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It’s a somber prom preparation for the survivors of the Marjory Stoneman Douglas school shooting in the above clip from the documentary After Parkland, which The Hollywood Reporter is debuting exclusively, ahead of the film’s world premiere at the Tribeca Film Festival on Friday.
The clip shows the girlfriend and best friend of victim Joaquin Oliver, Tori Gonzalez and Dillon McCooty, respectively, getting ready for the school dance.
Amid the traditional preparations — tie-tightening, hair-styling and makeup-applying — Gonzalez stops to note that the flowers in her hair are from the first bouquet Oliver gave her.
After Parkland, directed by Nightline filmmakers Emily Taguchi and Jake Lefferman, follows the survivors of the February 2018 school shooting at Marjory Stoneman Douglas High School that left 17 people dead. In the aftermath of the tragedy, the classmates and family members of victims grapple with grief and loss and search for meaning.
Survivors featured in the doc include David Hogg, who became the public face of the Never Again movement to end gun violence; Brooke Harrison, who was in the first classroom that was attacked; Sam Zeif, who was locked down texting with his little brother during the shooting; Andrew Pollack, the father of 18-year-old victim Meadow, who died after being shot nine times; and Oliver’s father, Manuel.
The film features interviews, verite footage and personal photos and videos, exploring how people cope with such a tragedy and what viewers can learn from those who experienced it.
“We felt it was important to keep sharing the stories of the students, families and community of Parkland — to follow their path forward after the unimaginable,” Taguchi and Lefferman said in a statement. “We sought moments away from the spotlight that shed light on the long-term impacts. … We witnessed high school rites of passage — moments of hope tinged with sadness and resilience. … We joined morning rituals and drives to school, family meals and difficult conversations. We filmed the scenes ourselves, mindful of being as unobtrusive as possible, which we wanted to be reflected in the intimacy of the film.”
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