Authors — Lauren Wissot
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“Christine [Choy] Has Always Been a Person Who Puts Her Ideals into Action”: The Exiles Directors Violet Columbus and Ben Klein
The first rule of documentary film? “Lie to everyone.” This from no less an authority (and anti-authority) than Christine Choy, the Oscar-nominated filmmaker (Who Killed Vincent Chin?) and educator (NYU, Cornell, Yale, etc.), founding director of Third World Newsreel, and straight-shooting (no pun intended) civil rights rabble-rouser. (Once during the US Film and Video Festival – soon to be rebranded Sundance – Choy even pulled Robert Redford aside to bluntly ask what was up with all the white people and white snow.) And now she is the cigarette-puffing central character in Violet Columbus and Ben Klein’s The Exiles, which executive produced […]
by Lauren Wissot on Jan 21, 2022 -
“Do Younger Israelis Care at All About This History?”: Alon Schwarz on His Sundance-Debuting Doc Tantura
Alon Schwarz’s Tantura takes its title from a particular Palestinian village that was depopulated – by any means necessary, including through a still-contested massacre of civilians – during Israel’s 1948 War of Independence (aka “Al Nakba,” the Catastrophe, if you hail from the occupied side). Yet the doc is less a history lesson than a deep-dive investigation into the stories a nation chooses to tell about itself. Schwarz’s (Aida’s Secrets) own story began when he got access to over 100 hours of shockingly candid audiotaped interviews that the (government and academia-silenced) researcher Teddy Katz conducted decades ago with former soldiers […]
by Lauren Wissot on Jan 20, 2022 -
The Year in Nonfiction Cinema: 21 Highlights of 2021
A highly personal hodgepodge of interviews, essays, coverage and quotes that stayed with me throughout (despite) this information overloaded year. Crime and Punishment Jon Alpert’s HBO doc Life of Crime: 1984-2020 (DOC NYC curtain raiser for Hammer to Nail) Thirty-six years following three street criminals in Newark, NJ culminates in one powerful, tightly-edited, two-hour journey. Stanley Nelson and Traci A. Curry’s Showtime doc Attica (interview with Curry for Filmmaker magazine, interview with former inmate Al Victory for Documentary magazine) A clear-eyed revisitation of the five-day, real-life, made-for-TV event that resulted in “the deadliest violence Americans had inflicted on each other in a single day since […]
by Lauren Wissot on Jan 6, 2022 -
IDFA 2021: World-Premiering Sociopolitical Docs to Watch For in 2022
Covering this year’s hybrid IDFA from home was both blessing and curse. On the downside, I wouldn’t be attending any screenings in one of the most gorgeous cinemas in the world – Amsterdam’s now century-old (and now “Royal Theater”) Tuschinski — nor experiencing all the new media wonders of IDFA DocLab. (Even with the free online exhibition running from November 19-28 I had to forego all VR as I don’t have a headset on hand.) Then again, I did avoid the city’s pandemic-induced partial shutdown (turned closing weekend lockdown) while still having access to the pretty packed P&I library. This […]
by Lauren Wissot on Dec 22, 2021 -
“The Film is One Big Conversation. I Could’ve Cut it Ten Different Ways and It Would Still Be the Same Conversation”: Sterlin Harjo on His Netflix Doc Love and Fury
Sterlin Harjo is a longtime Sundance alum who’s directed two docs, three dramatic features and a slew of shorts. He’s also a founding member of Native American comedy quintet The 1491s, and his first comedy series (for FX and streaming on Hulu), the terrifically titled Reservation Dogs, boasts a team exclusively made up of Indigenous writers, directors and series regulars (including EP Taika Waititi who co-wrote the first episode). In other words, Harjo’s identity is solidly Native American (Muscogee Creek/Seminole) and solidly creative artist. Which may make Love and Fury the veteran director’s most personal film yet. (Not to mention his […]
by Lauren Wissot on Dec 3, 2021 -
“I Would Find Myself Wondering Why My Face Hurt So Much at the End of a Shoot Day, and It Was Because I’d Been Smiling the Whole Time”: Penny Lane on Listening to Kenny G
As with all of Penny Lane’s films, Listening to Kenny G, the idiosyncratic auteur’s TIFF-premiering, DOC NYC-opening, exploration of the beloved/reviled “smooth jazz” saxophonist and his globally ubiquitous sound (to this day “Going Home” signals closing time throughout China) turns a straightforward subject into an unexpected philosophical inquiry. In this case, Lane begins her journey down the G-hole with a simple question: Why does the bestselling instrumentalist of all time, our most famous living jazz musician, “make certain people really angry”? Using interviews with G as well as elite jazz critics and academics as well as archival footage, Lane arrives […]
by Lauren Wissot on Dec 2, 2021 -
“I Wanted People to See the Commonality of the Human Experience Through the Unique Perspective of a Near Mythical Figure”: Christopher Frierson on his HBO Music Box Doc DMX: Don’t Try to Understand
The title tagline “A Year in the Life of Earl ‘DMX’ Simmons” is a rather anodyne description that belies the emotional rollercoaster ride that filmmaker (and podcaster) Christopher Frierson takes us on in his riveting debut feature DMX: Don’t Try to Understand, which currently plays on HBO as part of the channel’s Music Box series. Filmed during what would turn out to be the last year of the acclaimed rapper’s life, the doc moves with lightning speed from packed concerts to corporate conference rooms, from meaningful meetups with fans to intimate reconciliations with family members. It’s a whirlwind of a life, […]
by Lauren Wissot on Dec 1, 2021 -
“We Found Ways to Combine Drama Therapy with Filmmaking into Something New”: Director Robert Greene on the Netflix Documentary Procession
At the root of the word “procession” is “process” — really a fitting description for any Robert Greene film. But the title of the nonfiction veteran’s latest foray into character-collaborative doc-making has other meanings. It nods specifically to the Holy Spirit’s procession and also to the dictionary definition of people moving forward, a march that includes the risk-taking filmmaker himself. Procession (which premiered at Telluride and just hit Netflix November 19) is perhaps Greene’s boldest cinematic move yet. Once again the director (and “filmmaker-in-chief” at the University of Missouri’s Murray Center for Documentary Journalism) blurs the lines between narrative and nonfiction, […]
by Lauren Wissot on Nov 22, 2021 -
“While I Knew the Music Inside Out There Was So Much I Didn’t Know About the Story Behind the Album”: Alison Klayman on Jagged
As perhaps one of the few people on the planet who managed to nightclub through the ’90s without any awareness of shooting star Alanis Morissette (her music just didn’t penetrate my punk/goth/new wave bubble) I came to Alison Klayman’s latest doc Jagged, part of HBO’s new Music Box series, with a positively clean slate. The film is an in-depth look at the Canadian-American musician-singer-songwriter-actress through an exhaustive amount of archival material, juxtaposed with straightforward interviews with the mercurial Morissette herself. (For those also in a Morissette-defying bubble, this would be a good time to state that the musician is not […]
by Lauren Wissot on Nov 18, 2021 -
The SCAD Savannah Film Festival presents Wonder Women: Below the Line
Taking place on a Thursday morning in late October at the Gutstein Gallery (or online for pass-holders who didn’t care to brave the rain), the Wonder Women: Below the Line panel at this year’s SCAD Savannah Film Festival (October 23-30) felt like a breath of fresh air. Moderated by Variety’s Jazz Tangcay, the participants included talent agent June Dowad, editor Pamela Martin (King Richard, Battle of the Sexes, The Fighter), and production designers Diane Lederman (CODA, The Americans, The Leftovers) and Ina Mayhew (Respect, Queen Sugar, Dolly Parton’s Heartstrings, Second Generation Wayans): All fiercely self-assured, middle-aged women with a wealth […]
by Lauren Wissot on Nov 15, 2021
