A look at the distribution market, circa 2006.
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From Patricia Foulkrod's The Ground Truth: After the Killing Fields, which screened at the Sundance Film Festival. Courtesy of Associated Press The Sundance Institute kicked off its 25th anniversary celebration with its annual post-Christmas, pre-Oscars Mecca in the Mountains, the Sundance Film Festival. As a perennial second-halfer, I missed the docu-centric parties that dominated the first half. And what a bevy of nonfiction soirees to have missedITVS' 15th anniversary bash, Pat Mitchell's valedictory address at the PBS fete, the Sundance Channel party (the channel turns ten this year) and a
The sit-down strike of 27 prisoners at the Presidio Army Stockade following the killing of a prisioner by a guard. From Zeiger's Sir! No Sir!. Courtesy of National Archives In the swirl of debate and acrimony surrounding the Academy of Motion Picture Arts and Science's (AMPAS) ever-evolving rules for qualification for Academy Award consideration in the Documentary Feature category, my experience with the feature documentary Sir! No Sir! is, I believe, particularly illuminating. Let me say up front that I am not comfortable in the role of complainer. In truth, I have no quarrel with the stated
On Jeff Feurzeig's 'The Devil and Daniel Johnston.'
Doc-makers weigh on on where reality TV might be heading.
Checking out the 2005 AFI Los Angeles International Film Festival.
Lt. Robert Drew and war correspondent Ernie Pyle. Poster for Robert Drew's From Two Men and a War. Photo: Drew Associates Almost 50 years after Robert Drew produced Primary, whichpioneered a new form of filmmaking called cinma vrit, or Direct Cinema,the documentary filmmaker will be honored with a five-filmretrospective by the Tampere Film Festival in Helsinki, Finland fromMarch 8 to 12. His most recent film, From Two Men and a War--whichhe and Anne Drew, his wife and filmmaking partner of 35 years,produced--will lead off the program. The documentary is a very personalself-portrait, based on
Kief Davidson and Richard Ladkani's 'The Devil's Miner.'
From Adan Aliaga's My Grandmother's House, which won the VPRO Joris Ivens Award for best feature at the 2005 IDFA Last November, as Americans were preparing for Thanksgiving Day, across the Atlantic the International Documentary Festival Amsterdam (IDFA; www.idfa.nl) was getting underway. A cornucopia of a different kind, this was the beginning of a ten-day feast of nonfiction fare that included more than 800 documentaries from over 50 countries. Social activism was on the screen and in the air as films, panel discussions and informal conversations tackled difficult issues. From the inside of
A report from the Jackson Hole Wildlife Film Festival.