The Cinema Eye Honors, which has been celebrating exceptional documentary filmmaking since 2007, wrapped its first decade tonight with its annual awards ceremony, hosted by documentary director Steve James, at the Museum of the Moving Image. Kirsten Johnson’s memoiristic meditation on documentary image-making, Cameraperson was the big winner, taking home three awards, including Outstanding Achievement in Nonfiction Filmmaking, Outstanding Achievement in Editing and Outstanding Achievement in Cinematography, while Ezra Edelman’s sprawling O.J.: Made in America won two: Outstanding Achievement in Directing and Outstanding Achievement in Production. Other winners included Laura Ricciardi and Moira Demos’s Netflix series Making a Murderer (Outstanding […]

The double feature has been a moviewatching mainstay since at least the 1930s. Their appeal is obvious: What better way to cap off a film than to delay real life for a few hours more with another one? Few of us catch double bills at a theater anymore, but their allure remains strong at home. As sites like Mashable and Uproxx reported this year, Netflix users can access double-feature-friendly micro-genres with ease. These days, the work of curating a dual bill of “critically-acclaimed gritty independent crime dramas” is practically done for you. You can even start the next film without […]

How could close to 150 million people watch with rapt attention the exact same televised trial and come away with such passionately different responses to the verdict? Ezra Edelman’s epic, important and masterful documentary, O.J.: Made in America, spends close to eight hours exploring why you might have felt very differently from your neighbor. And, despite its length, nothing included is filler. OJ: Made in America, will air on ABC and ESPN beginning June 11th. I sat down with Edelman — a producer and director whose previous works includes sports documentaries for HBO and ESPN’s “30 for 30” series — […]

The producers of ESPN’s acclaimed 30-for-30 documentary series deliver a nearly eight-hour opus with O.J.: Made in America. The film was shot by Nick Higgins, a seasoned cinematographer behind more than 30 non-fiction shorts and features. Below, Higgins speaks to the visual ideas of a film that’s 90 percent talking heads. He also discusses shooting “eight hour mega monster marathon interviews,” his love of classical portraits and working with a crew of two. Filmmaker: How and why did you wind up being the cinematographer of your film? What were the factors and attributes that led to your being hired for this job? Higgins: In the […]