PRESS KIT
LOG LINE
As the rising seas encroach upon their shores, the residents of Tangier Island—a close-knit Christian fishing community—find themselves at a poignant crossroads. Their centuries-old way of life, sustained by faith and the rhythms of the Chesapeake Bay, is now threatened by a climate crisis that could force them to leave the only home they have ever known.
ONE LINER
The residents of Tangier Island face the existential threat of a climate crisis that may force them from the only home they’ve ever known.
SYNOPSIS
Through intimate cinema verité, Been Here Stay Here, explores the quiet yet profound crisis unfolding on Tangier Island, where climate change isn’t an abstract concept but a daily reality threatening to erase an entire community. The film follows three generations living on the island: Ooker Eskridge, the resolute mayor, whose family has called this place home for six generations; Cameron Evans, a young man caught between the pull of tradition and the allure of opportunities beyond the island; and Jacob Parks, a seven-year-old boy learning the deep maritime history that may soon slip away from him.
The deeply held Christian faith of Tangier’s residents becomes both their compass and their refuge, as they search for meaning and solace in the face of an uncertain future. Filmmaker David Usui documents their struggle, offering a powerful meditation on survival, faith, and the human desire for home amidst the inexorable forces of a changing planet. It’s a story not just about loss, but about the ways we hold on, even as the world shifts beneath us.
DIRECTOR’S STATEMENT
Back in the ’90s, I was a college student immersed in environmental science and philosophy. My days were filled with studying ecosystems and ethics, and my evenings were spent campaigning for what we then called “global warming.” Little did I know that a profound shift was underway. By the end of that decade, the narrative had shifted: the theoretical future had become the undeniable present. Climate change was no longer just a scientific issue; it had become a political battleground, dividing communities and identities in ways that still echo today.
Nowhere was this divide more pronounced than in parts of the evangelical Christian community in the U.S. Climate denialism fused with conservative Christian identity, hardening into something more resistant to change. To accept the reality of climate science was framed as a betrayal—not just of political loyalty but of faith itself. Fossil fuel-backed lobbying groups like ExxonMobil and Koch Industries played a pivotal role in this transformation, crafting a narrative that cast environmentalism as an anti-Christian ideology. They argued that it prioritized nature over people, framed environmental regulations as threats to freedom and prosperity, and even exploited interpretations of biblical dominion theology to justify unrestricted exploitation of Earth’s resources.
These groups were not just rhetorical; they were tactical. They spread misinformation, paid “experts” to cast doubt on climate science, and weaponized moral arguments to claim that climate policies would harm the poor through rising energy costs. During the broader culture wars of the 1990s, environmentalism was painted as part of a “liberal overreach,” making climate skepticism a rallying cry for those defending what they saw as traditional American values. As the Republican Party increasingly tied itself to evangelical voters, climate denialism became embedded not just in political platforms but in identities and beliefs.
Yet even in the face of these efforts, resistance has always existed. Organizations like the Evangelical Environmental Network (EEN) and figures like the Christian climate scientist, Katharine Hayhoe have been working tirelessly to reclaim the narrative, showing that caring for creation is not a betrayal of faith but an essential part of it. They argue that environmental stewardship is not a political issue—it’s a moral one, a spiritual calling to protect what is sacred. And they are right. Their work reminds us that data alone is not enough; we need stories—powerful, compelling stories—to change hearts and minds.
With Been Here Stay Here, we hope to contribute to that effort. This film is an attempt to expand on their work, to create a space for conversations that bridge divides rather than deepen them. It’s an effort to reclaim the shared ground where we can meet as humans, to talk and to work together toward a common purpose.
My hope is not to win an argument or score political points. It is to spark understanding—to remind us that the climate crisis is not just a policy debate but a deeply human issue that touches all of us. We need to find the courage to come together, across all the boundaries we’ve created, to protect our fragile planet. Unless we can see this as a shared mission—not just for ourselves but for the generations to come—our ability to create meaningful change will falter. This is not just about today; it is about the future we owe to each other. It’s about finding a way to live together, in harmony with the only home we’ve ever known.
SPECS
Title of Film Been Here Stay Here
Country of Production USA
Date of Completion September 2024
Shooting Format 4K UHD
Screening Format DCP and Pro Res available
Ratio Standard 16:9 DCP
Sound Dolby Digital 5.1 Theatrical
Duration 86 minutes
Genre Documentary
Language English, German (Subtitles)
CONTACTS
PUBLICITY
Ry Levey
+1 647 781 0818
rylevey@gmail.com
www.rylevey.com
PRODUCTION COMPANY
Lost & Found Films
+1 646 801 2015
mail@lostfoundfilms.com
www.lostfoundfilms.com
STILLS
BIOS
DAVID USUI
DIRECTOR / PRODUCER / CINEMATORGRAPHER / EDITOR
David Usui has spent over 15 years crafting character-driven documentaries as a director and cinematographer. His work, which has been featured in The New York Times, PBS, ITVS, The Atlantic, and VICE, reflects a commitment to storytelling that is both intimate and expansive. David’s collaboration with the legendary Albert Maysles on In Transit—a film that captures the stories of travelers along Amtrak’s “Empire Builder” route—premiered at the Tribeca Film Festival and was awarded the Special Jury Prize for Best Feature Documentary.
In 2009, David co-founded Lost & Found Films, a production company that has brought documentary and commercial content to life in partnership with brands, ad agencies, broadcasters, and NGOs. David’s background in philosophy and environmental studies, at Western Washington University, has deeply informed his work, blending thoughtfulness with a keen eye for the environments in which his stories unfold. As an adjunct professor at Columbia University’s Graduate School of Journalism, David has imparted this vision to his students, guiding them to explore the world with curiosity and compassion.
GIORGIO ANGELINI
PRODUCER
Giorgio Angelini came into film from a longer, multi- faceted career in the creative arts, including music and architecture. His directorial debut, Owned: A Tale of Two Americas came out of his interest in architecture and housing policy. The film made its television premiere in 2022 on Independent Lens/PBS and was viewed by over three million people.
His second film, 2020’s Feels Good Man, premiered at Sundance where it went on to win the Special Jury Prize for Emerging Filmmaker, as well as a News & Doc Emmy for Best Research in Feature Documentary.
His latest project, The Antisocial Network, was released on Netflix in April 2024 and was a Top 10 film across the globe. Giorgio studied American History at the University of Texas, Austin and received his Masters of Architecture from Rice University.
ELIZABETH RAO
EDITOR
Liz Rao is a filmmaker based in Brooklyn, NY. Her award-winning work focuses on theatrically-released fiction and documentary features. Recent credits include lead editing feature film MATERNA (dir. David Gutnik, Tribeca Film Festival 2020 US Narrative Competition, lead editing feature documentary MAINELAND (dir. Miao Wang, SXSW winner of special jury award for observational cinema), and producing and co-editing acclaimed fiction film MADELINE’S MADELINE (dir. Josephine Decker, Gotham Independent Film Nominee for Best Feature, Independent Spirit Award-nominee, Independent Editor Award), among other upcoming fiction and documentary features. She is currently on scholarship as a writer and director in the NYU Graduate Film program. She has taught workshops in experimental filmmaking at True/False Film Festival, has given artist talks at The Edit Center, UnionDocs, and Yale University, and is a member of the collective Brown Girls Doc Mafia. Before filmmaking, she worked for four seasons on the programming team at Tribeca Film Festival.
PETER STEUSLOFF
DIRECTOR OF PHOTOGRAPHY
Peter Steusloff is an award-winning cinematographer with over 15 years experience. His first feature Skook won the Grand Jury Prize at the New Orleans Film Festival. His work in both documentary and narrative films showcases his sensitive eye for storytelling and his attention to lighting. Peter continues to work as a commercial cinematographer with clients including L’Oreal, Swarovski, Macy’s, Comcast, and many others.
MARTHA WOLLNER
STORY PRODUCER
For over 20 years Martha Wollner worked with Albert and David Maysles (Maysles Film Inc), capturing real people stories for award winning projects that ranged from documentary features to landmark commercial campaigns and corporate projects for a host of Fortune 500 clients. Her duties at MFI included casting, producing and second unit directing on feature documentaries. Following her tenure as General Manager of the company, Martha established her own company, Very Real Casting, dedicated to nurturing human stories for all forms of media. Now in its 20th year, Very Real Casting is rooted in the same skill set the Maysles Brothers saw in Wollner from the outset; the ability to find and establish relationships with people who deliver the greatest window into their real stories.
JAMES WILLIAM BLADES
COMPOSER
James William Blades is a composer and producer based in New York. Working primarily as a film composer, he has worked across a wide range of productions including feature films, documentary, art exhibition, sound installation as well as producing music for recording artists. His credits include music composition for Black is King (dir. Beyonce Knowles, Disney), Flypaper and Black Mary (dir. Kahlil Joseph), and for Mercury Award Winning artist Sampha’s film Process.
James has produced music that had been presented at the V&A Museum in London, Venice Biennale, Serpentine Gallery, New Museum, The Shed, 180 The Strand and Palais De Tokyo, where he produced music for artist and musician Theaster Gates exhibition, Amalgam. More recently James scored the Showtime documentary Point Gods produced by Coodie and Chike and Kevin Durant. James has a Masters in composition at Royal College of Music and is the founder of the music production studio Interlude.