Category Archives: Documentary

On TV: BADDDDD SONIA SANCHEZ

BADDDDDSONIASANCHEZ-KEYComing to PBS’s America ReFramed tomorrow, Tuesday, March 8: BADDDDD SONIA SANCHEZ

Barbara Attie, Janet Goldwater, and Sabrina Schmidt Gordon profile of the influential artist and activist had its world premiere at Full Frame last year. The doc went on to screen at DOC NYC, New Orleans, BlackStar, Black Harvest, Hot Springs Doc, Mill Valley, and LA’s Pan African fests.

I previously wrote about the film for DOC NYC’s program, saying:
“I want to tell people how I became this woman with razor blades between her teeth.” So says Sonia Sanchez, a seminal figure in the Black Arts Movement of the 1960s, a poet who has harnessed her gift for words as a champion against racism, sexism, and war, fusing art and activism over the past six decades. As a pioneer of spoken word poetry, her influence on hip hop is fundamental, but her tireless commitment to justice for all people has come at a personal cost, as demonstrated in this vibrant portrait.

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On DVD: WE COME AS FRIENDS

we come as friendsComing to DVD this coming Tuesday, March 8: WE COME AS FRIENDS

Hubert Sauper’s meditation on African neo-colonialism made its bow at Sundance in 2014, winning a special jury award. Screening berths followed at Berlin, New Directors/New Films, BAFICI, Istanbul, San Francisco, Durban, Dokufest, Rio, Busan, London, Jihlava, CPH:DOX, IDFA, and Traverse City, among many others. The film was shortlisted for the Best Documentary Oscar in 2015.

I profiled the doc before Sundance here.

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On TV/DVD: LORETTA LYNN: STILL A MOUNTAIN GIRL

lorettaComing to PBS’s American Masters and to DVD today, Friday, March 4: LORETTA LYNN: STILL A MOUNTAIN GIRL

Vikram Jayanti’s tribute to the Queen of Country Music makes its world premiere on the long-running public television series, which celebrates its 30th anniversary this season. The doc debuts in conjunction with the release of Lynn’s Full Circle, her first new studio album in more than a decade, which is shown being recorded here, in part.

Jayanti’s film is a warm appreciation of the Grammy Award-winning best-selling artist, whose life story was memorialized in the Oscar-winning COAL MINER’S DAUGHTER, based on Lynn’s 1976 autobiography, and which, of course, takes its name from her most recognizable song. That song is so popular that Jayanti just can’t resist including what feels like more than a dozen renditions here, not only by Lynn in archival and present day footage, but by family members, other country stars, and, in what’s absolutely overkill, members of a tour group that come through Lynn’s ranch during an interview. This over-indulgence isn’t limited to that song, unfortunately, as the doc also features one or two too many riffs on “You Ain’t Woman Enough (To Take My Man),” contributing to a feeling that the project is a bit padded. On the plus side, Lynn is a warm, genuine presence, allowing her to win over viewers who might not have any particular affection for her style of music; and the entertaining stories her family shares of her tumultuous 48-year relationship with husband Doolittle demonstrate just how he inspired her catalogue of vibrant songs about cheating and drinking.

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On DVD: IN DEFENSE OF FOOD

in defenseNew to DVD this week: IN DEFENSE OF FOOD

Michael Schwartz’s exploration of Michael Pollan’s guide to healthy eating made its debut at Mill Valley last year. It went on to screen at the Austin, Life Sciences, and Feast on This film fests, and to be broadcast on PBS this Winter.

I previously wrote about the doc here.

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In Theatres: THEY WILL HAVE TO KILL US FIRST

they will haveComing to theatres tomorrow, Friday, March 4: THEY WILL HAVE TO KILL US FIRST

Johanna Schwartz’s look at the plight of Mali’s exiled musicians made its bow at SXSW last year. Other screenings have included London, Göteborg, the Film Society of Lincoln Center’s Sound + Vision, Hot Docs, Singapore, RIDM, Cork, Calgary, and Durban.

Recognizing that Western audiences are unlikely to know much, if anything, about Mali’s complex recent sociopolitical history, Schwartz wisely, and fittingly, opens her film with a primer via rap, establishing the present, tentative status quo: After decades fighting for their independence, the MNLA, a group of nomadic Touareg of the northern part of Mali, join forces with a jihadist group that inherits arms from Libya after the death of Muammar Gaddafi, and aggressively subjugate the populace under sharia law. One consequence in northern cities like Timbuktu and Gao is the total ban on music in 2012. The film profiles several Malian musicians, including Songhoy Blues, a foursome formed in exile that attracts the attention of Damon Albarn, Brian Eno, and Nick Zinner, fostering international success; Kharia, an acclaimed singer who defies threats to organize a public concert in Timbuktu; Disco, a singer and activist who is actually married to an MNLA leader; and Moussa, a guitarist who returns from exile to try to reunite with his persecuted wife. While not every story thread feels fully fleshed out, suggesting that Schwartz may have benefited from focusing on fewer subjects, the film nevertheless offers a poignant exploration of the impact of censorship and repression on a culture.

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In Theatres: TRAPPED

trappedComing to theatres tomorrow, Friday, March 4: TRAPPED

Dawn Porter’s look at the impact of abortion regulation debuted at Sundance, where it won a special jury award. The doc will also screen at the upcoming SXSW and Miami in addition to community screenings around the country. The film is timely, as the Supreme Court hears arguments in Whole Woman’s Health v Hellerstedt.

I profiled the doc before Sundance here.

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Tribeca 2016 Competition & Viewpoints Lineups Announced

tribeca 2016The Tribeca Film Festival has just announced the films in its Narrative Competition sections, now split along US and International lines, World Documentary Competition, and Viewpoints sections. Features screening in the Spotlight, Midnight, and Special sections will be announced next week. Today’s films represent more than half of the anticipated 101 features in this year’s 15th annual festival, including the 23 documentaries noted below: Continue reading

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On DVD: POVERTY, INC

PovertyInc1webNew to DVD this week: POVERTY, INC

Michael Matheson Miller’s investigation of charity’s pitfalls premiered at Anthem, the Libertarian Film Festival, in 2014. The doc also screened at Austin, Docutah, Chagrin Doc, Savannah, Denver, and Leeds.

I previously wrote about the doc upon its theatrical release here.

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True/False 2016 Overview

true falseColumbia MO’s popular True/False Film Festival celebrates its lucky 13th edition beginning tomorrow, Thursday, March 3, presenting approximately forty new feature documentaries before it wraps on Sunday, March 6. As ever, the event’s lineup offers a carefully curated selection of recent highlights from larger events like IDFA, Toronto, Berlin, and Sundance, as well as a handful of debuts and “secret screenings” of titles that will make their official premieres at other fests in the coming months (and which attendees promise not to reveal publicly). A can’t miss stop on my festival circuit, I’m most looking forward to catching the following new titles over the weekend: Continue reading

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On DVD/VOD: GORED

Gored-2Coming to DVD and VOD today, Tuesday, March 1: GORED

Ido Mizrahy’s portrait of a matador made its bow at Tribeca last year. It went on to screen at CPH:DOX, Mar del Plata, Hot Springs, Raindance, Marfa, Key West, and the Bahamas fests. The doc now comes to DVD and to VOD platforms including iTunes, Amazon, and Google Play, among others.

Mizrahy’s film follows Antonio Barrera, who holds the unfortunate record of being the most gored bullfighter ever, as he debates whether he should finally retire for the good of his family. His ignominious track record doesn’t have Spanish promoters rushing him with offers, though, so the conflict is simply that he wants to succeed against the odds. However, his (in)famous luck with the bulls wins him fans in Mexico, paving the way for a farewell performance in Spain where he can finally prove his mettle. Barrera makes for an unusual subject – he is earnest and likeable enough, but it’s hard to sympathize with, or even truly understand, his quixotic – and dangerous – endeavors. Mizrahy doesn’t seem to want to engender any sense of Schadenfreude either, so the audience is left shaking its head as to why the matador persists in a field in which he’s clearly not suited.

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