Urgent Review: Stream and Download “Deaf President Now”

Gallaudet University stands as the sole institution in the U.S. dedicated to serving Deaf students. Established in 1864 at the behest of President Abraham Lincoln, it relies on 75% federal funding. However, for the initial 124 years, the university was led exclusively by hearing presidents selected by a board predominantly made up of hearing individuals. This status quo was challenged in 1988 when students finally voiced their frustration over yet another non-Deaf president’s appointment. They protested against the chosen president, Elisabeth Zinser—a well-regarded figure with a nursing and academic background—believing she was not capable of genuinely understanding their needs and perspectives.

The ensuing confrontation between the students and the administration is captured in “Deaf President Now!” directed by acclaimed filmmakers Davis Guggenheim and Nylie DeMarco. Guggenheim is known for “An Inconvenient Truth,” while DeMarco is celebrated as the first Deaf winner of “America’s Next Top Model” and a successful producer. The documentary is both intellectually stimulating and engaging, infused with passion while also being deeply informative. It innovatively transforms the cinematic language to better honor its subject.

The narrative centers on four key student activists who rose to prominence during a critical week when Gallaudet enforced a lockdown, barring the entry of non-students until Zinser withdrew her candidacy and a Deaf president was appointed. Among them is Jerry, who combines passion and humor with a vibrant style, often so animated that the camera struggles to capture his enthusiastic signing. Then there’s Greg, who brings enthusiasm but approaches situations with a more thoughtful and strategic mindset. Bridgetta, the only female in the group, injects courage and a unique perspective, often countering the occasionally oblivious sexism of her peers. Formerly a high school cheerleader, she helps organize group chants to foster unity, believing that rhythm would enhance their collective voice.

Lastly, we meet Tim, whose calm and reserved demeanor raises concerns among the others about his ability to take charge during critical moments. In many protests, individuals who seem the least threatening often become the face of the movement, and in this case, that is Tim. He is well-liked and serves as a diplomatic presence during interviews and negotiations, even if he lacks the charisma of his more expressive counterparts like Jerry, whom Greg describes as someone who “charges at obstacles instead of seeking a solution.” When the filmmakers prompt the trio to define Tim’s leadership qualities, they hesitate, possibly mindful of their earlier frustrations regarding his selection, although ultimately, he comes to embody the role effectively.

The students consistently rebuff administrative demands to halt their protest, clamp down on campus access, and accept their president or risk police intervention. Tensions escalate as pressure mounts for them to relent. Nonetheless, the leaders and the student body firmly stand by their call for a Deaf president, asserting that this decision is not only justified but essential, especially after enduring over 125 years of being viewed as dependent individuals disconnected from the realities of a hearing society.

Authority during this turmoil is represented not by Zisman, a well-intentioned individual unfamiliar with the perspectives of communities seeking representation, but rather by Jane Bassett Stilman, the board chair. Stilman’s demeanor conveys privilege and a lack of awareness regarding the impact of her remarks. Early in the narrative, she nearly suggests that resistance is futile to a crowd of understandably upset students. There are claims she previously stated, “Deaf individuals aren’t ready to thrive in a hearing world,” a statement that is patently false given the students’ lived experiences. While Stilman later denies making such comments, her denial lacks credibility. When students express their frustration, she aloofly claims, “it’s difficult to speak amidst this noise.” (Yikes!) Jerry describes her as “the embodiment of elitism and privilege.”

Many films about Deaf individuals are often crafted in a way that focuses on educating hearing audiences about the challenges faced by Deaf characters. A notable example is the film adaptation of “Children of a Lesser God,” where the hearing partner narrates every word exchanged between the characters, despite their fluency in ASL. “Deaf President Now!” distinguishes itself by utilizing subtitles and verbal narrations, skillfully blending witnesses’ lip movements and the narrator’s spoken words.

Furthermore, it employs cinematic techniques that effectively convey the experiences of being Deaf, both physically and politically.Sometimes, the audio completely disappears, or what remains are only the lower frequencies, emulating the experience of a Deaf individual. The choice of archival video and the arrangement of dramatic re-enactments prioritize the perspective of Deaf individuals first, relegating others to a secondary position. This approach turns traditional storytelling on its head, particularly since the advent of synchronized sound in films with “The Jazz Singer.” A poignant moment occurs when someone significant in a Deaf person’s life turns away—for instance, in a predominantly hearing classroom in the 1960s when a teacher faces the board, continuing to speak without considering whether the only Deaf student can comprehend the lesson.

I was unaware of the events surrounding the 1988 Gallaudet University protest, and a glance at modern accounts suggests this pivotal moment has been largely overlooked. Co-director DiMarco shared in an interview with Out, “I attended a typical public school, and when I mentioned Deaf history to my hearing classmates, they were completely unaware. They studied various civil rights movements, but Deaf President Now wasn’t included in those discussions. This Deaf uprising played a critical role in the creation of the Americans With Disabilities Act.”

This film should eliminate any obscurity about its subject. It is an exceptional work that rightly centers the Deaf audience while presenting its story in a manner that allows hearing viewers to understand. There are moments where hearing individuals will notably feel excluded—not out of insensitivity, but as a means to build understanding and empathy. The aim is to help hearing viewers grasp what it’s like to live in a culture that frequently overlooks one’s specific needs and challenges, even within a widely embraced medium like cinema. Roger Ebert once referred to film as a vehicle for generating empathy. This movie embodies that concept, serving as a powerful engine fueled by idealism and creative skill.

• Director

  • Davis Guggenheim
  • Nyle DiMarco