As is sadly the norm for the Cannes Film Festival, this year’s doc lineup was slim, but much anticipated. Following her Oscar winning CITIZENFOUR, Laura Poitras debuted her long in the works profile of Julian Assange in RISK (formally titled ASYLUM) as part of the Director’s Fortnight. Variety’s Peter Debruge, The Wrap’s Steve Pond, The Guardian’s Catherine Shoard and indieWIRE’s Graham Winfrey each logged their (mostly) positive initial reactions, while Wendy Mitchell and Alex Ritman both spoke with Poitras about her new film for Screen Daily and The Hollywood Reporter, respectively. Jim Jarmusch also brought a new doc to the Croisette alongside his new fiction feature PATERSON in GIMME DANGER, a cinematic look at his longtime friend and collaborator Iggy Pop & The Stooges. David Rooney illustrated the film’s impact most excitingly in The Hollywood Reporter, writing, “Two seminal Stooges album titles — ‘Fun House’ and ‘Raw Power’ — sum up this film’s appeal.” Owen Gleiberman of Variety on the other hand wanted more danger from the film.
In her report for Screen Daily on this year’s Cannes Doc Day event, Wendy Mitchell began by noting that this month marks the 10th anniversary of the world premiere of Davis Guggenheim’s climate change focused, Al Gore starred AN INCONVENIENT TRUTH. As it turns out, Grist published an in-depth oral history of the film’s production and release with interviews by Jennifer Keishin Armstrong, Amelia Urry, Eve Andrews, and Melissa Cronin with Gore and Guggenheim themselves, as well as producers Laurie David, Lawrence Bender, and many more key behind the scenes players. Other festival highlights this week included Daniele Alcinii‘s report at Realscreen that Kirsten Johnson’s CAMERAPERSON and Brett Story’s THE PRISON IN TWELVE LANDSCAPES were awarded feature doc and Canadian doc prizes, respectively, at the 2016 DOXA Documentary Film Festival in Vancouver, as well as Basil Tsiokos’ previews of the non-fiction offerings at both this past weekend’s Seattle International Film Festival and Encuentros del Otro Cine (EDOC), Ecuador’s largest doc festival, which runs through this week.
It is timely that, following the Cannes premiere of RISK, we’ll be screening a sneak peak selection of shorts from FIELD OF VISION, which Poitras co-founded with Charlotte Cook and AJ Schnack and serves as executive producer for, as the next installment of our Spring Season here at Stranger Than Fiction! Both Cook and Schnack will be present for the screening and participating in a Q&A. Tickets available for this special event taking place tomorrow at IFC Center can be purchased here.
One day, I intend to walk the Croisette in Cannes in a euphoric haze of cinema heaven, but until that day, I’ll admire from afar, eagerly awaiting the release of each of the honored selections. Giving an overview of this year’s meager selection of non-fiction fare at the festival at What (not) To Doc, Basil Tsiokos noted the complete lack of documentaries in the most publicized sections, writing, “None of the 21 feature films in the Official Selection’s Competition or of the 18 features in Un Certain Regard is a documentary. One appears screening in the Out of Competition strand: Jim Jarmusch’s exploration of The Stooges, GIMME DANGER.” As one of the first docs to screen this year, Fisher Stevens and Alexis Bloom’s BRIGHT LIGHTS: STARRING CARRIE FISHER AND DEBBIE REYNOLDS received a warm welcome from indieWIRE’s David Ehrlich, The Wrap’s Steve Pond and Screen Daily’s Fionnuala Halligan, while a positive review of Rithy Panh’s EXILE turned up at MUBI’s Notebook thanks to Daniel Kasman and Frederick Wiseman’s newly restored HOSPITAL was written about at length by Matt Morrison at Film Comment.
In other festival news, the Film Society of Lincoln Center announced the lineup for the upcoming Human Rights Watch Film Festival, schedule to run June 10-19. Following directly in its wake, AFI Docs begins June 22 with Alex Gibney’s ZERO DAYS. The full lineup was announced on Tuesday. Before both, the 2016 Docaviv International Documentary Film Festival will take place May 19-28 in Tel Aviv and screen 110 films. At indieWIRE, Sydney Levine previewed the festival’s films and themes, noting that “the program does not only include documentaries about terror and refugees, but also about a fragmented society which is losing its solidarity. Both in Israel and elsewhere the gap between the haves and the have-nots is widening, and so are the frustrations and the unrest. Israeli and international titles correlating to these themes can be found throughout the entire festival program.” And some of us are still processing Hot Docs, including Jason Gorber, who published a lengthy interview with D.A. Pennebaker and Chris Hegedus on UNLOCKING THE CAGE at POV Magazine, and I, having posted reviews of THE ISLANDS AND THE WHALES and HOW TO LET GO OF THE WORLD… at IONCINEMA.
Here at Stranger Than Fiction, our Spring Season continues tomorrow with a screening of Holly Morris and Anne Bogart’s THE BABUSHKAS OF CHERNOBYL at IFC Center, co-presented New York Film Academy. Co-director Holly Morris will be present to take part in a post-screening Q&A. Tickets for the event can be purchased here.
Like everyone else, we’ve got Sundance on our minds, but this week we are most excited to kick off the 2016 Winter Season of Stranger Than Fiction tomorrow at the IFC CENTER with a screening Craig Lowy’s high-flying acrobatic doc, OXD: ONE EXTRAORDINARY DAY! Both Lowy himself and the central subject of the film, choreographer Elizabeth Streb, will be on hand for a post-screening Q&A. Tickets are still available and can be found for purchase here.
As the most prestigious launch pad for non-fiction cinema in the world (both Realscreen’s Kevin Ritchie and Brooks Barnes of The New York Times reported on this year’s distribution deals), the Sundance Film Festival continued to dominate nearly all media conversation this week. At the festival’s award ceremony on Saturday night, Josh Kriegman’s WEINER was given the U.S. Grand Jury Prize and Roger Ross Williams received the Directing Award for LIFE, ANIMATED, while Rokhsareh Ghaem Maghami’s IDFA premiered SONITA took home the World Cinema Grand Jury Prize and Michal Marczak won the Directing Award for ALL THESE SLEEPLESS NIGHTS.
At indieWIRE, Anthony Kaufman wrote a roundup of the non-fiction offerings this year in Park City, noting the prevalence of funding from old-guard broadcasters, while acknowledging an increase in acceptance of formal experimentalism within both the U.S. and World Doc competitions with films like KATE PLAYS CHRISTINE, NUTS!, ALL THESE SLEEPLESS NIGHTS and THE LAND OF THE ENLIGHTENED. Kaufman also took notice of Sundance’s announcement of a new initiative called “Art of Nonfiction,” which “will support innovative documentary filmmaking,” reports Scott Macaulay at Filmmaker Magazine. indieWIRE’s Chris O’Falt also looked at four Sundance films funded via Kickstarter, including Dawn Porter’s TRAPPED and Bob Hercules and Rita Coburn Whack’s MAYA ANGELOU AND STILL I RISE.