Category Archives: Film

In Theatres: THE RED CHAPEL

Opening in NYC next Wednesday, December 29: THE RED CHAPEL

I was fortunate to see Mads Brügger’s alternately hilarious and poignant film at its debut at Hot Docs last year, where its ethically questionable methods of exposing North Korean totalitarianism rubbed some of the audience members the wrong way. It continued playing the festival circuit with screenings at IDFA, Sundance, and New Directors/New Films, among others. At Sundance, the jury awarded the provocative project the World Cinema Documentary Prize. Lorber Films will be releasing the film just before the end of the year.

While I’ve complained on more than one occasion about filmmakers inserting themselves into their projects, THE RED CHAPEL is one case where this tactic pays off. Brügger manages to arrange for two South Korean-Danish comedians and himself to travel to North Korea, ostensibly to present a show professing cooperation between Denmark and the oppressive state. Instead, the three men plan to use humor and their documentary to infiltrate the closed society and to expose the repression faced by its people. Playing a dangerous game where a wrong move could lead to serious repercussions, Brügger is not prepared for one of the comedians to develop conflicted feelings about their mission, putting them all in jeopardy. Equal parts absurdist farce, political exposé, spy film, and even melodrama, THE RED CHAPEL is one of the most thought-provoking documentaries released this year.

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Dear Documentary Filmmakers: Narration & Tone

Dear Documentary Filmmakers: You’re not a DJ/planetarium announcer- don’t tell me to “sit back, relax & enjoy” your film.

While I’ve addressed my general dislike for narration in a previous post, I recognize that it’s a creative choice that some filmmakers will continue to make if they feel it’s appropriate for their project. I still caution restraint, as excessive voiceover – like excessive anything – can be a distraction from the core of your film. The above DDF addresses another aspect of narration that irks me and is generally a terrible idea: utilizing a conversational tone.

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indieWIRE @ Hulu Docs: Past Favorites

With the end of the year scant days away, my latest selections for Hulu’s Documentaries page for indieWIRE takes a cue from all of the top ten/best of lists to present six of the most notable/celebrated docs available on the platform – a diverse bunch, but all have that don’t-miss factor. If you’re looking for something good to watch during the lazy holiday break, take a look.

For more information about the selections, take a look at my iW article.

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In the Works: MANHATTAN LULLABY

It’s been months since I’ve included a spotlight on a documentary in progress, and I figured this would be a good time to rectify that. I like to know about new projects in the pipeline, and I’ve found it useful to monitor sites like Kickstarter and IndieGoGo for interesting sounding documentaries that are seeking crowdfunding support.

One such project is by my friend Sara Alize Cross (Producer of Margaret Brown’s THE ORDER OF MYTHS, Associate Producer of Henry Alex Rubin & Dana Adam Shapiro’s MURDERBALL), who is producing and directing a documentary about NYC’s Colony Records entitled MANHATTAN LULLABY. Take a look at the project’s Kickstarter campaign page (and consider contributing if you can – she has about a month to raise a bit over $3000 at this writing).

Sara’s approaching the film as a history of not only the record store, but of the radical transformation of its Times Square location over its 60+ year history – while also addressing the changes to the music industry that have made standalone stores like it into rarities. I’m looking forward to seeing how the project continues to take shape, and how it can make use of its New York City locale and celebrity connections, but also go beyond that specificity to connect with broader audience with an interest in music, music history, and the struggles of small businesses in a recession economy.

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On DVD: ONLY WHEN I DANCE

Available on DVD: ONLY WHEN I DANCE

After premiering at Tribeca last year, Beadie Finzi’s infectious portrait of two Brazilian dancers and their dreams went on screen at Edinburgh, Silverdocs, Vancouver and Sheffield, among other festivals. It was released in the US in the summer, and came to DVD earlier this month through Film Movement.

ONLY WHEN I DANCE focuses on two Afro-Brazilian dancers from Rio de Janeiro’s impoverished favelas, Isabela and Irlan, who compete not only against other aspiring ballet dancers, but against the perception that ballet is the domain of the white upper class. Following them over the course of one year through multiple competitions that can make their careers or send them back to the slums, Finzi documents the highs and lows of their challenging art form – Isabela struggles with weight issues and finances, while the promising Irlan pushes his artistic comfort zone in developing an ambitious new piece. Beautifully lensed and smartly constructed, this real-life BILLY ELLIOT captures the poetry of their movement and their drive to succeed against the odds.

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Special Screening: THE TILLMAN STORY

Coming to NYC’s Stranger Than Fiction this coming Monday, December 20: THE TILLMAN STORY

I’ve written about Amir Bar-Lev’s film, which debuted this year at Sundance, before its theatrical release in a previous post.

If you’re in the NYC area, you have another chance to see the film in a theatre at next week’s STF.

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Dear Documentary Filmmakers: Bad Ideas

Dear Documentary Filmmakers: Promising you’re going to have an amazing party is not the best way to get your film programmed.

Of course, this isn’t limited to just documentary filmmakers, but the doc film world does like its parties, so I’m comfortable with the association here.

This small bit of advice could have been part of my IFP blogposts to filmmakers regarding festival submissions (here and here). Chalk this one up as another bad idea. Sure, everyone likes a good party, but I don’t care if you’re going to have a monkey on a flying trapeze, the hottest go-go boys serving unlimited bacon donuts, or Justin Bieber performing in kd lang drag, you’d better have a good film first of all. Trying to bribe a festival programmer with the promise of excellent promotion when you don’t have a film that holds up is definitely putting the cart before the horse. Focus the energy you’re devoting on planning that party to crafting an engaging film – you can worry about the velvet rope and caterers later.

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In Theatres: THE SOUND OF INSECTS: RECORD OF A MUMMY

Opening in NYC next Wednesday, December 22: THE SOUND OF INSECTS: RECORD OF A MUMMY

Peter Liechti’s unusual, experimental documentary essay premiered at Rotterdam last year and has played a number of notable international festivals, including Hot Docs, Silverdocs, Karlovy Vary, Vancouver, CPH:DOX, SXSW, and Thessaloniki. It won the 2009 Best Documentary Award at the European Film Awards, and was acquired by Kino Lorber films for the US earlier this year.

An audio recording of Shimada Masahiko’s novella “How I Became a Mummy” inspired Liechti to make his film, telling the story of a man who committed suicide by starving himself in the woods over two months. Taking the man’s viewpoint, THE SOUND OF INSECTS visually focuses on his natural surroundings and the shelter he constructed for himself in his last days, while the audio is a haunting mixture of nature sounds and his diary entries. Based as it is on a fictional interpretation of a supposed true occurrence (Shimada Mashiko apparently saw an actual diary which inspired his story, but Liechti never did), it’s a film that some viewers might justifiably see as not strictly a work of non-fiction, or at least not entirely a work of non-fiction. At the same time, like other not-quite-documentaries, or questionable documentaries, the questions it raises about the documentary form, and about the role of “truth” in documentary filmmaker, make for fascinating consideration.

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On DVD: BIG RIVER MAN

Available on DVD: BIG RIVER MAN

John Maringouin’s portrait of Martin Strel premiered at last year’s Sundance, where it won the World Cinema Documentary Cinematography Award, and played more than a dozen other festivals, including the Hamptons, where it picked up the Wouter Barendrecht Pioneering Vision Award. The film came to DVD last week after a limited theatrical release.

The Slovenian long-distance swimmer at the heart of Maringouin’s film might defy viewer expectations – this is no lean, young Michael Phelps type – Strel is in his 50s, has high blood pressure, drinks a lot, and is, frankly, pretty fat. Having set Guinness World Records for swimming the lengths of numerous famous rivers – the Danube, the Yangtze, the Mississippi – BIG RIVER MAN follows his efforts to swim the more than 3000 miles of the Amazon in 2007. Like the best documentaries, it’s not really this feat that makes the film so watchable, it’s the man himself. LIke one of Werner Herzog’s protagonists, Strel basically loses himself in his obsession, risking his health and life to meet his goal, and Maringouin’s there to capture it in its delirious glory.

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On DVD: DOUBLE TAKE

Coming to DVD tomorrow, December 14: DOUBLE TAKE

Johan Grimonprez’s clever documentary/narrative hybrid premiered at Berlin last year and went on to screen at numerous international festivals including London and IDFA before coming stateside at this year’s Sundance. Kino picked up the intriguing film for a limited release and are bringing it to DVD tomorrow.

Constructed in many ways as a film essay, DOUBLE TAKE reflects on the culture of fear that persists to the present day by focusing on the figure of Alfred Hitchcock and his late 1950s and early 1960s films. Setting them against the backdrop of Cold War paranoia, Grimonprez recasts the director from his infamous cameos to leading man in a delightfully subversive story of doppelgangers, filmmaking, advertising, and manipulation. Perfectly in keeping with Hitchcock’s self-reflexive showmanship, the film is equal parts game and avant-garde collage of the Master of Suspense’s film and TV work, making for compulsive viewing.

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