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 TV & Online: THE LOST DREAM

lost_dream-01_crop_321x150Coming to WORLD Channel’s Global Voices series this Sunday, July 28: THE LOST DREAM

Jehan S Harney’s exploration of the fate of two Iraqis who assisted US forces makes its debut as part of the PBS series, which brings international stories into perspective for American audiences. After its broadcast, the doc will be available for a limited time on WORLD’s website.

Harney’s film focuses on the plight of two Iraqi men, Nazar – a gold merchant who was tortured by Saddam Hussein’s forces, his hand amputated – and Salam – a young doctor and father. Both saw the American invasion of their country as an opportunity to free their people from the shackles of dictatorship, and collaborated with the US forces. Though their help was welcomed – Nazar, especially, was heralded a hero by the Bush administration, used as a symbol of the brutality of Hussein’s regime – they suffered gravely for their actions. In the face of threats against these “traitors” from insurgent forces – including the murder of Salam’s in-laws, and the bombing of Nazar’s house – both flee Iraq to seek asylum in America. While Nazar is able to bring his wife and children along, Salam is forced to separate from his wife for several years. Ultimately, both families struggle not only with a foreign culture, but with the gradual awareness that, for all their sacrifices for the US, they’re largely on their own. Nazar, despite his disability, PTSD, and language issues preventing him from working, is caught in a bureaucratic maze that claims he is not disabled, threatening his family with homelessness. Salam and his wife, though possessed of advanced medical degrees in Iraq, are unable to obtain the proper licenses to practice in America, and must contend with lower level positions, their cumulative experiences putting a strain on their marriage. Harney’s film captures their frustration, sense of betrayal, and deep sadness, exposing the shortsightedness of US immigration and asylum policies for those who may need help the most.

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On Cable: FIRST COMES LOVE

firstcomeslove_01Coming to HBO as part of their Summer Docs series this Monday, July 29: FIRST COMES LOVE

Nina Davenport’s chronicle of her path to single motherhood made its debut at Toronto last year. It went on to screen at Rotterdam, Sarasota, Woods Hole, Palm Springs, Montclair, Cleveland, Florida, Nantucket, and many others.

I wrote about the doc out of Toronto here.

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Sound + Vision 2013: Documentary Overview

bayou maharajahNYC’s Film Society of Lincoln Center turns the spotlight on music docs in their new Sound + Vision series, which runs this Friday, July 26 through Thursday, August 1. Covering a wide range of topics and approaches, the seventeen feature docs included in the program celebrates musicians as well as the power music has on our lives. Very generally speaking, it’s a genre that doesn’t always immediately strike a chord with me, but I would single out the following highlights:

Woodstock2 640Among the films that I’ve not had a chance to see yet but have been on my radar: Lily Keber’s BAYOU MAHARAJAH: THE TRAGIC GENIUS OF JAMES BOOKER (pictured), about the man known as the “Black Liberace;” Hark-Joon Lee’s 9 MUSES OF STAR EMPIRE, which follows the making of a K-pop girl group over a year; John Anderson’s BORN IN CHICAGO, the story of a group of middle-class white musicians who were inspired by Mississippi Delta black performers in the 1960s; Olallo Rubio’s GIMME THE POWER, a profile of the successful political activist Mexican band Molotov; and Désirée von Trotha’s WOODSTOCK IN TIMBUKTU: THE ART OF RESISTANCE (pictured), a look at a desert musical festival and its role in uniting the nomadic Touareg people.

Rap is War2 640Titles that I’ve seen elsewhere that are worth a look include: Jesse Acevedo’s VIVA CUBA LIBRE: RAP IS WAR!, also focuses on the ability of popular music to catalyze protest, through the story of Cuban rap duo Los Aldeanos; Greg “Freddy” Camalier’s Sundance alum MUSCLE SHOALS, on the famed Alabama recording studio; Doug Hamilton’s SXSW alum, BROADWAY IDIOT, on the adaptation of Green Day’s heralded album into a successful Broadway musical; and Bobbi Jo Hart’s I AM NOT A ROCK STAR, an intimate portrait of a gifted young Canadian pianist over eight years.

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Special Screening: BLACK OUT

black outComing to Rooftop Films this Saturday, July 27: BLACK OUT

Eva Weber’s look at the lengths Guinean students go to study made its debut at IDFA last year. Its fest circuit has included Paris’ International Environmental Film Festival, One World, Movies That Matter, Full Frame, Planete+ Doc, Aljazeera, Doxa, Los Angeles, and Open City.

I included the doc in my IDFA coverage here.

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On Cable: VIRGIN TALES

001_VirginTales5_lComing to Showtime for its cable broadcast premiere tonight, Tuesday, July 23: VIRGIN TALES

Mirjam Von Arx’s exploration of a family’s devotion to their children’s chastity made its debut at Visions du Réel last year. It went on to screen at Silverdocs, Denver, Woodstock, and Vancouver, among other fests.

I previously wrote about the doc out of Silverdocs for Indiewire, saying:
Making its North American premiere here, Mirjam Von Arx’s film on the bizarre new phenomenon of Evangelical Christian purity balls showcases the overly close Wilson family of Colorado Springs. The founders of the event in their community, Randy and Lisa Wilson celebrate the chastity of their daughters until marriage and hold elaborate ceremonies for all manner of events in their seven home-schooled children’s lives. Focusing on a supposedly media-savvy family whose patriarch serves as the spokesman for a Religious Right “think tank,” Von Arx manages to capture moments of pure gold – manufactured “heartfelt” confessions of familial love whose lack of spontaneity is called out by a particularly sassy daughter, or the revelation from the twenty-something daughter (who’s desperately still waiting for her husband to appear) that she didn’t go to college because it would be a “waste of money” since she just wants to be a wife and mother. If it wasn’t so infuriatingly real, the film would make for great comedy.

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Asian American International Film Festival 2013: Documentary Overview

asian american 2013 logoBeginning tomorrow, Wednesday, July 24 and running through Saturday, August 3, NYC’s AsianCinevision presents the 36th edition of the Asian American International Film Festival. The event, the longest-running of its kind in the US, annually celebrates the work of Asian and Asian-American filmmakers. This year, the festival presents more than two dozen features and over forty shorts from eighteen countries, in addition to workshops and other special events. Among its documentary feature offerings are a pair of Sundance alums: Evan Jackson Leong’s LINSANITY, making its East Coast premiere here as the Opening Night film; and Jason DaSilva’s WHEN I WALK, screening as a sneak preview.

FilmmakerOnAVoyage-320x220Among the other docs on offer are Mona Lisa Yuchengco’s MARILOU DIAZ-ABAYA: FILMMAKER ON A VOYAGE (pictured), an overview of the late Filipino director, whose 1983 KARNAL also screens this year; Hua Tien-hau’s GO GRANDRIDERS, about a Taiwanese senior citizen motorcycle club; Megumi Nishikura and Lara Perez Takagi’s HAFU: THE MIXED-RACE EXPERIENCE IN JAPAN, an exploration of Japanese biracial identity; and Benito Bautista’s HARANA, a search for a lost Filipino courtship tradition.

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Indiewire @ Hulu Docs: Road Trips

Halfway through Summer, it’s time for a getaway. If you can’t take the time off, watch my latest curated selections for Hulu’s Documentaries and hit the open road from the comfort of your screen. Watch these road trip docs now for free!

For more information about the selections, see my Indiewire article.

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On Cable: NO LIMITS

large_no_limits_3Coming to ESPN as part of their Nine for IX series tomorrow, Tuesday, July 23: NO LIMITS

Alison Ellwood’s investigation into a dark episode in the world of competitive free-diving made its debut at Tribeca this Spring. 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.

I included the doc in my Tribeca coverage here.

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On DVD: THE JEFFREY DAHMER FILES

jeffComing to DVD tomorrow, Tuesday, July 23: THE JEFFREY DAHMER FILES

Chris James Thompson’s look at the Milwaukee serial killer made its debut at SXSW last year. It went on to screen at Hot Docs, BFI London, Maryland, IFF Boston, Sidewalk, and Milwaukee, among others, before a theatrical and VOD release.

I previously wrote about the doc out of SXSW here.

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On Cable: THE CHESHIRE MURDERS

the-cheshire-murders-1024Coming to HBO this Monday, July 22: THE CHESHIRE MURDERS

Kate Davis and David Heilbroner’s investigation of a horrific Connecticut triple murder is making its debut as part of the cable channel’s acclaimed Summer Docs series.

Nearly fifty years after the shocking murder of the Clutter family in Kansas, the inspiration for Truman Capote’s IN COLD BLOOD, residents of Cheshire CT were faced with a similar crime. The victims in this case were the Petit family – mother Jennifer, 11-year-old Michaela, and 17-year-old Hayley – raped and murdered by strangers during a home invasion which ended in arson. The only survivor was father William, who was badly beaten but managed to escape his captors. After the perpetrators were arrested, the shocking brutality of the crime sparked outrage and renewed debate about the viability of the death penalty. Davis and Heilbroner delve deeply into the case, providing a comprehensive, and riveting, account of what happened in the Petit home and, disturbingly, why help failed to come, even though authorities had been alerted to the danger they were facing. Interviews with individuals directly and indirectly connected to the crime attempt to make sense of the perpetrators’ actions – why they targeted the family, what motivated their unthinkable assault, and why they turned to murder. While this in-depth exploration proves fascinating, if decidedly unsettling, the filmmakers use the incident to explore its larger implications on the controversial topic of capital punishment, smartly blending true crime with the complexity of social justice in a case where the undeniably guilty defendants could hope for little sympathy.

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