The tonal, visual, and thematic contrasts between these two masters of British filmmaking all seem to converge around their seemingly diametric views of mother England: a sober bulwark of civilization for Jennings; a largely hollowed-out husk for Jarman.
Toni Geitani’s debut feature focuses on the evanescence of historical and national memory as experienced by the first generation that did not see corpses lying in the streets but grew up surrounded by their ghosts.
Claire Simon has been working steadily in the cinema since a mid-1970s internship with Algerian filmmaker Mohammed Lakhdar-Hamina, and has been directing both narrative and nonfiction films for over 30 years now.
Schmitz whittles a leisurely yarn with only the most threadbare of narrative action. He shot with no formal script or framework in mind, content to merely observe in fixed, distant shots the desultory minutiae of his hapless subjects.
Ambulante Más Allá is a roving documentary festival launched in 2005 that provides the framework for building a inclusive independent filmmaking infrastructure, reclaiming an often maligned community and helping them curate their own identities on and off screen.
Vitaly Mansky’s latest film is a personal document of historical reckoning culled from hundreds of hours of footage collected during his tenure as official videographer for Putin’s election campaign and early presidency.