Author Archives: basiltsiokos

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About basiltsiokos

Basil Tsiokos is a Senior Programmer for the Sundance Film Festival, focusing on nonfiction features. He was most recently with DOC NYC for nearly a decade, where he served as Director of Programming since 2014, and with the Nantucket Film Festival as its Film Program Director. Prior to those positions, Basil was the longtime Artistic and Executive Director of NewFest. He has been affiliated with Sundance since 2005 as a Programming Associate. Basil serves on the feature nominating committees for the International Documentary Association Awards and Cinema Eye Honors. He has written about documentaries daily since 2010 on what (not) to doc. Basil holds a Masters degree from New York University and two undergraduate degrees from Stanford University.

On VOD: VOLTA À TERRA

belonging voltaNew to VOD via Microsoft this week:
VOLTA À TERRA

Director:
João Pedro Plácido

Premiere:
Doclisboa 2014

Select Festivals:
Chicago, Cannes (ACID), Visions du Réel, BFI London, São Paulo, DOK Leipzig, Hot Springs Doc, Camerimage, DocPoint, Festibval dei Popoli, Trento

About:
A year in the life of a small northern Portuguese village.

Uz is a community which has seen better days – at present barely 50 people call it home. Among these is Daniel, a 21-year-old who is gently teased by his fellow farmers and shepherds for his work ethic, but seems to get by alright, happy with a life rooted in traditional ways. What he lacks, however, is a wife, as available women are in short supply for the few bachelors in Uz. Plácido follows Daniel and a few other villagers over the course of four seasons, tending to their fields and livestock, working the land, and planning their annual summer festival – a rare opportunity for mixing with residents of neighboring communities. It’s here that Daniel runs into an old classmate and sees the potential for a romantic future. This well-shot film effectively captures the rhythms of rural life while offering a clear sense of some distinct personalities, resulting in a charming observational study of a place that feels from a different time.

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On VOD: ABSTRACT: THE ART OF DESIGN

abstractComing to Netflix today, Friday, February 10:
ABSTRACT: THE ART OF DESIGN

Director:
Morgan Neville

Premiere:
Sundance 2017

About:
A Netflix docuseries profiling the leading designers of today.

I profiled the series before Sundance here.

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On VOD: THE MARCH

march_on_washington_a_lNew to VOD via iTunes today, Thursday, February 9:
THE MARCH

Director:
John Akomfrah

Premiere:
PBS (August 2013)

About:
A chronicle of the historic 1963 March on Washington for civil rights.

I previously wrote about the doc upon its broadcast here.

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On TV: AFTER SPRING

after_spring_03_raghadComing to Starz tomorrow, Friday, February 10:
AFTER SPRING

Directors:
Steph Ching and Ellen Martinez

Premiere:
Tribeca 2016

Select Festivals:
Nantucket, New Orleans, Sheffield, Zurich, AFI Docs, Bergen, One World, Greenwich, Hot Springs Doc

About:
An intimate look at life in a Syrian refugee camp.

I previously wrote about the doc here.

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In Theatres: KEDI

kedi_screen_shotComing to theatres tomorrow, Friday, February 10:
KEDI

Director:
Ceyda Torun

Premiere:
!f Istanbul 2016

Select Festivals:
Full Frame, Sheffield, Seattle, Melbourne, Vancouver, DocPoint, Goteborg, Salem, Palm Springs

About:
Istanbul through the eyes of its colorful street cats.

Torun, a Turkish filmmaker now based in the US, returns to her hometown of Istanbul to capture the city from seven distinct feline perspectives, including mama cat Bengü, “jealous housewife” Psikopat, foodie Duman, and hustler Sari. Following this coterie – a small sampling of the city’s hundreds of thousands of strays – through the streets as they interact with their chosen human associates, the filmmaker crafts an infectious portrait full of charm and sweetness, at once a love letter to the regal animal and to the city itself. Interviews with admirers, and, most especially, magnificent tracking shots of the cats on the move, reveal the respect these creatures are afforded and the elegant manner in which they fit within the fabric of the ancient city.

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On TV: JOHN LEWIS: GET IN THE WAY

get-in-the-wayComing to PBS tomorrow, Friday, February 10:
JOHN LEWIS: GET IN THE WAY

Director:
Kathleen Dowdey

Premiere:
DGA, Los Angeles (October 2015)

Select Festivals:
St Louis, Woodstock, Nashville International Black Festival, International Family Film Festival, numerous university and museum screenings

About:
A portrait of the civil rights pioneer and Georgia congressman.

Well-timed for its PBS debut, celebrating Black History Month and coming just weeks after President Trump wrongheadedly insulted the congressman, Dowdey’s hour-long biography is unfortunately too conventional in its construction and too limited in its scope to do its subject justice, but serves, at least, as a brief primer of the man’s many accomplishments for the curious viewer. While in the works on and off for decades, the film condenses more than fifty years of public service into just a few short episodes, including his awakening as an activist after being inspired by a speech by Martin Luther King Jr in 1955, his participation in Nashville lunch counter sit-ins, his participation as a Freedom Rider; his role in organizing the historic 1963 March on Washington as chariman of the Student Nonviolent Coordinating Committee, and his leadership during the 1965 Selma to Montgomery march for voting rights. His later turn to politics, serving in the House of Representatives since 1987, and his leadership role there is only conveyed in brief sequences towards the film’s end, where the congressman is shown supporting President Obama’s health care bill and later organized a Democratic sit-in protesting congressional inaxction on gun control.

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On VOD: AUSTRALIA’S LOST GOLD: THE LEGEND OF LASSETER

lost goldNew to VOD via Amazon Instant Video this week:
AUSTRALIA’S LOST GOLD: THE LEGEND OF LASSETER

Director:
Luke Walker

Premiere:
Melbourne 2012, under its original title LASSETER’S BONES

About:
A quest to find legendary gold in the Australian bush.

Borrowing a page from the Morgan Spurlock/Michael Moore school of documentary filmmaking, Walker appears onscreen, an active participant in this treasure hunt. He joins Bob Lasseter, the 95-year-old son of Harold Lasseter, who claimed that he discovered a rich vein of gold in central Australia in 1897. As the filmmaker, archival materials, and animation reveals, the elder Lasseter managed to secure financing to set out on an expedition to retrieve the gold in 1930, but none was found and the treasure-hunter instead lost his life. A follow up decades later cast further doubt on Lasseter’s claims, but his son, who barely remembers his father, has been searching for the gold for decades to try to vindicate his father. Walker attempts to retrace Lasseter’s steps and research his claims, more often finding little clarity given the passage of time, conflicting stories, and, ultimately, the possibility that, even if there is gold to be found, it very well might be part of sacred Aboriginal lands and thus off limits. While crafting a generally engaging and sometimes fun mystery, albeit a padded one, Walker’s on-camera presence is an unnecessary distraction that further lends an unfortunate television feel to the proceedings.

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In Theatres & On VOD: SPEED SISTERS

SPEEDSISTERS-KEYComing to theatres and to VOD via iTunes tomorrow, Friday, February 10:
SPEED SISTERS

Director:
Amber Fares

Premiere:
Hot Docs 2015

Select Festivals:
DOC NYC, Global Visions, Sheffield, Melbourne, EBS Doc, Helsinki, Reykjavik, Calgary, Rio, CPH:DOX, Santa Barbara, If Istanbul, Athena, Glasgow, One World, Atlanta, Cleveland, Palestine fests in Toronto, Atlanta, Boston, DC, Chicago, and Houston

About:
A portrait of an unlikely group of race-car athletes.

I previously wrote about the film for DOC NYC’s program, saying:
Demolishing stereotypes while avoiding wrecking their cars, the Speed Sisters are the Middle East’s first all-female race-car team. Demonstrating high-octane talent, and the marketing savvy to draw attention to their camera-friendly lineup, this diverse, engaging group competes in Palestine’s makeshift motor sports circuit across the West Bank, overcoming Israeli checkpoints and restrictive societal expectations to become role models for a new generation of young Arab women in the process.

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On VOD: IN THE TURN

in-the-turn-003New to VOD via iTunes this week:
IN THE TURN

Director:
Erica Tremblay

Premiere:
Seattle LGBT 2014

Select Festivals:
Inside Out, Ottawa, St Louis, FilmOut San Diego

About:
A profile of an inclusive queer roller derby team.

Tremblay’s subject is the Vagine Regime, a loose-knit intentional family of roller derby players who reside in different cities and countries. Ostensibly, the film is meant to focus on Crystal, a Canadian pre-teen MTF whose school bars her from playing in sports. After her overworked but supportive mother learns about the Vagine Regime, she shares Crystal’s story with them, inspired by their openness to queer and trans players. In practice, however, Crystal and her mom almost immediately fade into the background while Tremblay proceeds to profile one player after another – ultimately far too many characters to keep track of or invest in, including some too tangential figures. While Crystal eventually comes back into the doc for a happy, hopeful coda, the scrappy film’s overall structure remains problematic.

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On VOD: GARY NUMAN: ANDROID IN LA LA LAND

numanNew to VOD via iTunes this week:
GARY NUMAN: ANDROID IN LA LA LAND

Directors:
Steve Read and Rob Alexander

Premiere:
SXSW 2016

Select Festivals:
Hot Docs, Edinburgh, Melbourne, Helsinki, CIMMFest, East End

About:
A portrait of the legendary British synthpop musician as he relocates to Los Angeles to record a new album.

Read and Alexander eschew a career overview for the once chart-topping Numan, best known for the songs “Cars” and “Are ‘Friends’ Electric?,” to more firmly focus on the present day. The film finds the performer in the midst of a difficult transition, moving with his adoring fan-turned-wife Gemma and their three young daughters to Los Angeles, and working on his 2013 comeback album, “Splinter (Songs From a Broken Mind).” As referenced in the film’s title, Numan was known for his robotic stage presence – a demeanor eventually attributed to Asperger’s. While the film addresses formative issues like this, as well as his ambivalence towards fame and other personal matters, in far too cursory a manner, Numan himself comes off here as so disarmingly vulnerable that he easily wins over the viewer regardless.

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