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- Feed Preview Lauren Wissot | Filmmaker Magazine
Euro Division: Hot Docs 2024
This year’s 31st edition of Hot Docs (April 25-May 5) was chockfull of drama, both onscreen and off. And while there were no protests (such as at IDFA) nor riot police dispatched (see Thessalon...
“All Documentary Filmmakers Should Receive or Seek Out So...uma”: Alix Blair on Her Hot Docs-Debuting Helen and the Bear
Fourth generation Californian Paul McCloskey — aka “Pete” and “Bear” — is a former US Congressman who represented San Mateo County from 1967 (when he trounced Shirley Temple in the Re...
“The Charismatic Leader Leads People, But What Toward?”...ennedy and Mark Bailey on Their HBO Docuseries The Synanon Fix
Currently unspooling across four episodes on HBO and continuing to stream on Max is The Synanon Fix, the latest true-crime catnip from the cable channel that’s not a juggernaut of the genre. An...
“The Step from Being a Human to Becoming a Monster is Muc...an We Think”: Oksana Karpovych on Her ND/NF Doc, Intercepted
While the on-the-ground horrors of Russia’s full-scale invasion of Ukraine have been viewed around the world, often in real time — and even formed the basis of this year’s Best Doc Feature ...
On Power and Solidarity : Brett Story and Yance Ford at CPH:DOX 2024
Produced in collaboration with Documentary Campus, this year’s five-day CPH:CONFERENCE featured a wide-ranging series of panels and conversations, diving in to everything from indigenous narrat...
“I Operate From a Trans Lens, or Frame, as Though It Is the Only Choice Available”: Jules Rosskam on Desire Lines
For me, watching Jules Rosskam’s Desire Lines, which won this year’s Sundance Special Jury Award in the NEXT competition, was a cinematic breath of fresh air. The experimental feature combine...
Bodiless Entities, Body Politics and Bodily Functions: CPH:DOX Inter:Active 2024
Expertly curated (under the direction of Londoner Mark Atkin, who also serves as Head of Studies of the CPH:LAB), this year’s edition of the Inter:Active exhibition at CPH:DOX (March 13-24) fea...
“A Film Can Be a Spark, and What Comes After It Is Where ...�: Elizabeth Nichols on Her True/False-Debuting Flying Lessons
Debuting at True/False (followed by First Look), Elizabeth Nichols’s Flying Lessons is a beautiful ode to a New York City Lower East Side artist as well as to the larger “dying breed” tha...
“I Don’t Invest Hope in Celebrity or Leaders Too Much, ...n People”: Mitch McCabe on Their True/False Premiere 23 Mile
While the pandemic spurred many (white collar) Americans to flee the big cities and retreat to the safety and comfort of living room Zooming, Detroit native Mitch McCabe returned home to the big ...
“We Always Sought Out Photos with Movement”: Klára Tas...ldin of Soviet Prague” Doc I’m Not Everything I Want to Be
”The only way to survive is to take photos,” declares Libuše Jarcovjáková, the iconoclastic star/narrator/guide of Klára Tasovská’s visually arresting (and eye-catching titled) I’m ...
“There Was No Backup Plan Other Than We’d Make It Happe...lie Rae and Angela Patton on Their Sundance-Debuting Daughters
Filmed over a remarkable eight years, Natalie Rae and Angela Patton’s Sundance-premiering Daughters is an on-the-ground (and behind the bars) look at the preparations — physical, mental and a...
“The Good, Bad and Ugly of Organizing Against Amazon’”: Stephen Maing and Brett Story on their Sundance-debuting Union
Stephen Maing and Brett Story’s unsurprisingly riveting Union is the one Sundance selection most assuredly not coming to Prime Video anytime soon — or ever. (Nor I’m guessing will the doc�...
“My Shooting Process Involved a Mix of Planned Setups and...o Jacobsen on Her Sundance-debuting A New Kind of Wilderness
Silje Evensmo Jacobsen’s A New Kind of Wilderness is a film structured in a way I’ve not seen before. With a title that likewise could apply to the psychic space into which the audience is...
“Being a Latina Immigrant Offered Me Personal Insight Int...t Artist”: Carla Gutiérrez on Her Sundance-Premiering Frida
Though 2024 marks seven decades since the passing of Magdalena Carmen Frida Kahlo y Calderón, it often feels as if the ubiquitous artist never actually died (or lived) at all. A feminist/Chicana...
“Where Exactly Does Consent Live?” Rea Tajiri on Wisdom Gone Wild
Rea Tajiri’s Wisdom Gone Wild takes a hard look at a difficult subject. Tajiri’s 93-year-old mom Rose is a witness to the US’s dark concentration camp history, having been incarcerated alon...
“Understanding Taiwan on Its Own Terms”: Vanessa Hope on Invisible Nation
Though producer-director Vanessa Hope has spent her career zeroing in on China—from producing Wang Quanan’s The Story Of Ermei and Chantal Akerman’s Tombee De Nuit Sur Shanghai to directing...
“I Rejected the Concept of Linearity”: Leslie Tai on How to Have an American Baby
Sprawling in scope, observational in form and jaw-dropping in access, Leslie Tai’s How to Have an American Baby shows exactly what its title describes. The title is also the name of a sales tal...
“The History of Racist Ideas”: Roger Ross Williams on Stamped From the Beginning
Though I’ve not read Dr. Ibram X. Kendi’s New York Times bestseller Stamped From the Beginning: the Definitive History of Racist Ideas in America, I’m guessing the National Book Award-winne...
Behind the Lens at the SCAD Savannah Film Festival 2023
As the US’s largest university-run fest, the SCAD Savannah Film Festival (October 21-28) smartly caters to an overwhelmingly collegiate audience, which means bringing in loads of celebrities fo...
“My Film is For the Pigs”: Heather Dewey-Hagborg on Hybrid: an Interspecies Opera
Heather Dewey-Hagborg is on a mission to confront the uncomfortable future, especially when it comes to emerging tech. Stranger Visions features portrait sculptures crafted from analyses of genet...