Category Archives: Recommendations

Coming to DVD today, Tuesday, September 17: A GIRL AND A GUN

Cathryne Czubek’s exploration of women and weapons had its world premiere at DOC NYC last year. Additional fest exposure followed at Sarasota, Montclair, and Oneota, as well as a limited theatrical and VOD release this Summer.

I previously covered the film out of DOC NYC here.

Coming to DVD today, Tuesday, September 17: TRIUMPH OF THE WALL

Bill Stone’s chronicle of art and life made its debut at RIDM in 2011. After additional festival play, it was released theatrically in Canada and the US.

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

Coming to PBS’s POV this coming Monday, September 16: THE WORLD BEFORE HER

Nisha Pahuja’s look at opposing conceptions of feminity in modern India had its world premiere at Tribeca last year, winning a jury award. It repeated the win at Hot Docs, and went on to screen at Traverse City, Sydney, Sebastopol Doc, Reykjavik, IDFA, Vancouver, Big Sky, and Abu Dhabi, among others.

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

Coming to theatres today, Friday, September 13: LE JOLI MAI

Chris Marker and Pierre Lhomme’s look at 1962 Paris premiered at Cannes in 1963. In its original version, it screened at the New York Film Festival and Venice, but in more recent years has not been available in the US. The restored version, re-edited according to the late Marker’s wishes under the supervision of Lhomme, debuted at Cannes earlier this year, and just screened at Toronto.

Made simultaneously with his classic LA JETÉE, Marker, with cinematographer and co-director Lhomme, spent 55 hours on the streets of Paris interviewing a broad range of people in the wake of the end of the Algerian War – notably, the first time in more than two decades when France was at peace. Split into two parts, the first broadly personal, the second more public and political, the film provides a sweeping impression of a city and its people at a unique time in its recent history. Part I, “A Prayer from the Eiffel Tower,” effortlessly moves from a stressed shopkeeper to a woman who plants plastic flowers to an excited family finally moving out of a one-room hovel after a seven-year wait – subjects and scenes that in their randomness nevertheless create an impression of the everyday dreams of the working class. After a musical interlude, Part II, “The Return of Fantômas,” suggests a darker side, named as it is after the infamous pulp fiction criminal mastermind and star of Louis Feuillade’s classic film serials. Interview subjects here cover a range of more explicitly political themes, from the struggles of young Algerian and Beninese immigrant workers with racism, to a former priest struggling between religion and socialism, to seemingly frivolous exchanges about whether dictatorship can be tolerable. Notable at the time for presenting a side of Paris that was rarely, if ever, seen, Marker and Lhomme’s documentary serves as an idiosyncratic and candid snapshot of a city that exists beyond its familiar landmarks and culture.

Coming to theatres tomorrow, Friday, September 13: HERB & DOROTHY 50×50

Megumi Sasaki’s follow up to her acclaimed HERB & DOROTHY made its debut at the Whitney earlier this year. It has held special screenings at museums and theatres in recent months as a lead up to its theatrical release, including in Japan.

Sasaki’s first film about the Vogels detailed how the unassuming New York couple managed to develop one of the largest collections of contemporary art, slowly pieced together over five decades, on a postman’s salary. This sequel focuses on the couple’s decision to break up their collection, offering 50 pieces to museums in each US state in an effort to expose the work as broadly as possible – a plan that comes with controversy, as some artists don’t respond well to the idea of their work being separated. As the film details some of the logistical issues involved in cataloguing and splitting up the collection, and working with and visiting the different institutions to which they make their gifts, various artists and critics offer well-deserved praise about the Vogels influence. While the latter tends to be somewhat unfocused, the central questions that come up regarding access to art, and the relationship between museums and art collector donors, make this feel distinct from the original film. With Herb passing away during the course of the film, it stands as a testament to Dorothy’s and his lifelong love of art, and of their selfless generosity to ensure that others can appreciate the work they loved for so many years.