Returning for its 15th edition, DOC NYC presents yet another robust lineup of over 200 non-fiction short and feature-length films. Taking place in-person from November 13-21 and online through December 1, the largest documentary film festival in the country features buzzy future Oscar contenders, hidden gems from this year’s global festival circuit and even a handful of world premieres amid its 2024 program. Screenings will be held at several Manhattan theaters (namely IFC Center, SVA Theater and Village East) and via the festival’s own streaming platform. Below, from Filmmaker's writers, find a selection of recommended titles to seek out, which range from the personal to the political (and often feature a healthy dose of both). Links to previous Filmmaker coverage, from… Read more
Though Debra Granik is no stranger to Sundance — 2004’s Down to the Bone, 2018’s Leave No Trace and 2010’s Oscar-nominated (in four categories) Winter’s Bone all premiered in Park City — I was a bit surprised to see the indie vet’s name attached to a project at the fest’s 40th edition earlier this year. Unlike the director’s prior critically-acclaimed films, Conbody vs Everybody is neither narrative nor a traditional feature doc, but a documentary in five chapters (six at Sundance, of which only parts four and five were screened) that took Granik and her longtime collaborators, EP Anne Rosellini and EP/editor Victoria Stewart, close to a decade to make. Over eight years the team followed Coss Marte, a man on a Herculean mission… Read more
On a dull white piece of archival paper measuring 39.3 x 27.3”, ghoulish figures in wispy gray and red stenciled figures are engaged in various jousting poses. Text is sandwiched between the figures: “One day the streets all over the world will be empty. From every tomb I’ll learn all we imagine of light.” The 2016 painting by Nalini Malani, one of India’s foremost video artists, is titled All we Imagine of Light. Years later, her daughter Payal Kapadia would ask to borrow and rework the title for her film All We Imagine As Light, which would eventually go on to win the Grand Prix at the 2024 Cannes Festival and play at festivals including New York Film Festival before… Read more
The somber existence of a reclusive electronic musician is the focus of Allen Sunshine, the feature debut of 25-year-old Harley Chamandy. The eponymous character (played by Vincent Leclerc) resides in a charming lakeside cabin in Quebec, yet the idyllic nature of his surroundings is tempered by inconsolable grief over his wife’s recent death. As a big-name musical talent in her own right, the solitary Allen is pained by the fact that his grief is not just his own; though he deeply adored her and produced most of her music, it’s clear that fans, both rabid and casual alike, feel equally entitled to a piece of their relationship. The only people who seem to genuinely care about Allen’s wellbeing—and don’t simply… Read more
In 2015 I directed my first feature. It would be six years before I was able to direct my second. But once I had completed the first draft of that script, we had the film in the can within six months. It was a breakneck pace making Long December, a Christmas-set musical drama about a singer/songwriter chasing his dreams of stardom. Its process was complicated further by my choice to not only fill the story with musical numbers performed by the cast but to capture those performances live on-camera — with no lip-syncing or back-tracking. Pulling it off took a community of artists — musicians, first-time actors, recording engineers and sound designers. It was a wonderful way to spend the… Read more