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Toronto Sun
11-07-2025
- Entertainment
- Toronto Sun
Marlee Matlin tells her story in an intimate and groundbreaking documentary
Published Jul 11, 2025 • 4 minute read Marlee Matlin, left, and director Shoshannah Stern pose for a portrait to promote "Marlee Matlin: Not Alone Anymore" on Wednesday, June 11, 2025, in New York. Photo by Andy Kropa / Invision/AP When American Masters approached Marlee Matlin about doing a documentary, Matlin had one name in mind to direct: Shoshanna Stern. This advertisement has not loaded yet, but your article continues below. THIS CONTENT IS RESERVED FOR SUBSCRIBERS ONLY Subscribe now to read the latest news in your city and across Canada. Unlimited online access to articles from across Canada with one account. Get exclusive access to the Toronto Sun ePaper, an electronic replica of the print edition that you can share, download and comment on. Enjoy insights and behind-the-scenes analysis from our award-winning journalists. Support local journalists and the next generation of journalists. Daily puzzles including the New York Times Crossword. SUBSCRIBE TO UNLOCK MORE ARTICLES Subscribe now to read the latest news in your city and across Canada. Unlimited online access to articles from across Canada with one account. Get exclusive access to the Toronto Sun ePaper, an electronic replica of the print edition that you can share, download and comment on. Enjoy insights and behind-the-scenes analysis from our award-winning journalists. Support local journalists and the next generation of journalists. Daily puzzles including the New York Times Crossword. REGISTER / SIGN IN TO UNLOCK MORE ARTICLES Create an account or sign in to continue with your reading experience. Access articles from across Canada with one account. Share your thoughts and join the conversation in the comments. Enjoy additional articles per month. Get email updates from your favourite authors. THIS ARTICLE IS FREE TO READ REGISTER TO UNLOCK. Create an account or sign in to continue with your reading experience. Access articles from across Canada with one account Share your thoughts and join the conversation in the comments Enjoy additional articles per month Get email updates from your favourite authors Don't have an account? Create Account Like Matlin, Stern is deaf. She also hadn't directed before. But Matlin, who herself became the first deaf person in the Directors Guild of America just a few years ago, was certain she was up to the task. The resulting film, 'Marlee Matlin: Not Alone Anymore' is an intimate look at her life: Growing up in a hearing family; winning the best actress Oscar at 21 for her first movie role in 'Children of a Lesser God,' which film critic Rex Reed at the time called a 'pity vote'; what she's described as an abusive romantic relationship with her co-star, the late William Hurt, which he denied; getting sober; and her experiences in an industry not equipped to accommodate deaf actors. It's also an evocative portal into the world of the deaf community that uses groundbreaking techniques and sound design to put American Sign Language (ASL) and visual communication first. The film opens in select Canadian theatres on July 25. Your noon-hour look at what's happening in Toronto and beyond. By signing up you consent to receive the above newsletter from Postmedia Network Inc. Please try again This advertisement has not loaded yet, but your article continues below. While Matlin told much of her story in the memoir 'I'll Scream Later,' on some level it wasn't a completely satisfactory experience. Before the #MeToo movement, its revelations were not treated entirely seriously in the media. But a documentary also provided an opportunity. 'We communicate visually,' she said. Matlin and Stern spoke though translators to The Associated Press about the 'CODA' effect, making the doc on their terms, and why they hope Reed sees this film. Remarks have been edited for clarity and brevity. AP: Shoshanna, what was your approach? STERN: I had never seen a deaf person direct an episode of TV or film. Never. I thought, what does that even look like? I didn't realize until I took the job that really the whole form of documentary as we know it is really rooted in sound, in the assumption that people will be speaking and they can speak. I thought, what are we going to do when we're using American Sign Language? I have to reframe a whole form of documentary. We have to be able to see what a visually-based documentary is going to look like. This advertisement has not loaded yet, but your article continues below. We wouldn't do justice to Marlee's life if I had forced this form that really wasn't rooted in the way that she experienced this life. And that was exciting to do. Scary for some people out there, but I never felt scared in making this documentary because she believed in me. This image released by Sundance Institute shows documentary subject Marlee Matlin in a scene from 'Marlee Matlin: Not Alone Anymore.' THE ASSOCIATED PRESS MATLIN: If I had had a hearing director approach me to do this project, we could have done a very good job, but that person would not have seen me in the same way. They would not have the same lens as a deaf person. AP: What were some techniques you used to spotlight the deaf experience? STERN: I did want to film with captions in mind, so I made sure that we did have a wider frame. We figured out visual voiceover with a split screen that we added. We did this little surgery with words and syllables in one of the scenes where we mixed them all around to be able to bring people into how Marlee experiences conversations and the world. We wanted to make this documentary an immersive experience for the audience members, a sensory experience to help them understand. This advertisement has not loaded yet, but your article continues below. AP: 'CODA' felt like a big moment, but in the years since it won the Oscar, have you seen things change? MATLIN: 'CODA' certainly was a milestone and respected by so many people in the industry. It tackled a lot of things that both deaf and hearing people or audiences can identify with. I love the fact that they burnt in the captions. That you can't just turn it off. And I hoped that all the love we received and the three Academy Awards that we got would make a difference. It was honored on so many other levels too as well, whether we're talking about (director) Sian (Heder) or you're talking about Troy (Kotsur) or the SAG award which was just a dream come true, specifically of mine. I took that opportunity to specifically address that that we 'exist,' that we want to be actors just like you, we want to be directors, we want be producers, we want to be hair and wardrobe stylists. We want to work in all levels of production. So 'CODA' really elevated that conversation about how much we wanted to be part of the industry. But for some reason it didn't really break open the door as wide as I would have thought. Yet we just don't give up. We are persistent. Because it is what it is. We are working on our own levels to make changes. This advertisement has not loaded yet, but your article continues below. STERN: Marlee said something really brave when we were at Sundance. She said, 'It won't last.' The moment, yes, in the moment. But I don't know if we have movement. MATLIN: There's so many stories that we can tell, so many stories that you can put up on screen, so many stories that we can put on stage. I'd like to see action because I've been hearing that, 'Yes, we have to do this' or 'I will do this,' but it's been 40 years. I don't want to sound like I'm complaining. I just want to make sure that we put our money where our mouth is. I go back to that comment about Rex Reed. I wonder if he would ever see this film. I'd love to see if he has the balls to make a comment and say, 'Oh look, I realize I might have said something wrong.' That's just one example of the things I'd like to see happen. And maybe the people who interviewed me over the years. I don't want you to misunderstand me, I have a great deal of respect for them. But specifically, I am calling out Rex Reed. So, you know, sorry but not sorry. (Reed did not immediately return a request for comment.)
Los Angeles Times
27-06-2025
- Entertainment
- Los Angeles Times
‘Marlee Matlin: Not Alone Anymore' chronicles the actor's personal battle for dignity
Marlee Matlin has a word tattooed on each of her wrists. On the left is 'perseverance,' on the right is 'warrior.' 'After 37 years, I'm still hustling,' she says by way of explanation in 'Marlee Matlin: Not Alone Anymore.' Referring to the ink on her left wrist, she adds, 'I look at this all the time. Every day.' 'Not Alone Anymore' is hardly the first celebrity documentary to salute its subject's tenacity. But if the contours of this story are familiar — the rise, the fall, then the rise again of an Oscar winner — director Shoshannah Stern's affectionate portrait is all the richer for the layers it reveals about both Matlin and the larger struggles of the Deaf community she embodies. The 59-year-old actor's legacy may indeed be one of perseverance, but 'Not Alone Anymore' touchingly details just how much more challenging her battles with addiction and sexual abuse have been than those of other famous people. The film's inventiveness starts with its opening frames, in which closed captioning describes the sounds that accompany the production companies' logos: '[low humming],' '[dramatic, echoey flutters].' These descriptions occur throughout the documentary, as do subtitles for every talking head, including the Deaf participants. Obviously, these creative decisions allow Deaf and hard-of-hearing viewers to more easily experience 'Not Alone Anymore.' But it's also a subtle acknowledgement of Matlin's trailblazing work in the late 1980s, when she used her newfound fame to convince lawmakers to require televisions to include closed captioning — a groundbreaking development for a community who had been deprived of a fuller engagement with the media they were watching. This wasn't the only way in which Matlin has left her mark. In 'Not Alone Anymore,' she breezily recounts how, at 19, she was plucked from relative obscurity to star in her first film, the 1986 adaptation of 'Children of a Lesser God,' based on Mark Medoff's acclaimed play, about a love affair between Sarah, a Deaf janitor, and James, a hearing teacher. Matlin won the Oscar, becoming the first Deaf actor to do so. (Nearly 40 years later, she remains the youngest lead actress recipient.) At the time, her victory was hailed not just as a coronation of a promising talent but also a triumph for the Deaf, who too often feel marginalized and underestimated. But, as the documentary reveals, real progress would prove trickier to achieve. Matlin and Stern, who is also a Deaf actor, have been friends for decades, and their interviews are mostly conducted sitting together on a couch, the conversations exuding the cozy intimacy of old chums chatting. Making her directorial debut, Stern deftly draws out her subject. Audiences will learn about Matlin's past history of drug abuse and her fraught romantic relationship with her 'Lesser God' costar William Hurt, whom she has accused of sexual and physical abuse. (Hurt died in 2022.) But 'Not Alone Anymore' gently probes the unique difficulties Matlin's deafness created as she navigated those traumas. When she went to rehab, the facility was ill-equipped to treat a Deaf patient. And during a poignant discussion about Matlin's sexual abuse, she explains growing up with no understanding of the phrase 'domestic violence.' 'Deaf people only have their eyes to rely on for information,' she tells Stern. It's an illuminating illustration of the dangers of what the Deaf community refers to as language deprivation. Despite her Oscar win, Matlin would repeatedly have to advocate for herself in an industry seemingly uninterested in Deaf characters. Stern uses 2021's best-picture-winning 'CODA,' which costarred Matlin, as a happy ending of sorts for her film, without denying the ongoing movement for greater Deaf visibility. But if 'Not Alone Anymore' can sometimes lean too heavily on uplifting sentiment, Matlin's story possesses a bittersweet aftertaste. As evidenced by Matlin's years of striking, engaging performances, she is a winning presence in the documentary — funny, charming and open — even while we sense the lingering wounds from a difficult upbringing exacerbated by sexual abuse she endured in childhood. Beyond being a spokesperson for the Deaf, Matlin has also emerged as a voice for survivors, even when the world wasn't receptive to what she had to say. 'Not Alone Anymore' notes, with pointed irony, that Matlin published her candid memoir 'I'll Scream Later' in 2009, years before #MeToo, so her accusations against Hurt didn't carry the same weight in the media as the ones that would later stop powerful predators such as Harvey Weinstein. It was hardly the first time Matlin waited for society to catch up with her. When she first arrived in Hollywood, she couldn't have possibly imagined how much of a warrior spirit she would need. 'Not Alone Anymore' honors a woman who learned how to fight.
San Francisco Chronicle
25-06-2025
- Entertainment
- San Francisco Chronicle
‘Marlee Matlin: Not Alone Anymore' is Bay Area filmmaker's love letter to a groundbreaking actress
Marlee Matlin, the only deaf actress to win an Academy Award and still the youngest to win best actress, has a small tattoo on each wrist. One spells out 'perseverance,' the other 'warrior.' 'I'm still hustling after 37 years,' she signs with a mixture of pride and resignation as she sits in a makeup chair in the new documentary ' Marlee Matlin: Not Alone Anymore.' The film, directed by Fremont-raised Shoshannah Stern, also a deaf actress, is extraordinary not so much in its content — most of the salacious stuff, such as her abusive relationship with actor William Hurt, had been revealed in Matlin's 2009 memoir — but in its form. Through some impressive technical planning and execution, Stern and her team make each scene understandable to both deaf and hearing people through split screens and subtitles, and yet it's not cumbersome. The documentary is, in fact, fast moving and absorbing. Matlin, of course, was an unknown Chicago stage actress, still in her teens, when she was cast opposite Hurt in the 1986 film version of Mark Medoff's Broadway play 'Children of a Lesser God,' about the difficult romance between a deaf janitor and a hearing speech teacher. The film ignited debate, was a box office hit and nominated for several Oscars, with Matlin winning best actress over Jane Fonda, Sigourney Weaver, Sissy Spacek and Kathleen Turner. Overnight, she became the most visible deaf person on the planet, and with that came sudden responsibility to, as we say today, represent. She became actively involved in a movement to appoint a deaf president to lead Gallaudet University, a hearing impaired institution (an event profiled in the recent Apple TV+ documentary 'Deaf President Now!'). Matlin also led efforts to enact federal legislation mandating closed captioning on all televisions, significantly advancing accessibility for the deaf community. Matlin's motivation for the latter stemmed from her favorite movie as a young girl, the movie she credits for making her want to be an actress: 'The Wizard of Oz.' She watched the 1939 classic whenever it was on TV, and one can only imagine how, to a child who could not hear, what a bizarre dreamscape it is, like a children's film made by Fellini. The biggest celebrities who sit for Stern's camera are writer-producer Aaron Sorkin, who created a recurring role for her on his White House drama 'The West Wing,' and actor Henry Winkler, her best friend in Hollywood. How Matlin and Winkler met is truly a delightful story, and it happened when she was a teenager, way before she went to Hollywood. The cast of 'Happy Days' was to play in a celebrity softball game before a Cubs game at Wrigley Field. Matlin loved the Fonz, Winkler's signature character on the show, because he fell for a deaf woman (played by Linda Bove, a deaf actress who was a regular on 'Sesame Street') in a memorable episode. She wrote a fan letter to Winkler and invited him to a performance by her deaf children's theater troupe, and he brought the 'Happy Days' cast with him. After the messy break-up with Hurt, Winkler and his wife Stacey provided a safe haven. There are painful moments in 'Marlee Matlin: Not Alone Anymore,' and there are triumphs. But mostly, it is a film of grace and acceptance — a necessary portrait of a groundbreaking artist.
Gulf Today
23-06-2025
- Entertainment
- Gulf Today
Marlee Matlin tells her story in an intimate documentary
When American Masters approached Marlee Matlin about doing a documentary, Matlin had one name in mind to direct: Shoshanna Stern. Like Matlin, Stern is deaf. She also hadn't directed before. But Matlin, who herself became the first deaf person in the Directors Guild of America just a few years ago, was certain she was up to the task. The resulting film, 'Marlee Matlin: Not Alone Anymore' is an intimate look at her life: Growing up in a hearing family; winning the best actress Oscar at 21 for her first movie role in 'Children of a Lesser God,' which film critic Rex Reed at the time called a 'pity vote'; what she's described as an abusive romantic relationship with her co-star, the late William Hurt, which he denied; getting sober; and her experiences in an industry not equipped to accommodate deaf actors. It's also an evocative portal into the world of the deaf community that uses groundbreaking techniques and sound design to put American Sign Language (ASL) and visual communication first. The film opens in select theaters Friday. While Matlin told much of her story in the memoir 'I'll Scream Later,' on some level it wasn't a completely satisfactory experience. Before the #MeToo movement, its revelations were not treated entirely seriously in the media. But a documentary also provided an opportunity. 'We communicate visually,' she said. Matlin and Stern spoke though translators to The Associated Press about the 'CODA' effect, making the doc on their terms, and why they hope Reed sees this film. Shoshanna, what was your approach? STERN: I had never seen a deaf person direct an episode of TV or film. Never. I thought, what does that even look like? I didn't realize until I took the job that really the whole form of documentary as we know it is really rooted in sound, in the assumption that people will be speaking and they can speak. I thought, what are we going to do when we're using American Sign Language? I have to reframe a whole form of documentary. We have to be able to see what a visually-based documentary is going to look like. We wouldn't do justice to Marlee's life if I had forced this form that really wasn't rooted in the way that she experienced this life. And that was exciting to do. Scary for some people out there, but I never felt scared in making this documentary because she believed in me. MATLIN: If I had had a hearing director approach me to do this project, we could have done a very good job, but that person would not have seen me in the same way. They would not have the same lens as a deaf person. What were some techniques you used to spotlight the deaf experience? STERN: I did want to film with captions in mind, so I made sure that we did have a wider frame. We figured out visual voiceover with a split screen that we added. We did this little surgery with words and syllables in one of the scenes where we mixed them all around to be able to bring people into how Marlee experiences conversations and the world. We wanted to make this documentary an immersive experience for the audience members, a sensory experience to help them understand. 'CODA' felt like a big moment, but in the years since it won the Oscar, have you seen things change? MATLIN: 'CODA' certainly was a milestone and respected by so many people in the industry. It tackled a lot of things that both deaf and hearing people or audiences can identify with. I love the fact that they burnt in the captions. That you can't just turn it off. And I hoped that all the love we received and the three Academy Awards that we got would make a difference. It was honored on so many other levels too as well, whether we're talking about (director) Sian (Heder) or you're talking about Troy (Kotsur) or the SAG award which was just a dream come true, specifically of mine. I took that opportunity to specifically address that that we 'exist,' that we want to be actors just like you, we want to be directors, we want be producers, we want to be hair and wardrobe stylists. STERN: Marlee said something really brave when we were at Sundance. She said, 'It won't last.' The moment, yes, in the moment. But I don't know if we have movement. Associated Press
San Francisco Chronicle
20-06-2025
- Entertainment
- San Francisco Chronicle
Marlee Matlin tells her story in an intimate and groundbreaking documentary
When American Masters approached Marlee Matlin about doing a documentary, Matlin had one name in mind to direct: Shoshanna Stern. Like Matlin, Stern is deaf. She also hadn't directed before. But Matlin, who herself became the first deaf person in the Directors Guild of America just a few years ago, was certain she was up to the task. The resulting film, 'Marlee Matlin: Not Alone Anymore' is an intimate look at her life: Growing up in a hearing family; winning the best actress Oscar at 21 for her first movie role in 'Children of a Lesser God,' which film critic Rex Reed at the time called a 'pity vote'; what she's described as an abusive romantic relationship with her co-star, the late William Hurt, which he denied; getting sober; and her experiences in an industry not equipped to accommodate deaf actors. It's also an evocative portal into the world of the deaf community that uses groundbreaking techniques and sound design to put American Sign Language (ASL) and visual communication first. The film opens in select theaters Friday. While Matlin told much of her story in the memoir 'I'll Scream Later,' on some level it wasn't a completely satisfactory experience. Before the #MeToo movement, its revelations were not treated entirely seriously in the media. But a documentary also provided an opportunity. 'We communicate visually,' she said. Matlin and Stern spoke though translators to The Associated Press about the 'CODA' effect, making the doc on their terms, and why they hope Reed sees this film. Remarks have been edited for clarity and brevity. AP: Shoshanna, what was your approach? STERN: I had never seen a deaf person direct an episode of TV or film. Never. I thought, what does that even look like? I didn't realize until I took the job that really the whole form of documentary as we know it is really rooted in sound, in the assumption that people will be speaking and they can speak. I thought, what are we going to do when we're using American Sign Language? I have to reframe a whole form of documentary. We have to be able to see what a visually-based documentary is going to look like. We wouldn't do justice to Marlee's life if I had forced this form that really wasn't rooted in the way that she experienced this life. And that was exciting to do. Scary for some people out there, but I never felt scared in making this documentary because she believed in me. MATLIN: If I had had a hearing director approach me to do this project, we could have done a very good job, but that person would not have seen me in the same way. They would not have the same lens as a deaf person. AP: What were some techniques you used to spotlight the deaf experience? STERN: I did want to film with captions in mind, so I made sure that we did have a wider frame. We figured out visual voiceover with a split screen that we added. We did this little surgery with words and syllables in one of the scenes where we mixed them all around to be able to bring people into how Marlee experiences conversations and the world. We wanted to make this documentary an immersive experience for the audience members, a sensory experience to help them understand. AP: 'CODA' felt like a big moment, but in the years since it won the Oscar, have you seen things change? MATLIN: 'CODA' certainly was a milestone and respected by so many people in the industry. It tackled a lot of things that both deaf and hearing people or audiences can identify with. I love the fact that they burnt in the captions. That you can't just turn it off. And I hoped that all the love we received and the three Academy Awards that we got would make a difference. It was honored on so many other levels too as well, whether we're talking about (director) Sian (Heder) or you're talking about Troy (Kotsur) or the SAG award which was just a dream come true, specifically of mine. I took that opportunity to specifically address that that we 'exist,' that we want to be actors just like you, we want to be directors, we want be producers, we want to be hair and wardrobe stylists. We want to work in all levels of production. So 'CODA' really elevated that conversation about how much we wanted to be part of the industry. But for some reason it didn't really break open the door as wide as I would have thought. Yet we just don't give up. We are persistent. Because it is what it is. We are working on our own levels to make changes. STERN: Marlee said something really brave when we were at Sundance. She said, 'It won't last.' The moment, yes, in the moment. But I don't know if we have movement. MATLIN: There's so many stories that we can tell, so many stories that you can put up on screen, so many stories that we can put on stage. I'd like to see action because I've been hearing that, 'Yes, we have to do this' or 'I will do this,' but it's been 40 years. I don't want to sound like I'm complaining. I just want to make sure that we put our money where our mouth is. I go back to that comment about Rex Reed. I wonder if he would ever see this film. I'd love to see if he has the balls to make a comment and say, "Oh look, I realize I might have said something wrong." That's just one example of the things I'd like to see happen. And maybe the people who interviewed me over the years. I don't want you to misunderstand me, I have a great deal of respect for them. But specifically, I am calling out Rex Reed. So, you know, sorry but not sorry.
