AMIR

BAR-LEV

Crazy Enough to Work.

Amir’s latest project, Crazy Enough to Work, is a collaboration with State Street Global Advisors and McCann.

Hosted by actress, director and business owner Elizabeth Banks, and executive produced by David Gordon Green, the series follows some of the world's most innovative companies through a podcast and short documentary series putting a spotlight on the business ideas that were just crazy enough to work.

During several frank discussions and fun experiences, Amir and Elizabeth uncover unexpected insights into how these companies have innovated to become the successful businesses that they are today.

"We had such a great experience shooting with Amir. His time spent passionately researching his subjects shines through the lens, and his collaborative nature helped make fun, intelligent, engaging content"
- Deb Archambault, Executive Producer, McCann NY

Answering The Call.

For Super Bowl LII, Amir joined Verizon and McCann to create a visual thank you to First Responders everywhere comprised entirely of archival footage of real rescues.

Amir and his research team conducted an extensive search, tracking down individuals and archival materials before reconnecting the survivors with their saviors in an emotional reunion. What resulted was an array of harrowing tales; stories of perseverance, bravery, and hope. The spot was awarded four Cannes Lions, a Gold ANDY and was shortlisted for the 2018 AICP Show.

“We wanted to focus on the power of the spoken word so it's just between the two people having the conversation. It was very purposeful in letting the voices be front and center so they could narrate. It's much more emotional that way.”

- Andrew McKechnie, CCO Verizon, Adweek

"Bar-Lev is a gifted and intuitive documentarian."

- GQ

Smile, Smile, Smile...


Take a Long Strange Trip with the Grateful Dead, guided by Bar-Lev's deft hand, and executive produced by Martin Scorsese. The documentary was nominated for Best Music Film at the 2018 Grammy Awards, and was shortlisted for the 2018 Best Documentary Academy Award.

"One of the greatest rock docs ever made."
- Los Angeles Times

"An ardent piece of documentary classicism."
-
Variety

"A work of art."
-
 Huffington Post

A Few Trailers.

The Tillman Story.

"Succeeds triumphantly on so many levels that its full impact doesn't hit you until you have time to register its aftershocks."

- Rolling Stone

"The Tillman Story is ferocious filmmaking, but it wouldn't have half the force it does if the director didn't also get at the complicated man Pat Tillman was."

- NPR

"A lucid, incisive piece of investigative journalism."

- Washington Post

Happy Valley.

"Mesmerizing; a devastating portrait of a community-and, by extension, a nation-put under a spell, even reduced to grateful infantilism, by the game of football."

- The New Yorker

"[A] thorough, thoughtful and disturbing documentary."

- Los Angeles Times

"A fascinating tour of a town that may never be the same again."

- San Francisco Chronicle

My Kid Could Paint That.

"A mysterious, gripping meta-documentary. Reflects upon the thorny, unpredictable process of capturing a real-life story on film at the same time it's trying to figure out what the story is."

- Newsday

"A fascinating subject handled with intelligently provocative care."

- Variety

 

12-12-12.

"Concert films may be all the rage, but it will be hard to top the glitz and missionary zeal of this look behind the scenes and in front of the crowd at the star-laden Madison Square Garden show to benefit the victims of Hurricane Sandy."

- Film Journal International

"You get a real feeling for the crazy quilt of tristate community, bonded by crisis and 'Baba O'Riley'."

- Time Out

Biography.

Amir’s distinctive approach to directing reflects the unusual path he took to become one. As a teenager he became determined to learn how to do multi projector “liquid” light shows. Scouring junk yards for discarded slide projectors, and pestering the old hippie masters of this lost art -- by college he was doing installations and projections for stadium concerts and large scale raves. At the same time, he was double majoring in film and comparative religion. This journey typifies Amir’s documentary work; he finds his way into complex subjects through roads less traveled, punctures the surface, and once inside asks larger human questions. His work returns to the idea that no matter how hard we try to craft and nurture personal mythologies, they can be
reinterpreted and reshaped by time, circumstances, and the will of the masses. For Long Strange Trip, Amir set out to make a film about music that actually felt musical in its approach — allowing interviewees to speak over one another, endlessly digressing into various stories, and employing everything from musical stems to contact sheets in its full-sensory approach. The film doesn’t concern itself much with the typical trudge through a band’s discography. It’s more about how Garcia set out to create an artistic form where the divisions between audience and creator would be obliterated. In that way, Bar-Lev is still the teenager behind the wall of slide projectors.
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News.