It will be a busy week for film festival goers, with New York’s Human Rights Watch Film Festival, Sheffield Doc/Fest and the long running Sydney Film Festival all having begun late last week and running though the end of this weekend. Basil Tsiokos outlined the new non-fiction offerings for each festival over at his What (not) To Doc blog, just as Joshua Brunsting previewed the films at the 28th edition of the Human Rights Watch Film Festival and Tom Roston spoke with the festival’s senior programmer, Leah Sapin, about this year’s curatorial focus on empowerment for Salon. Writing for The Star, Graham Walker listed twenty things to see and do this year at Sheffield Doc/Fest, while Matt Turner looked at how a trio of docs are challenging the narrative around the Syria crisis for Little White Lies. Covering the Sydney Film Festival, the fine folks at 4:3 have already published Ivan Čerečina‘s review of AUSTERLITZ and Anders Furze‘s take on KING OF THE BELGIANS.
Last Thursday, the Sundance Institute “announced the eight projects selected for its annual Documentary Edit and Story Labs, taking place in two sessions at the Sundance Resort in Utah from June 23-July 1 and July 7-15.” Projects selected include IMPEACHMENT by Brazilian director Petra Costa and editor Jordana Berg, and PEOPLE’S REPUBLIC OF DESIRE by director Hao Wu and editor Nanfu Wang. IndieWire’s Kate Erbland dissected the announcement, noting that projects “explore such timely themes as modern day lynchings, the Dakota Access Pipeline, impeachment, immigration detention centers, and more.” Looking back at the Sundance Documentary Film Program and the Karen Schmeer Film Editing Fellowship’s 3rd annual Contemplating the Cut series, which took place back at the beginning of April, Colin Nusbaum outlined his tips and takeaways for doc editors over at the POV Blog.
It seems that the industry is still recouping from its Cannes getaway, as this week was unsettlingly quiet on the news front. New York’s Human Rights Watch Film Festival is set to begin this Friday, as Andy Webster noted in his preview of the programming on offer in The New York Times. Meanwhile, two other enticing documentary film festivals are currently in motion. At What (not) To Doc, Basil Tsiokos looked at the new nonfiction on offer in Cape Town and Johannesburg, South Africa at the Encounters Documentary Festival, as well as those being screened at SF DocFest in San Francisco, both of which run through mid-June.
It is with great pride that tomorrow we close out our 2017 Spring Season at the IFC Center with Jeff Orlowski’s breathtaking CHASING CORAL with the director himself in attendance to present the film. The screening is sold out, but a limited number of tickets may be released to the rush-line, 15 minutes before showtime.
Few weeks come with so many surprising, exciting and, well, BIG announcements in the realm of documentary production. Just as Cannes was kicking off, news broke that Oscar winner Morgan Neville would be heading a new feature length doc for Netflix on the final 15 years of Orson Welles and his long in the works final project, THE OTHER SIDE OF THE WIND. The announcement comes in the wake of other exciting Welles related news, as earlier this year Netflix announced its commitment to funding the final completion of THE OTHER SIDE OF THE WIND, and just a month later a collection of “letters, postcards, diaries and doodles from a teenage Orson Welles, along with unpublished scripts of his many incomplete projects from the ’50s and ’60” were acquired by the University of Michigan from his youngest daughter, Beatrice Welles, for its extensive Screen Arts Mavericks & Makers collection.
The following day, The Hollywood Reporter’s Tatiana Siegel broke the news that Michael Moore and Harvey Weinstein have reteamed to bring the world FAHRENHEIT 11/9, “a palindromic bookend” to their Palme d’Or winning, top-grossing documentary of all time, FAHRENHEIT 9/11. A day later, just as Chelsea Manning was finally to be released from a maximum-security U.S. military prison, IndieWire’s Kate Erbland reported that Tim Travers Hawkins would be teaming up with Pulse Films, as well as executive producers Laura Poitras and Charlotte Cook, to direct CHELSEA XY, a feature length doc on “the journey of her fight for survival and dignity, and her transition from prisoner to a free woman”.
For the second week in a row, we here at Stranger Than Fiction have a double header on our hands this week. Tomorrow at IFC Center, director Errol Morris and subject Elsa Dorfman will be on hand for a Q&A following a screening of their film THE B-SIDE: ELSA DORFMAN’S PORTRAIT PHOTOGRAPHY, while on the following day we return for a Wednesday Night special screening of COMPANY TOWN, with directors Deborah Kaufman and Alan Snitow in attendance for another live Q&A.
Please forgive my tardiness – it’s been a bit of a busy week for me, trekking from Hot Docs to Rochester’s Nitrate Picture Show at the George Eastman Museum, one of the few venues in the world still able to screen nitrate film prints (now in its third year, the festival showed four docs this year, including Georges Franju’s controversial 1949 short BLOOD OF THE BEASTS). As I type this week’s memo, I’m currently riding shotgun down the interstate on the way to pick up my dog, who had a week long getaway at my mom’s out in rural western New York. Thus, on to doc news!
As Hot Docs began to wind down, this year’s award winners were revealed. Charles Officer’s UNARMED VERSES won Best Canadian Feature, Pau Ortiz’s THE OTHER SIDE OF THE WALL was named Best International Feature, Catherine Bainbridge and Alfonso Maiorana’s RUMBLE: THE INDIANS WHO ROCKED THE WORLD took home the Audience Award, Asaf Sudry and Tali Shemesh’s DEATH IN THE TERMINAL won Best Mid-Length Doc, and Best Short went to Tamta Gabrichidze for SOVDAGARI. At Doc Soup, Tom Roston outilned his festival finds and the Hot Docs Pitch Forum, while Eli Brown live blogged this year’s pitches at The D-Word and Selina Chignall reported on the ins and outs of Hot Docs funding applications for Realscreen.
Tonight we here at Stranger Than Fiction return to the IFC Center with the latest film from HOOP DREAMS director Steve James, ABACUS: SMALL ENOUGH TO JAIL, which tells the incredible saga of the Chinese immigrant Sung family, owners of Abacus Federal Savings of Chinatown, New York, the only U.S. bank to face criminal charges in the wake of the 2008 financial crisis. Jill Sung, Vera Sung and Chanterelle Sung, several of the subjects featured in the film, will appear for a live Q&A following the film. Tickets for the event can be purchased here.