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 DVD/VOD: DR FEELGOOD: DEALER OR HEALER?

dr feelgoodNew to DVD and VOD this week:
DR FEELGOOD: DEALER OR HEALER?

Director:
Eve Marson

Premiere:
Los Angeles 2016

Select Festivals:
Austin, Tallgrass

About:
An exploration of the opioid epidemic through the case of a controversial medical practitioner.

I previously wrote about the doc here.

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SXSW 2017: Features Lineup Announced

sxswSXSW has just announced their feature film line-up, following a sneak peek announcement of a handful of titles earlier this month. 125 features will screen in total, which will include some future announcements of additional titles. Following is the list of documentary features so far, broken down by section: Continue reading

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In Theatres: MR GAGA

mr_gaga_720_432Coming to theatres tomorrow, Wednesday, February 1:
MR GAGA

Director:
Tomer Heymann

Premiere:
Jerusalem 2015

Select Festivals:
IDFA, Hot Docs, SXSW, London, New Orleans, Vilnius, Full Frame, DOK Fest Munich, DOXA, Transilvania, Seattle, Tel Aviv, Sheffield, Shanghai, SF Jewish, Miami Jewish, New Zealand, Bergen, Sao Paulo, RIDM

About:
A portrait of acclaimed Israeli dancer/choreographer Ohad Naharin.

An eight year labor of love for Heymann, this dance doc pieces together the four decade career of Naharin, who only began dancing at 22, after his compulsory service in the Israeli army. His early promise drew the attention of Martha Graham, and later Maurice Bejart, but his iconoclastic spirit proved an ill fit for their modern dance companies, leading Naharin to develop his own work, including Gaga, the movement language which lends this film its name – not at all a reference to the pop star Lady Gaga, though the too insular title may very well lead to confusion and disappointment for some audiences. Viewed as a pioneering figure in modern dance, Naharin, who, since 1990, has been the artistic director of Israel’s Batsheva Dance Company, reflects on his long career, including a freedom of expression standoff on the occasion of Israel’s 50th anniversary that elevated him to the status of national hero. Heymann does an admirable job in synthesizing the choreographer’s career and showcasing impressive footage of his dances, which will draw dance film fans, while the political undertones of his work may also provide an entry to some audiences, like me, otherwise indisposed to dance docs.

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On TV: THE RACE UNDERGROUND

race undergroundComing to PBS’s American Experience tonight, Tuesday, January 31:
THE RACE UNDERGROUND

Director:
Michael Rossi

Premiere:
American Experience (January 2017)

About:
The story of America’s first subway.

On September 1, 1897, the first passengers descended into the Earth, taking a ride on the country’s first subway line, in Boston MA. All told, 250,000 individuals braved the new technology that day, despite a long build-up of fears of gas explosions, superstitions of traveling close to the netherworld, and political obstacles that called into question whether the engineering project would ever be completed. Rossi reveals the origins of the MBTA and its architects, and if he employs the conventional PBS house style, dominated by narration and talking heads, the project nevertheless offers an illuminating look back at the dawn of this vital part of America’s public transport infrastructure. While the title suggests a competition between Boston and other cities, notably New York City, to achieve a subway system, Rossi’s film is almost exclusively concerned with the challenges faced by the former in pulling off their subway and barely makes mention of NYC’s own efforts – the latter did not open until 1904. At the core of Rossi’s film, which is based on urban historian Doug Most’s book by the same name, is Frank Sprague, a young inventor who revolutionized mass transportation with his electric motor-powered trolley cars. A largely unheralded figure in the shadow of the legendary Thomas Edison, who eventually bought his patents and slapped his name on them, Sprague persevered, with the support of real estate mogul Henry Whitney, despite a huge public fight over disturbing the Boston Common.

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On VOD: MIRIAM: HOME DELIVERY

MIRIAMHOMEDELIVERY-KEYNew to VOD on iTunes today, Tuesday, January 31:
MIRIAM: HOME DELIVERY

Director:
Juliet Jordan

Premiere:
DOC NYC 2015

Select Festivals:
Ambulante

About:
A portrait of a modern-day midwife.

I previously wrote about the film for DOC NYC’s program, saying:
Juliet Jordan offers an inside look at what some consider to be the world’s second-oldest profession: midwifery. As a homebirth midwife, Miriam performs a service once commonplace, but now increasingly rare as the process of childbirth firmly moved to a hospital setting. The filmmaker immerses viewers in Miriam’s mission, driving along with her across NYC as she assists expectant mothers, from her clients among the Orthodox Jewish community to the dramatic home birth that falls during the Hurricane Sandy blackout.

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In Theatres: OKLAHOMA CITY

oklahoma cityComing to theatres this Friday, February 3:
OKLAHOMA CITY

Director:
Barak Goodman

Premiere:
Sundance 2017

About:
A look back at the events which led to the 1995 terrorist bombing of the Oklahoma City Federal Building.

My pre-Sundance profile of the doc may be found here.

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On VOD: LOVE CRIMES OF KABUL

love_crimes_in_kabul_2.470x264New to VOD at iTunes today, Monday, January 30:
LOVE CRIMES OF KABUL

Director:
Tanaz Eshaghian

Premiere:
Hot Docs 2011

Select Festivals:
Jerusalem, Human Rights Watch, Noor, Movies That Matter

About:
A inside look at an Afghan prison for moral crimes.

I previously wrote about the doc here.

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On VOD: GIMME DANGER

gimme dangerComing to VOD tomorrow, Tuesday, January 31:
GIMME DANGER

Director:
Jim Jarmusch

Premiere:
Cannes 2016

Select Festivals:
Toronto, New York, Vancouver, Austin, New Zealand, Sydney, Melbourne, Sarajevo, Helsinki, Mill Valley, Rio, Adelaide, Woodstock, Leeds

About:
An appreciation for the influential band The Stooges.

I previously wrote about the doc here.

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On DVD: DANNY SAYS

danny saysComing to DVD tomorrow, Tuesday, January 31:
DANNY SAYS

Director:
Brendan Toller

Premiere:
SXSW 2015

Select Festivals:
London, San Francisco Jewish, Provincetown, Sound + Vision, Big Sky, Montclair, Melbourne, CPH:DOX, Athens

About:
A portrait of an unsung music world impresario.

I previously wrote about the doc here.

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On TV: SEVEN SONGS FOR A LONG LIFE

seven songsComing to PBS’s POV tonight, Monday, January 31:
SEVEN SONGS FOR A LONG LIFE

Director:
Amy Hardie

Premiere:
Scotland (October 2015)

Select Festivals:
SXSW, Margaret Mead, Aspen, DOXA, GlobeDocs, Guth Gafa, EBS, Documentary Edge, DocPoint

About:
Hospice patients confront mortality through music.

Set in Strathcarron Hospice in Scotland, Hardie’s film follows nurse Mandy Malcomson, whose love of singing has encouraged a music therapy program for the residents, and six of her charges. Not a musical in a strict sense, the doc instead intermittently weaves in a number of songs, supplementing both observational and interview-based footage of the institution, its patients, and their caregivers. Some songs are performed impromptu by patients, like the Sinatra crooning Tosh and amateur opera singer Dorene, while others are more elaborate, produced in a music-video style, such as nurse Mandy and patient Nicola’s poignant duet of REM’s “Everybody Hurts.” Hardie wisely shows restraint here, preventing the proceedings from becoming either too twee or too dour, and ultimately focuses on the powerful impact this community support has on dealing with the complex reality of terminal illness and mortality.

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