The International Documentary Association (IDA) this week announced that it would be giving awards to filmmakers Alex Gibney, Laura Poitras and Geralyn Dreyfous. Christopher Campbell had coverage at Nonfics.com, while Steve Pond had the same at The Wrap. Adam Benzine of Realscreen and Rebecca Keegan of the Los Angeles Times also penned pieces on the awards.
Canadian documentarian Michel Brault passed away this week. Catherine Perreault remembered the filmmaker at the National Film Board of Canada’s site, as did Christopher Campbell at Nonfics.com. Ray Pride of Movie City News took note of Brault’s work on wrestling, LA LUTTE.
The Cinema Eye Honors announced its list of 15 finalists for its nonfiction short film award. Kevin Ritchie covered the news for Realscreen, and Christopher Campbell rounded up some trailers–and the full film in some cases–at nonfics.com.
This week Stranger Than Fiction plays host to BIG MEN, director Rachel Boynton’s look at the involvement of U.S. oil companies in Africa. The screening takes place on Tuesday, Oct. 1 at 8 p.m. at the IFC Center in Manhattan, and will be followed by a Q&A with Boynton. For more information or to purchase tickets please go here.
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The film AFTER TILLER, which takes a look at the four late-term abortion doctors in the U.S. left after the 2009 slaying of Dr. George Tiller, was released in theaters this week. At the POV blog, Tom Roston spoke with directors Martha Shane and Lana Wilson about the film, while Christopher Campbell interviewed them in a post at RogerEbert.com. Darianna Cardilli also interviewed the pair at the International Documentary Association’s Documentary site. A.O. Scott reviewed the film for The New York Times, as did Joëlle Pouliot at the DocGeeks blog. At Mother Jones, Kate Sheppard wrote about AFTER TILLER’s relationship to Chicken & Egg Pictures. And Daniel Walber reviewed the film for Nonfics.com.
News came out of Egypt this week that filmmaker John Greyson and doctor Tarek Loubani had begun a hunger strike in a Cairo jail; the pair have been held there since August 16 without charge. Friends and family announced the hunger strike in a post on website created to secure the pair’s release, and Alex Ballingall reported on the development for the Toronto Star.
Kevin Ritchie of Realscreen reported that Susan Lacy, the creator and executive producer of the “American Masters” doc show on PBS, was leaving affiliate WNET for a job directing and producing docs at HBO. The Deadline site also reported on the news, as did Bill Carter at the Times and AJ Marechal at Variety.
This week Stranger Than Fiction is kicking off its fall season with a screening of Evan Jackson’s film LINSANITY, which follows professional basketball phenomenon Jeremy Lin. Jackson and producer Brian Yang will be in attendance for a screening following the screening. You can find more information and purchase tickets by going here.
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The news regarding the doc world was dominated this week by stories coming out of the Toronto International Film Festival. Jehane Noujaim left the Toronto International Film Festival (TIFF) with the People’s Choice award for her film THE SQUARE about the revolution in Egypt; Christopher Campbell had coverage of the award at Nonfics.com, while Evan Mitsui of the CBC also had the details. Writing for The Globe and Mail, Omar el Akkad covered the challenges faced by Noujaim in making the film. Globe and Mail colleague Simon Houpt also wrote up THE SQUARE and Alex Gibney’s THE ARMSTRONG LIE as films that had to evolve along with their fast-changing subject matter.
At Realscreen, Kevin Ritchie reported on a TIFF panel on distribution, while Indiewire reproduced Dan Cogan’s presentation on managing the relationship between film producers and investors. Indiewire also carried Liesl Copland’s speech on the need for more transparency regarding VOD, while Scott Macaulay at Filmmaker Magazine chimed in to back the sentiment. Kelly Anderson covered the talk for Realscreen. Michael Cieply of The New York Times also cited Copland’s speech in a piece on VOD revenues. And Kelly Anderson covered a panel discussion on the crowdfunding of the film HONDROS: A LIFE IN FRAMES for Realscreen.
This week Stranger Than Fiction is hosting a pre-season special screening of MUSCLE SHOALS on Wednesday, Sept. 18 at 8 p.m. at the IFC Center in Manhattan. The film recounts the story behind one of the most important and influential recording studios in American music. For more information or to purchase tickets go here.
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The Toronto International Film Festival (TIFF) launched on Thursday, Sept. 5 and distributors were moving with alacrity to nab titles, with many picking up distro rights before the festival even launched. Realscreen’s Adam Benzine spoke with TIFF programmer (and Stranger Than Fiction Artistic Director) Thom Powers about several of the deals secured by films premiering at the festival. However, Benzine reported that Ron Howard’s Jay-Z concert doc MADE IN AMERICA had found an international rights sales agent in The Exchange. Realscreen colleague Kevin Ritchie had the news that the UK’s Dogwoof had acquired international rights for DANGEROUS ACTS STARRING UNSTABLE ELEMENTS OF BELARUS. Gregg Kilday of The Hollywood Reporter reported that HBO had nabbed U.S. television rights for the film.
At the What (Not) to Doc blog, Basil Tsiokos offered an overview of docs screening at TIFF. The Hollywood Reporter also shared a post on five must-see films screening at the festival. Writing for the POV blog, Tom Roston interviewed Thom Powers about certain festival selections. Back at Realscreen, Adam Benzine had the opportunity to speak with director Claude Lanzmann.
The folks behind the blog Film School Rejects this week launched a new site dedicated to nonfiction entertainment titled Nonfics.com and headed by former Documentary Channel blog editor Christopher Campbell. Campbell’s prodigious output has yielded too many posts to link individually, but you can check out his editor’s welcome here, as well as a list of 10 TIFF selections Campbell was excited to see. Campbell also wrote up an interview with TIFF sensation TIM’S VERMEER subject Tim Jenison, and penned a piece about the phenomenon of spoilers potentially ruining documentaries. Robert Greene also wrote the first of a series, Shots From the Canon, as part of efforts to identify a new nonfiction canon.
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Penny Lane's film Our Nixon hit theaters this week.
The Penny Lane-helmed film OUR NIXON hit theaters this week. At Film.com David Ehrlich interviewed Lane, while Reva Goldberg added producer Brian Frye to the mix for her interview at Cinereach’s website. Brandon Harris spoke to Lane for Filmmaker Magazine, while Anya Jaremko-Greenwold queried Lane for BOMB Magazine’s blog. Christopher Campbell profiled Lane and Frye at RogerEbert.com, while Anthony Kaufman considered the task of documenting presidents in his weekly Docutopia post at the SundanceNOW site. And Nathan Rabin penned a review of the film at The Dissolve.
It was a good week for distro deals. Kevin Ritchie of Realscreen reported that Variance had acquired North American theatrical rights for Roger Ross Williams’ GOD LOVES UGANDA, while Alison Willmore of Indiewire reported that Showtime had snagged the rights for Ron Howard’s Jay-Z concert doc MADE IN AMERICA. Adam Benzine of Realscreen had the news that Entertainment One Films International had picked up worldwide rights for Jennifer Baichwal and Edward Burtynsky’s WATERMARK. Rebecca Ford of The Hollywood Reporter wrote up Zeitgeist Film’s U.S. rights acquisition of THE GALAPAGOS AFFAIR: SATAN COME TO EDEN. Back at Realscreen Kevin Ritchie reported news of MASTER OF THE UNIVERSE’s acquisition by Autlook, while colleague Adam Benzine wrote about Cinephil’s pickup of UKRAINE IS NOT A BROTHEL from Kitty Green.
Stranger Than Fiction this week announced the details of its new fall season, which will kick off Sept. 18 with a preview screening of MUSCLE SHOALS featuring a Q&A with director Greg “Freddy” Camalier and FAME recording studio founder Rick Hall. Tickets for Stranger Than Fiction screenings are $16 for the general public and $13 for IFC Center members. A Season Pass, good for admission to all 8 evenings per season (plus 1 special), is available at an Early Bird rate of $80 ($70 for IFC members) through Sept. 18. Regular price is $99 ($80 for IFC members).
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