WHITE EARTH from director J. Christian Jensen was among the short documentaries to make the Oscar short list this year.
This week the Academy of Motion Picture Arts and Sciences (AMPAS) announced the shortlist for films nominated as best short documentary for 2014. At Nonfics.com, Christopher Campbell had coverage of the announcement, as did Adam Benzine of Realscreen. Manori Ravindran of Realscreen rounded up the trailers for the shortlist, while Gregg Kilday of The Hollywood Reporter also covered the news.
Laura Poitras’ new film CITIZENFOUR opened in limited release this past weekend. At Indiewire, Eric Kohn interviewed Poitras in two parts: part one, part two. At the Dissolve, David Ehrlich also interviewed Poitras, as did Andrew O’Hehir of Salon. Anne Thompson of the Indiewire blog Thompson on Hollywood also interviewed Poitras. At Indiewire, Anthony Kaufman wrote on the legal challenges faced by Poitras and other filmmakers in completing their films.
THE WHITENESS PROJECT director Whitney Dow was interviewed on “CBS This Morning” this week. Jess Joho of Killscreen also spoke with Dow for a piece at the magazine. And Jess Linington of i-Docs reviewed the project for the site.
This week Stranger Than Fiction is hosting a screening of MOON OVER BROADWAY from directors Chris Hegedus and D.A. Pennebaker, a backstage look at the Broadway production of “Moon Over Buffalo.” The screening is on Tuesday, October 28 at 8 p.m. at the IFC Center in Manhattan. Following the screening, Hegedus and Pennebaker will be in attendance for a Q&A session. For more information or to purchase tickets please go here.
This post was written by STF blogger Krystal Grow.
The iconic synth-pop band Depeche Mode took their name from the French words for ‘fast fashion,’ and as they set out on the road in 1988, with two 40 foot trailers, an emerald green jet and a convoy of tour buses loaded with young fans, they traveled at a nearly unrivaled speed.
“I’d never heard their music before. I didn’t know anything about them,” Pennebaker said in the Q&A following the film. “So I went to see them live in San Fransisco, and it was like they had this crowd there that just existed solely for them. After that I knew we needed to make the film.”
And so began the verite-journey into the weird world of goth-pop-arena-rock, a genre that peaked with Depeche Mode‘s Music for the Masses tour and captured the strange cultural zeitgeist of the late 80s. The music was as anti-establishment as Pennebaker and Hegedus’ off-the-cuff filmmaking, but also had a melodic elegance and youthful energy. Led by Dave Gahan’s smooth but powerful alto voice, the band had corralled a massive and dedicated fan base, which came out en masse to most of their stateside performances. That crowd was an essential part of the story for Pennebaker and Hegedus, so much so that they organized a radio call-in contest to recruit a small posse of super fans to follow the band towards their penultimate performance at the Pasedena Rose Bowl.
“The music was so original, but we felt like we needed something else,” Hegedus said, “so we came up with this contest to take these kids across the country.” Those kids, with their hair spray, hats and exceptionally outlandish outfits, bring the epic fandom that Depeche Mode inspired to an adorably accessible level as they navigate their way through a kind of boozy synth-pop summer camp.
Now well into their adulthood, three of the eight contest winners were on the scene at STF this week, and joined the Q&A with Pennebaker, Hegedus, and STF Artistic Director Thom Powers.
“When the film first came out, I really didn’t like it,” said super fan Oliver Chesler, who is now musician based in New York and well known for innovative and unusual electronic compositions. “Then again, I was such a fanatic I really didn’t think any video footage could capture what it was like to be there and to see them, but looking back now, you really did.”
Krystal Grow is an arts writer and photo editor based in New York. She has written for TIME LightBox, TIME.com, LIFE.com, the New York Times Lens Blog, the Magnum Foundation and the DOC NYC blog. Follow her on Twitter and Instagram @kgreyscale.
This week the DOC NYC festival announced its lineup.
This week the DOC NYC festival announced its lineup. At Indiewire, both Shipra Gupta and Anne Thompson had coverage of the announcement, as did Kevin Ritchie of Realscreen. Writing for The Wrap, Steve Pond highlighted the new Amy Berg doc set to premiere at the festival, while festival director of programming Basil Tsiokos shared details on the lineup at his blog, What (Not) to Doc.
The new Laura Poitras film, CITIZENFOUR, continued to draw attention from the press. Abby Aguirre interviewed Poitras for Vogue Magazine, while Sara Rafsky penned a piece on Poitras’ filmmaking process for the Columbia Journalism Review. At the New York Times, Michael Cieply had a piece on the potential political complications brought on by the film. And Fred Kaplan of Slate wrote a critique of the film’s approach to the use of classified documents.
This week Stranger Than Fiction hosts a screening of the film DEPECHE MODE 101 by filmmakers Chris Hegedus and D.A. Pennebaker on Tuesday, October 21 at 8:30 p.m. at the IFC Center in Manhattan. The film chronicles the last leg of Depeche Mode’s 1989 tour. For more information or to purchase tickets please go here.
This post was written by STF blogger Krystal Grow.
If one thing is clear from the films shown at this week’s STF screening, it’s that the recording studio is a sonic microcosm capable of distilling the most massive of sounds and the most intimate of spaces into a single, auditory experience. In the fourth installment of the weekly film series’ tribute to filmmakers D.A. Pennebaker and Chris Hegedus, we become a part of that bubble of sound, and become enraptured observers of the seemingly endless struggle to capture the perfect take.
In 1964, Dave Lambert, famous for his work with the jazz vocal trio Lambert, Hendricks and Ross, was invited to the RCA studios to record a few test tracks for a possible full length record with a new group of singers he had pulled together since he split with his former partners. Lambert was already lauded as an accomplished, even groundbreaking composer, but Pennebaker’s unwaveringly objective lens never succumbs to hero worship. In the 15 minute film, the camera hovers over Lambert and his group, who arrange themselves in a tight circle around a single mic, while session musicians and studio engineers look on and play along from their designated sound booths. LAMBERT & CO. lays down three toe-tapping numbers that never made it to the official RCA catalog, leaving Pennebaker’s short film as the only remaining evidence of the group’s major-label aspirations.
In another feat of recording-studio-cinema verite, Pennebaker, Jim Desmond and Richard Leacock document the epic, 18-hour recording session with the original cast of the huge Broadway hit, Company. The 1971 musical by Stephen Sondheim follows the trials and tribulations of a handsome bachelor and his married friends through a series of non-linear vignettes. As the cast struggles with the pressure to record the definitive version of Sondheim’s songs, the film uncovers the incredible strain these performers were under and impressive stamina and professionalism they showed through countless takes and do-overs. In the film’s crescendo, theater veteran and Broadway powerhouse Elaine Stritch belts out her show-stopping rendition of ‘Ladies Who Lunch,’ flailing her arms wildly, while her eyes maintained a steely focus on the microphone, as if she were staring down the lyrics, or glaring at an audience in a packed theater.
“I just started crying as soon as I saw her on screen,” Pennebaker said of the Stritch, who passed away in July. “She knew music, instinctively, and it just poured out of her. I always got the feeling, no matter what she was listening to, that she knew something about it. Something special, that I’d never know.”
Krystal Grow is an arts writer and photo editor based in New York. She has written for TIME LightBox, the New York Times Lens Blog, Vocativ.com and the DOC NYC blog. Follow her on Twitter and Instagram @kgreyscale.
The new film from Laura Poitras, CITIZENFOUR, had its world premiere at the New York Film Festival.
This week CITIZENFOUR, the new film from director Laura Poitras on the events surrounding the NSA leaks from whistleblower Edward Snowden, premiered at the New York Film Festival. Steven Zeitchik reported on the premiere for the Los Angeles Times, as did Emily Buder of Indiewire. At The Hollywood Reporter, Scott Feinberg posited the idea that the film had leapt to the top of the doc Oscar race. Ronnie Scheib of Variety reviewed the film, as did Eric Kohn of Indiewire. Also, George Packer released a profile of Poitras for the New Yorker. Finally, Adam Benzine of Realscreen reported that a new doc on Snowden, titled SNOWDEN’S GREAT ESCAPE, was in the works.
The film THE OVERNIGHTERS from director Jesse Moss premiered in theaters this week. At Nonfics.com, Katie Walsh interviewed Moss about how he handled some of the surprises thrown at him during production. Writing for the A.V. Club, A.A. Dowd gave the film an A- review, while Noel Murray of The Rolling Stone explored how the film came to be. And at the New York Times, Eric Hynes wrote on the intimate approach employed by Moss in making the film.
This week Stranger Than Fiction continues its tribute to Chris Hegedus and D.A. Pennebaker with a screening of COMPANY: ORIGINAL CAST ALBUM, a rarely screened film that documents the recording session of the Stephen Sondheim musical “Company.” It will be accompanied by the short LAMBERT & CO. The films screen this Tuesday, October 14 at the IFC Center in Manhattan at the special time of 8:30pm. Following the screening D.A. Pennebaker will be in attendance for a Q&A. For more information or to purchase tickets, please go here.