Authors — Lauren Wissot
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“She Withheld Empathy From Everyone But Herself”: Andres Veiel on Riefenstahl
Andres Veiel’s Riefenstahl is an arresting and deeply disturbing all-archival portrait of the titular Third Reich actor-director, responsible for some of the most innovative filmmaking of the 20th century as well as horrific war crimes (though Riefenstahl would go to her grave insisting she knew nothing of the mass murder taking place all around her, let alone the power of her propaganda). That said, Hitler’s cinematic mouthpiece would undoubtedly agree that great art requires great sacrifice — just not her own. The film is made up entirely of materials excavated from the 700 boxes Leni Riefenstahl bequeathed to the Prussian […]
by Lauren Wissot on Nov 12, 2025 -
“’We’re More Afraid of What Happens When We Stop Filming’”: Andrew Jarecki and Charlotte Kaufman on The Alabama Solution
When Andrew Jarecki (HBO’s The Jinx, Capturing the Friedmans) and Charlotte Kaufman (a producer on The Jinx, Part Two) first stepped inside the secretive Alabama prison system they were there to shoot a revival meeting — an uplifting event that church ministries hold in prison yards throughout the state. What they stumbled upon instead was a far different story, one of horrific abuse, sweeping coverups and even murder at the hands of those charged to enforce the law. Making ample use of the evocative footage shot over six years on contraband phones by the incarcerated men who risked their lives […]
by Lauren Wissot on Nov 12, 2025 -
“We Wanted to Run It Like a Normal Powwow”: Sky Hopinka on Powwow People
Sky Hopinka is one of those rare filmmakers who seems to possess an instinctual artistic eye. And his latest Powwow People is a “vérité-style documentary grounded in the rhythms, relationships, and lived experience of a contemporary Native gathering” according to its spot-on synopsis. It’s also a beautifully-crafted art film refreshingly not specifically made for the cinephile (i.e., East Coast liberal/Euro) gaze. Indeed, in order to avoid the extractive lens Hopinka, a member of the Ho-Chunk Nation and a descendant of the Pechanga Band of Luiseño people, purposely did not parachute in to capture a powwow “National Geographic” style (as the […]
by Lauren Wissot on Nov 3, 2025 -
Global Warming ‘Knows No Ideology, No Political Boundaries'”: Bonni Cohen, Pedro Kos and Jon Shenk on The White House Effect
Bonni Cohen, Pedro Kos and Jon Shenk’s The White House Effect is an intriguing all-archival trip back in time to the precise moment in US politics when we arguably could have turned the page on climate change. From 1988-1992, Yale grad and oil company founder George H.W. Bush was commander-in-chief; not only did Bush. Sr. improbably make vocal his belief that global warming (“The Greenhouse Effect”) was real, but promised to employ “the White House effect” to counter it. Which included appointing as EPA chief Bill Reilly, an avid conservationist and veteran of Nixon’s Presidential Council on Environmental Quality and […]
by Lauren Wissot on Oct 30, 2025 -
Shooting from the Heart: Craig Renaud and Juan Arredondo on Armed Only With a Camera: The Life and Death of Brent Renaud
As I wrote in my capsule review for this year’s SXSW curtain raiser, Armed Only With a Camera: The Life and Death of Brent Renaud is a film that Craig Renaud, Brent’s brother (and my friend for the past dozen years, ever since I met the tight-knit siblings covering their now defunct Little Rock Film Festival) should never have had to make and instigated by an event no family should ever have to live through. And that puts Brent’s loved ones in the grieving company of untold numbers of families around the world — the very same people the award-winning […]
by Lauren Wissot on Oct 21, 2025 -
“Deception Was Inherent to Teacher Wang’s Work, and We Had to Figure Out How to Handle This from an Ethical Perspective”: Elizabeth Lo on Mistress Dispeller
Perhaps one of the strangest and most captivating docs of the year, Elizabeth Lo’s Mistress Dispeller centers on a middle-aged wife and husband, the latter of whom is having an affair that the former is desperate to end. Enter Wang Zhenxi, one of a growing number of China’s professional “mistress dispellers.” For a fee, Teacher Wang will orchestrate scenarios that allow her to get to know the man and his mistress in order to discern how she can best manipulate a breakup – one in which all parties hopefully emerge for the better. A series of staged deceptions that add […]
by Lauren Wissot on Oct 20, 2025 -
“Seduction: the Cruel Woman Was Banned for 18 Years”: Monika Treut on her Queer Trailblazing Career
It’s hard to believe that it’s been a decade since I last interviewed queer film pioneer Monika Treut. At the time trans identity was just starting to become tentatively accepted. Fifty Shades of Grey (a story centered around two straight, white, privileged cisgender protagonists into BDSM) had been released earlier that year, and was well on its way to becoming a glitzy Hollywood franchise. In other words, marginalized subjects the German filmmaker had been deeply and cinematically exploring for over three decades — Seduction: The Cruel Woman (Verführung: Die grausame Frau) hit screens in 1985! — were just beginning to […]
by Lauren Wissot on Oct 9, 2025 -
“A ‘Classic’ of a Film You Never Knew Existed”: Aaron Brookner on His NYFF-Debuting Robert Wilson and the Civil Wars
While many (likely most) maverick artists have at least one unrealized moonshot project, few have a record of the high stakes drama of development behind the scenes of that lost dream. And even fewer have a record that’s as cinematically riveting as Howard Brookner’s Robert Wilson and the Civil Wars, a fascinating look at the titular theater legend as he goes about crafting — artistically, managerially, financially — the CIVIL warS: a tree is best measured when it is down, his massive, multinational, 12-hour opera for the 1984 Summer Olympics. And far fewer documentarians have a nephew like Aaron Brookner, […]
by Lauren Wissot on Sep 29, 2025 -
“We Put All the Magical Emphasis on the Stork World”: Tamara Kotevska on Her Toronto (and Venice) debuting “The Tale of Silyan”
The Tale of Silyan is the latest painstakingly crafted cinematic endeavor from Tamara Kotevska, co-director of the 2019 Sundance-winning (in three categories) and 2020 Oscar-nominated (in two) Honeyland; it’s a film certain to continue the awards-nabbing streak. Set in the village with the greatest number of white storks in Macedonia, the title refers to a 17th century folktale featuring a rebellious boy named Silyan whose father curses him for wanting to flee the hard work on the family farm — turning him into a stork, condemned to a life of eternal migration. The title also refers to one of the real-life […]
by Lauren Wissot on Sep 11, 2025 -
“A Form of Primal Theater”: Federico Cammarata and Filippo Foscarini on their Venice-debuting Waking Hours
Waking Hours is the auspicious, Venice-premiering feature debut of cinematic collaborators Federico Cammarata and Filippo Foscarini, graduates of the Experimental Center of Cinematography in Palermo. With Cammarata handling camerawork, Foscarini on sound, the duo have been working as a two-man team since their 2020 award-winning, mid-length doc Tardo Agosto. And their less-is-more approach shows (and then some). The film stems from the simplest of premises: a group of Afghan smugglers who’ve set up camp along the border between Serbia, Croatia and Hungary spend their nights smoking and chatting by the fire (the only source of light) when not discussing prices […]
by Lauren Wissot on Sep 3, 2025
