Festival Dispatch
Visits to cinema showcases around the world
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.
As an actor who’s worked a lot with improvised movies, it was always really interesting for me that, especially if you are improvising in a film without much preparation for your character, you are drawing on your own life and then your own life is a thing that ends up in the film, and that is . . . complicated.
Berlin 2018: Loznitsa is an assiduous practitioner of observational cinema. One may even argue that his nonfiction filmmaking is to the study of spaces charged with political memory what Frederick Wiseman is to the exploration of institutions.
What I am interested in the most is creating a demand for a different kind of cinema. Then maybe the authorities will realize it is time to change the rules.
While the selection includes both fiction and nonfiction films, the slant toward documentaries is pronounced: this year, out of the 15 films presented in the international competition, the vast majority were documentaries or fiction/nonfiction hybrids.
The casual, festive atmosphere of the FicValdivia Festival, located at the small university town on the banks of Valdivia River in Chile is fueled by its largely young programmers and audience.
Many of the more recognizable auteurs figured late in the festival’s schedule, and seeing a number of these established filmmakers in successive days hit their expected marks proved rather instructive in such a condensed timeframe. Includes Mimosas, The Death of Louis XIV, Personal Shopper, Elle.
This year’s Competition features a number of burgeoning talents as well as notable critical darlings, resulting in an uncommonly stimulating first week. On Sieranevada, Staying Vertical, Toni Erdmann, Slack Bay, Paterson.
The Berlinale takes great pride in promoting itself as the most politically conscious and engaged of the A-list film festivals. After the events of the past year in Europe, refugees were the salient topic of its latest edition.
The camera is weapon and savior, mediator and patient observer, but it is never objective in Cameraperson, an extraordinary and singular filmmaking document by Kirsten Johnson that quietly lorded over everything I saw at the 2016 Sundance Film Festival.
What started in 1994 as a two-day, modestly attended, parochially English affair has, in the decades following, tripled in length, welcomes more than ten times the number of visitors, and is now a tent-pole event on the international documentary industry calendar.
Kashish has grown into south Asia’s biggest queer film festival, was voted as one of the top five LGBT festivals in the world, and is today India’s only LGBT film festival given official permission to be held in a mainstream cinema hall.
Arabian Nights is essentially composed of a series of indulgences and digressions—some angry and some absurd, all imaginatively composed and unconcerned with the boundaries of traditional storytelling.
With no less than four non-American directors making their English-language debuts in competition at the 2015 Cannes Film Festival, the strain from the unfortunate state of worldwide film funding has been felt more than ever at this year’s festival.