\t\t\t\t\t\t \t\t\t\t\t\t\t\t\tKino Lorber<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n \n\tKino Lorber plans to release the film theatrically on July 3 at IFC Center in New York followed by a digital, educational, and home video release.<\/p>\n \n\t\u201cIf poetry had a pop icon, Mary Oliver would be it,\u201d notes a release. \u201cCelebrated best-selling poet, Pulitzer Prize-winner, lover of dogs and long walks in the woods, openly queer but intensely private, Oliver was America\u2019s unlikely contemporary mystic, stalking the ponds and forests of Cape Cod for nearly fifty years in order to open herself \u2013 and her readers \u2013 to the known and unknowable world.\u201d<\/p>\n \t\t\t\t\t\t \t\t\t\t\tPoet Mary Oliver speaks at a women\u2019s conference on October 26, 2010 in Long Beach, organized by then-California First Lady Maria Shriver.<\/span><\/p>\n \t\t\t\t\t\t\t\t\tKevork Djansezian\/Getty Images<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n \n\tThe release continues, \u201cFrom a lonely childhood to literary fame, Oliver\u2019s life was shaped by devotion to nature, paying attention, and the long journey toward learning to love and to be loved. Her poems inspire liberals and conservatives, atheists and believers, naturalists and urbanites, speaking directly to contemporary anxieties about attention, presence, and the human relationship with the natural world \u2013 issues that feel especially pressing in an era of climate crisis, digital distraction, and social fragmentation.\u201d<\/p>\n \n\tThe deal for Mary Oliver: Saved by the Beauty of the World<\/em> was negotiated by Kino Lorber VP of Acquisitions Karoliina Dwyer.<\/p>\n \n\t\u201cIt\u2019s so hard to make a movie about poetry, but cinematic translator Sasha Waters has nailed it,\u201d commented Kino Lorber Chairman & CEO Richard Lorber. \u201cOliver\u2019s words and [Sasha] Waters\u2019 frames work together to dissolve that elusive membrane separating interior and exterior worlds, with enthralling, vividly visualized correlatives of what Oliver learns from nature in examining her own complex emotions. Fueled by poetry, it\u2019s filmic fusion to be cherished.\u201d<\/p>\n \n\tWaters\u2019 credits include Garry Winogrand: All Things Are Photographable<\/em>, a documentary about the renowned street photographer.<\/p>\n \n\t\u201cWe are thrilled to partner with Kino Lorber on the release of Mary Oliver,\u201d Waters said in a statement. \u201cWith their longtime cultivation of discerning documentary audiences, Kino Lorber is the ideal partner for a film that dives deep into the literary and cultural significance of Mary as both person and poet.\u201d<\/p>\n \n\tMary Oliver: Saved by the Beauty of the World<\/em> is a production of American Masters Pictures, directed and produced by Sasha Waters. The film was originated by executive producer John Keith and Leah Weinkle and produced by Waters\u2019 Pieshake Pictures and American Masters Pictures, led by executive producer Michael Kantor.<\/p>\n \n\tThe Mary Oliver documentary held its world premiere in March at the True\/False festival in Columbia, MO. It has since gone on to screen at DOC NYC Spring Selects, the Martha\u2019s Vineyard Film Festival and the Miami Film Festival. Waters gained access to Oliver\u2019s personal archives to make the film. But as she told Thom Powers, the Miami Film Festival\u2019s documentary programmer, during a Q&A that followed the MFF screening, using the archive came with some restrictions.<\/p>\n \t\t\t\t\t\t \t\t\t\t\tDirector Sasha Waters takes part in a Q&A at the 2026 Miami Film Festival.<\/span><\/p>\n \t\t\t\t\t\t\t\t\tMatthew Carey<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n \n\t\u201cOne thing that was interesting about working with the estate was that we were told that we could not excerpt any poems,\u201d the director explained \u2013 meaning any poems used in the film had to be quoted in their entirety. \u201cWe got a kind of waiver for that, for the opening of the film, much later in the process. But in some ways, it was helpful because it meant that we had to be judicious about choosing longer poems. And there are so many, many poems to choose from.\u201d<\/p>\n \n\tFor the film, Waters interviewed Stephen Colbert, director John Waters (no relation to Sasha Waters), and many poets who admire Oliver\u2019s writing.<\/p>\n \n\t\u201cSo many people who I interviewed brought books with them and wanted to read [from the poems],\u201d Oliver recounted at the Miami Q&A. \u201cAnd so that kind of gave us an architecture. But in some ways, we thought of the poems almost like the way that musical numbers function in a musical, where they both stop the dramatic action but advance the plot\u2026 We tried to use the poems, not chronologically [according to when they were written], but with the degree of emotional truth.\u201d<\/p>\n<\/div>\n![\"Kino](\"https:\/\/deadline.com\/wp-content\/themes\/pmc-deadline-2019\/assets\/public\/lazyload-fallback.jpg\")
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