Author Archives: basiltsiokos

Coming to DVD today, Tuesday, December 8: A FASTER HORSE

David Gelb’s love letter to the Ford Mustang premiered at Tribeca this Spring. It has held special one-night-only theatrical screenings as well as limited run engagements and a VOD release.

I previously wrote about the doc here.

Coming to VOD today, Tuesday, December 8: CAT SHOW

Donna Lipowitz’s affectionate profile of a woman and her feline companion’s travels debuted at the Netherland’s Docfeed fest earlier this year. it has also screened at AmDocs, Coventry, and the upcoming Together Disability fest in London later this month. FilmBuff now releases the doc across VOD platforms in the US, UK, Canada, and Ireland.

Carly is a young Irish woman who lives in Oxford with her five Persian Himalayan cats. Blind since birth, she has found acceptance, community, and a decidedly competitive streak in the quirky world of cat shows. Lipowitz’s hourlong portrait follows Carly as she tries to rack up points for her cat Tango on the circuit, traveling around the UK, Ireland, and Europe in a quest to become a champion. While the film doesn’t quite take enough advantage of the over-the-top cat show personalities and environment to prove particularly memorable, and demonstrates fairly basic filmmaking, it is blessed with appealing subjects – Carly is very pleasant and Tango is really cute – making for a likeably diverting, if unremarkable, project.

Coming to theatres today, Friday, December 4: BIKES VS CARS

Fredrik Gertten’s look at a transportation debate made its debut at the Tempo Documentary Festival earlier this year. It went on to screen at SXSW, Docs Against Gravity, Sydney, Melbourne, Transilvania, Big Sky, Sedona, SF Green, and DC’s Environmental fest, among others.

Couching an overarching environmental message in a perhaps too simplistic question of personal transportation choices, Gertten suggests a battle waged between cyclists and motorists in urban environments. Primarily focused on São Paulo and Los Angeles, where the “bikes” side of the equation are presented in a decidedly sympathetic light, the film also spends some time in Toronto and Copenhagen, while namechecking other cities. Regular cyclist deaths, often due to a lack of bike lanes and aggressive bus and car drivers, provide an unfortunate impetus for mobilization and lobbying by Brazilian activists, while LA’s historical catering to cyclists offers an intriguing background to Gertten’s portrait of community organizer Dan Koeppel. Strangely, despite offering Copenhagen as one of the utopian ideals for cyclists, the film’s profile of that city is through the lens of a frustrated taxi driver who must navigate the city streets while avoiding scofflaw cyclists, scoring some points for the “cars” side of Gertten’s film. Still, these are undercut by the striking statistics the film offers about the worrying growth of cars, cyclist deaths, the influence of the car/petrochemical lobbies, the insight of an engaging Brazilian urban planning professor, and even former Toronto mayor Rob Ford’s pandering to car-loving suburbanites. What remains problematic is the reductive argument at the core of the film, however, which willfully ignores the role that public transportation must play in any rethink of car culture, and that, for many, socioeconomic factors don’t make it quite so easy to choose between the only two options the film seems to present as viable.

Coming to theatres today, Friday, December 4: ONLY THE DEAD

Michael Ware and William Guttentag’s personal experience of the Iraq War made its world premiere at Sydney this Summer. The doc has also screened at Melbourne, New Zealand, and Telluride.

Constructed as an essay from Ware’s perspective, the film follows the war correspondent as he arrives in Baghdad in 2003 to report on the war for CNN and Time Magazine. Collecting footage over the next decade, Ware offers his reflections via narration on the invasion and the morass of occupation while loosely following the trajectory of al Qaeda’s Abu Musab al-Zarqawi after the notorious jihadist sends the journalist a videotape claiming credit for brutal crimes. While the film is notably concise, there’s a looseness to the proceedings that never quite coheres, and Ware’s incessant musings have a tendency to grate. At the same time, he captures a harrowing and visceral experience of the front line of battle, often with a disturbing amount of hauntingly graphic violence on display that offers little respite from the brutality of modern-day warfare.