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In 2003 I was enrolled in a class taught by Vanalyne Green called “The Personal Essay Film.” I had recently fallen in love with Vanalyne—like you do when you’re an angry teenager having your entire worldview destabilized—after watching her essay film about how she got herpes from a hot cowboy that looked like the Marlboro Man. The day’s viewing was Sink or Swim by Su Friedrich. I didn’t have the words then to articulate the splendor, the darkness, the gentle wisdom of this film. But now I do.
It was around 2005 and I stared at the TV screen in my parent's living room in awe. The credits for Tarnation—directed, produced, and edited by
Discovering Errol Morris’ Vernon, Florida, inside a dark alcove in NYU’s media library as an undergrad studying film was what inspired me to pursue
The Imposter is an important film for a number of reasons: (1) It is a stand-alone, deeply compelling piece of storytelling; (2) in classic hybrid
One of the most powerful, timeless documentaries I've ever seen is When We Were Kings (1996), directed by Leon Gast and produced by Taylor Hackford
The documentary form lends itself to many different types of storytelling, but its most crucial purpose remains bearing witness to history. Especially
When I was in graduate school studying anthropology and film in the mid-2000s, the documentaries of Adam Curtis blew my mind. His playful and
I never intended to become a documentary filmmaker in 1986 when I accepted the receptionist position at a science-focused production company. A year
When the French multimedia artist, writer and nonfiction filmmaker Chris Marker died in 2012, the film world lost a seminal observer of us strange
In a Dream is one of few films I’ve returned to watch again and again. The story centers around Philadelphia-based artist Isaiah Zagar and his