Some great feedback from our Doc U on the Road stops in New York and Washington, DC.
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AFI Fest commemorated its 25th anniversary last month, and in the past quarter-century the festival has taken on as many different incarnations as positions in the calendar and locations in Los Angeles. Its seeds were planted much earlier-in 1971, in fact, as FILMEX, the sprawling, much venerated showcase for international cinema. The American Film Institute took over that festival and reconstituted, rebranded and relaunched it in 1987 as AFI Fest. Its first decade or so saw some growing pains, with locations shifting from Santa Monica in the spring to West Hollywood in the summer to Hollywood
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Documentary magazine hasn't covered the New York Film Festival (NYFF) since 2000, when a whopping two (2!) documentaries screened there. Despite the rise of the genre over the past decade or so, and the special attention that such tent-pole festivals as Sundance, SXSW, Tribeca and Toronto have accorded the genre, the New York Film Festival has just not programmed that many documentaries-until now. This year, under some new management, the NYFF programmers seem to have opened their hearts and minds to more documentaries than ever before. We counted 14, including several gems. What prompted this
Unlike any other film festival in the world, the Bydgoszcz, Poland-based Plus Camerimage, which ran from November 26 to December 3, celebrates the art of cinematography. Over the years, relocating from Torun to Lodz to Bydgoszcz, the festival has expanded in size and numbers, attracting thousands of filmmakers and film-lovers from around the world who come to meet and learn from cinematographers who rank as the finest masters of visual storytelling in our time. Originally conceived to nurture students from the Polish and other international film schools, Camerimage presents film screenings
Special Correspondent Deepthi Welaratna covered this Doc U seminar at POV in Brooklyn
One could have spent all 12 days of the 24th International Documentary FilmFestival Amsterdam (IDFA) covering any one of its programs. Eighty-eight world premieres screened across competition and non-competition sections, while other docs enjoyed their International or European premieres. Steve James was the subject of a retrospective, and he also curated his own Top 10 program. Finally, there were off-screen activities such as the IDFA talk shows, industry panels and the IDFAcademy. In a festival of over 300 films, no two experiences were the same. But almost everyone had something to say
The magic word of this year's DOC NYC was "more": more days, more films, more panels, more filmmakers in person, and more people to enjoy the festivities. With 50 features and 42 shorts, the festival transformed the normally discreet IFC Center into a frenzy of activity. Any day saw its share of larger-than-life figures--Werner Herzog, DA Pennebaker, Albert Maysles and Barbara Kopple among them. Larger in number, however, were the emerging filmmakers whose works were fortunate enough to be selected into the program. Having opted for open submissions this year after curating their inaugural
Recording Reality, Desiring the Real By Elizabeth Cowie Minneapolis: Visible Evidence, University of Minnesota Press $25, Paper, 217 pps. ISBN 978-0-8166-4548-0 Elizabeth Cowie's Recording Reality, Desiring the Real is a sharply focused theoretical resource organized as a series of previously published articles spanning a period from 1997 to 2007. As part of the notable Visible Evidence series of texts on documentary theory, Cowie's book emphasizes documentary storytelling as nonfiction, exploring and distinguishing this from fictional cinema, while noting its specific emergence as a
Doc U's first stop in Washington, DC asked if your doc can really change the world.