This week the Sundance Film Festival continued its announcements of films that made the cut for 2015. Adam Benzine of Realscreen wrote on the docs premiering at the festival, as did Filmmaker Magazine and Daniel Fienberg of HitFix Magazine, along with Casey Cipriani of Indiewire. Christopher Cambpell of Nonfics.com had a guide to Sundance documentary titles, while Realscreen’s Kevin Ritchie took a look at the festival’s short docs. Alexandra Zeevalkink of DocGeeks also had a round-up of Sundance doc selections.
A slew of “Best of 2014” lists came out this week. Paste Magazine’s staff named the best 12 docs of 2014, while Susan Gerhard listed the top 10 docs of the year at Fandor. At Indiewire, Anthony Kaufman named the best 12 docs of the 2014. Gregg Kilday of The Hollywood Reporter had a list of 15 docs from the year that must be seen.
Indiewire’s Paula Bernstein made a useful meta-post rounding up their coverage of documentary filmmaking advice from the past year.
Craig Phillips of Independent Lens announced details of the show’s Winter/Spring schedule this week, with RICH HILL, EVOLUTION OF A CRIMINAL and THE KILL TEAM among those films slated for the program. Kevin Ritchie of Realscreen also covered the news.
At Realscreen, Manori Ravindran reported that ITVS Commissioner Claire Aguilar had been hired by the Sheffield Doc/Fest as director of programming and industry engagement. Sarah Cooper of Screen Daily also covered the news, while the ITVS Beyond The Box blog wrote a farewell thank you message to Aguilar.
Realscreen’s Adam Benzine reported that International Documentary Association (IDA) Executive Director Michael Lumpkin was leaving to become the director of the AFI Docs festival in Washington, D.C. AFI Docs had a press release announcing the hire.
At the Washington Post, Roberto A. Ferdman wrote an article about the effect that the film BLACKFISH has had on SeaWorld’s stock price.
Writing for New York Magazine’s Vulture blog, Bilge Ebiri profiled the work of the Harvard Sensory Ethnography Lab.
The Freep Film Festival this week announced the dates for its 2015 fest, which is set to take place March 19-22.
Back at Realscreen, Manori Ravindran reported on the winners of the International Documentary Association (IDA) Awards.
At Indiewire, Max O’Connell named CONCERNING VIOLENCE from director Goran Hugo Olsson its Sleeper of the Week.
Director Joshua Oppenheimer was interviewed by Pamela Cohn for Bomb Magazine.
Writing for The Verge, Thomas Ricker covered projects using the virtual reality platform OCULUS RIFT at this year’s International Documentary Film Festival Amsterdam (IDFA).
In a post for the Institute of Contemporary Arts (ICA) website, Patrick Hurley interviewed sound artist and documentarian Ernst Karel.
At the National Film Board of Canada (NFB) blog, staff wrote a post detailing what critics and curators were looking for in a film.
Stephanie Brown at The Center for Media & Social Impact covered a recently released statement on best practices for the fair use of orphan works.
Back at the Vulture blog, Nick Schager had a post on the six ways the film distribution model is changing.
In distro news, Realscreen’s Nick Krewen reported that First Run Features had acquired U.S. rights for THE LAST SEASON.
Writing for the IDA website, Lisa Hasko had news of this year’s recipients of the Pare Lorentz Documentary Fund.
At Filmmaker Magazine, Howard Feinstein reviewed the Ukrainian uprising film MAIDAN.
The PBS MediaShift blog shared a post from Josh Schwartz on the audience for video production work.
Robert Mackay of the New York Times had a piece about the work-in-progress documentary being helmed by Marcel Ophuls.
Over at Nonfics.com, Christopher Campbell shared his picks for docs newly available for home viewing.
At the POV blog, Brian Chirls shared some tips on ways to animate two dimensional pictures.
Canada’s POV Magazine turned out another Doc Digest on its website.
In his latest Filmwax Radio podcast, Adam Schartoff spoke with documentary filmmakers Chuck Workman and Goran Olsson.
Writing for the Uniondocs blog, Sarah Soliman wrote about the establishment of the Roberto Guerra Documentary Fund.
At his What (Not) to Doc blog, Basil Tsiokos had an overview of the docs at the Dubai International Film Festival.