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Prismatic Ground Year Two: Documentary Waves
In the introduction to their co-edited collection Documentary Across Disciplines, Erika Balsom and Hila Peleg articulate contemporary documentary practice not as a category or genre, but “an attitude – a way of doing, engaging, and creating that accords primacy to the multiple and mutable realities of the world.” Emerging from the Berlin Documentary Forum, the collection embraces a vision of global documentary that spans “film, photography, contemporary art, anthropology, performance, architecture, cultural history, and theory.” If this sounds like a lot—it is, because it is. Still, rather than become amorphous in the ways terms like “glitch” or “expanded”-as-an-adjective have become, […]
by James Hansen on May 4, 2022 -
“Eat to Remember”: Audrey Ewell on Her Fiction Series, The Black Seed
In filmmaker Audrey Ewell’s The Black Seed, a woman wakes up in an anonymous corporate-style apartment with no memory of how she got there. Examining her body, it feels somewhat alien to her, as if she’s still suffering the effects of some night-before dissociative drug. Looking out the window, the city below looks peaceful, serene, but also completely depopulated. Where is she? Who is she? The only clue is a note taped to the refrigerator: “THE WORLD ENDED. IT’S NOT SAFE. EAT TO REMEMBER.” With that launches Ewell’s inventive and surprising “fiction series,” which blends a kind of existentialist mystery […]
by Scott Macaulay on May 3, 2022 -
Back to One, Episode 200: André Gregory
The legendary theater director, actor, shaman André Gregory has been producing ground-breaking work for over half a century. He’s perhaps best known for the projects he did with Wallace Shawn—My Dinner With André (which is celebrating its 40th anniversary), Vanya on 42nd Street and A Master Builder. His recent book This Is Not My Memoir details, with refreshing honesty, his extraordinary life through incredible stories about, for instance, learning from the great Jerzy Grotowski, getting punched by Gregory Peck, buried alive in Richard Avedon’s backyard, to name just a few. On this episode, Gregory answers some questions about his unique […]
by Peter Rinaldi on May 3, 2022 -
NAB Show 2022 Exhibitors Race to the Cloud
All it took was a billion dollar acquisition for the industry to take a bigger leap into the cloud. Not to say that cloud-based workflows haven’t been part of productions already, but if you wanted to stamp a singular theme on NAB Show 2022, it would be: “to the cloud we go.” Following a COVID-19-induced two-year hiatus, NAB 2022 returned as an in-person event. Show producers announced 52,468 attendees took part in the multi-day tradeshow, roughly half the number of the last three pre-pandemic editions: 91,460 (2019), 92,912 (2018) and 103,443 (2017). While the “natural buzz” of the show floor […]
by Daron James on May 2, 2022 -
“We Were Re-Traumatized by Working with the State.”: Jasmín Mara López on Her Hot Docs-debuting Silent Beauty
Jasmín Mara López is a journalist, audio producer, and nonfiction filmmaker whose 2015 audio doc Deadly Divide: Migrant Death on the Border received the Society of Professional Journalists’ Excellence in Journalism Award. But the Los Angeles and New Orleans-based director-producer, an immigrant rights advocate with family ties to Mexico, is also a victim of trauma herself. And even more tragically, not at the hands of any faceless government bureaucracy but by those who purport to love her the most. It’s a harrowing tale, one López heroically, and with brutal honesty, dives headfirst into in her Hot Docs world-premiering Silent Beauty. The courageously intimate film […]
by Lauren Wissot on May 2, 2022 -
“We Only Had One Puppet”: Animatronics Designer/Creature FX Supervisor Gustav Hoegen on Hatching
After designing animatronics for franchises like Star Wars and Jurassic World, Gustav Hoegen and his team scaled back and happily returned to traditional design and puppetry methods for Hanna Bergholm’s indie creature-feature Hatching–the first feature film Hoegen’s Biomimic Studio worked on from start to finish. 12-year old Tinja (Siiri Solalinna) nurses an egg she brought in from the woods—a welcome distraction from her helicopter mother (Sophia Heikkilä), who obsessively micromanages the family to maintain her perfect social media presence. Then the egg grows at least as large as Tinja and a slimy and straggly bird bursts fist first through the top […]
by A.E. Hunt on Apr 29, 2022 -
“The Law Can Be Used Simultaneously to Harm and to Help…”: Shameela Seedat on Her Hot Docs-Premiering African Moot
African Moot marks the Hot Docs return of human rights law specialist/award-winning filmmaker Shameela Seedat, who last took the Special Jury Prize at the fest back in 2018 with Whispering Truth to Power. That doc trailed her nation’s brave anti-corruption crusader Thuli Madonsela, South Africa’s first female Public Protector. And now with this latest Seedat turns her lens to an international topic even closer to home. Created under the auspices of Generation Africa, African Moot refers to the African Human Rights Moot Competition, the largest mock court tournament on the continent. (Generation Africa itself is a project of South Africa’s […]
by Lauren Wissot on Apr 29, 2022 -
“I Want to Make Big, Unforgettable, Life-Changing Works”: Martine Syms on Her New Directors/New Films Closing-Night Film, The African Desperate
The 2022 edition of New Directors/New Films — the annual showcase of emerging filmmakers co-presented by Film at Lincoln Center and the Museum of Modern Art — concludes this weekend with three screenings of its closing-night film, Martine Syms’ The African Desperate. Syms is an art-world luminary whose work is in the collections of the Art Institute of Chicago, the Guggenheim, LACMA, MoMA, and the Tate, among others, and her extraordinarily varied and prolific output includes video art, installations, essays and manifestos, and a publishing press. Much of her oeuvre reflects a deep engagement with the moving image, from her […]
by Nelson Kim on Apr 29, 2022 -
“I Think of the Digital Chip as a Film Stock”: DP Shawn Kim on Shooting Ozark‘s Final Season
After four seasons of financial and familial duplicity, the winding saga of Missouri drug launderers Wendy and Marty Byrde comes to an end tomorrow as Netflix releases the final half of its 14-episode swan song. I have no idea yet whether the karmic scales will finally tilt towards a comeuppance for the couple but am certain that whatever awaits the Byrdes will unfold in the murky depths of low-key interiors and the cool cyan of perpetually overcast exteriors. It’s a well-defined aesthetic that has earned three Emmy nominations for the show’s cinematographers. For the climactic season, a new team of […]
by Matt Mulcahey on Apr 28, 2022 -
Back to One, Episode 199: Wunmi Mosaku
Wunmi Mosaku won a BAFTA award for Damilola, Our Loved Boy. She was only the second Black actress to win one in 62 years. You might know her from her incredible work as Ruby in Lovecraft Country, Rial in His House, or B-15 in the Marvel series Loki. Her latest is We Own This City, from the makers of The Wire, which premiered Monday on HBO Max. On this episode, she talks about her early days of learning the ropes of screen acting, how rehearsal makes a big difference in her process, why connecting to people is so important to […]
by Peter Rinaldi on Apr 26, 2022
