The only documentary to focus solely on the life and career of Yvonne Rainer, Feelings Are Facts: The Life of Yvonne Rainer tells the captivating story of one of America's most important artists.In 1962, as a founding member of Judson Dance Theater, Rainer revolutionized modern dance by introducing everyday movements like walking and running into the dance lexicon.

The only documentary to focus solely on the life and career of Yvonne Rainer, Feelings Are Facts: The Life of Yvonne Rainer tells the captivating story of one of America's most important artists. In 1962, as a founding member of Judson Dance Theater, Rainer revolutionized modern dance by introducing everyday movements like walking and running into the dance lexicon. Abandoning choreography in the ‘70s, Rainer introduced narrative techniques into American avant-garde film, turning that genre on its head, too. In Feelings Are Facts, we follow Rainer, now in her 80s and returned to choreography, as she continues to create vibrant, courageous, unpredictable dances that invite audiences to question basic assumptions about art and performance.

A riveting documentary. A compelling portrait of a truly original artist, as vital as ever in her senior years. -San Francisco Examiner Articulate and illuminating. Rainer comes across here as a flinty, inspiring and indefatigably questing practitioner, keen to explore her chosen fields to their maximum potential.

-Hollywood Reporter An engaging, fascinating look at a maverick contemporary-art leader. -Vancouver Observer Essential viewing for not only dance aficionados, but for those seeking an illuminating example of how postmodern artists were instrumental in 'opening up the palace gates of high art.'

-The Georgia Straight. An excellent introduction to the work of one of our culture's most sensitive and intelligent weather vanes. Arabskij shrift russkij. Celebrates the aesthetic and political value of an approach to making art that refuses easy categorization in favor of giving form to the particular, felt qualities of everyday life in the late twentieth and early twenty-first-centuries. I could see using the film in my Trends in International Contemporary Art and History of Performance Art, 1900 to the Present courses.'

Elise Archias, Assistant Professor of Art History, Author of The Concrete Body: Rainer, Schneemann, Acconci University of Illinois, Chicago 'Jack Walsh’s Feelings Are Facts: The LIfe of Yvonne Rainer is an informative and still provocative review of Rainer’s career and the ideas that motivated it. In this apparently effortless cinematic correlation of her art and her life through oral and visual history a series of productive tensions are explored: theatricality versus anti-theatricality, modern dance versus film, and text as it relates to image and movement. All this and more should lead young choreographers to think. The film should be valuable to undergraduate dance history classes but also for more theoretically-based graduate classes dealing with the avant-garde and the '60s.' Mark Franko, Laura H. Carnell Professor of Dance, Boyer College of Music and Dance Temple University ' HIGHLY RECOMMENDED. Paints a sympathetic comprehensive portrait of one of the most original, influential artists of the twentieth century American avant-garde.

In 2000, age sixty-six, Rainer is commissioned by the legendary Russian dancer Mikhail Baryshnikov to choreograph a work for his White Oak project. The Baryshnikov benediction recruits Rainer into the ranks of the most important dancers of her time. Interwoven with a selection of Rainer’s dances and films in Jack Walsh’s generously paced documentary is commentary provided by Rainer herself as well as from cultural critics, artists, and dancers, who offer insightful reflections on Rainer’s creative process and the intellectual movements in which this most remarkable artist partook.'

Rebecca Adler Schiff, College of Staten Island, City University of New York, for Educational Media Reviews Online () 'Reclaims Yvonne Rainer as a multidisciplinary feminist artist who re-calibrated dance, film, and art by juxtaposing the everyday with the unfamiliar. Astutely guides the viewer through over half a century of minimalist, conceptual, postmodern, and feminist debates that resolutely insist on the connection between art and politics. A beautifully rendered, landmark film illuminating Rainer's constant shuffling between art, choreography, film and feminism. Deeply considered meta-conversation with one of the most important feminist conjurers of the last 60 years.' Zimmermann, Professor of Screen Studies, Ithaca College 'A valuable tool for visual and performing arts, as well as women studies educators.

It positions Rainer’s work within a wonderfully inclusive community of art practitioners who challenge existing forms and ideas; as it captures Rainer questioning and reflecting on her craft throughout her career.' Mary Buckley, Associate Professor Dance & Women's Leadership Program, George Washington University.