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.

IDFA 2011 Overview, Part One

IDFA, the largest documentary event in the world, begins next Wednesday in Amsterdam and continues through November 27. More than 300 films will screen, culled from 3600 submissions – staggering figures, and a testament to the diligence of Director Ally Derks and her staff.

I’ve been attending the festival for the past few years, and am honored to be serving on the its First Appearance competition jury for this edition. I look forward to seeing each of the sixteen debut films in this category, hailing from nearly as many countries, so, out of impartiality, I won’t single any of them out below. The full list may be found here. Continue reading →

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On TV: GONE

Coming to Discovery ID this Saturday, November 12: GONE

Gretchen and John Morning’s film made its world premiere at Tribeca this Spring. It’s gone on to screen at Frameline, NewFest, and a number of other fests, picking up a Best Documentary award at NewFest.

I wrote about the film out of Tribeca here.

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Dear Documentary Filmmakers: Pet Causes

Dear Documentary Filmmakers: You’re on a crusade for or against something. Will others care enough about it to watch a doc?

Let’s say you have become so motivated by some injustice or state of affairs that you’ve become an activist of sorts. You decide that you want to share your cause with the world by making a documentary about it. Before you commit to such a course, however, you should really ask yourself: Is this issue widespread enough for others to care about it? Can this topic sustain a feature-length treatment?

I’ve already written at length about advocacy docs and some of the pitfalls to try to avoid, so I’m not going to dwell on that here. Instead, the focus of this DDF is much more basic: Is it worth making a film about your topic in the first place?

One answer is, of course, absolutely. If you are a filmmaker, and you enjoy making films about things happening in your life, you may feel that your pet cause is as worthy of being filmed as any other issue out there. More power to you. Make your film about why you think male dogs should be forced to wear pants, and enjoy watching the final product with your friends, family, and pets. However, if you think your two-hour long pantalooned dog advocacy project is likely to resonate with the masses, I’d wager you are probably wrong. I’d guess that it’s unlikely to make it into most (if not all) of the festivals you send it to for consideration, and I’d very much doubt that broadcasters or distributors would be quick to offer you a platform either.

If you are thinking more along the lines of reaching audiences rather than making a doc simply for yourself – you have aspirations to show the film publicly, whether at festivals, conferences, theatrically, broadcast, or ancillary markets in the hopes of convincing people to join your cause and make a difference – then the question of whether or not it makes sense to proceed with the project in the first place bears serious consideration.

Is your cause something major, or more of a pet peeve/cause? How important is this issue – to you personally, to your community, and to society at large? Are there a significant amount of people affected by it? Would an advocacy documentary help your cause? Realistically, is the cause complex/controversial/wide-reaching enough to engage audiences for 15 minutes? 30 minutes? 60 minutes? 90 minutes?

Let’s say you have become a staunch anti-double parking crusader, and you’ve been trying to get the fines increased for all the jerks who block your car. Before you run off and make your 180 minute opus, TRAPPED: FOUR WHEELS AND NO WAY TO GO, you should probably realize that it’s going to be tough going to get an audience to watch it. Many people are likely inconvenienced by double parking, but that doesn’t necessarily mean that they’re going to go out of their way to watch a film about it. They might support your political lobbying, but a doc is probably not the most effective way to get your message out. Frankly, unless you’ve got some amazing tricks up your sleeve, I would be surprised if you have enough interesting things to say about the subject to fill 5 minutes much less a feature-length version of this hypothetical doc.

I do want to add one caveat, however, though with caution. Sometimes, projects that initially seem focused on a pet cause that shouldn’t work end up becoming more about the individuals involved in the cause than on the cause itself. In the hypothetical dog pants advocacy doc above, for example, the filmmaker himself, or perhaps other advocates he finds, might be fascinating eccentrics who are more able to carry a film than the cause itself can – it still merits serious consideration if these quirky character portraits can sustain a viewer’s attention over time, of course. Even the double parking scenario could potentially result in a similar character find, if you as a filmmaker are open to possibilities, and able to be honest with yourself about whether or not your project is working. If you acknowledge that a doc on double parking just isn’t going to set the world on fire, but you chance upon a double parking activist who could give Jack Rebney a run for his money as the angriest man in the world, you may have found a different film altogether, and one that may be worth pursuing after all.

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On TV & DVD: A GOOD MAN

Coming to PBS’ AMERICAN MASTERS and to DVD this Friday, November 11: A GOOD MAN

Gordon Quinn and Bob Hercules’s doc on choreographer Bill T Jones premiered at Full Frame, and went on to Silverdocs, Woods Hole, and DOXA. It had a limited theatrical release this Fall.

I included the film in my coverage of Silverdocs here.

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In Theatres: INTO THE ABYSS

Coming to theatres this Friday, November 11: INTO THE ABYSS

The inimitable Werner Herzog brought his exploration of a Texan capital murder crime, subtitled “A Tale of Death, a Tale of Life,” to Telluride and Toronto this fall. The film also won Best Documentary at London, and opened DOC NYC last week. IFC Films brings it to theatres in NYC and LA this week.

I wrote about the doc out of Toronto here.

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On TV: WHERE SOLDIERS COME FROM

Coming to POV this Thursday, November 10: WHERE SOLDIERS COME FROM

Heather Courtney premiered her doc about the homecoming of young veterans at SXSW earlier this year, where she picked up the Best Documentary Editing Award. Additional fest screenings included Full Frame, BAMcinemaFEST, and Silverdocs before its theatrical release this fall. Fittingly, POV’s broadcast comes just before Veterans Day.

I included the film in my SXSW coverage here.

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In Theatres: PIANOMANIA

Coming to NYC’s Elinor Bunin Munroe Film Center and LA’s Laemmle Royal today, Friday, November 4: PIANOMANIA

Lilian Franck and Robert Cibis’s doc, focused on the efforts of a piano tuner to match players with the perfect piano, has screened at major festivals since its premiere in 2009, including Locarno, IDFA, Sheffield, and San Francisco. It was nominated for Best Documentary in the European Film Awards, and won Best Sound at the German Film Awards.

Vienna-based Stefan Knüpfer is one of Steinway & Sons’ expert piano tuners. As the film’s subtitle suggests, he’s “in search of a perfect sound,” and the film chronicles this obsessive task with humor and tension as the beleaguered man tries to find the ideal blend between master pianist, instrument, and concert hall. While he is shown working with a number of players, the film is largely structured around his efforts to find the best concert grand piano for Pierre-Laurent Aimard to record Bach’s The Art of the Fugue. The latter is demanding and knows exactly what he wants, and it’s up to Knüpfer to figure out how to give it to him in his own self-effacing but fastidious way – and within the deadline. The result is a fascinating look at the little-seen behind-the-scenes world of sounds.

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In the Works: EARTH CAMP ONE

The director of the seminal PARIS IS BURNING meditates on how we cope with loss, or, perhaps more tellingly, how we try not to.

Jennie Livingston lost four close members of her family in the span of five years. Forced to confront this much loss back-to-back, she became conscious of the deep discomfort our society has around death and impermanence. Taking a first-person approach, her film explores the impact of this stigma, both on the personal level and broadening out to its impact on American and global culture. At the same time, Jennie looks back on her experience at a “hippie summer camp” she attended in the 1970s, and the youthful impulse to chart ones own identity separate from one’s family – an impulse which becomes recontextualized and reconsidered when one’s family is later taken away due to death. Continue reading →

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On Cable: MARATHON BOY

Coming to HBO tonight, Thursday, November 3: MARATHON BOY

Gemma Atwal’s story of orphans, poverty, long-distance running, and controversy premiered at Sheffield last year. It went on to IDFA, True/False, Tribeca, and more than 30 other fests, where it picked up a number of awards, and now makes its US broadcast premiere tonight on HBO.

I wrote about the film after its appearance at Tribeca here.

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On DVD: LIFE IN A DAY

Coming to DVD next Tuesday, November 8: LIFE IN A DAY

Academy Award-winning director Kevin Macdonald combed through YouTube user-generated footage from July 24, 2010 to create a portrait of life during a single day. The film had its simultaneous world premiere at Sundance and online this past January and also had a theatrical engagement during the Summer.

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

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