Return to El Salvador is an intimate documentary that tells—mainly through candid interview—the story of the individuals and communities effected by El Salvador’s brutal civil war that ended nearly two decades ago. While a little heavy-handed on narration (which isn’t to say Martin Sheen’s usual talented presentation of context isn’t well-executed, but that there is too much explaining/describing as we see things on the screen) the film is beautifully shot and a commitment and compassion shines through in every scene.

The film picks through the complicated layers of geo-politics, resistance, and torn communities to piece together an important (and overlooked in the West) story from America’s so-called “back yard.” Art Threat had a chance to chat with director Jamie Moffett during the usual juggling act that occurs after an indy doc is completed and its makers seek out an audience.

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Director Jamie Moffett struggles to find room for all the facts, stories and speakers that he has amassed for his examination of the nation’s recent history. There isn’t even much space for the narration by Martin Sheen, still the go-to guy when politically minded filmmakers need a familiar voice for their agitprop.

Given that over 7 million Salvadorans live in an area that’s approximately the same size as Massachusetts, perhaps it’s appropriate that Moffett’s film is nearly as densely crammed as its subject.

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Shane Claiborne and a group of folks concerned about gun violence gathered in front of notorious gun shop. The Shooter Shop has a reputation for having guns it has sold end up in the hands of violent criminals. Fans of the Shooter Shop showed up to have a counter-rally and harass the folks working for nonviolence. When Shane started leading the Lord’s Prayer, the first catcall was a loud “Boo!” Then, the Shooter Shop gang started praying to another god with the song, “God Bless America.” As Jamie Moffett said, they tried to drown out the Lord’s Prayer.

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Three years ago, Jamie Moffett, a budding documentary filmmaker, bought a small, two-story house on East Westmoreland Avenue, just a block off Allegheny, in Philadelphia’s long-blighted West Kensington neighborhood, for $50,000, to use as a studio.

Even before he moved in, Moffett discovered a problem — the house next door. It was vacant and abandoned, a prime spot for drug dealers and a haven for drug users.

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