But it's Slash of Guns and Roses who finally - and chillingly - articulates what actually happened to Anvil: "As big as an influence as they had…everyone just ripped them off and left them for dead."

Robb & Lips of Anvil

That opening sequence - which interjects legendary rock musicians' memories of Anvil with concert footage of the band at the height of their popularity - dissolves into a heartbreaking present-day sequence in which Lips prepares for his day job delivering cafeteria meals to elementary schools. The cut from a 1984 Lips shredding on stage in a bondage harness before a crowd of thousands in Japan to today's Lips warming up the cafeteria meal delivery van is a deliberate visual transition on Gervasi's part. Within that edit lies the central cautionary message of the film: It's been a long, painful and ultimately disappointing road for these once former rock gods. The music industry, unforgiving as it can be, chewed and spit these men out before they even realized it was happening. And yet…

"Even though Anvil doesn't pay, it gives me the joy and happiness you need to get through life," Lips says to the camera at one point, genuine boyish enthusiasm on his face. "I mean, it couldn't be any worse. At least I can say that I did everything I possibly could [to get success]."

Robb echoes his bandmate's sentiments, stating: "Give me another stage and another party, and I'm happy." The band's families provide emotional (and sometimes financial) support for Anvil as they continue to chase success decades later - in spite of disastrous tours, a crippling lack of management and label support, and increasing unpaid debt. Watching the film, you sense the toll that years of working in the shadows, seeing their peers rise to the top of the charts while they struggle to put food on the table, has taken on these men…how the weight of missed opportunity bears down on them, still luring them with the possibility they might yet break through. The chance that they'll be able to silence once-and-for-all the critics, cynics and skeptics who doubted them along the way seems to drive Anvil ever forward in their pursuit of greatness. That, and an unabashed, undying love of rock & roll.

When you're playing before sold-out arenas, selling millions of albums and gracing the cover of rock magazines, it can become difficult over time to distinguish whether it's fame, money or the love of music that's ultimately driving the band. When you're playing for 20+ years to crowds of less than 100 in venues that could easily hold 10,000, that question has a tendency to melt away. For Anvil, it's always been - and always will be - about the music. As Lips said that warm festival night last summer, watching the crowds stream by him in downtown Traverse City: "This is what we do. It's who we are. How do you stop being who you are?"

"Anvil! The Story of Anvil" is playing daily now through Thursday at the State Theatre. For ticket information and showtimes, click here.

We are excited to announce that beginning this week, a new program will be appearing on Up North 2: the State Theatre Show. Hosted by myself and State superstar Dave Poinsett, the hour-long weekly show will feature news, reviews and interviews from the State Theatre and Traverse City Film Festival. The first episode is now live online - click on the episode title in the above post to view the video. In future weeks, check out the schedule on Up North 2 for airtimes, or visit the blog to watch the newest episodes online.

As with everything at the State, the State Theatre Show is by and for the community, so if you have any feedback - suggestions for guests, ideas for special segments, etc. - please shoot them our way at statetheatre@traversecityfilmfestival.org.

I just got done watching the live announcement of the 2009 Oscar nominees. Wow.

On the one hand - I love Richard Jenkins and Melissa Leo's nominations for Best Leading Actor/Actress, and Robert Downey Jr's nod for Best Supporting Actor. On the other hand - "Frost/Nixon" over "Dark Knight" for Best Picture? Seriously?

I think I'm good with the list overall, though. Some surprises, like Michael Shannon, kept it interesting. Heath Ledger was inevitable, but it's still comforting to see him get recognized. Also, I'm glad to see my two favorite 08 docs - and TCFF faves - "Man on Wire" and "Trouble the Water" made the cut.

What do you think of this year's round-up? Did the AMPAS get it right - or did they miss the boat? Check out the full list of nominees here, then share your thoughts below.