Normally on shoots, veteran documentary maker Kim Longinotto films far away from her native England, often capturing the lives of women in desperate situations over the course of a few weeks. With her latest film, Dalton’s Dream, things ran rather differently. Having watched his victory on the British X Factor in 2018, Longinotto reached out to Dalton Harris, interested in documenting his life in a new country with a new record contract. An initial three-month shoot morphed into more than four years, held up by both the pandemic and the turbulence of Harris’s life as he found himself persecuted for […]
by Carol Nahra on Jul 6, 2023One of the UK’s most acclaimed documentarians, Kim Longinotto has been working steadily since 1976, serving as her own DP the whole time. Unusually for Longinotto, who favors a direct cinema, observational approach, her latest is an archival-based film, examining the life and work of Italian photographer Letizia Battaglia, famed for her work documenting (at great risk) the Sicilian mafia. Via email, Longinotto discussed why she only uses one lens, what her all-time favorite lens is and the challenges of making an archival documentary look like an observational doc. Filmmaker: How and why did you wind up being the cinematographer of your […]
by Filmmaker Staff on Jan 31, 2019What fear — whether it’s personal, or one related to the development, financing, production or distribution of your film — did you have to confront and conquer in the making of your movie? I’m always terrified before making a new film because so much of it’s down to chance…will I find a story? Will I be able to film it? Will I be able to get a beginning, middle and end? It always suddenly feels really daunting. The worst time was before Salma, as most of her story had happened in the past and I wasn’t sure how to make her life […]
by Filmmaker Staff on Jan 29, 2015I stopped taking notes after a while during The Wolfpack; I was feeling a bit too disturbed to keep at it and it seemed somewhat besides the point. Crystal Moselle’s first feature follows the Angulo brothers: six siblings, born to father Oscar, who for something like 15 years never left their LES apartment, save sporadic supervised summer walks. Oscar named them all Hare Krishna style — Govinda, Bhagavan, etc. — and amassed a collection of some 5,000 films, their sole meaningful connection to the outside world. They were homeschooled and lived in a state of fear — Oscar’s past/present (?) […]
by Vadim Rizov on Jan 26, 2015