Category Archives: Overviews

One of South America’s signature non-fiction events, Brazil’s It’s All True International Documentary Film Festival, kicks off its 18th edition this Thursday, April 4 and runs through Sunday, April 14 in São Paulo and Rio de Janeiro. The event then goes on tour, presenting films in Brasilia (April 16-21) and Campinas (April 23-28), all for free. Featuring more than eighty films from over twenty-five countries, the festival includes competitions for international and Brazilian features and shorts, an overview of recent international work, special sidebars, and two retrospectives – one on seminal Soviet filmmaker Dziga Vertov and the other on 1980s’ Brazilian documentarian Silvio Tendler. Continue reading →

The 16th edition of Durham NC’s acclaimed non-fiction showcase, the Full Frame Documentary Film Festival, opens this Thursday, April 4, with Dawn Porter’s Sundance award-winning GIDEON’S ARMY, and continues through Sunday, April 6, presenting nearly a hundred programs of new and retrospective films, as well as panels and other events. Among the special series this year are a tribute to filmmaker Jessica Yu, which includes screenings of her past notable work, as well as the world premiere of her new short about sustainability in Mozambique, THE GUIDE; and “Stories About Stories,” a thematic sidebar of films exploring truth and storytelling in documentaries, including classics like Orson Welles’ F FOR FAKE, Amir Bar-Lev’s MY KID COULD PAINT THAT, and even Larry Charles’ BORAT, as well as Sarah Polley’s recent STORIES WE TELL.

Director of Programming Sadie Tillery and her team have curated a typically impressive lineup of recent non-fiction titles, many which I’ve covered out of other festivals like Toronto, IDFA, Sundance, and SXSW over the past several months. Beyond these films, Full Frame is presenting several docs which are making their debuts here, which I’ll spotlight below: Continue reading →

One of the country’s best-regarded regional film events, the Cleveland International Film Festival, opens next Wednesday, April 3 and runs through Sunday, April 14. I’ve only attended CIFF once, and was impressed by the dedication of its audience, who eschew parties to cram as many films as possible into their schedules. Showing remarkable audience growth over the past several years, this year’s edition, its 37th, has expanded its programming selections, offering nearly 180 feature length and more than 160 short films. Included among these are more than 70 feature length docs, appearing in various sidebars – from the LGBT-oriented “10% Cinema” to the femme focused “Women of the World” – and part of a number of competitions, highlighted below: Continue reading →

Paris’ documentary festival, Cinéma du Réel, opens tomorrow, Thursday, March 21, and runs through Sunday, March 31. Since 1979, the event has promoted non-fiction film at the famed Le Centre Pompidou and other locations around Paris. This year’s edition includes nearly forty new feature length documentaries, plus scores of shorts, retrospective screenings, panels, installations, and other special events. Although I’m not attending, the following offers some highlights from this year’s program: Continue reading →

Next week, I’ll be returning to the Thessaloniki Documentary Festival for the second time, catching the second half of the event’s 15th anniversary edition, which begins this Friday, March 15 with opening night film FIRST POSITION, and runs through Sunday, March 24.

Once again, I’ll be covering the festival for Indiewire, but am also planning on offering a round-up of additional films on w(n)td following my return. Director Dimitri Eipides and his team have put together an impressive program for their anniversary edition, which tallies to approximately 200 films – shorts and features combined – the bulk showcasing new international and Greek productions, as well as a retrospective series of favorites from the fest’s first fifteen years, and a tribute to Chilean master director Patricio Guzmán. What follows are highlights of newer titles that I haven’t yet seen that I’m hoping to have a chance to view while in Greece. Continue reading →

In just five days, I’ll be back in Austin for another edition of SXSW, one of the bright spots on my annual festival calendar. It’s a trip I look forward to every year, warm and welcoming Austin serving as a fantastic way to transition from the winter cold of NYC – and oddly enough this past weekend, a chilly True/False in Columbia MO. With more than fifty feature docs spread throughout this year’s lineup, there will be plenty of films to keep non-fiction fans busy, in addition to panels, parties, interactive and music events, and some good Texas bbq. The following is a section-by-section look at some of the doc titles I’m most looking forward to checking out: Continue reading →

Prague’s One World International Human Rights Documentary Film Festival celebrates its 15th anniversary with ten days of screenings beginning this Monday, March 4 and running through Wednesday, March 13. Recognized as the largest human rights fest in the world, this year’s edition screens over 100 films, including 80 feature-length documentaries, and hosts special panels and discussions, as well as the Institute of Documentary Film’s East Doc Platform for non-fiction industry professionals. After the ten-day festival wraps in Prague, the organizers tour selections to forty towns throughout the Czech Republic, and hold a satellite festival in May in Brussels. While I’m not attending, the following thematic section-by-section breakdown includes titles that I’d want to check out: Continue reading →

Starting this Sunday, February 24 and running through next Sunday, March 3, Croatia’s documentary festival, ZagrebDox, holds its ninth edition. The event screens over 180 films, of which more than half are new or recent feature-length docs, with the balance consisting of shorts and retrospective programming. The festival balances a lineup representing a selection of familiar titles that have screened at higher-profile festivals such as IDFA, Sundance, and CPH:DOX, with lesser-known fare, including an impressive number of films from Croatia and its neighboring countries in the region. If I were to attend, the latter would be my priority, as noted in my brief highlights below: Continue reading →

Celebrating its tenth anniversary this year, True/False kicks off in one week, running Thursday, February 28 through Sunday, March 3. Over four days, filmmakers, industry, and non-fiction fans descend on the college town of Columbia MO to experience what many past attendees, myself included, have referred to as one of their favorite festivals. Founders, organizers, and co-conspirators David Wilson and Paul Sturtz have carefully considered how to make True/False not just a festival, but an event, and not using the typical “film and an after-party” pattern – though there are films, and there are after-parties. Beyond those elements, however, is an infectious spirit of fun and excitement around the social activity of gathering a group of people together to celebrate non-fiction (or in some cases, non-fiction-adjacent) cinema – and True/False has managed to foster this kind of atmosphere, from the annual March March which sees festival staff, guests, and townsfolk parade up Columbia’s main street, to the festival’s support of music, including live performances before each screening, with buskers passing the hat for some old-fashioned crowdfunding.

After sitting out 2012’s edition, I’m excited to be returning this year, and look forward to catch those films in the lineup that I haven’t seen yet. Eschewing the premiere frenzy that too many festivals suffer, Wilson, Sturtz, and their team annually offer their audience an early look at a very selective group of films that they’ve scouted at Sundance and at a number of key Fall festivals, including Toronto, CPH:DOX, and IDFA, as well as others that may not have had high profile berths yet. In addition, True/False presents color-coded “Secret Screenings” about which attendees, including press, are sworn to secrecy – the six such selections this year will be making their official premieres at other upcoming festivals like SXSW and Tribeca. While I won’t be able to write about them out of T/F, I’m particularly looking forward to seeing Green and Gold.

Of the films I’ve viewed elsewhere, of course I recommend attendees check out the dozen or so titles culled from Sundance, from CUTIE AND THE BOXER to THE MOO MAN, and AFTER TILLER to WHO IS DAYANI CRISTAL?. It will be curious to see what audiences make of the two fiction films included in the line-up – COMPUTER CHESS and NO – for certain documentary-like aesthetic techniques they employ. Columbia will also get a chance to see the provocative THE ACT OF KILLING and acclaimed STORIES WE TELL, both from Toronto, and IDFA’s affecting I AM BREATHING, among others.

There are quite a number of films that I haven’t seen yet that I’m eager to watch. Curiously, nearly all of them seem to be focused in a significant way about constructing a sense of place, as signaled by their titles. This is perhaps most explicit in the similarly named THE EXPEDITION TO THE END OF THE WORLD, Daniel Dencik’s chronicle of an Arctic voyage, and VILLAGE AT THE END OF THE WORLD, Sarah Gavron’s portrait of a Greenland community. Ran Tal’s THE GARDEN OF EDEN (pictured) presents an Israeli National Park over multiple seasons, while Cristian Soto and Catalina Vergara’s THE LAST STATION profiles a Chilean nursing home and a number of its residents. Andy Wolff’s THE CAPTAIN AND HIS PIRATE profiles its two subjects as well as their environments – a Somali pirate camp and a German psychiatric institution, and Omar Mullick and Bassam Tariq’s THESE BIRDS WALK uses a young boy’s experiences to present a view into a Pakistani orphanage. Nick Bentgen’s promising NORTHERN LIGHT explores Michigan’s Upper Peninsula through the community’s snowmobile race, while Specer McCall’s THE INSTITUTE presents an intriguing mystery involving the secret life of the San Francisco Bay Area.

Rounding out the program are three retrospective screenings: Lucien Castaing-Taylor and Ilisa Barbash’s 2009 SWEETGRASS, an accompaniment to Castaing-Taylor’s remarkable new film LEVIATHAN (with Verena Paravel), also screening here; Peter Whitehead’s masterful 1969 THE FALL; and Jim McBride’s prescient 1967 faux documentary, DAVID HOLZMAN’S DIARY.