Critic and programmer Pamela Cohn recently published her first book, Lucid Dreaming, a collection of extremely thoughtful and probing interviews with boundary-pushing non-fiction filmmakers. (Read an excerpt of the book’s conversation with Donal Foreman here.) And now an extension of the book, the Lucid Dreaming podcast, has just launched. The first guest is Penny Lane, well-known to Filmmaker readers for films like Our Nixon and Hail, Satan?, as well as for her occasional Notes on Real Life column. You can listen to Lane’s interview and subscribe so you don’t miss future episodes here.

Whenever directors watch their own films, they always do so with the knowledge that there are moments that occurred during their production — whether that’s in the financing and development or shooting or post — that required incredible ingenuity, skill, planning or just plain luck, but whose difficulty is invisible to most spectators. These are the moments directors are often the most proud of, and that pride comes with the knowledge that no one on the outside could ever properly appreciate what went into them. So, we ask: “What hidden part of your film are you most privately proud of […]

“Blasphemy is not free speech” reads a protest banner on the Little Rock statehouse lawn in a scene from Hail Satan?, the latest from Sundance vet Penny Lane (Our Nixon, Nuts!). The sign is emblematic of the ludicrous (and too often unchallenged) falsehoods that The Satanic Temple — fighting to place an elaborate statue of goat-headed god Baphomet alongside a local legislator’s equally ostentatious Ten Commandments monument — is up against. Luckily Lane, never one to shy away from provocative subjects, is right there on the ground, providing an intimate look into the group’s wild rise. By seamlessly alternating interviews […]

As a longtime docuphile who prides myself on keeping up with the latest developments in cinematic nonfiction both at home and abroad, I’m embarrassed to admit I’d never heard of the Open City Documentary Festival before an invite to the eight-year-old London fest landed in my inbox. But between OCDF’s touted focus on documentary first and foremost as an art form, and my morbid curiosity about/solidarity with any film festival functioning amidst the chaos of Brexit, I was immediately sold. And, fortunately, this year’s OCDF did not disappoint when it came to showcasing a nonfiction lineup filled with under-the-radar artistry […]

In the era of fake news and alternative facts, and of people constructing their own custom-made versions of reality, Penny Lane’s The Pain of Others feels very timely, to say the least. Defying any expectations and preconceived notions, Lane’s perfectly titled “body-horror doc” acts as a challenging and thought-provoking sociological study of one unusual YouTube community (which, with Maxim Pozdorovkin’s Our New President also on the fest circuit this year, makes me think “YouTube behavioral psych” might soon become a thing). The Pain of Others weaves together the video diaries of three women suffering from Morgellons disease, a term given […]

The mix of films in the 10th edition of BAMcinemaFest offers isn’t totally unexpected: a significant plurality of Sundance premieres (tightly curated, or maybe more accurately culled), titles from SXSW and True/False, two North American and three world premieres. The programming, though, is tighter and more original than a simple survey of The Year To Date In Festival Premieres. (I have already written elsewhere about the following titles: América, Bisbee ’17 [which has been cut down substantially since its premiere], Clara’s Ghost, Crime + Punishment, Eighth Grade, Madeline’s Madeline, Shirkers, Skate Kitchen, The Task. Please please please do not miss that last one. I’ll wait to write about Support the […]

What is film but a desire to make visible that which we cannot see? Love. Hate. Or in the case of the latest from Penny Lane, pain. After having bowed at the International Film Festival of Rotterdam before, Lane’s return to the Bright Future section with the world premiere of The Pain of Others isn’t a surprise, but she’s certainly earned her place there. The found-footage, experimental doc, which despite being compiled of YouTube videos and newsreels, feels dense enough to require a dissertation on delusion, suffering and this digital age. Working in a similar form to the all-archival constructed […]

In recent decades, some of the best documentary films — including Oscar-winners such as Bowling for Columbine and Searching for Sugar Man, and, more recently, festival favorites Point and Shoot and Meet the Patels — have have relied on animation to tell compelling nonfiction stories in nontraditional ways. It’s a technique audiences have grown accustomed to and nonfiction filmmakers have learned to adopt with varying degrees of success. While in the past, documentary purists might have posited that animation had no place in non-fiction storytelling, it’s now largely accepted that even observational documentaries involve some degree of manipulation. If anything, by using animation in a documentary, the manipulation is more […]

Tribeca Film Festival, I love you but you made a very serious mistake. On Monday, the widely discredited and dangerous anti-vaccination quack Andrew Wakefield tweeted: “Haven’t posted forever. Huge news tomorrow.” Perhaps he hadn’t “posted forever” because the media finally stopped giving him a megaphone. Perhaps once people in America and England began dying of measles, journalists finally realized that the “two sides to every story” approach granted Wakefield was literally killing people. Last I heard, Wakefield was headlining Conspira-Sea, a seven-day cruise where passengers learn about crop circles, chemtrails, yogic flying, ESP and astrology. Good, I thought, that’s where […]