Still from Director Jenny Carchman's THE FAMILY BUSINESS: TRUMP AND TAXES
September was a busy, hectic and exciting month for me. I made my annual pilgrimage to the Toronto International Film Festival, I visited Cincinnati for the first time for a friend’s wedding, and I bought my very first house, which, it turns out, is not easy to do while traveling around and trying to get work done. So, I had to take the month away from the Memo to get my life back in order, but with the coming of fall I’m back and ready to round up the best in documentary reporting once again!
At the top of the list is Ann Hornaday‘s controversial claim in The Washington Post that argues against NBC’s Chuck Todd assertion that, “We have to consider [documentaries] journalism,” with her headline reading, “Documentaries aren’t journalism, and there’s nothing wrong with that.” Meanwhile at IndieWire, Chris O’Falt reported on “How Showtime Made a Secret Documentary About the New York Times’ Big Story on Trump’s Tax Evasion,” which centers around Jenny Carchman’s short THE FAMILY BUSINESS: TRUMP AND TAXES and “The Times story by Russ Buettner, Susanne Craig and David Barstow calls into question President Trump’s image as a self-made billionaire, revealing that he received the equivalent today of $413 million from his father.” The Intercept, which published Jon Schwarz‘s extensive feature on DARK MONEY this week, seems to make quite an argument for the importance of journalism in documentary filmmaking. Isn’t there room for both non-journalistic and journalistic documentaries?
This week at Stranger Than Fiction, we are showing another investigative film in Oscar winner Alex Gibney’s NO STONE UNTURNED, which sees him turn his gaze to the “1994 Loughinisland massacre, a cold case that remains an open wound in the Irish peace process.” Gibney himself will be in attendance for a live Q&A at tomorrow’s screening at IFC Center.
The nominees for the 70th Primetime Emmy Awards were revealed last Thursday. Bryan Fogel (ICARUS), Brett Morgen (JANE), Ken Burns and Lynn Novick (THE VIETNAM WAR), Judd Apatow (THE ZEN DIARIES OF GARRY SHANDLING), and Chapman Way and Maclain Way (WILD WILD COUNTRY) are up for Outstanding Directing for a Documentary, while CITY OF GHOSTS, JANE, STRONG ISLAND, and WHAT HAUNTS US were nominated for Exceptional Merit in Documentary Filmmaking. The full list of nominees can be found here.
Outfest, Los Angeles’ annual LGBT festival, runs July 12-22 and features nearly 30 documentaries. At What (not) To Doc, Basil Tsiokos gave rundown of the festival’s non-fiction offerings, “Nearly half of the Special Events are nonfiction presentations, including Dante Alencastre’s AIDS DIVA: THE LEGEND OF CONNIE NORMAN, about a key figure in 1990s LA AIDS activism; and William Clift’s A LONG ROAD TO FREEDOM: THE ADVOCATE CELEBRATES 50 YEARS, an expansive overview of LGBT history.”
Since the release of Kevin Macdonald’s WHITNEY there has been much debate about the film’s merits and its comparison to last year’s WHITNEY: CAN I BE ME by Nick Broomfield and Rudi Dolezal. While Alan Light‘s recent piece in The New York Times looked at the film’s production background, two other pieces examined if either film understood its subject. At MUBI’s Notebook, Simran Hans examines why “Kevin Macdonald’s WHITNEY and Nick Broomfield’s WHITNEY: CAN I BE ME fail to capture the legendary vocalist as a musician or woman,” as Manuela Lazic attempts to unravel “the quagmire of two Whitney Houston movies” at The Ringer. While folks continue to debate about Whitney, Corbin Reiff has listed his favorite music documentaries currently available on Netflix over at UPROXX and the IndieWire staff polled critics on their favorite biographical docs.