Category Archives: Documentary

In Theatres: THE ARMOR OF LIGHT

armorComing to theatres tomorrow, Friday, October 30: THE ARMOR OF LIGHT

Abigail Disney’s look at the intersection of evangelical faith and gun rights made its world premiere at Tribeca. Other fest screenings have included Traverse City, AFI Docs, Hamptons, Galway, Montclair, and SF Jewish, among others.

Disney’s directorial debut sees her taking on two hot-button conservative issues that oddly aren’t typically linked: abortion and gun rights. Wondering how it is possible to hold both the belief that all life is sacred and that one has the right to bear lethal arms, the perhaps too tentative but thoughtful film focuses on an evangelical minister who has wrestled with what he sees as a contradiction. Reverend Rob Schenck, a long-time pro-life activist, was raised in a secular Jewish household before converting to Christianity, and was among the mass of evangelicals who switched political affiliations in the wake of Ronald Reagan, forming his Religious Right conservative base. Despite his leanings, Schenck has ruffled fellow conservatives and evangelicals by taking a stance for gun control after witnessing the too-frequent occurrences of mass shootings in recent years. Disney follows the reverend as he meets with other conservatives, questioning the morality of putting firearms before Biblical strictures against killing. Joining him as a secondary character is Lucy McBath, the mother of Jordan Davis, who features prominently in another documentary this year, 3 1/2 MINUTES, TEN BULLETS, underscoring the racial element that often haunts pro-gun rhetoric. In a smart move, recognizing the need to reach out to audiences beyond the already converted, Disney is offering free tickets to NRA members at select venues throughout the country.

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In Theatres: THE ROYAL ROAD

royal roadComing to theatres tomorrow, Friday, October 30: THE ROYAL ROAD

Jenni Olson’s essay on nostalgia and history made its debut at Sundance this year. Other festival screenings have included Ann Arbor, Art of the Real, BAFICI, Nashville, San Francisco, Seattle, Galway, Dokufest Kosovo, Vancouver, and a slew of LGBT events in London, Boston, Torino, Toronto, Vienna, and Los Angeles, among others. I’ll be hosting the Q&A with Jenni for the 5:30pm screening this Sunday at Anthology Film Archives.

I profiled the film before Sundance here.

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On VOD: GOING CLEAR: SCIENTOLOGY AND THE PRISON OF BELIEF

going clearComing to VOD this Friday, October 30: GOING CLEAR: SCIENTOLOGY AND THE PRISON OF BELIEF

Alex Gibney’s inquiry into the controversial group made its bow at Sundance this year. It has also screened at True/False, Big Sky, Martha’s Vineyard, Camden, Zurich, Sydney, and New Zealand, and is part of DOC NYC’s Short List next month. It now comes to VOD via FilmRise, and will be available on iTunes, Amazon Instant Video, Vudu, Google Play, Sony PlayStation, and Xbox.

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

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In Theatres: COMING HOME

1201x782-KEY-Coming-Home-Credit-Viko-Nikci-1-1160x652Coming to theatres this Friday, October 30: COMING HOME

Viko Nikci’s portrait of a newly-freed man debuted at Galway in 2014, where it won two awards. It came stateside for DOC NYC, and also screened at Dublin, Indie Cork, and Newport Film, among other events.

I previously wrote about the film for DOC NYC’s program, saying:
At the age of 25, Angel Cordero, an innocent man, was arrested and convicted of attempted murder following a stabbing in the Bronx. Viko Nikci follows him as he is released from prison after thirteen years into a new world of smartphones and social media. Readjusting to life on the outside, Angel has two goals: confronting the man who actually committed the crime for which he was punished, and repairing his relationship with the daughter he was forced to leave behind.

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Jihlava 2015 Overview

jihlava logoThe Czech Republic’s Jihlava International Documentary Film Festival kicks off tonight, Tuesday, October 27. It’s 19th edition includes 80 feature length documentaries screening through the wrap of the eclectic festival on Sunday, November 1. The following offers an overview, largely focusing on the event’s several competitions: Continue reading

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On DVD: GTFO THE MOVIE

gtfo-1Coming to DVD today, Tuesday, October 27: GTFO THE MOVIE

Shannon Sun-Higginson’s look at the hostile treatment of women in gaming debuted at SXSW this Spring. It went on to screen at DOXA, IFF Boston, Global Visions, and SF DocFest.

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

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DOK Leipzig 2015 Overview

festival_themeGermany’s oldest nonfiction event, DOK Leipzig begins tonight, Monday, October 26, and runs through Sunday, November 1. Its 58th edition offers approximately 75 new documentary features in addition to retrospective programming, shorts, and a parallel program of animated films. The festival is distinguished by a generally more esoteric selection, debuting several new films that take an untraditional approach to nonfiction. The following highlights selections from this year’s offerings: Continue reading

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On Cable: HOW TO DANCE IN OHIO

how to dance in ohioComing to HBO tonight, Monday, October 26: HOW TO DANCE IN OHIO

Alexandra Shiva’s profile of a Spring formal through the lens of autism had its world premiere at Sundance this year. It went on to screen at Nantucket, AFI Docs, Melbourne, Margaret Mead, Nashville, deadCENTER, and Full Frame, among others.

I profiled the doc before Sundance here.

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In Theatres: INDIA’S DAUGHTER

urlComing to theatres today, Friday, October 23: INDIA’S DAUGHTER

Leslee Udwin’s account of the national response to an infamous crime made its debut on the BBC earlier this year. In addition to broadcast in other European nations, the doc has screened at Sheffield, Biografilm, AFI Docs, Tallgrass, and will appear at next month’s Denver film fest.

The gang rape of Jyoti Singh on a bus in India in December 2012 was particularly notable not for its reprehensible brutality, but in its unexpected role in catalyzing a movement against sexual violence in the nation. Where women previously were expected to remain silent and bare the blame for rape and other abuses, in the direct aftermath of the discovery of Singh’s mutilated body, Indian women and their allies rose up to demand justice. Udwin’s film, which has generated no shortage of controversy on the subcontinent, lays out the simple particulars of the crime and offers a sense of the victim via emotional interviews with her parents and a close friend, but largely focuses on the paradigmatic shift that her tragedy engendered. Most eye-opening here is an extended interview with one of the perpetrators, Mukesh Singh, who claims he just drove the bus. Expressing not a shred of remorse and instead actively blaming the victim, he, like the defense attorneys commenting here, represent the outdated, and clearly dangerous, view of gender disparity that lay at the heart of sexual violence. While the filmmaking here is, for the most part, fairly conventional, in capturing these sentiments with such disturbing frankness, Udwin creates a striking, cautionary call to action.

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In Theatres: THE PEARL BUTTON

pearlComing to theatres today, Friday, October 23: THE PEARL BUTTON

Patricio Guzmán’s continued reminder of Chile’s history of violence made its world premiere at Berlin earlier this year, where it won the jury prize for best script. Its extensive festival run has included Toronto, BAFICI, Biografilm, Sydney, Jerusalem, Melbourne, San Sebastian, Bergen, Vancouver, London, and Yamagata, among others.

Just as the director’s NOSTALGIA FOR THE LIGHT made a poetic connection between the Chilean desert and the victims of Pinochet’s violence buried within, so too does Guzmán draw links here between his nation’s extensive coastline and the secrets within its depths. In this case, the auteur reveals the haunting stories of the nomadic water-based Kaweskar indigenous groups who called these regions home until they were all wiped out in the wake of colonialism. But these were not the only people confined to a watery grave, as the director eloquently reminds us of the brutal techniques employed by the Pinochet regime to dispose of enemies of the state, turning the ocean into a mass grave for the disappeared. Guzmán’s film serves, then, as an elegy for the losses of both, separated by nearly a century.

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