Category Archives: Recommendations

Traverse City 2015: Documentary Overview

imgresThe Traverse City Film Festival returns for its 11th edition today, Tuesday, July 28, and runs through Sunday, August 2. As in previous editions, Michael Moore’s annual celebration of cinema – under the slogan “1 Great Movie Can Change You” – showcases an eclectic lineup of festival favorites, including more than fifty recent feature documentaries. While the majority of these made their debut within the last year at notable larger film events like Sundance, SXSW, Toronto, and Tribeca, the festival also spotlights several lesser-seen works and a few premieres, noted below:

brainwashing_of_my_dad_2These include Rick Prelinger’s YESTERDAY AND TOMORROW IN DETROIT 5, the noted film archivist’s latest look at Detroit’s history through discovered home movies; Michael Matheson Miller’s POVERTY, INC, which explores the hampering of development due to the modern charity industry; Sabina Guzzanti’s THE STATE-MAFIA PACT, a provocative, satirical exploration of the collusion between the Italian government and the mafia; Sabine Gruffat’s SPECULATION NATION, a look at Spanish citizen activism in the wake of the 2007 financial crisis; and Michael Webber and Bailey Webber’s THE STUDENT BODY, which follows a young filmmaker’s investigation into state sanctioned measures to body shame youth; Kuo-Liang Chiang and Chen Singing’s MOUNTAIN SPIRITS, a portrait of a Taiwanese master craftsman; and, screening as a work-in-progress, Jen Senko’s THE BRAINWASHING OF MY DAD (pictured), which explores the appeal of conservative media to older audiences.

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On Cable: MATT SHEPARD IS A FRIEND OF MINE

matt shepardComing to Logo as part of their Logo Documentary Films series tonight, Monday, July 27: MATT SHEPARD IS A FRIEND OF MINE

Michele Josue’s personal reflection on her fallen friend debuted at Mill Valley in 2013. Screenings followed at DOC NYC, IDFA, Cleveland, CNEX Taipei Doc, St Louis, Miami LGBT, Toronto’s Inside Out, and Russia’s Side by Side LGBT fests, among others.

I previously wrote about the doc here.

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On TV: CRIMINAL INJUSTICE: DEATH & POLITICS AT ATTICA

atticaComing to PBS’s WORLD Channel as part of its American Justice series today, Monday, July 27: CRIMINAL INJUSTICE: DEATH & POLITICS AT ATTICA

David Marshall’s investigation into the notorious 1971 prison rebellion debuted at the American Historians Association conference in New Orleans in 2013. Since then it has been broadcast on PBS stations in upstate New York and won regional Emmy Awards.

I previously profiled the project when it was still in the works. The finished film brings together witnesses and the families of victims from the prison takeover which turned into a massacre in order to reveal a forty-year cover-up. Excellent archival footage and contemporary media coverage of the four-day encounter place the audience in the moment, while modern-day interviews offer a retrospective analysis which often challenges the official stance on what was too flippantly labeled a “riot,” but was instead more of an organized political protest that was turned violent by state police and then blamed on the inmates. Of particular interest is the consideration of the role then New York State Governor Nelson Rockefeller’s political ambitions played into his handling of the uprising, as well as that of President Richard Nixon’s desire to be viewed as “tough on crime.” Despite the strength of the archival material, the conventional and heavy talking heads approach taken detracts from the historical immersion and lends a flatness to the proceedings, robbing the project of the greater cinematic impact it might have had, though it remains affecting as a whole.

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Special Screening: PROPHET’S PREY

prophet's preyComing to LA’s ArcLight Documentary Series tomorrow, Tuesday, July 28: PROPHET’S PREY

Amy Berg’s exploration of a notorious cult leader made its debut at Sundance this year. Other fest screenings have included Sarasota, AFI Docs, Edinburgh, BAMcinemaFest, New Zealand, and Melbourne, among others.

I profiled the doc before Sundance here.

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On TV: TEA TIME

tea timeComing to PBS’s POV tonight, Monday, July 27: TEA TIME

Maite Alberdi’s loving look at a group of longtime friends debuted at SANFIC last year. It went on to screen at IDFA, True/False, Miami, Ambulante, BAFICI, Doc Aviv, Seattle, Sydney, and Sheffield, among others.

Since they graduated from high school, a close group of Chilean women have hosted a small tea party once a month – for the past sixty years. One of these women is Maria Theresa, Alberdi’s grandmother, and the film’s primary guide to the proceedings. These lively meetings have sustained them through radical changes to their nation and to more personal changes to their lives, from marriages and divorces, to births and deaths, with seemingly the only constant being the enduring friendship and love between this tight circle. Shot over the course of several years which saw their own measure of change, as the friends have to confront sickness and aging among their own group, Alberdi’s film offers the viewer a place at the table to listen in to the gossip, recognize each woman’s quirks, and to be charmed by them all while witnessing the elaborate pastry spreads they’ve painstakingly organized.

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In Theatres & On VOD: A GAY GIRL IN DAMASCUS: THE AMINA PROFILE

amina profileComing to theatres and to VOD today, Friday, July 24: A GAY GIRL IN DAMASCUS: THE AMINA PROFILE

Sophie Deraspe’s look at the true story behind a controversial Syrian blog debuted at Sundance earlier this year. It has gone on to screen at Hot Docs, Biografilm, Dallas, IFF Boston, and at LGBT fests in San Francisco, Toronto, London, and Miami, among others. Sundance Selects now brings the films to theatres in limited release, while the SundanceNow Doc Club makes it available on VOD.

I previously wrote about the doc before Sundance here.

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Asian American International Film Festival 2015: Documentary Overview

imagesThe 38th annual Asian American International Film Festival brings eighteen new features to New York City between today, Thursday, July 24 and Saturday, August 1, reflecting the diversity of Asian and Asian American filmmaking. Among the eight new nonfiction features presented are the event’s opening night film, Ruby Yang’s MY VOICE, MY LIFE, about a musical staged by under-privileged Hong Kong students. Other documentary entries include:

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From China, Haibin Du’s A YOUNG PATRIOT (pictured), a portrait of the gradual ideological development of a young Chinese man over several years; Adler Yang’s IF THERE IS A REASON TO STUDY, which follows the teenage Taiwanese filmmaker as he documents the experience of alternative schooling on his fellow students; Lauren Knapp’s LIVE FROM UB, which offers a look at Mongolian identity through an independent rock band; Derek Shimoda’s JUNE BRIDE: REDEMPTION OF A YAKUZA, about former Japanese gangsters turned pastors; and DOC NYC 2014 alumnus MISS TIBET: BEAUTY IN EXILE, Norah Shapiro’s exploration of a controversial cultural and beauty pageant for Tibetans in exile.

KillingFieldsAlso represented at the festival is the work of noted Asian American filmmaker Arthur Dong, the subject of a retrospective tribute, which also includes the NYC debut of his latest film, the Cambodian-focused THE KILLING FIELDS OF DR HAING S NGOR (pictured), on the Hollywood actor and Khmer Rouge survivor; and Grace Lee’s OFF THE MENU: ASIAN AMERICA, a travelogue that explores Asian American identity through food.

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On DVD: I AM FEMEN

i-am-femen-1140x717New to DVD this week: I AM FEMEN

Alain Margot’s profile of the controversial Ukrainian feminist group debuted at Visions du Réel last year. Screenings have followed at CPH:DOX, Locarno, Haifa, Thessaloniki Doc, Stockholm, and Santa Barbara, among others.

Margot’s film is the second Femen documentary to make its way on the international festival circuit and into limited release after Kitty Green’s UKRAINE IS NOT A BROTHEL, which debuted at Venice in 2013. While I have not written here about Green’s film, its take on the “sextremist” group is far more critical, even sinister, postulating that the true leader of the group is actually a man, Viktor Sviatsky, and that the women he recruits aren’t particularly that invested in Femen’s causes and instead are picked to look beautiful topless and generate media attention. Margot’s take is far more straightforward, and doesn’t even hint at any of these allegations, which Femen members substantiated in their promotion of Green’s film, though they note that Viktor was ejected from the group in 2012. Margot’s film begins in 2012 as well, and focuses primarily on one of the founders, artist Oksana Shachko, also featured in Green’s film. Through the course of the doc, Oksana and her fellow activists stage protests around a number of causes, opening with the condemnation of the Ukrainian justice system for failing to punish the rapists/murderers of one of their Femen sisters, and proceeding to animal abuse and support for Pussy Riot, among others. Margot provides some degree of background on Oksana, such as her early interest in religious iconography and desire to join a convent, but mostly concentrates on her activist work, and the sacrifices she’s willing to make in the name of justice. If Margot’s film lacks the surprise of Green’s, it manages to find a compelling figure in Oksana, one who can speak articulately about the intersection of sex, bodies, and politics that motivates Femen’s actions.

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Special Screening: VERY SEMI-SERIOUS

verysemiserious_press_1Coming to NYC’s Tribeca Film Institute Summer Documentary series at Nitehawk Cinema tomorrow, Wednesday, July 22: VERY SEMI-SERIOUS

Leah Wolchok’s love letter to the cartoons of The New Yorker had its world premiere at Tribeca this Spring. Other festival appearances include San Francisco, Seattle, Montclair, AFI Docs, and the upcoming Traverse City.

Taking a microscopic view of the venerable publication through its popular, though sometimes headscratching – single-panel cartoons, Wolchok takes as her primary subject, sometimes to its detriment, the magazine’s longtime cartoon editor Bob Mankoff. Since he took the reins in 1997, he has invited cartoonists into his office once a week to pitch their gags, often reviewing close to 1000 pieces to find the fifteen he needs for every issue. These brief meetings, and the reflections by both Mankoff and both veteran and newbie artists about the process, offer the best in Wolchok’s film, encapsulating that moment when the viewer either gets the joke or doesn’t, and offering a direct look at Mankoff’s editorial instincts. The film also wisely revisits a greatest hits of the magazine’s cartoon history, briefly profiling a range of popular published artists in addition to aspiring ones. Where Wolchok falters is in placing too much of a focus on Mankoff outside of his editorial role. Sequences recounting his personal life and grief over the loss of a son simply do not belong in the context of this film, no matter how much Wolchok tries to justify them through a consideration of the role of comedy set against tragic occurrences, such as September 11 or the Charlie Hebdo attacks. Similarly out of place is the unnecessary and frankly boring look at Mankoff’s memoir, another instance of losing sight of the film’s more compelling actual subject – the cartoons.

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On VOD: WHEN WE WERE BOYS

Coming to VOD tomorrow, Tuesday, July 21: WHEN WE WERE BOYS

Sarah Goodman’s portrait of adolescence debuted at Hot Docs in 2009. It went on to screen at Beijing and True/False and to be released on DVD. The doc now comes to iTunes.

I previously wrote about the film out of Hot Docs here.

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