Coming to VOD today, Tuesday, July 19: BACK ON BOARD: GREG LOUGANIS
Cheryl Furjanic’s profile of the Olympic diver debuted at AFI Docs in 2014. Screening berths followed at DOC NYC, New Orleans, Hamptons, Palm Springs, Big Sky, Cleveland, Hot Springs Doc, Frameline, Outfest, and several fests on the LGBT circuit. The doc is now available on VOD via iTunes and Amazon.
I previously wrote about the doc here.
Coming to VOD tomorrow, Tuesday, July 19: MISSION CONGO
Lara Zizic and David Turner’s investigation into a charity’s alleged fraudulent activity debuted at Toronto in 2013. The film went on to screen at DOC NYC, IDFA, Sarasota, and Florida. It now comes to VOD via FilmBuff.
I previously included the doc in my Toronto coverage here.
Coming to DVD tomorrow, Tuesday, July 19: OJ: MADE IN AMERICA
Ezra Edelman’s expansive look at OJ Simpson had its world premiere at Sundance this year. The film also screened at Hot Docs, Tribeca, and the Freep Film Festival before its broadcast debut last month.
My pre-Sundance profile of the doc may be found here.
Coming to DVD next Tuesday, July 19: SKY LINE
Miguel Drake-McLaughlin and Jonny Leahan’s exploration of the practical implementation of a sci-fi concept had its world premiere at DOC NYC last year. It has also screened at the Princeton and Washington DC Environmental fests and was released on VOD by FilmBuff last year.
I previously wrote about the doc upon its VOD release here.
Coming to VOD today, Friday, July 15: HUSTLERS CONVENTION
Mike Todd’s exploration of hip-hop’s roots debuted at Sheffield last year. It film came stateside to screen at DOC NYC, Harlem, and the San Francisco Black fests before its broadcast debut this past February. It now comes to VOD via iTunes.
I previously wrote about the film here.
Coming to theatres and to VOD today, Friday, July 15: FREE TO RUN
Pierre Morath’s look at the origins of modern-day running for sport debuted in Swiss theatres this past February. Festival berths have included BAFICI, Docs Against Gravity, Sydney, and the upcoming New Zealand fest, among others.
Morath pays tribute to running and to its relatively short history of popular acceptance in this broad and informative look at the sport. Returning to a time just five decades prior, the film considers street running in its relative infancy, viewed by the general public as a lark practiced by a handful of misfits. Even as advocates emerged, from the New York Road Runners Club which developed what eventually became the mammoth New York City Marathon, to the pioneering Swiss running magazine Spiridon, resistance continued – from governing athletics bodies to popular opinion which barred women from competing or set strict distance limits. Morath admirably tries to take on these and other wide ranging issues impacting the sport’s development – including rules preventing runners from being paid, the commercialization of the sport, the growing elitism of what should be an inherently populist activity, and the controversies around the post-Hurricane Sandy NYC Marathon – which inevitably results in some cursory treatment. Still, as a popular cultural history, the project generally succeeds more than it stumbles, offering a love letter to the sport for its adherents and a diverting bit of sports background for the more casual viewer.
Coming to theatres tomorrow, Friday, July 15: GARNET’S GOLD
Ed Perkins’ portrait of a man on a Quixotic quest debuted at Tribeca in 2014. Additional screenings have included Edinburgh, Biografilm, AmDocs, Documentary Edge, Docville, and South Africa’s Jozi festival, among other events.
Nearing 60 years old, Garnet Frost sadly reflects on a life that, in his estimation, hasn’t amounted to much. For the past two decades, he’s been haunted by a lost opportunity, at least in retrospect. While hiking in a remote part of Scotland, he lost his way and nearly lost his life. Just before he was rescued, Frost chanced upon a strange staff that he later determined was the marker for a cache of hidden treasure secreted there in 1746. Seeking a sense of worth – perhaps more figurative than literal, though both apply – the grizzled Frost assembles a small group of supporters, sheepishly borrows funds from his scene-stealing mother, and sets out to try to locate the lost treasure, based on little more than hazy memories of landmarks that might point him in the general direction. Surprisingly little time is spent on the actual treasure hunt – likely an admission that his protagonist has no chance of stumbling upon the same terrain he accidentally found twenty years prior – making this project more about a man at least finally reaching for a goal more than attaining it, which is well enough, though not without some meandering along the way. Still, Perkins’ film boasts such stunning cinematography which transports the viewer into the space of Garnet’s journey that these occasional excesses may be forgiven.