Out of what appears to be strictly a matter of greed, soul singing legend Aretha Franklin has filed suit and successfully received an emergency court injunction barring the Telluride Film Festival from world premiering Sydney Pollack’s long gestating posthumous documentary AMAZING GRACE, “which shows the making of Ms. Franklin’s album of the same name more than four decades ago,” reports Brooks Barnes and Michael Cieply of The New York Times. Reacting to the news Franklin issued a statement saying, “Justice, respect and what is right prevailed and one’s right to own their own self-image,” despite “a recently discovered 1968 contract that Franklin signed allowed the use of the footage,” according to The New York Times. Catherine Shoard of The Guardian covered the story as well, noting “that four years ago Franklin sued Elliott over the same issue, and ‘the lawsuit was resolved after Elliott agreed not to release the film’.” Steven Zeitchik and Rebecca Keegan of The Los Angeles Times and Tambay A. Obenson of indieWIRE also covered the news, while Chris Willman featured the film in question for The Hollywood Reporter. Looking to the Toronto Film Festival where the film is set to screen later this week, our own Thom Powers has assured the show will go on, stating, “We’re proceeding with plans to screen AMAZING GRACE at TIFF. We haven’t heard of any legal procedures regarding the film in Toronto.”
Before all this legal hub-bub went down, at What (not) To Doc Basil Tsiokos gave an overview of the non-fiction offerings screening at both Telluride and Venice, which kicked off last Wednesday. Coverage from Venice has been slowly coming in, including Kaleem Aftab‘s positive review of Rinku Kalsy’s FOR THE LOVE OF MAN for indieWIRE, Guy Lodge‘s glowing review of Amy Berg’s JANIS: LITTLE GIRL BLUE at Variety, and a pair of supportive reviews of Evgeny Afineevsky’s WINTER ON FIRE: UKRAINE’S FIGHT FOR FREEDOM from The Hollywood Reporter’s Stephen Farber and Variety’s Jay Weissberg. Weissberg also reviewed Frederick Wiseman’s latest, IN JACKSON HEIGHTS, while Manori Ravindran spoke with the institution-obsessed documentarian Realscreen about his first (and likely last) foray into crowdfunding and why he prefers long-form to television friendly films.