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Learning to Love the Heterodoxy
Compliance During this year’s True/False Film Festival, I sat on a panel with four formidable colleagues to bat around the question of how, pray tell, critics should evaluate documentary films. Should we approach nonfiction films differently than we approach fiction films, or as part of the same continuum? Should we evaluate documentaries on a content curve, taking subject matter, political intent or real world impact into account, or should we see them as cinema, full stop? I’m not sure we made any great strides toward consensus on these questions, but I’m also not sure that consensus would be of any service […]
