Category Archives: Releases

Coming to VOD today, Tuesday, January 20: THE FIX

Laura Naylor’s portrait of recovery debuted at the Soho International Film Festival last year. It went on to screen at AFI Docs and Heartland, as well as festivals in Maine, Flagstaff, and the Bronx.

Naylor’s film is largely set at a Bronx methadone clinic which offers counseling and other programs to help recovering addicts like the protagonist, Junior, manage not only their struggles with heroin, but its consequences – in this case, living with Hepatitis C. Having spent most of his adult years trying to escape life through drugs, a path that cost him custody of his first daughter, he’s now committed to forging a new future by staying clean and getting his new family out of shelter life. Emboldened by his experiences at the clinic working as a peer educator, Junior thrives in a storytelling workshop organized by The Moth, sharing his story publicly to help others make better choices, and, eventually taking steps to repair the rift between his estranged daughter and himself. Naylor has identified an appealing main subject in Junior, a flawed figure who owns up to past mistakes and is still in the process of atoning for them. One wishes he always remained the center of the narrative, however, as occasional digressions with other recovering addicts feel like interruptions, and detract from Junior’s simple, but effective story. Also serving as distractions are the overemphatic score and a tendency toward montages, which make the film feel longer than it is. Still, when centered on Junior’s hopeful but cautious story of redemption, Naylor’s film succeeds far more often than it doesn’t.

Coming to DVD today, Tuesday, January 20 and to PBS’s American Experience next Tuesday, January 27: EDISON

Michelle Ferrari’s chronicle of the life and world-changing work of the legendary inventor will make its debut next week, but due to a scheduling shift, actually comes to DVD a week earlier.

An exploration not only of Thomas Alva Edison’s remarkable creative output – he still boasts more patents than any other single individual – but of his prescience of branding and marketing, Ferrari’s biography is informative, comprehensive, and clearly conveys the radical transformation his inventions wrought on society. While utterly conventional in its structure and approach – heavily reliant on narration to adequately cover Edison’s eight decades, peppered with historian and other expert talking heads to lend some variety – the doc still manages to prove engaging for its two-hour running time, revealing a clear sense of the Wizard of Menlo Park’s creative process, business acumen, ambition, and even hubris – the latter chiefly in his stubborn and short-sighted refusal to adopt alternating current vs his preferred but limited distance direct current. Ferrari’s profile is particularly intriguing in its exploration of Edison’s savviness not only in creating new things but, perhaps more importantly, determining how to bring them into the marketplace and to create awareness and demand. His ability to hype his products, and his awareness of the power of his brand, informs the film’s welcome look at Edison as celebrity, teased out particularly in the last section, covering the man’s waning years.

Coming to NYC’s Anthology Film Archives tonight, Friday, January 16: JOY OF MAN’S DESIRING

Denis Côté’s hybrid meditation on work made its debut last year the Berlinale. It has screened at CPH:DOX, Viennale, Chicago, Hot Docs, Melbourne, Poland’s New Horizons, Edinburgh, Sydney, Los Angeles, Cinema du Reel, and Transylvania, among others.

Côté has moved between the realms of fiction and nonfiction in previous works, and his latest continues this playful mixture as he integrates moments of scripted narrative in this otherwise largely observational study of mechanization and workers. On the nonfiction side, the camera is trained over images of factories and other large workplaces – primarily shots of machinery – creating an industrial symphony of sorts, though the workers caught in the drudgery of repetitive manual labor are also glimpsed. The hypnotic quality of these carefully composed shots is interrupted to introduce short fictionalized moments – interactions between workers, cheeky monologues, etc – which flesh out the themes of work, though not completely in an expected way. Rather than focusing on their clear alienation and dissatisfaction, these scenes instead suggest if not happiness, a sense of more-or-less satisfaction in their work, tedious as it might be. Still, as often is the case with hybrid projects, the nonfiction elements seem weakened by the scripted ones, making the project feel uneven on the whole.