For this week's pair of writers, coping mechanisms including digging into the oeuvres of auteurs, from chronicler of the lonely American male Michael Mann to trailblazing Guadeloupean female filmmaker and activist Sarah Maldoror.
As a viewer and participant, I was increasingly aware that the objective of the festival was to be a space in which we questioned and looked closely at the historical work and power imbalances that have long existed within the documentary form.
In demystifying the process of getting into one of the most prestigious film schools in the world, she exposes the ambivalence about race and class and the overall blindness to conversations surrounding diversity and inclusion that remain at the core of these institutions.
Will is affected by not just PTSD but also a self-serving, deluded masculinity that is killing his relationship with the only person he has in this world. The central, intentional frustration of the film stems from our desire to see them stay together, even as he is denying his daughter the life and community she so desperately needs and craves.
Filmmakers are actively pushing up against what it means to make a documentary at all, and the True/False Film Festival caters to and nurtures that objective. I am especially thankful to True/False for exposing me to new possibilities for Black cinema.