Berlin Hidden Gem: ‘Evidence’ Examines the Insidious Power of Institutional Money

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For decades, the political right has criticized universities as a perilous stronghold of liberal elites, essentially portraying them as dark fortresses spreading left-leaning, anti-American ideologies across the country. However, “Evidence,” a documentary directed by Lee Anne Schmitt, serves to highlight that conservative forces have methodically and effectively penetrated American academia for generations. Key to this objective have been private grant-giving organizations such as the John M. Olin Foundation, which played a pivotal role in creating the Federalist Society and numerous other significant right-wing think tanks.

Documentarian and artist Schmitt delves into the intersection of political beliefs, natural surroundings, and individual experiences. His work, titled “Evidence“, focuses on the impact of the Olin Foundation and the questionable environmental record of its corporate ancestor, the Olin Corporation. While other works might have simply criticized conservative philanthropic activities, Schmitt transforms this into a deeply personal reflection. Through his lens, what could have been a simple critique of conservative activism becomes an introspective exploration of power dynamics and how institutions and systems manipulate our thoughts, lifestyles, and bodies.

Schmitt expresses that the film initially felt intriguing to her, as she shared a special connection with its topic – her father was the head of international operations at the Olin Corporation. Throughout her life, she’s harbored unease about the system,” says Schmitt.

In the film titled “Evidence“, Schmitt, who is responsible for writing, directing, editing, and providing voiceover, seamlessly combines personal and political elements from the outset. The movie initiates with a collage of dolls that Schmitt’s father brought back for her from various parts of the world. She explains that these dolls served as a significant starting point because they represented love, not just in their acquisition during travels but also in their return home.

Instead of dolls dominating the scene, old family photographs take over, accompanied by a home video’s audio. The atmosphere is candid and personal as Schmitt’s father discusses a formal dinner dance related to chemistry, while young Schmitt proudly declares, “I paint, I create things.” Transitioning seamlessly, Schmitt delves into the background of the Olin Foundation.

Schmitt’s relationship with Olin Corp. provided an organic starting point for discussing how institutional money influences America. However, the film isn’t just a straightforward expose. According to Schmitt, “This is one path into the system, but it was what powerful individuals were encouraged and structured to do.

Schmitt presents a variety of proof, if you will, in the film, which encompasses numerous conservative books published post-mid 20th century such as “Dare to Discipline” by Dr. James Dobson, “Manliness” by Harvey Mansfield, and “The Bell Curve” by Charles Murray and Richard Herrnstein, along with countless other works from influential conservative thinkers who were backed by the Olin Foundation. Furthermore, there are old recordings of Dr. Dobson’s “Focus on the Family” and William F. Buckley Jr.’s “Firing Line”, both of which received funding from the Olin Foundation.

According to Schmitt, his work can be considered an essay documentary. Instead of being activist in nature, he uses this format to create a reflective space for ideas to be explored and grappled with. In all of his films, he attempts to connect seemingly unrelated elements, hoping to reveal hidden connections.

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2025-02-14 11:55