The new documentary by Italian directors Valentina Cicogna and Mattia Colombo, Pure Unknown, has its North American premiere at Hot Docs this week after bowing at Visions du Réel in Nyon. The co-directors follow Dr. Cristina Cattaneo, a forensic pathologist and anthropologist, founder, and director of LABANOF, the Laboratory of Anthropology and Forensic Odontology at the University of Milan.
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The new Danish-German production Theatre of Violence, co-directed by Denmark’s Emil Langballe and Poland’s Lukasz Konopa, recently had its world
First Look, the Museum of the Moving Image’s (MoMI) film festival, annually introduces New York audiences to new cinematic talent and audacious
A caption in Alison O’Daniel’s film The Tuba Thieves (2023) refers to “quiet air”—a description of sound but also of sensation and (shared) substance
During the height of the pandemic, I participated in SXSW virtually, which meant watching films online from my living room couch, which didn’t invite the same emotions I felt at festivals in person. Thankfully, I was able to go to Austin for the first time this March, and I hit the ground running. It was an experience full of remarkable films, brilliant filmmakers, delicious barbeque, and confident networking.
Responding to the “permacrisis”—a 2022 “word of the year” meaning “an extended period of instability and insecurity” and the title for one of the talks at this year’s CPH:DOX film festival and conference in Copenhagen—was a prevailing theme at this season’s March event.
Over the past week, IDA collected tributes to Judith "Judy" Heumann from those who knew her and were influenced, advised, or galvanized by her
Last year, after a string of short-term contracts at a screen institute, short film festivals, and a national public broadcaster, I began a concentrated search for stable employment. Over the course of several months, I met with friends and colleagues who recounted their experiences at cultural institutions in Toronto and beyond, searching for job opportunities at organizations that provided at minimum a living wage, a work-life balance, and emotional fulfillment. Instead, I encountered stories about poor management, few opportunities for growth, long hours with low pay, and practices that were questionable at best. Certain organizations offered better benefits, working groups, or prestige, but it soon became evident that every workplace was plagued with the same baseline issues.
Nowhere is the commercialization of the nonfiction field seemingly more apparent than at the Sundance Film Festival. With entertaining documentaries
During my 15 years in prison, numerous filmmakers and media professionals entered the facilities where I was housed with the intention of telling the