Author Archives: basiltsiokos

Now available on VOD: LOW & CLEAR

Kahlil Hudson and Tyler Hughen’s study of male friendship and fly-fishing had its debut last year at SXSW, where it picked up an audience award. Other stops on the fest circuit included True/False, IDFA, Hot Docs, Dallas, Camden, and Mountainfilm in Telluride. The doc came to iTunes yesterday.

I wrote about the film out of SXSW here.

Coming to DVD today, Tuesday, August 6: SUSHI: THE GLOBAL CATCH

Mark Hall’s look at the effect of the globalization of sushi debuted at Seattle in 2011. Its festival circuit has included IDFA, Vancouver, Planete+ Doc, Biografa, and several environmental events.

I previously wrote about the doc here.

Coming to ESPN as part of their Nine for IX series tomorrow, Tuesday, August 6: THE DIPLOMAT

Jennifer Arnold and Senain Kheshgi’s exploration of Eastern bloc politics through Katarina Witt’s story had its debut at Tribeca this year. The film was commissioned by ESPN for its women-directed, women in sports doc series, an offshoot of the network’s popular 30 for 30 doc brand.

During the Cold War, the international sports arena was a charged space, the site of not only physical battles, but also deeply political ones. Arnold and Kheshgi’s film focuses on East Germany’s most recognizable athlete, figure skating champion Katarina Witt, arguably the country’s greatest cultural ambassador to the West. Under a repressive system that greatly limited the personal liberties of its citizens, Witt and her fellow athletes benefited from the one thing the state got right – sports. Supported financially by the state apparatus to win victories for communism, Witt excelled in international events, including winning consecutive Olympic gold medals – a feat on which her coach, Jutta Müller, and she cannily pinned the possibility for an unprecedented career in professional sports, hitherto impossible in East Germany. After the fall of the Berlin Wall, however, Witt and other athletes come under fire when revelations were made about the relative luxury they enjoyed in contrast to their fellow citizens. At the same time, Witt learned of the constant Stasi surveillance she had been under, including informing done by trusted friends and colleagues. Through interviews with Witt, Müller, former East German leader Egon Krenz, Stasi archivists, and others, Arnold and Kheshgi offer a revealing look at the machinery of sports under communism, and how one woman turned it to her own advantage.

Coming to DVD tomorrow, Tuesday, August 6: THE WORLD BEFORE HER

Nisha Pahuja’s profile of two extreme expressions of modern Indian gender roles debuted at Tribeca last year, where it picked up a jury award. It went on to screen at Hot Docs, Traverse City, Sydney, Reykjavik, IDFA, and Abu Dhabi, among others.

I included the doc in my Hot Docs coverage here.

Coming to NYC’s WNET Channel 13 today, Monday, August 5: RADIO UNNAMEABLE

Paul Lovelace and Jessica Wolfson’s behind-the-scenes look at WBAI’s Bob Fass had its world premiere at Full Frame last year. It went on to screen at BAMcinemaFest, Silverdocs, and Sarasota, among others, and to theatrical, DVD, and VOD release.

I included the doc in my Silverdocs coverage here.

Coming to NYC’s Quad Cinema today, Friday, August 2 and to HBO as part of their Summer Docs series this Monday, August 5: CASTING BY

Tom Donahue’s tribute to the underappreciated role of the casting director made its debut last year at Toronto. It went on to screen at the New York Film Festival, Los Angeles, Sarasota, Montclair, Denver, Cleveland, Ashland, Provincetown, and RiverRun, among other events.

Little understood and often dismissed as an afterthought – perhaps because of its long primary association with women in the role – casting has never achieved the recognition that other duties behind the camera have enjoyed. As the last section of Donahue’s film points out, there is no Oscar for best casting, a contentious subject addressed here by both proponents of such an award – a parade of A-list stars who credit casting directors with their careers – and opponents – well, mostly only Directors Guild of America president Taylor Hackford, who argues, unconvincingly, that the director is ultimately the decision maker on the cast, negating the need for a separate award. The numerous examples provided in Donahue’s love letter to the art of casting put the lie to Hackford’s assertion, demonstrating how casting directors like Lynn Stalmaster and Marion Dougherty left an indelible mark on the films and television programs on which they worked. Indeed, Dougherty’s story is wisely used as the thread that pulls Donahue’s film together, saving it from simply being a nostalgic (albeit engaging) series of inside Hollywood anecdotes. Recognized as a pioneer in the craft, Dougherty developed her eye for talent in New York City, away from the Hollywood studio system and its tendency to typecast, helping to give scores of unlikely and now celebrated actors their shot to transition from stage to screen, while also mentoring future generations of women to take on the job. She’s the heart of the film, and her storied career may very well make viewers take special notice of the controversial “casting by” credit the next time they watch a film or television program.