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Witness to the horrors in Chechnya

It’s a film that makes you want to look away but doesn’t let you do it.

Published

7 months ago

February 19, 2021

*Activist **David Isteev** is prominently featured in **“Welcome to Chechnya**” (Image courtesy of HBO)*

HOLLYWOOD – In an era when documentaries often seem geared more toward a slick and buzzy “docu-tainment” style than to the unfiltered presentation of real-world facts and experiences, “Welcome to Chechnya” blasts you in the face like a gust of icy wind.

A harrowing look at the “underground railroad” that sprung up within Russia to help the victims of the notorious “gay genocide” being perpetrated under Chechen leader Ramzan Kadyrov, it’s a film that makes you want to look away but doesn’t let you do it. It conveys the unthinkable trauma of living in a constant state of terror while making a desperate, clandestine run for your very life; more than that, it permits us to put a human face – albeit a digitally altered one – on the crisis.

Part of the film’s impact undoubtedly stems from its subject matter, but it’s at least equally due to the artistry of its director, David France. It’s not the first time he’s been behind a heavyweight LGBTQ documentary. The longtime journalist made his directing debut with “How to Survive a Plague” in 2012, documenting the early years of the AIDS epidemic with an activist’s passion in a film that won him a host of awards and nominations for a several more, including an Oscar.

Now, “Chechnya,” which premiered at last year’s Sundance Festival and was released by HBO last summer, has made the shortlist for this year’s Academy Awards, raising the possibility for a second chance at taking home the coveted statue. Yet Oscar gold was not what France had on his mind when had a conversation with the Blade about the film earlier this week. Rather, he wanted to discuss the people it’s about.

France, like everyone else, had been appalled by the tales coming out of Chechnya in 2017. “We all read the stories,” he tells us now, “but it wasn’t until I read Masha Gessen’s New Yorker piece about the work that ordinary Russians were having to take upon themselves that I became really fascinated.”

He is referring to the network of LGBTQ activists that mobilized in the absence of outside help to extract refugees in daring escapes, hide them in safe houses across Russia, and work with groups around the world to get them out of the country. In “Welcome to Chechnya,” he follows a handful of these accidental heroes, as well as several of the survivors they protect, as they orchestrate and enact spycraft that would be right at home in an episode of “The Americans.” In the process, he shines a light on more than just the atrocities being committed against queer people in Chechnya. He also illuminates a level of courage that most of us have never had to muster up.

“That’s what drew me in,” France says. “The fact that ordinary citizens took it upon themselves to intervene, to try and save lives, while the rest of the world was doing so little about it.”

“It’s not like they had been already doing this work,” he explains. “Olga [Baranova, one of the activists who appears in the film] was running a community center that had an annual arts fair – that’s the extent of her training for the kind of cape-wearing heroics that you see her carrying out.”

With his cameraman and producer Askold Kurov, France spent months in the underground, chronicling the efforts of the activists and the stories of the survivors under their care, and getting plenty of first-hand experience with the kind of fear under which they had to willingly chosen to live, day after day.

After all, getting out of Chechnya wasn’t enough to make anyone safe; Chechen authorities were willing to stop at nothing to make sure nobody had a chance to expose what was going on, up to and including tracking down, recapturing, and maybe even killing any potential witnesses – and anyone who stood in the way was putting themselves in peril, too.

“I remember going on one of the extractions,” he relates. “We were getting ready to make a run with a couple whose location had been found out. We had only a few hours to get them to the airport, and then we got word of a rumor that a group of assassins had been dispatched to prevent them from leaving the country. We had one bodyguard, with one sidearm, with us.

“That kind of unbelievable peril is what hung over, and what still hangs over, every aspect of the work these ordinary Russian activists have taken on for themselves.”

It’s also what made it a challenge to film the refugees, for whom anonymity was a matter of life or death.

**Grisha (left) reuniting with his boyfriend Bogdan (right)**. (Photo **Courtesy of HBO)**

“I wanted to show what they looked like,” he tells us. “The pain that they wore on their faces, the hope – and certainly the fear. And most of them wanted the world to know what had happened to them, to expose these crimes – but they also understood what it would mean for them and their families if they stood up publicly and revealed their truths. They were terrified, and here I was asking them to let me film them anyway and then figure out how to solve this problem later.”

There is still a touch of awe in his voice as he says, “Remarkably, a couple of dozen people agreed to let me do that.”

He continues, “There were people, of course, who couldn’t take that leap with me. There was one person who was nervous even about me filming other people in the shelter. These were people who had just escaped the most horrific abuse and torture, and violation from their own families. They were hiding from their brothers and their uncles, from their own fathers. That dislocation of familial love was so traumatic to everybody there that some of them were just on a very sharp edge – unable to reckon with the past, unable to find security in the present or see hope in the future. You see that in the film with one of them, who even attempts suicide. For those people, it was a difficult arrangement to have me shooting even on the other side of the shelter house. I understood that and I tried to be very respectful.”

The challenge of maintaining privacy would eventually be surmounted by new, state-of-the-art identity protection software, a high-tech touch that France – savvy storyteller that he is – was able to parlay into one of the film’s most dramatic and unexpected moments. A considerable amount of screen time in “Welcome to Chechnya” is devoted to an anonymous refugee who has escaped from his tormentors into the network, where he is reunited with his family and his boyfriend of ten years; a turning point comes when, despite being poised for removal to another country, he chooses to go public with his story and make an official complaint to the Russian government.

As he makes that decision, the false features realistically rendered over his real ones melt away before our eyes, revealing his unaltered face – and with it, his true identity. It’s a powerful effect, and it’s our official introduction to Maxim Lapunov, whose subsequent appearance before a Russian court to tell his story is captured in the movie. Unsurprisingly, his claims are dismissed, and the need to get him and his loved ones out of the country becomes even more imperative.

In talking about Lapunov, the awe returns to France’s voice. “Maxim’s moral courage is unmatched. It was really clear that his life was going to be fucked up for the foreseeable future, no matter what he did. The courage that he showed was the courage to throw his body in the way to make sure that other people don’t get treated the way that he was treated – to save people’s lives. He could have gone anywhere in the world, and just nursed his post-traumatic memories in safety, but instead he went back into the fire.

That was remarkable. I watched him make those decisions, I watched him take on that risk, I watched him bring his family along on that journey and win their allegiance in these choices – these are human dramas like you see in Hollywood films that actually are taking place in the queer battle against the crimes in Russia.”

He segues into a similar expression of respect for David Isteev, another activist prominently featured in “Chechnya.”

“When you look at his face, you just get this incredible sense of high alert and of moral purpose. It makes me think of the stories we have heard from the Holocaust, of citizens who would otherwise have been untouched who reach into some deep reserve to do something. That’s him. And being in the presence of that was one of the most remarkable experiences of my life.”

If it sounds like he has bonded with his subjects, it’s because he has. Being embedded in the shelter network for such an extended period of time, he and Kurov became part of the underground themselves. “We were no longer visitors from outside,” he says. “We were experiencing what they were. I spent nights full of terror inside those safe houses, when rumors were flying about people who might have been seen, locations that might have been revealed, dangers that might have been heightened – I felt that with them. We huddled together, and, in a way, I became part of their journey.

“I do feel personally attached to those people having been through that with them. It’s something like the bond of warfare that you read about. I would do anything for David. I would do anything for Maxim and his family.”

The real emotion apparent in these professions of kinship is surely one of the reasons why the documentarian is still, more than six months after his film’s debut, eager to talk about it. The people with whom he developed these strong bonds are still very much at risk.

The biggest horrors in “Welcome to Chechnya” are only glimpsed briefly in dark and blurry videos intercepted from the web by the network, or described in the stories of torment, humiliation and brutality told by the survivors, but they cast a dark enough shadow over the imagination to make us want to believe they are safely in the past.

Unfortunately, as France is quick to remind us, LGBTQ persecution in Chechnya is still very much “an ongoing humanitarian crisis.” Just last week, two refugees were kidnapped from the network by Russian authorities and returned to Chechnya, an incident that brought the situation there back into the headlines.

“These were two very young men, one of them twenty, and the other seventeen – not even a man,” relates France. “They had been abducted last summer in Chechnya and tortured, they barely got out alive. They were rescued and extracted by the network and were being held in a safe house while the work was being done with foreign partners to try and get them out. Now they are back in detention in Chechnya. It’s a very volatile situation.”

Yet it’s also a situation in which, perhaps ironically, he sees a hope that has been scarce for the past four years.

“The United States, in this new administration, has expressed great concern for those two kids and demanded information on their safety,” he points out. “The European Court for Human Rights has demanded access to them, and safe passage for them to get back to the safe house where they were being held.”

For him, it’s a call to action. “The Russian LGBT network is on the ground, still fighting this fight,” he says. “We can urgently throw our voices behind their efforts with regard to these two youngsters – we could save their lives. There are petitions, but that’s not enough. We know from watching these activists’ work that it’s essential, it’s extensive, and as you can imagine, it’s costly. They cannot raise money within Russia, so they’ve asked people who see the film to help them by donating.

There’s a donation page on the movie site. We’ve just watched almost $200,000 move through there, in the six months since the film came out, and that money goes to the Moscow Community Center, Olga’s group that runs the shelter system, to the Russian LGBT Network that does the extractions and runs the global hotline for the crisis – and it also goes to Maxim and his legal case, which is still percolating through, and showing great progress in, the European courts.

“So, I think there’s hope, but we have to act urgently. I think what’s shocked us all, in the last few years, is how easily we can lose ground. All this progress that we’ve made over the last thirty or forty years can be reversed in a heartbeat, and that’s what’s happened in Russia, and Russia has led the way in this dramatic reversal of queer progress, all across Europe. It’s going to take a lot of people coming together internationally to stop that, but it is possible.”

He’s a realist in his expectations, though. “We can’t hope for is regime change in Chechnya or in Russia. Those are not practical, immediate goals. But we can force Ramzan Kadyrov in Chechnya to stop this. He is a puppet of Putin’s. If we make it politically untenable for Putin not to intervene there, then he will lift up the telephone and say to Kadyrov, ‘Stop it.’ That’s all that it takes. It’s that simple. We haven’t gotten there because we haven’t had the kind of global leadership that can bring collective pressure on Putin to do that. I think we’re in a place where we can now.

“Even just watching the film is an important step. The Russian government has said repeatedly that this is not happening, that there’s no evidence, even – ridiculously – that there are no queer Chechens. They say that no one has come forward, but Maxim did that, officially, and they rejected his claims. The people protected by the digital technology we deployed in the film have also spelled out their stories, so they are witnesses. And we’re all witnesses, now.”

The passion creeps back into France’s voice as he recalls, “That was my promise to the people in the network, when I said I wanted to film with them, that I was going to help make this so that everybody in the world knows what’s happening.

“Anybody who sees the film becomes a witness, and it becomes an act of resistance just to talk about what you see in it.”

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Everything you need to know about WorldPride 2021

Party in Scandinavia with the happiest people on Earth

Published

2 months ago

August 5, 2021

Special to the LA Blade

Confetti rained down in New York’s Times Square at Stonewall 50 WorldPride New York’s closing ceremony two years ago. (Blade photo by Lou Chibbaro, Jr.)

By Mikey Rox| NEW YORK – It’s been two years since Stonewall 50 – WorldPride NYC 2019 became the largest international Pride celebration in history, but the “bye” year of 2020 wasn’t due to the pandemic.

The global celebration has been held every odd-numbered year since 2017 given its massive logistical undertaking (with sporadic celebrations in 2006, 2012 and 2014 before then), and WorldPride Copenhagen – Malmö 2021 couldn’t have come at a better time.

Hundreds of thousands of cooped-up queer revelers and allies will flock to the twin host cities in Denmark and Sweden, respectively, from Aug. 12-22, to party with the happiest people on the planet, a delightful distinction provided to the Scandinavian countries by the United Nations’ famous World Happiness Report. (The United States ranked No. 19 in the most recent report, FYI.)

So what’s in store for this year’s all-out progressive-flag-flying festival? Read on for more.

Two LGBTQ anniversaries in Denmark

If you can believe it, it’s been 70 years since Danish doctors in 1951 performed the world’s first successful genital reconstruction surgery, a medical marvel that provided hope to transgender people the world over. This year is also the 50^th anniversary of the founding of the Gay Liberation Front’s Danish chapter, which has been instrumental in blazing trails toward equality for the country. Look how far it’s come.

Opening ceremonies kick off in Copenhagen

In conjunction with Copenhagen Pride, WorldPride will officially start late afternoon on Aug. 13, but in adherence with COVID-19 protocols the opening ceremony won’t be held in WorldPride Square (at least not as of press time; things could – and probably will – change). That potential snafu notwithstanding, Denmark welcomes vaccinated U.S. travelers, and if any testing is needed, both PCR and antigen tests will be available free to everyone, including tourists, 24/7. Copenhagen is OPENhagen again.

WorldPride Square will be open for the rest of the fest

WorldPride Square, a makeshift village of sorts (similar to the Olympics) located within Copenhagen’s main square, will provide a gathering place for all attendees that have traveled far and wide. LGBTQ+ and non-governmental organizations spanning the globe will set up shop in the square to greet pedestrians, provide information, and invite folks to get involved. Art exhibits also will be a centerpiece of the village, alongside a street-food market and bars with plenty of space to relax.

EuroGames will be held simultaneously

If you enjoy watching athletes compete in variety of sports that range from boxing and badminton to dancing and dodgeball, add the spectator-friendly EuroGames to your list of to-dos while you’re in Copenhagen. If you want to get hands-on, consider signing up to become a volunteer at the games, to be held Aug. 18-20; EuroGames’ website is currently accepting those applications.

Spread out and explore other WorldPride villages

While WorldPride Square will serve as the jump-off for the 10 days of festivities, other available villages will allow crowds to spread out and explore their individual interests. In addition to Sports Village for EuroGames athletes and fans, other villages will focus on kids and families, youth, women, and the queer community, among others. Programs and content of these villages will be target-audience specific but open to everyone.

You might have a brush with royalty

Mary, Crown Princess of Denmark, Countess of Monpezat, is patron of Copenhagen 2021, making her the first-ever royal to serve in the role for a major LGBTQ+ event. Say hi if you spot her; she knows a queen when she sees one.

Despite pandemic protocol, the show will go on

Organizers have said in an official statement that despite some COVID-19 restrictions, they’re “continuing to plan for full delivery of all Copenhagen 2021 events taking into account the guidance and recommendations” of government agencies. Doubling down, organizers have promised they will not cancel or postpone events.

Now there’s only one thing left to do: Let’s go!

Mikey Rox is an award-winning journalist and LGBT lifestyle expert whose work has been published in more than 100 outlets across the world. Connect with Mikey on Instagram @mikeyroxtravels)

a&e features

Hollywood’s Peter Kallinteris Agency launching LGBTQ dreams

“It’s important to me to actively participate with a platform and space for the LGBTQ community. I want to make a difference and be a leader”

Published

3 months ago

June 21, 2021

Brody Levesque

Hollywood sign courtesy of the City of Los Angeles

HOLLYWOOD – Whether they’d admit to it or not the aspiration for most actors is to be sitting in the Dolby Theatre at some point in their careers, dressed in their finest fashion ensemble at the most prestigious event of the year and hear, “and the Oscar goes to [insert their name].” Conversely also true for the Emmy awards or the Tony awards, yet for many LGBTQ artists the path to that goal is fraught with obstacles and difficulties.

In 2018, a young Black actor from Atlanta, Georgia, was given a supporting role as Ethan in the surprise hit film Love Simon. That actor, Clark Moore, in interviews with host Rob Watson, journalists Dawn Ennis and Brody Levesque on RATED LGBTQ RADIO and separately with Teen Vogue’s Shammara Lawerence spoke of the difficulty landing roles like that of Ethan, but also the conflict inherent with how the film and television industry has seen LGBTQ actors.

Answering a question by Teen Vogue’s Lawerence centered on that conflict, Moore bluntly assessed the landscape telling her; “Historically, I think the reason why there haven’t been more gay roles or more gay actors playing roles that have lots of layers to them and lots of depths to them is because for whatever reason, people think that the story is done. We’ve seen the gay character. We know what he says. We know what he thinks. We don’t need to tell that story anymore, but if you think about it, we’ve had a full canon of stories about straight white men that stretch back millennia, and so we’re only scratching the surface,” Moore pointed out.

“If we can have stories about people all the way back thousands of years ago and we can still be telling the same story now about straight white men and their journey to self-discovery or redemption, there’s plenty of stories to tell of people of color and LGBTQ people and anybody who falls in the intersection of those two identities,” he added.

Yet in the age of digital moving beyond the traditional film and television as more and more content is streamed online- and there’s insatiable need by casting agencies for a wider diverse spectrum of actors, there are still obstacles in the path for LGBTQ actors, especially trans and disabled LGBTQ actors.

Enter Peter Kallinteris, who with his broad based knowledge and understanding of the critical needs of the LGBTQ actor community decided that the time has arrived to have specialized representation for that community.

“Looking to the past, Hollywood hasn’t been very kind to the Queer community. Throughout the history of cinema gay men were either played as effeminate, weak, airheads, and lesbians as tough softball or gym coaches, who are often played by straight people,” Kallinteris said. “Within the the broader culture, there are subcultures, just as within any community. They are nuances within each that will never find its way between the pages of a table read.”

“To create an authentic moment the space has to be made for those who’ve lived that life every day. Gay, Black, White or Straight ect, our experiences of the world are different depending on how we show up. In many cases that will determine our outcomes,” he noted. “Specialized representation is so important because without the lingering trauma, and continued hatred & fear toward our community the Queer division of PKA wouldn’t exist, we’d just be accepted. We have important stories to tell and will continue to be telling them. PKA is just the begging for all to feel safe and thrive.”

In a statement issued from his offices at the Sunset-Gower Studios, the former historic home of pioneering Columbia Pictures founded in 1918, Kallinteris reflected, “When I was a young Actor being gay was career ending.”

“Today it’s celebrated. It’s important to me to actively participate with a platform and space for the LGBTQ community. I want to make a difference and be a leader because I can.”

To accomplish this he launched the Queer Division of his PKA agency. “The Queer Division of PKA was inevitable, a natural outgrowth of my own personal evolution first by coming out as gay man, from Artist to Agent. The timing was right to make an impact with talent,” he said.

“As my Agency grew I was able to gleam that there was a space beginning to open up by which I could represent the full spectrum of Queer humanity & sexuality within the arts. Not as one dimensional static caricatures, but as beings who’s emotions run the full gamut of the human experience. This was very exciting to me, I have a opportunity to effect change. I wanted to be apart of history Pioneering a movement,” he added.

He said that his message to LGBTQ artists is simple. “I want talent to know they will be given the opportunity to be who they are, live their truth and work for who they are without rejection, humiliation, fear, or hopelessness. People perform at their best, live at their best. And do their best when they are happiest. PKA is not just a brand, we are the LGBTQIA community. If life imitates art, then let’s represent it boldly!”

His expectations of the film and television industry’s reaction? “My inspiration to launch the Q.D. is truthfully representing talent that reflects the current needs for the industry, and to remain a permanent fixture within the industry that continues to grow stronger. I want the industry to understand I’ve created this environment specifically for the Queer community. I’m happy & honored to be the first Agency that represents this community in this way,” Kallinteris said.

Last week, PKA, whose clients include, Justin Jedlica (TV personality), Steven James Tingus (President George W. Bush’s lead for disability research and policy for eight years), Kate Linder (The Young and the Restless), Albert Lawrence (IMDB Host), Deric Battiste aka DJ D-Wrek (MTV’s Wild ‘N Out), and Leslie Stratton (The Swing of Things, Truth or Dare), announced the launch of the Queer Division in a video.

WATCH:

a&e features

Julia Scotti, the movie, is just Funny That Way

Life is funny that way—not working out quite the way we thought it would. And that is ultimately the point

Published

3 months ago

June 11, 2021

Rob Watson

Graphic courtesy of Susan Sandler

WHITING, NJ. – “You are a piece of work, Julia!” Simon Cowell blurted during her landmark America’s Got Talent debut. Julia Scotti had just completed her audition for the show that ended not only with a standing ovation, but with the revelation that she had once upon a time been a stand-up comedian named Rick. As that news crossed the faces of the four judges, their collective jaws dropped. “I mean like you come out as the nice little granny school teacher all sweet and then you go into your routine and like WHOA. Talk about surprises – they are never ending with you, are they?” Cowell finished.

With Julia Scotti, the surprises never end.

Her latest surprise for the public is a gem of a film, Julia Scotti: Funny That Way. It is a documentary of her journey from the days of Rick, the up and coming comic who performed on bills with Chris Rock and Jerry Seinfeld to Julia, who is wowing millions.

Of her transition, Julia has remarked. “It is NEVER an easy process whether you’re a public figure or not. You are essentially killing your old self and ending your old life. And with that comes the history you’ve built with friends and family. Some are very accepting, but most are not. That is why the suicide attempt rate for Trans folk is still at 41%.”

Funny That Way does not spare us the heart-breaking fallout from the virtual “death’ of Rick Scotti. Filmmaker Susan Sandler weaves Julia’s story, the losses and damage, to her rebirth, healing and the reuniting with her kids after a 15-year estrangement.

Julia and Susan sat down with us on the podcast Rated LGBT Radio to talk about the film. “This is a story and like all stories, there is a beginning and a middle and an end. In the end, I want the audience to know there is HOPE. It is bumpy at times, joyous at times. It is not just isolated to my life. You can have that in your life when you walk through that door of your own truth and come out the other side and when you look back on all you went through, you go ‘what the hell was I so afraid of?’ Look how happy I am.” Julia explains.

Susan had never directed a documentary before, but as one of Hollywood’s master story tellers, and a Golden Globe nominee, she was unfazed. “The impetus behind this film was falling in love with Julia, her, then and now. If you are working from a really rich, complex, compelling character –which is Julia—that is the GIFT. All of my nerve endings, my story telling, told me this was dynamic documentary, and that’s the form in which I wanted to tell it.”

Susan took five years to research, document and interact with Julia’s past. She went through old footage of Rick Scotti’s stage acts and restored many of them so they could be used in the film. She brought on composer Matt Hutchinson for a beautiful score, and animator Sam Roth for whimsical cartoons that tie the story together.

Before the filming started, Julia had just re-connected with her son Dan, and daughter Emma. A decade and a half ago, when Julia announced to her then spouse that she was in fact a woman transitioning, her then-wife retaliated by taking their kids away. Dan and Emma spent their whole adolescence not knowing Julia at all. The story of that pain is told in Funny That Way. Susan wanted to show the relationships real-time in the film as they came to reconnect with Julia. “We were just at the beginning stages of reconciling,” recounts Julia. “I did not want them feeling like I was just reconnecting with them because I wanted them in this film. I did not want to distance them even more.”

Dan and Emma were onboard, however. Also on board, albeit only by phone, was Kate. Kate was Julia’s last wife, described as Julia’s “love of her life”. Kate supported Julia emotionally and spiritually through out the entire transition process. One of the most poignant moments in the film was Julia hearing Kate describe the end of their relationship. Kate’s support was significant, but once Julia became fully Julia, it was evident to both that their relationship had changed and they had to let it go.

Susan captured many live moments of Julia’s evolving life. She caught the very first time that son Dan ever called Julia “his mother” and the effect was pronounced. Also caught in the film was a moment when Julia and Dan are watching Rick’s old stand up routines. One such performance takes Julia by surprise—it was a routine that she had not remembered ever doing. It was a set where then Rick expressed his revulsion to transgender women in no uncertain terms. Julia sat shocked.

“My sensibilities have been ‘woked’, I think that is the term for it.” She told me about that experience. ”Thinking back, I was going through issues and aware that something was not right internally. It frightened me to no end. Looking at that clip, I am totally ashamed of what I did. It embarrassed me.”

“I knew it was me. I knew I was there. But I don’t feel a connection with that person. That is the truth.”

The film does not dwell long on the past shames and regrets. It arcs to the present where an adult daughter gets to see her parent’s comedy routine for the very first time.

Some of the greatest joy in the film is witnessing the growing relationship between Julia and son Dan. Dan is sweet and compassionate, and they both have a deep love of comedy. Through their discussions and collaboration on things funny, we witness something decidedly not funny, the deep re-kindling love they have for each other.

The film will make you laugh, and cry, and laugh again. New clips of Julia’s now famous turn on America’s Got Talent shows her more personal reflective moments over a life changing triumph.

The only regret director Sandler has about the film is how it will be brought to the public. “I am happy to be brining the film now for the people who have an appetite for it. For the truth, the humor, the complete emotional honesty. But I mourn. I mourn the moments not being able to sit with you in a theater. And experiencing the film with you. It was supposed to be seen by audiences, and then give them the opportunity to go down the street and see Julia live at a club.” But, life is funny that way—not working out quite the way we thought it would. And that is ultimately the point.

Editor’s Note: The film was originally slated for theatrical release which was delayed then put off by the coronavirus pandemic.

Julia Scotti: Funny That Way is available now on digital platforms! That means you can rent or buy it online, at places like iTunes, Apple TV, Amazon, Google Play and more.

Here’s the full list of where you can find it.

DIGITAL

iTunes
Amazon
Google Play
Xbox
VUDU
FandangoNow
Vimeo On Demand

CABLE / SATELLITE

iN Demand Movies
Verizon
AT&T
Vubiquity
DirecTV
Dish
Telus