Educational Media Reviews Online

“One year in the life of a city grappling with violence.”

Inspired by an article written by Alex Kotlowitz* and directed by noted documentary filmmaker (Hoop Dreams, 1994) Steve James, “The Interrupters” focuses on the extremely important and crucial work of CeaseFire–an initiative of the Chicago Project for Violence Prevention. The documentary opens with a barrage of voiceovers from numerous Chicago newscasts reporting murder upon murder occurring in the city. The year 2009 was rife with violent shootings and murders in Chicago, many of which involved school-aged youth, including the much publicized brutal beating and murder of 16 year-old Derrion Albert. CeaseFire aims to reduce street violence through a uniquely tailored approach to outreach.

Epidemiologist Gary Slutkin, founded CeaseFire after spending most of his career battling infectious diseases like TB, cholera and AIDS in countries across the world. Upon returning to his hometown of Chicago in 1995, Slutkin was struck by the level of street violence in the city. Drawing parallels between infectious diseases and violence, Slutkin posited that it should be addressed the same way–by containing the spread of the disease and preventing further transmission.

Working out of the University of Illinois at Chicago’s public health building, Slutkin and his staff built a public health model to combat the city’s street violence epidemic, initially focusing their anti-violence efforts toward the community youth through education, job placement and minimal mediation. One staff member, Tio Hardiman, questioned the effectiveness of this model and suggested that their outreach might find more credibility/response by engaging people from the community as the outreach workers themselves. Hardiman, now the Director of CeaseFire, hired ex gang members and other people deeply entrenched in Chicago street life to serve in this capacity. Successfully trading on the understanding that people from the life would have more knowledge of how to forecast, find and intercept potential violence than those with no prior involvement, Hardiman is careful to note that the program is not focused on taking sides or taking down gangs–the focus is on saving lives. Now known as "violence interrupters," these uniquely prepared outreach workers strive to provide conflict mediation, safe havens, mentoring and alternatives to violence. The film focuses on three specific violence interrupters: Ameena Matthews, Ricardo “Cobe” Williams and Eddie Bocanegra.

James’ camera finds honest, willing and redemptive subjects in Matthews, Williams and Bocanegra. Each, in turn, lay bare the violent actions of their own youth that brought them to work with CeaseFire as adults. Matthews grew up in the life, the daughter of Jeff Fort, infamous teenage gang member credited with organizing Chicago gangs into a crime syndicate. After being shot, Matthews quit gang life and crafted a new one for herself including marriage, motherhood and mentoring. Undeniably, her work with CeaseFire has more credibility and effect based on her history and name, but it is her passionate activism and ardent articulation of an anti-violent lifestyle that seems to resonate most deeply.

Like Ameena Matthews, Ricardo “Cobe” Williams grew up immersed in the effects of street gang life. After his father was murdered, a teenaged Cobe sought refuge in drugs and crime. He spent many years in and out of prison. Cobe had a moment of clarity when his toddler son came to visit him in prison, leading him to focus on the wellbeing and care of his son. Cobe brings the patience and dogged determination of a young parent to bear in his work with CeaseFire; with equal parts expertise and sheer luck, Cobe successfully navigates several mediations and effectively mentors two men recently paroled from prison.

Eddie Bocanegra’s background is similar to that of Matthews and Willams. He engaged in gang life early, with numerous crimes tragically culminating in a murder. After serving several years in prison, Bocanegra now works to combat the continued spread of violence by educating and working with youth. A self-trained artist, Bocanegra offers art as a medium of expression to the kids he mentors–providing them an accessible opportunity to articulate their experiences and fears. Unlike Matthews and Williams, Bocanegra, at times, seems to view his violence interrupter work as little more than a band-aid and not a cure for the root cause, something hotly contested by Slutkin.

Much of the success of the film can be attributed to the level of access that James is afforded to these and other key members of CeaseFire. Violence interrupters and mentees alike seem almost unaware of the cameras following them throughout the city and surrounding areas over the course of a year. Each of these interactions is layered and intricate–some more successful than others. Relationships warily built, begin to flourish in front of the camera as Cobe successfully works with recent parolees Flamo and Mikey Davis. Ameena’s relationship with teenage Caprysha is at times hopeful and despairing as is Eddie’s with Vanessa Villalba, a young girl whose murdered brother died in her arms. The documentary clocks in at a whopping two hours and twenty-two minutes–including a much-appreciated epilogue–providing some closure to many stories introduced in the film.

This film is highly recommended for these subject areas: adolescence, African American studies, American studies, crime, Latin American studies, rehabilitation, sociology, urban studies, and women’s studies

Awards

• Best Documentary, Miami Film Festival & Minneapolis Film Festival
• Special Jury Prize, Full Frame Film Festival & Sheffield Documentary Festival
• Audience Award, Philadelphia Cinefest & Little Rock Film Festival

  *Kotlowitz, Alex. “Blocking the Transmission of Violence.” The New York Times Magazine 4 May 2008.