There’s no corner of cinema so explicit about its role as an act of remembrance than documentary film. Any film, in any genre, carries within it an aspect of memory — as a material object that dates from a certain moment and reflects its conditions, and as something more ethereal, something personal, cultural, and collective, subject to revisiting and remapping.More
Actor, producer, and now director of The Invisible Vegan Jasmine Leyva doesn’t feel like mincing words.
When asked about why she wanted to make her new documentary-in-progress and how it relates to earlier films like Food, Inc., she responds:
Most of [the] experts are all white males; you don’t even introduce a POC until the 50-minute mark.
Lee Morgan was only a teenager when he exploded onto the bop scene, a cocky but undeniably talented kid ably sharing the stage with Dizzy Gillespie. He played alongside his friend Wayne Shorter in Art Blakey’s legendary Jazz Messengers, basically defining Blue Note’s hard bop sound at the time.More
I don’t want to startle any of my readers, but it turns out I’m a white guy. Watching I Am Not Your Negro, this couldn’t have been clearer.More
Peter Middleton and James Spinney began with a relatively modest, if challenging, objective: to render cinematic the blind experience of snowfall. Years later, the result is their remarkable film Notes on Blindness, which premiered at Sundance and screened at festivals across the country (including SFIFF, where I was fortunate enough to catch it), picking up awards and accolades along the way.More
It’s relatively rare for a film to begin with a mission statement, but Man With A Movie Camera — Dziga Vertov’s 1929 Constructivist ode to man, machine, and revolution — is not an ordinary film.
Before Vertov presents a dizzying, self-reflexive montage of a day in the life of post-Revolutionary Russia, he informs the viewer:
THIS FILM PRESENTS AN EXPERIMENT IN THE CINEMATIC COMMUNICATION OF VISIBLE EVENTS
WITHOUT THE AID OF INTERTITLES
WITHOUT THE AID OF A SCENARIO
WITHOUT THE AID OF THEATER
THE EXPERIMENTAL WORK AIMS AT CREATING A TRULY INTERNATIONAL ABSOLUTE LANGUAGE OF CINEMA BASED ON ITS TOTAL SEPARATION FROM THE LANGUAGE OF THEATER AND LITERATURE.
Things are not quite what they appear to be in Surname Viet Given Name Nam, Trinh T. Minh-ha’s masterful 1989 documentary.
Beginning as an apparently straightforward portrait of several women’s lives in past and present Vietnam, the film grows increasingly experimental as it continues, morphing into a feminist, post-colonial interrogation of form, positionality, the authority of the image, and film ethnography itself.More
The winner of last year’s Academy Award for Documentary (Short), Sharmeen Obaid-Chinoy’s A Girl In The River is a 40-minute gut-punch. As cinema, it’s not particularly groundbreaking. As a bracing call to arms against the institution of honor-killing, specifically in Pakistan, it’s entirely effective.More
In their mission statement, the Ovarian Psychos succinctly explain what they’re about:
We are an all womxn of color bicycling brigade cycling for the purpose of healing our communities physically, emotionally and spiritually by addressing pertinent issues. We envision a world where women are change agents who create and maintain holistic health in themselves and their respective communities for present and future generations.
Watching She’s Beautiful When She’s Angry, director Mary Dore’s perfectly agreeable and accomplished 2014 documentary about the birth of the modern women’s movement in the U.S., it’s hard not to feel there’s something staid about the proceedings. More
She's Beautiful When She's Angry
A documentary that resurrects the buried history of the outrageous, often brilliant women who founded the modern women's movement from 1966 to 1971.
Directed by: Mary Dore
Produced by: Pamela Tanner Boll, Abigail Disney, Mary Dore, Geralyn White Dreyfous, Elizabeth Driehaus, Nancy Kennedy, Gini Reticker
Rita Mae Brown