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// Films // Bisbee '17

Bisbee '17

Robert Greene / United States / 2018 / 112 ' / English - Spanish / S.T. English


Robert Greene
Robert Greene
Jarred Alterman
Douglas Tirola, Susan Bedusa & Bennett Elliott

Awards & Festivals

Official Selection, CPH:DOX 2018
Official Competition, DocAviv Film Festival 2018
Official Selection, SBIFF Mini Fest, Santa Barbara, CA

Upcoming Screenings

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previously screened

In Production

A vital film full of creativity and contradictions, BISBEE captures an US town's reconciliation with its dark history of ethnic cleansing and union busting.


BISBEE ’17 is a nonfiction feature film by Sundance award winning director Robert Greene set in Bisbee, an eccentric old mining town on the Arizona-Mexico border that finally reckons with its darkest day: the deportation of 1200 immigrant miners exactly 100 years ago. Locals collaborate to stage recreations of their controversial past.

Radically combining documentary and genre elements, the film follows several members of the close knit community as they collaborate with the filmmakers to commemorate the 100th anniversary of the Bisbee Deportation, where 1200 immigrant miners were violently taken from their homes by a deputized force, shipped to the desert on cattle cars and left to die.

When the last copper mines closed in 1975, the once-booming Bisbee nearly became another Arizona ghost town, but was saved by the arrival of a generation of hippies, artists and eccentrics that give the place its strange vibe today. Bisbee is considered a tiny “blue” dot in the “red” sea of Republican Arizona, but divisions between the lefties in town and the old mining families remain. Bisbee was once known as a White Man’s Camp, and that racist past lingers in the air.

As we meet the townspeople, they begin to confront the violent past of the Deportation, a long-buried secret in the old company town. As the 100th anniversary of Bisbee’s darkest day approaches, locals dress as characters on both sides of the still-polarizing event, staging dramatic recreations of scenes from the escalating miner’s strike that lead to the Deportation. Spaces in town double as past and present; reenactors become ghosts in the haunted streets of the old copper camp.

Richard plays the sheriff in a Western, Fernando portrays a Mexican miner in a Musical, a local politician is in her own telenovela. These and other enacted fantasies mingle with very real reckonings and it all builds towards a massive restaging of the Deportation itself on the exact day of its centennial anniversary.


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