‘Till Madness Do Us Part

2019-01-31T21:48:37+00:00Categories: Docs in Review|

‘Til Madness Do Us Part Director/Wang Bing Watched on MUBI Rating  4.5/5   Chinese filmmaker Wang Bing’s singular gaze in 'Til Madness Do Us Part is fueled not only by his humanism by also by a style that could be called relentless patience. His camera locks on to one man and refuses to let go for 15, 20, 25 minutes; and then, as if satisfied or exhausted, finds another man to follow for yet another extended streak, then another, and another. The fact that all of these men are mentally ill and confined to a single claustrophobic floor of a grim institution in Yunnan, China only intensifies Wang’s commitment to his punishing approach. His presence behind the camera, while never revealed except for the very occasional stare into the lens from his subjects, becomes just as fascinating as the monotonous rantings and repetitive behaviors of the inmates. The effect is both radical and hard to pin down: you are watching his act of watching, waiting to feel either repelled by the onscreen actions, or guilty for complicity in the documentary cliché of exploitation. The fact that repugnance, complicity or guilt never actually arrives, and that Wang does not suggest for a single frame that he is abusing his access, compels you to keep watching, even if it takes you a few days to get through the film (at almost four hours long, I needed two viewing sessions; his latest, Dead Souls, clocks in at 495 minutes). Wang was apparently denied access to film at a mental [...]

Hal

2019-01-30T18:00:30+00:00Categories: Docs in Review|

Hal Director/Amy Scott Watched on Amazon Prime Rating  3/5 Amy Scott’s Hal suffers from the same pro forma banalities as most other celebrity or “troubled artist” documentaries. It is both overly produced and under imagined. Nothing within the film’s style, structure or point-of-view attempts to emulate or pay aesthetic respect to the actual artist it profiles, in this case Hal Ashby, the supremely talented director of The Last Detail, Shampoo, Coming Home, and Bound For Glory, among other films. Hal charges out of the gate with a rapidly edited montage of clips, talking heads, reenactments, and the introduction of actor Ben Foster’s voice as the “voice of Hal” in a few regrettably cheesy scenes of hands clacking away at a typewriter (he was a writer, see?). I was ready to turn it off after 10 minutes. I simply couldn’t stand to suffer through another slapdash cash-and-carry of a filmmaker’s reputation like I’d witnessed in Tony Zierra’s hideous Filmworker, a movie that, through no fault of either the protagonist Leon Vitali or the work of the late Stanley Kubrick, made it seem as if they were both participating in a circa-1999 desktop documentary. Unlike Filmworker, which I shuttered after a half-hour, I decided to stick this one out. Thankfully, director Scott had access to actual voice recordings of Ashby which, when paired with Foster’s intense readings of angry letters and passionate notes that Ashby sent to studio hacks and adoring friends, respectively, the portrait that emerges is of a man who may have been the last social [...]

Of Fathers and Sons

2018-12-22T16:26:48+00:00Categories: Docs in Review|

Of Fathers and Sons Director:  Talal Derki. Watched on:  Kanopy. Rating:  2/5.  After spending 99 minutes with the radical jihadists and their young male offspring in Talal Derki’s Of Fathers and Sons, it may be time to admit that the last few years of documentaries set in Syria, Afghanistan, and Iraq have finally reached the point of diminishing returns. How many more films do we need populated by Islamic fundamentalists endlessly muttering “God is great”; how many more films consisting of jittery handheld behind-the-lines footage; how much more time do we need to spend wandering around the foreign policy wreckage of the Middle East? Are there no other subjects worthy of a film festival’s precious allocation of scheduled screening times? Personally, I’d decided that after Sebastian Junger’s and Nick Quested’s comprehensive and engrossing Hell on Earth: The Fall of Syria and the Rise of ISIS, there was really no point in watching another film about either the conflict or the havoc-wreaking terrorists. But Derki’s film promised something a little different, an insider’s look into the indoctrination of terrorists-in-training, specifically the sons of veteran jihadists living a stark existence in a Northern Syria redoubt. Derki fled the area, his former homeland, when Al Qaeda moved in. He convinced Abu Osama, a run-of-the-mill zealot with two sons, to let himself and a cameraman come back to document how jihadism is instilled in the young. Derki tells us in an introductory voice-over that he pretended to be sympathetic to their cause in order to avoid being killed, but after [...]

Shirkers

2018-11-05T23:35:05+00:00Categories: Docs in Review|

Shirkers Director:  Sandi Tan. Watched on:  Netflix. Rating:  2/5.  A winner of the directing award in the World Cinema Documentary category at Sundance, and ranked high on Metacritic with a score of 89, Shirkers is a film viewers are clearly meant to love. Filmmaker Sandi Tan tells her story of growing up in Singapore while immersed in the New Hollywood indie movement of the early 1990s, an obsession that inspired her and a group of teenage friends to make a first feature, also called “Shirkers,” which garnered a good degree of publicity while they were making it. But after they wrapped, the footage ended up being whisked away by an older man, Georges Cardona, who was their advisor and director of photography on the film. Cardona told Tan he was taking the film to New York to transcribe and edit, but then he and the spools of hard-earned film vanished. Twenty-five years later Cardona’s wife discovered the footage and contacted Tan, who decided to repurpose the still-pristine reels into this, her debut film. Shirkers is more a story about DIY filmmaking and blocked creative passion than it is a mystery about Cardona and his ambiguous, Svengali-like influence over Tan. The making of the film within this film, and the tensions between Tan, her co-filmmakers, and Cardona, take up most of the first hour of the movie, as well as most of the air in the room. Blame it on Tan’s inexperience, or blame it on a documentary industry convinced that audiences don’t have the patience for [...]

Crime + Punishment

2018-12-24T17:42:31+00:00Categories: Docs in Review|

Crime + Punishment Director:  Stephen Maing. Watched on:  Hulu. Rating:  3.5/5.    You can tell that director Stephen Maing has studied his Serpico, The Conversation, and Prince of the City, those great fictional films from the ‘70s and early ‘80s that seethe with atmospheres of graft, corruption, menace, and surveillance; the sinister forces conspiring against lone heroes, the whistleblower, the watcher, the listener. I’ll remember Maing’s extremely well-made Crime + Punishment more for this authentic conjuring of those superior films than I will for the story he tells. Not so much because the story isn’t worth telling, but because he keeps telling it over and over. The movie’s main flaw is repetition, and maybe a bit too much self-indulgence in the area of transitional pauses, those moments that most documentaries fail to register, when characters (and viewers) need to catch their breath or reflect on the story's developments. There are also the unnecessary drone flyovers of New York precincts. These shots announce the film’s big budget, but little else. Maing clearly loves these interstitial segues. But they often suggest more of an indulgence on his part than a necessary element in the narrative flow. He also enjoys filming drivers in their cars, framing close-ups of their hands and rearview mirrors and darting eyes, while they talk in voice-over or aloud to the ride-along cameraman. And he relies a lot on hidden microphone audio, which gives the film a sense of low-grade danger. But as audacious and revealing much of it is, it's also excessive, a little [...]

Motherland

2018-10-26T23:35:45+00:00Categories: Docs in Review|

Motherland Director:  Ramona S. Diaz. Watched on:  Amazon Prime. Rating:  3.5/5.    Motherland is a straightforward cinema verité excursion into the world’s busiest maternity hospital. It will remind viewers of Frederick Wiseman’s hands-off approach, but it is so much more absorbing and audience friendly than the legendary director’s lengthy and–dare I say it–often monotonous observational panoramic takes on institutions and communities. Motherland portrays a community as well, but it is an exclusive one, comprised mostly of young mothers, nurses, doctors and the occasional visiting fathers. The hospital is in Manila. Its vast stable of beds are lined up warehouse-style. Announcements are made over loudspeakers. Fans cool the new moms. Family planning counselors attempt to encourage them to receive IUD implants. The moms are young, mostly in their twenties, with several hungry children already at home. A 24-year old has five kids; a 26-year old has six; a slightly older mom is breastfeeding her seventh. A few of the women emerge as characters, as do a couple of the stern doctors who patrol the floor, admonishing women to keep track of their babies, eat their meals, and settle in for a long haul. Because of chronic poverty and the malnutrition that goes along with it, many of the babies are born premature. Mom and infant are not expected to leave until the baby’s health is cleared. In its own matter-of-fact, tough love way, the hospital is a place of compassion and rest in an extremely chaotic city. The dads don’t appear until halfway through the film. But [...]

Untitled

2018-10-31T21:52:33+00:00Categories: Docs in Review|

Directors:  Michael Glawogger, Monika Willi, Watched on:  MUBI and Filmatique, Rating:  5/5.     Michael Glawogger once said that “imagery is the essence of the art of cinema–and language, sound and story are the legs on which this painting-in-motion is standing.” This statement can be used as a corrective to the tendency of documentary filmmakers these days–American documentary filmmakers especially–to turn Glawogger’s stool upside down; squashing imagery under the weight of conventional storytelling, endless talking heads, onscreen text, and wall-to-wall music. Pictures seem to matter less and less in docs, unless they’re shot by in-the-moment smartphones or staged and lighted by a Hollywood crew, and then they matter only in the sense that the vehicle of capture takes center stage, the iPhone7 or the 5K Red Scarlet or the whatever. Don’t get me wrong. The majority of doc films are beautifully, professionally shot, even if the shooter is working alone in a difficult situation. Skilled camerapeople are in high demand (one factor driving up documentary budgets) and you rarely encounter amateur work even in the smaller film festivals. But the images are nearly always merely functional. They please the eye but rarely move the heart. If the late Glawogger will be remembered for anything it will be the beating heart of his films. The glory of the images, the rapt sequences they contained, the sometimes jaw-dropping mysteries of the little-seen corners of the world they revealed. I’m thinking of the sulphur carriers and slaughterhouse hustlers in Workingman’s Death; the neon-bathed Mexican hookers in Whore’s Glory; the Liberian wrestlers, [...]

Minding the Gap

2018-08-30T21:04:37+00:00Categories: Docs in Review|

Director: Bing Lui, Watched at:  Hot Docs 2018, Rating: 3/5.       Minding the Gap opens with an exuberant sequence of skateboarders coasting through vacant parking lots, cruising empty urban streets, and jumping curbs with a youthful and–for a movie that is just getting started–already aching innocence. We meet the main characters, Zack and Keira, on their boards, and also the guy holding the camera, Bing Lui; all childhood friends growing up in the Rust Belt town of Rockford, Illinios, and all on the cusp of the bittersweet awareness that these blissful times can certainly never last. Lui started out making skateboard videos with his buddies, and then kept filming as they transitioned from adolescence to their late teens and eventually into early manhood. Zack becomes a father after his girlfriend, Nina, has a baby, and Keira struggles to find work and to keep boarding while also becoming increasingly isolated as the only black man in a circle of white friends. Lui seems to be having the most fun, making the film his friends are starring in, using nothing but a collection of handheld cameras and a kinetic eye for the cinematic movement of bodies careening over concrete. It’s his closeness to the story and his honest interplay that gives the film its sense of real life unfolding before our eyes. This is an element that is remarkably missing from so many high-profile docs these days, concerned as they are with commercial-grade cinematography, glamourized talking heads, social justice agendas, re-enactments, animations, and the imprimatur of do-gooderism. I would [...]

The Sea Stares At Us From Afar

2018-08-21T15:26:20+00:00Categories: Docs in Review|

Director:  Manuel Muńoz Rivas, Watched on:  MUBI, Rating:  4/5.     The aesthetic gulf between American and European documentary cinema becomes more dramatically evident after viewing Manuel Muńoz Rivas' The Sea Stares at Us from Afar, a meditative observation on time, myth, and reluctant progress that settles in with a few desultory inhabitants of an Andalusian beach. The camera pays equal respect to the shifting sands and workaday rituals that exist in an expanse shrouding a buried history, which also offers up tantalizing prospects to tourists and developers. The characters, such as they are, include an elderly man who lives alone in a shack, spending his days in enjoyable indolence; another man who enigmatically shovels sand near his beach house into a wheelbarrow and then dumps it several yards away with no discernible purpose, while at the same time a couple of men with tape measures and clipboards walk around his house marking off boundaries; and a small group of deeply tanned fisherman who we see repairing nets and trolling for shrimp. Meanwhile, families occasionally play on the beach, a group of decorated horse-drawn carriages trot by, and tour buses cruise the scenery. Some of these scenes seem casually scripted, especially the encounters between a young man and woman who appear at first to be lovers but may be brother and sister. These elements flow in and out of languid sequences that are as indefinable as to intent as they are lovely to contemplate. Narration is inserted at three different points in the film, recounting the possibly mythical existence [...]

Maidan

2018-09-14T16:55:06+00:00Categories: Docs in Review|

Director:  Sergei Loznitsa, Watched on:  iTunes, Rating:  4.5/5.   Director Sergei Loznitsa’s methodical observational technique seems to be a clear signal that you shouldn’t come anywhere near Maidan if you’re expecting an action-packed account of Ukraine’s 2014 revolt against the Russian takeover of their country. But it is precisely the slow burn of his static camera that creates the atmosphere of intense and approaching calamity, and the inescapable sense that you are watching a modern history of resistance being written before your eyes. Maidan is both the name of the citizen’s uprising and Kiev’s central square, the primary location of the occupation and the stand-off with government-controlled police. This also serves as the spatial operating theater of Loznitsa’s point-of-view, beginning with a crowd of demonstrators singing the national anthem and ending with the fires, smoke, and detritus of the aftermath of the siege. In between, the film presents the architecture of preparation, protest and confrontation, beginning with quiet wide shots of people entering and exiting halls and cafeterias, doling out food and water and first aid supplies, and then, without fanfare (and decidedly without any emotion-grabbing music), we see palettes and tires being stacked in the maidan. Slowly, inexorably, tensions rise. Gas masks are donned, Molotov cocktails are thrown, snipers take to rooftops, shots are fired, explosions and conflagrations ensue. The camera tries–and fails–to remain fixed on its tripod. Inevitably, it must be picked up and moved, or awkwardly panned, when the events spiral out of Loznitsa’s frame. But it stays confidently in the center of [...]