Barry Levinson directs this satirical portrayal of two weeks in the life of middle-aged Hollywood producer, Ben (Robert De Niro), who must juggle the demands of his personal life with a series of ever more ridiculous setbacks as he struggles to get his new film completed. Industry insider Art Linson wrote the screenplay, which is adapted from his memoirs 'What Just Happened?: Bitter Hollywood Tales From the Front Line'.

Drawing on research from a variety of domains - clinical studies of trauma, developmental psychopathology, interpersonal psychobiology, epidemiology, and social policy - September 11: Trauma and Human Bonds addresses especially the fundamental relationship of human bonds to trauma and underscores the manner in which developments in all these fields are coming together in complementary ways that sustain a key finding: that trauma must be understood in its relational and attachment contexts. The quality of early emotional attachments, differences in attachment styles to family milieus, and the psychological qualities that enable traumatized parents to avoid traumatizing their children are among the topics through which these contexts are explored. From their various disciplinary vantage points, the contributions converge to show how human relationships can either provide an anodyne to trauma or serve as the vehicle of its transmission. As Susan Coates observes, a major legacy of 9/11 is the realization that "there are no simple truths in the world of trauma studies, no easy-to-remember anodynes or pharmacologic magic bullets or depth-psychological schematizations that will hold true for a majority or even a sizable minority of cases." Yet, in delineating the multiple connections between human relations and trauma, and in elaborating these connections from multiple disciplinary perspectives, the contributors to September 11 have taken a decisive first step to consolidate new knowledge about trauma and to demonstrate how it can assist clinicians who encounter diverse responses to trauma in their day-to-day work. A sobering reminder of shared human vulnerability in the face of devastating events, September 11 is also a heartening reminder of resiliency in the face of overwhelming loss and of the healing potential of human connection.

Drawing on research from a variety of domains - clinical studies of trauma, developmental psychopathology, interpersonal psychobiology, epidemiology, and social policy - September 11: Trauma and Human Bonds addresses especially the fundamental relatiobship of human bonds to trauma and underscores the manner in which developments in all these fields are coming together in complementary ways that sustain a key finding: that trauma must be understood in its relational and attachment contexts. The quality of early emotional attachments, differences in attachment styles to family milieus, and the psychological qualities that enable traumatized parents to avoid traumatizing their children are among the topics through which these contexts are explored. From their various disciplinary vantage points, the contributions converge to show how human relationships can either provide an anodyne to trauma or serve as the vehicle of its transmission.
As Susan Coates observes, a major legacy of 9/11 is the realization that there are no simple truths in the world of trauma studies, no easy-to-remember anodynes or pharmacologic magic bullets or depth-psychological schematizations that will hold true for a majority or even a sizable minority of cases. Yet, in delineating the multiple connections between human relations and trauma, and in elaborating these connections from multiple disciplinary perspectives, the contributors to September 11 have taken a decisive first step to consolidate new knowledge about trauma and to demonstrate how it can assist clinicians who encounter diverse responses to trauma in their day-to-day work. A sobering reminder of shared human vulnerability in the face of devastatingevents, September 11 is also a heartening reminder of resiliency in the face of overwhelming loss and of the healing potential of human connection.

Barry Levinson directs this satirical portrayal of two weeks in the life of middle-aged Hollywood producer, Ben (Robert De Niro), who must juggle the demands of his personal life with a series of ever more ridiculous setbacks as he struggles to get his new film completed. Industry insider Art Linson wrote the screenplay, which is adapted from his memoirs 'What Just Happened?: Bitter Hollywood Tales From the Front Line'.

Del Rio, California, a once-thriving Central Valley farm town, is now filled with run-down Dollar Stores, llanterias, carnicerias, and shabby mini-marts that sell one-way bus tickets straight to Tijuana on the Flecha Amarilla line. It's a place you drive through with windows up and doors locked, especially at night-a place the locals call Cartel Country. While it's no longer the California of postcards, for local District Attorney Callie McCall, her dying hometown is the perfect place to launch a political career and try to make a difference. But when the dismembered body of a migrant teen is found in one of Del Rio's surrounding citrus groves, Callie faces a career make-or-break case that takes her on a dangerous journey down the violent west coast of Mexico, to a tropical paradise hiding a terrible secret, and finally back home again, where her determination to find the killer pits her against the wealthiest, most politically connected, most ruthless farming family in California: her own.