8pm at the Roxie.

3117 16th Street, San Francisco.

Justicia Now! is a documentary about Chevron Texaco's toxic legacy in the Northern Ecuadorian region of the Amazon rainforest - and a courageous group of people called Los Afectados (The Affected Ones) who are seeking justice for the ensuing cancer, sickness and death in the largest environmental class action lawsuit in history. Features interviews with Daryl Hannah, Pablo Fajardo(CNN Hero Award winner) and Stuart Townsend.

Court Expert Smacks Chevron With Up To $16 Billion In Damages for Polluting Indigenous Lands In Amazon

Independent Analysis Validates Most Claims of Plaintiffs In Long Ecuador Legal Battle, But Offers Compromise On Some Issues

Lago Agrio, Ecuador (April 2) – In a long-awaited court report submitted as part of the final phase of a trial, an independent expert has proposed that Chevron pay a minimum of $7 billion and up to $16 billion to compensate for environmental contamination caused to Ecuador’s Amazon rainforest during a 26-year period when the oil giant operated a large concession in the country.

If the assessment is accepted by the court, the subsequent judgment likely would be the largest civil damages awards in an environmental case. The higher $16 billion figure could result if the court accepts an "unjust enrichment" penalty tied to Chevron’s actual cost savings over several decades for failing to use appropriate operational practices.

The lower figure represents actual costs to remediate soils around all 378 of Chevron’s former Ecuador production facilities, plus compensation for health care costs, a water system, loss of indigenous land, ecosystem impacts, infrastructure improvements, and other categories of damages.

The long-anticipated report – one of the last steps in the marathon class action trial that began in New York in 1993 – helps answer one of the most hotly disputed questions in the case. For years, plaintiffs have estimated environmental damages to be roughly $6 billion (later adjusted to $10 billion) while Chevron claimed they were negligible.

The Ecuador trial court has the final say over the size of the damages once it issues a finding on liability, which it has yet to do. But Ecuadorian courts generally give wide deference to the findings of court-appointed experts, who are akin to special masters in the United States. In this case, the special master was asked to assess both liability and damages.

"This report is a extremely significant because it is a direct rebuke to Chevron’s credibility and it validates the damages claims in the lawsuit," said Pablo Fajardo, the lead lawyer for the plaintiffs.

A final judicial decision is expected after the parties respond to the expert report, which was submitted under armed guard by Richard Cabrera Tuesday morning in the Amazon town of Lago Agrio. Cabrera, the court appointee who is a respected geologist and environmental consultant, was assisted by a team of technical specialists. He also turned over what appeared to be several boxes of supporting documents that included more than 5,000 pages of annexes.

The report found that Chevron’s operations were the "main cause" of the extensive contamination when it was the exclusive operator of the concession, about 1,500 square miles in size, and concluded based on thousands of soil and water samples that all of 94 Chevron production sites examined in the trial had illegal levels of toxins in the soil and water. "[Chevron] operated … with few or no environmental controls and caused much of the contamination in the area," the 60-page report says in its summary of findings.

The summary said Chevron "incorrectly managed the wastes from oil wells, dumped 100 percent of water of production into streams and rivers, and burned gases into the
atmosphere." It also found that the "pollution is well documented… and widely corroborated by historical sampling that place in years prior to the lawsuit."

The report found that the concession area is contaminated with hydrocarbons in concentrations "many times higher than environmental clean-up standards in Ecuador and in other countries of the world." It also said Chevron’s practices had caused "damage to the human population" including adverse health effects such as "cancer, death from cancer, [and] spontaneous abortions."

It also concluded the area suffered at least 428 excess deaths from cancer as a likely result of Chevron’s practices, for which it proposed $2.9 billion in compensation.

Although significant by historical standards, the size of the proposed damages claim appears to be a compromise. It excludes damages for groundwater contamination (which the plaintiffs assert is extensive) and uses a soil clean-up standard significantly less strict than what the plaintiffs had sought. The plaintiffs will continue to press the court to order additional compensation for groundwater contamination, said Fajardo.

The lawsuit accuses Chevron of engaging in a host of negligent practices from 1964 to 1990, when it as the operator of the concession. These include the dumping of 18 billion gallons of toxic waste water into Amazon waterways, the construction of roughly 1,000 open-air and unlined toxic waste pits, and the uncontrolled burning of natural gas. Four indigenous groups claim they are fighting for survival as a result of the contaminants.

The content of the report, which is available for public viewing in the courthouse, was greeted with cautious optimism.

"The size of the damages claim is not surprising for those of us who have asserted for decades that Chevron used horrific operational practices in Ecuador’s Amazon," said Luis Yanza, the coordinator of the lawsuit for the indigenous groups and a resident of the region.

"We must remember that no amount of money will restore the rich indigenous culture that has been lost as a result of Chevron’s greed," added Yanza.

The overall damages claim has several components:

o $3.4 billion was proposed for soil clean-up around hundreds of wells and waste pits, improvements in infrastructure, health care costs, a water delivery system, and recovery of indigenous land.

o Between $3.7 and $4.6 billion was allotted to compensate families for the excess cancer deaths, as well as for damages relating to deforestation and ecosystem impacts.

o $8.3 billion was determined to be the amount that Chevron benefited in "unjust enrichment" by failing to adhere to proper standards when it operated the Ecuador Concession. The expert left it to the court’s discretion to use all or part of this amount to compensate for losses stemming from the inability of clean-up technology to fully restore the area.

The total amount of damages using the highest numbers proposed is $16.3 billion.

By contrast, the total damages Exxon has paid in the Valdez disaster, the largest oil spill in U.S. history, is roughly $3 billion (an additional $2.5 billion is still under litigation). The plaintiffs in Ecuador have long asserted that the Chevron-created disaster in Ecuador, in terms of the amount of crude dumped, is 30 times larger than the Valdez spill.

Anyways, the point is, all of these Princesses were FICTIONAL, which is why I believe they appeal to younger girls who were more or less forbidden to have a grip on reality until they became preteens. Not many real princesses led lives that would be appealing to little innocent girls, and the few that were based on real girls would never have been so admired had the animators stayed so completely true to their stories. (Anastasia and her family met with a bloody end, and don't even get me started on Pocahontas)

Since I am American, I had the misfortune of growing up in a country famous for rejecting Royal influence. Mind you, we weren't as bad as the French, who said "Fuck you and die!" to their royals instead of "Fuck you and your taxes" and walked away after a long hot lead exchange and now look at Royals in other countries as ignorant of the so-uber-great-concept of Democracy that we so famously and violently made famous in the modern world.

But jolly lucky me! I didn't grow up just anywhere in America, I GREW UP IN HAWAII. *does a happy dance*

Besides all the obvious things that will make you envious at all the things I grew up with (Sand, Sea, Surf, Sun, Summer all year.... green yet?). We had something that the rest of America lacked. A Royal family.

So yes, Hawaii had a royal family. And what would a royal family be without Princesses?

Hawaii had its share of famous Princesses. There is Bernice Pauahi Bishop, who founded the Kamehameha schools and has billions to her name. Miriam Likelike, who the famous highway was named after, and one of the most well known, Princess Victoria Ka'iulani.

I don't know when I first heard about Princess Ka'iulani, but I knew by the time I landed in Fresno that I was so touched by her story that I was sobbing in the airplane. It must have been sometime in high school when I began doing serious research on the princess. The more I read about her, the more she felt like one of those fairy tale princesses that I had so admired as a child. She was born amidst much celebration, crown princess of an island nation, raised in a tropical paradise with ever blooming flowers, friend to famous poets, writers and royals, owned a garden full of peacocks and her very own white pony.

She was also raised amidst much political turmoil, with outside forces trying dirty tactics to get Hawaii for themselves. She traveled around the United States in an attempt to gain support for her kingdom, but ultimately failed and saw her kingdom overrun by the US. With apparently nothing left to live for, she fell sick and died at the tender age of 23.

Her story really struck a chord with me, and I spent my last few days in Hawaii wandering around Iolani Palace, the State Library and the State Archives dabbling in information about her. I even bought a biography about the princess that kept me occupied and in tears all the way to Fresno.

While being notoriously bored in my new home because the extreme weather kept me indoors all the time (100+ in the summer then abruptly 30 in the fall and winter?! It's worse than hell) I began to formulate plans of making the touching tale of Ka'iulani into a motion picture. I had been a video productions student for years back in Hawaii and was on my way to Film school anyways, so to keep me sane, I began making plans to make a film about her in the far future after I was completed with Film School.

and that's when I found THIS

I was utterly devastated. Partly because my grand idea was already being undertaken by someone else, but mostly because I was really really looking forward to making this and I had lots of grad ideas and research planned and a whole lot of other shit that made me happy during those inhospitable months in Armona.

I was so emotional that night that I went on a tirade on IRC that culminated in one of my draconian poems that ended up published in the Lemoore High student magazine.

After I had calmed down and composed myself, I wrote the man-in-charge Marc Forby for additional info, and we exchanged a few e-mails and phone numbers.

I totally abandoned all thought of the Ka'iulani picture after talking with Forby, since I didn't need any more reminder that he beat me to the punch. But after those few e-mails I somehow was able to convince myself that Forby was an OK man for the job. One of those reasons was his correction on my use of titles for Ka'iulani, something about using Her Royal Highness instead of Her Majesty or some random thing like that. My subsequent google searches also have shown to me that Forby really did his research and was taking this thing very uber seriously, so I felt safe to trust him.

But one thing that really really really irked me about Forby and the movie was that the announcement and casting call were so clearly published before I left Oahu in mid 2006. You would have thought that I would have heard about it before I decided to make a film about her, but Noooo! I'm like "Wtf?! You'd think I would have heard about it before I left!" Especially since Forby claimed to have done all the following:

1) Published an article in the Star Bulletin in 2005
2) Did an open call at the PK hotel
3) Did an interview over the local radio calling for auditions
4) Auditioned the drama department at Kamehameha schools
5) Used the services of the top two casting directors in Oahu, Ms. Fishburn and Mrs Doversola
6) Auditioned clients of print modelling agencies and Kathy Muller agency (which lead us to Kaimana)
7) Contacted over 20 hula halaus in Oahu
8) Contacted hula halaus in California
9) Auditioned a Hawaiian athlete who had a great look but no experience
10) Casted a Hawaiian girl in 2005 and announced it in the press, trained her for one year before realizing she could not carry the film.
11) Offered the role in December of 2005 to a Hawaiian actress in Hollywood who later bowed out.
12) I even tried cast a cousin of mine who is Hawaiian but she did think she could act.

Yeah, just looking at that list could make you faint, especially if you had any idea how fucking difficult it is to cast a film (among other things!) But really, if it was really this hyped out, why the fuck didn't I hear about it?

I'm better connected than others, especially since I had contacts with the Hawaii Film Festival, The Hawaii Film Commission, the 'Olelo Community Television Networks, Searider Productions in Waianae, and lots of drama friends. With my connections I would have at least heard a whisper about the film before I had time to grow such burning desire and passion to create a Ka'iulani picture before Forby doused it.

Grrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr!!!!!!!!!!!!!

ANYWAYS! Now that it is clear that Forby will take this thing to fruition, I better stop ranting about it and instead write about what I expect to see in this picture when it comes out.

First off, no title for the Ka'iulani film has been announced, so we can only call it now The Ka'iulani film/picture. I myself had wanted to call my version The Last Princess. I'm sure Forby wouldn't really agree with this title since Ka'iulani wasn't the last princess of the Hawaiian monarchy. I thought it would fit since Ka'iulani's life and death centered around the collapse of the monarchy, and also for audience appeal as well, since titles such as The Last Samurai, The Last Emperor, The Last Mimzy, The Last Unicorn were pretty good. Titles beginning with The Last... also invoke lots of emotions too, from curiosity, to hope, to intrigue about what the story is about and how it will resolve, which is a good audience attractor. Add "Princess" to that, and you double people's interests. "Ooooh! The Last Princess from where? Who was she? What did she do? "etc blablabla gimme eight bucks if yah wanna find out.

Another title I had for my film was Island Rose in reference to the poem Robert Louis Stevenson wrote for her. This choice seems far less appealing though, since it sounds too much like a romantic comedy/chick flick or an NC-17 tropical romance title. Anything with a Hawaiian name would confuse the predominantly English speaking world. If it were named simply "Ka'iulani" you could guarantee that 95% of the people who see the movie poster will pronounce it Kai-you-lan-knee, which is more torture than mistake.

I'll let Forby handle this one, since by now I know that he wouldn't resort to a corny title for his prized masterwork.

As for the girls Forby casted to play the Princess, I actually dont really have a problem with them. Kaimana Pa'aluhi, (the girl to be playing young Ka'iulani from 12-17 years old) looks very pretty and haughty, with a hint of micheif, which is just like the Princess. But IMO she's a bit thin. I know the Queen had once told Ka'iulani to watch how much she eats, but really, she couldn't have been *that* thin at that age. It would be better if Kaimana gained a few pounds to get those young plump princess cheeks, but we'll see if she can pull the acting bit off regardless how big her cheeks are.

Starting Ka'iulani's story off at 12 years is something that worries me a bit. That was around the time Princess Likelike, her mother, died and the Princess left for England for her formal schooling. I'm wondering how much of her life in Hawaii Forby plans on showing in the film. In my version, I had planned to show a collage of Ka'iulani from her birth at Keoua Hale to when she meets her governess Miss Gardinier, which means casting up to 4 separate girls for Ka'iulani for the entire movie. One as an infant, one as a child from 4-12, another for 12-17 and one other for her as a young woman. Oh well, lets see what Forby does with it.

Speaking of which: Forby has chosen Q'orianka Kilcher to play Ka'iulani in her later years. Best known for playing Pocahontas in the 2005 film The New World (which I haven’t seen yet, I know, I'm a pathetic excuse for a film major). Apart from also being very pretty and haughty, Q’orianka (this is too hard, I’ll call her Kori from now on) looks convincingly Hapa Hawaiian. Even better, she’s an indigenous people’s activist, which was exactly what Ka’iulani was when she traveled around the US to try and stop Hawaiian annexation, or something close. The decision to cast Kori in the role of Ka’iulani has caused some controversy in the Hawaiian community due to her nationality. But I agree with Forby, in that if she looks the part and she can act well, especially in a film as sensitive as this, then she gets the part. Purity of blood has nothing to do with acting skills, so why choose a Hawaiian girl if she cant act anyways? I would care less about an actress's blood quality and focus more on her acting skills when I enter a cinema.

For me, I had been eyeing Keisha Castle-Hughes to fill the role of Ka’iulani. Not only is Maori blood closer to Hawaiian that Quechua (Kidding kidding, dont take me seriously here) but Keisha was already well liked in the islands for her performance in the movie Whale Rider. I honestly thought her acting could have done some more work, but her performance was wonderful and I liked the movie. I’m sure Forby must’ve considered her at one point, and he must have had his reasons for not offering the role to her, or maybe he did and she refused. Or maybe it had something to do with her 16-year-old self plus a big growing belly that by now has turned into a Joy Bundle. I dunno, I’ll have to give him a ring to find out.

All-in-all, I cant wait to view this film and see what Forby’s version of Ka’iulani’s life story will be. I doubt that Ka’iulani will achieve the same fame and admiration as Disney’s fairytale princesses, but hopefully her story will inform people of the true history of Hawaii and maybe let the world have some respect and pity for the former Island kingdom that has since been degraded to a tourist spot full of primitive beliefs and native girls in grass skirts. Its so hard to have a decent conversation about Hawaii with Mainlanders who grew up with the notion that Hawaii was a third-world settlement that catered to the thriving tourist market.

But mark my words, Marc Forby! If I am not totally satisfied with what I see, expect both a phone call and a hard time from me. I still have a chance at a remake.

-Val

WHO ARE WE AND WHAT ARE WE ABOUT?‘Justicia Now’ is a documentary about ChevronTexaco's toxic legacy in the Northern Ecuadorian region of the Amazon rainforest - and a courageous group of people called Los Afectados (The Affected Ones) who are seeking justice for the ensuing cancer, sickness and death in the largest environmental class action lawsuit in history.Mofilms is a Not for Profit Company, creating content to help social awareness in regards to issues we feel are important. We then give the films away to try to get as many people to share, show and communicate with each other as possible. So effectively you the viewer are the distributor of this film, as it is only through word of mouth and recommendations will this film spread. Please feel free to share this film with anyone you feel may be interested or moved by this under reported story.

Terrence Malick is a wonderful director whose work is sumptuous and engrossing. With Badlands and Days of Heaven, both of which I haven’t seen in a preposterously long time, Malick’s lingering tones and rich meticulous shots are fully on display. In his career, which has spanned decades, the gifted American film director has only made four feature length films and one short. Malick’s use of his contemplative and pensive directorial style makes his films captivating and involving in the most inimitable of ways, as he unfolds his stories by involving the viewer in the panorama, the characters and the time period without the suspension of belief. Malick’s films have an opulence to them that is rarely duplicated by any working director today. I look forward with immense eagerness to his next film, Tree of Life.

2005’s The New World is surely no exception to Malick’s trademarks. Encased in the most beautiful naturalistic surroundings, this tale of discovery is one of the best films from 2005. Malick also wrote this tale of the founding of Jamestown, Virginia, and the settlement that is placed there by the English. The New World also highlights the story of Captain John Smith and Pocahontas, treating their love story with tenderness and a sense of adventure. The New World features production design by Jack Fisk and costumes by Jacqueline West. The set design and the scope of the production are incredible to experience and still seem remarkable after several viewings of the film.

The New World is a film about the strangeness and complexities of the arrival of the English settlers to Virginia, first and foremost. Using Pocahontas as its central character, Malick’s film explores these notions with depth and detail as her character becomes accustomed to a new society and becomes slowly and reluctantly assimilated into it. Pocahontas is played by the wonderfully talented Q'orianka Kilcher. Kilcher was fourteen at the time of shooting and some of her scenes caused a great deal of controversy, leading to some editing by Malick of a few scenes between her and Colin Farrell. Kilcher’s Pocahontas is never addressed by name throughout the film.

Malick’s The New World strips away all of the fantasy and lore about the arrival of the settlers, choosing instead to see the events through the eyes of Kilcher’s character as the freshness and naturalistic setting of her world suddenly has some very new, very strange visitors. The settlers begin to construct a fort with immediacy as Captain John Smith (Farrell) heads out to explore on his own. He meets Pocahontas and a bond is instantly formed after she saves his life from certain death. The English, especially Smith, are as awed as the natives with the sumptuousness and the strangeness of this new predicament. We explore communications, customs, and ways of life through the eyes of the natives and the English, with neither side being portrayed as villainous or wrong. With Malick’s lens, we all are simply observers of the foundation and exploration of newness, strangeness, and the romantic notion of discovery.

The film works so well because it imagines how these two separate people groups would communicate and how they would interact. As the English become paranoid and a bit fearful, nonsensical events begin to occur that threaten the once-peaceful bond between the natives and the settlers. The contrast between the ways of life of the natives and the English is also explored, as the natives live and flourish because they are involved with the land and nature, whereas the English nearly die because of their arrogance and their unwillingness to learn and understand. There is a meekness here that is imposed by the grandeur of nature, leading to a keen exploration that invokes the senses through Malick’s expert direction. We explore these lands as the characters explore these lands.

As Pocahontas grows up, her life changes and her internal reckonings also change. Smith’s roguish existence gives way to the stability and kindness of settler John Rolfe (Christian Bale). The stories being told here are rather well known and I will allow the viewer his or her own discovery of the details, except to say that the contrast amid Pocahontas’ eventual journey to the lively allure of London and her homeland is immeasurably and magnificently explored. The performances aren’t so much about the art of performances, but rather natural extensions of people existing and being in these places. Malick’s films tend to have occupants rather than actors, so The New World is no different.

There are, of course, two new worlds in this film. One is what the English discover as they approach Virginia for the first time. The other is what Pocahontas discovers in the realm of love and emotion. Malick explores these moments tenderly and with such incredible tact that certain wordless scenes, of which there are many, are simply explosive in their tenacity. In Kilcher is an extraordinary performer and her ability to play this part is unquestionably incredible. When we see her, we recognize her without being told who she is. Kilcher embodies who Pocahontas would have been and who she should have been, helping tell the story properly and with romantic realism, efficiently burying the dull weight of Disney-esque folklore with an affectionate rendering.

The New World is a fantastic film that could be discussed for several hundred more words. The best way to experience a Malick film isn’t by talking about it, however, but rather it’s by seeing it and letting it into your senses. Scenes in The New World impose their will upon the viewer with their engrossing nature, often coming across like an unsullied breeze from the water or through the trees. The New World looks so real and so lavish that the film almost has an aroma of freshness and distinctive romance. It is an important film, a precious film, and a tenderly crafted one.

10/10

Trailer:

WHO ARE WE AND WHAT ARE WE ABOUT? ‘Justicia Now’ is a documentary about ChevronTexaco’s toxic legacy in the Northern Ecuadorian region of the Amazon rainforest - and a courageous group of people called Los Afectados (The Affected Ones) who are seeking justice for the ensuing cancer, sickness and death in the largest environmental class action lawsuit in history.

World Premiere Of ‘Justicia Now’ Saturday November 10th Moves to Raleigh Studios



Appearances by DARYL HANNAH, STUART TOWNSEND: Introduction by Q'ORIANKA KILCHER







Interviews Available: Directors Martin O’Brien & Robbie Proctor, Daryl Hannah and Q’Orianka Kilcher
FOR IMMEDIATE RELEASE: November 7, 2007 Contact: Kristina Fitzsimmons, 510 750 9771 or press@mofilms.org



Los Angeles, California – Celebrity activists Q’Orianka Kilcher and Daryl Hannah as well as other industry luminaries will team up this Saturday at Raleigh Studios in Hollywood for the world premiere of a new short film ‘Justicia Now’. The film (30 min.) was originally slated to premiere at the Artivist Film Festival but Directors Martin O’Brien and Robbie Proctor pulled out after the festival’s announcement late last week of a new relationship with Petrobras, Brazil’s state-owned oil company with a controversial record of drilling in pristine areas of the Amazon rainforest, including on the territories of uncontacted indigenous peoples.



‘Justicia Now’ is a documentary about ChevronTexaco's toxic legacy in the Northern Ecuadorian region of the Amazon rainforest - and a courageous group of people called Los Afectados (The Affected Ones) who are seeking justice for the ensuing cancer, sickness and death in the largest environmental class action lawsuit in history.



The Artivist Film Festival announced their selection of Petrobras as a ‘presenting sponsor’ last week, just days after indigenous leaders held a protest outside the Petrobras offices in the Ecuadorian capitol of Quito to protest the oil giant’s plans to drill in Yasuni National Park, a UNESCO Biosphere Reserve and thought to be the Amazon’s most biodiverse national park and home to uncontacted indigenous peoples. Petrobras also faces allegations of slave labor at another of its petroleum projects.



Despite Mofilms’ appeal to Artivist Board Members and staff to return all funds from Petrobras and formally announce the severing of ties with the company, Artivist management chose to retain a substantial advertising contribution from the company, in spite of their commitment to drop the company’s Presenting Sponsorship status (a claim they have yet to make public).Celebrities such as Daryl Hannah and Q’Orianka Kilcher, and international NGOs such as Amazon Watch pulled their support for the Artivist Film Festival and are supporting the independent screening event of ‘Justicia Now’ at its alternate venue, the Raleigh Studios, 5300 Melrose Ave (Van Ness Gate) in Hollywood on Saturday, November 10th at 6:30pm.



The screening is free, however donations will be welcomed.O’Brien and others also asked Artivist for a commitment to create environmental and social justice guidelines to screen future potential funders to ensure that the festival’s practice lives up to its stated mission and honor the spirit of the filmmakers it claims to support.



Mofilms won the ‘Environmental Preservation’ award at last year’s Artivist Film Festival for his documentary ‘Freedom Fuels’ and were previously enthusiastic supporters of the Festival.“We are sad to see that the young Artivist Film Festival is falling for the corporate greenwashing of Petrobras by refusing to omit this oil company from their program. This is allowing the company to exploit the moral standing of the film festival and the environmental community they represent,” O’ Brien said.Daryl Hannah and Q’Orianka Kilcher will be available for media interviews before the screening and for the panel discussion with the film’s directors and representatives from Amazon Watch.Of her experience witnessing ChevronTexaco’s legacy in Ecuador, Hannah said: “Everything the communities live on or off is poisoned. There are epidemics of cancer, every type of cancer in children, babies, women and men. It's heartbreaking and it's reprehensible."“I was there. I witnessed the Big Oil crimes these multinational oil companies are committing on human life and the environment! Seeing is believing, and in this day of media and technology, it is our responsibility to shed light on these Issues through our work. ‘Justicia Now’ is doing just that!” said Q’Orianka Kilcher, actress and Amazon Watch Youth Ambassador.



Mofilms’ commitment to advocacy filmmaking has inspired them to utilize cutting edge film distribution techniques, and ‘Justicia Now’ will be available for rapid dissemination via a FREE download which will commence at 11:11AM on November 11th from the website at www.JusticiaNow.org.