![]() ![]() Checkoway recalls, “Edith and Eddie both experienced this new spark in each other, a new reason to wake up in the morning.” The next day, Checkoway took a bus from New York to Virginia, and that night, she filmed the couple tearing it up on the dance floor of a local honky tonk. “I kept staring at the picture, wanting to know more about them.” “My friend sent me a photo of Edith and Eddie, and it just grabbed my heart,” Checkoway recalls. This time around, she moved quickly after receiving a text message about ninetysomething interracial newlyweds. She spent six years on her first film, “Lucky,” which tracked the travails of a homeless single mom. ![]() “Edith+Eddie” came together fast for journalist-filmmaker Laura Checkoway. She’ll say something happened ’10 times around the sun ago,’ which is so much more fun than ‘years.’” “Pronunciation can be an issue for Mindy, but I came to appreciate how visual her language can be. Marveling at Alper’s capacity for transforming her personal trauma into semi-fantastical art, Stiefel enlisted Masaki Yokochi to animate the drawings.Īnd he learned to love Alper’s eccentric use of language. “Going into this, I knew nothing about Mindy’s psychological history,” says Stiefel. On-camera interviews ensued, in which Alper confided phobias, anxieties and bouts of depression that once proved so debilitating that she went 10 years without speaking. “I asked Mindy if I could film her making a sculpture of her therapist, Shoshana. “I was curious about why Mindy was the way she was, and how she made this art,” Stiefel says. TV commercial producer-turned documentarian Frank Stiefel became fascinated with Alper when his wife introduced him to her unusual friend from art class. “Heaven Is a Traffic Jam on the 405” takes its title from the musings of Valley Village artist Mindy Alper, whose halting speech belies the acuity of her psychologically charged drawings. ![]()
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