The 25th anniversary Sheffield Doc/Fest
This British fest celebrates its quarter century edition with more than 100 new and recent feature documentaries.
FOR THE BIRDS
Organized thematically, the festival’s sections include Doc/Love, which offers world premieres of titles such as Opening Night Film A NORTHERN SOUL
, Sean McAllister’s personal exploration of his hometown of Hull; Richard Miron’s FOR THE BIRDS
, which follows the struggle between an animal lover/hoarder and animal welfare advocates; Ho Chao-ti’s TURNING 18
, about two troubled young Taiwanese girls; and Alisa Kovalenko’s HOME GAMES
, in which a promising Ukrainian soccer player might lose her dreams to take care of her young siblings.
THE BALLYMURPHY PRECEDENT
Doc/Expose includes the world premieres of Callum Macrae’s THE BALLYMURPHY PRECEDENT
, about a Belfast massacre that led to Bloody Sunday, and Chris Martin’s UNDER THE WIRE
, which recounts war correspondents’ experiences in war-torn Homs; as well as regional debuts of Alba Sotorra’s COMMANDER ARIAN
, which follows Kurdish female combatants as they face off against ISIS; and Almudena Carracedo and Robert Bahar’s THE SILENCE OF OTHERS
, in which survivor’s of Franco’s regime seek justice against Spain.
Among the world premieres in Doc/Think are: Florian Heinzen-Ziob’s GERMAN CLASS
, a look at the experiences of the refugee children in the German school system; Inka Achte’s BOYS WHO LIKE GIRLS
, which follows an Indian teenage boy as he seeks to break the cycle of gendered violence; Nicolás Molina’s FLOW
, a juxtaposition of life in India and Chile as seen through their rivers; and Tuki Jencquel’s ESTÁ TODO BIEN
, about a health care activist’s efforts to contend with Venezuela’s economic crisis.
THE INSUFFERABLE GROO
Debuts in Doc/Adventure include: Scott Christopherson’s THE INSUFFERABLE GROO
, a portrait of an infamous lo-fi cult filmmaker; Mari Gulbiani’s BEFORE FATHER GETS BACK
, which follows two Muslim Georgian girls as they film their lives; Tomáš Elšík’s CENTRAL BUS STATION
, an exploration of Tel Aviv’s titular location and its use by immigrants; and Joost Vandebrug’s BRUCE LEE & THE OUTLAW
, about a Romanian boy and his surrogate father who live in the tunnels beneath Bucharest.
The outré Doc/Visions strand includes the world premiere of Arwen Curry’s WORLDS OF URSULA K LE GUIN
, on the famed sci-fi author; as well as regional debuts of Ismael Caneppele’s MUSIC WHEN THE LIGHTS GO OUT
, in which an androgynous Brazilian has her life turned into fiction by a filmmaker; Josh Appignanesi’s hybrid FEMALE HUMAN ANIMAL
, a psychological thriller about an art curator; and Dominic Gagnon’s GOING SOUTH
, constructed of footage from YouTube and exploring the post-truth world.
Remaining sections include: Doc/Rhythm, with work like Kiko Goifman and Claudia Priscilla’s TRANNY FAG
, about a radical black trans performer in Brazil; New/UK, with James Newton’s hybrid GUN NO 6
, tracing the path of Britain’s deadliest illegal gun; and New/Lebanon, with Cynthia Choucair’s COUNTING TILES
, which highlights the bureaucratic red tape which prevents the organization Clowns Without Borders from interacting with refugees in Greece.