Brazilian filmmaker Victor Dias Rodrigues’ short documentary All Riders exposes the stark reality of New York City’s metro system: an unjustifiable combo of broken elevators and a lack of reform. It follows Sasha Blair-Goldensohn, one of the leaders of NYC’s disability movement, and sheds light on the city’s disregard for accessibility and the fight for change. From the MTA’s inaction to then-Governor Cuomo’s investment to essentially redecorate the subway systems without considering any structural or tangible improvements, All Riders places the viewer in the shoes of those who struggle to navigate the subway system every day.
As he notes in our interview below, Rodrigues spent a year researching and interviewing / forming relationships with disability activists and transit advocates. What ultimately inspired his investigation was the news of the death of Malaysia Goodson in 2019. Goodson was a 22 year-old mother who fell while trying to carry her daughter’s stroller down a flight of subway stairs, resulting in her tragic death. “It didn’t make sense. It just didn’t compute,” says Rodrigues.
This is perhaps what makes All Riders exceptional: the film spotlights the importance (and struggle) of the disability movement, while ultimately making the argument that accessibility is a fight for all. Blair-Goldensohn, for instance, became disabled after an accident in 2009, and Goodson was an able-bodied mother whose death could certainly have been avoided if her subway station’s elevator weren’t broken. “Accessibility is about universality,” says Rodrigues. “This is the fundamental magnetism of the issue. Making a space accessible elevates the living standards of all people.”
Congratulations on your film! It offers a really powerful, emotive, and informative perspective on the issues and struggles that many disabled people experience every day. Where did All Riders start for you? What inspired you to spotlight this issue?
It all started in late January of 2019 when I learned of the death of Malaysia Goodson. I was appalled by the news of a 22 year old mother’s fatal fall down subway stairs as she carried her one-year-old daughter in her stroller. It didn’t make sense. It just didn’t compute. I needed to know more. I, like many straphangers, have helped parents with strollers navigate subway stairs. These experiences added to my motivation to understand the factors that lead to Malaysia’s death.
I delved into a year’s long process of investigative research. This research then transitioned into field work which involved meeting disability activists and transit advocates. Next thing you know I am attending meetings of various disability groups, rallies and court hearings.
In your film’s short runtime, you highlight diverse experiences and voices, ultimately illustrating that you don’t necessarily need to be disabled in order to be affected by an environment’s lack of accessibility. How important was it for you to channel a multitude of perspectives in All Riders and to really hone in on the anger, frustration, and fighting spirit of everyone affected by the MTA inaction?
The disabled community in the city of New York is fascinating. It is extremely diverse cutting through all quantifiable metrics be it income, zip code, ethnicity—you name it! It is also the city’s largest minority numbering almost one million New Yorkers. Crucially, it is a community you can become part of during life like for Sasha Blair-Goldensohn, one of our characters who became disabled after a freak accident in 2009. Then of course you have Malaysia Goodson who was an able-bodied mother.
As an able-bodied person myself, it was crucial to amplify the personal aspects of our character’s stories to address this wide range of experiences. Accessibility is about universality. This is the fundamental magnetism of the issue. Making a space accessible elevates the living standards of all people.
All Riders isn’t your first documentary short to highlight social issues; The Ending of a Dream sheds light on the realities of undocumented works in NYC. Would it be fair to say that film is your medium for activism? Conversely, how much does your social consciousness inform your approach to filmmaking?
Although my passport says I am a Brazilian citizen, an upbringing across four continents has shaped my inquisitiveness on the complexities and challenges of the human condition. I don’t seek to convince my audience to adhere to my worldview per se. Instead, through personal interest stories, I hope to touch their hearts and to challenge their perspectives, to hold up a mirror and make them reflect on the real, tangible human aspects of the issues I present.
What advice would you have for aspiring filmmakers and activists who want to use film as tool for social education and change?
You have to be diligent and patient. You have to be humble in understanding that you may not fully understand an issue at first so it is key that you put yourself out there and do your homework. Do not expect results overnight. Building bridges and gaining the trust of your characters take time. If you show a genuine interest in the topic at hand, that you’ve done your research and – above all – that you are willing to learn and listen, doors will open. I was able to obtain the amount of access for All Riders through a year’s worth of relationship and trust building. It’s a challenging process but extremely fulfilling.
What’s next for you? And where can our readers follow you and your work?
I am now living in São Paulo, Brazil after ten years in New York City. Readers can follow me and my work on Instagram with the handle @vdrsvictor.
