War
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Hell and Back Again — A Hammer and Nail Review
(Hell and Back Again premiered at the 2011 Sundance Film Festival. Its official theatrical run begins at the Film Forum on Wednesday, October 5th. As a selection in the DocuWeeks 2011 program, it opens theatrically in New York City at the IFC Center on Friday, August 19th, and in Los Angeles at Laemmle’s Sunset 5 on Friday, Sept. 2nd. Visit the film’s official website to learn more.) In recent years American war docs have largely moved away from exposés on corruption and bad government policy. Instead, the focus has shifted to small, largely apolitical stories about life in the military and the human cost of war. Hell and Back […]
by Paul Sbrizzi on Aug 18, 2011 -
CONDITION ONE REINVENTS WAR JOURNALISM IN LIBYA
At the end of my profile of filmmaker Danfung Dennis in our 2010 “25 New Faces” feature, I touched on what was then his next project. After completing Hell and Back Again — winner of the World Cinema Jury Prize and World Cinema Cinematography Award at the 2011 Sundance Film Festival — Dennis embarked on Condition One, which he told me “will use a network of journalists, filmmakers and servicemen to send a stream of high-quality video to millions of mobile devices.” Danfung’s new venture now has a website, a Facebook page and a proof-of-concept video that’s also 90 seconds […]
by Scott Macaulay on Mar 27, 2011 -
Sebastian Junger and Tim Hetherington, Restrepo
Originally posted online on June 23, 2010. Restrepo is nominated for Best Documentary. Most documentary filmmakers attempt to see the world through the lens of the subjects they’re shooting, but few put their lives on the line to do so. That perhaps is what most separates first-time directors Sebastian Junger and Tim Hetherington from a few of their colleagues who didn’t take home the Grand Jury Prize for U.S. Documentary at this year’s Sundance Film Festival. Their award-winning Restrepo is the result of a near yearlong embedment with the Second Platoon, Battle Company in eastern Afghanistan’s deadly Korengal Valley, […]
by Lauren Wissot on Feb 21, 2011 -
Alexei Balabanov, Cargo 200
ALEKSEI POLUYAN IN DIRECTOR ALEXEI BALABANOV’S CARGO 200. COURTESY DISINFORMATION COMPANY. Though he only decided he wanted to be a filmmaker in his late twenties, Alexei Balabanov has made up for lost time by creating a body of work that has made him both Russia’s most interesting auteur and one of its most commercially successful directors. Born in Sverdlovsk in 1959, Balabanov studied translation at the Gorky Pedagogical University and then spent a few years working as an interpreter for the Russian Army in the Middle East and Africa. It was only at the age of 28 that he signed […]
by Nick Dawson on Jan 2, 2009 -
John Walter, Theater Of War
MERYL STREEP IN DIRECTOR JOHN WALTER’S DOCUMENTARY THEATER OF WAR. COURTESY WHITE BUFFALO ENTERTAINMENT. In the field of documentary, John Walter has emerged as the medium’s most eloquent and entertaining cultural historian. The Detroit-born director, who is also an unpublished poet, began his career in the film industry as a boom operator and worked in that capacity on Sam Raimi’s Evil Dead II. In the mid 90s, he became an editor, beginning with Norman Reedus’ Messenger (1994), and in 1995 he directed Edison’s Miracle of Light, an episode of PBS’ television series The American Experience. In 2002, Walter made his […]
by Nick Dawson on Dec 24, 2008 -
Tony Gerber & Jesse Moss, Full Battle Rattle
AN IRAQI ROLE PLAYER IN TONY GERBER AND JESSE MOSS’ FULL BATTLE RATTLE. COURTESY MILE END FILMS. A strong partnership always relies on both individuals bringing different things to the table, and documentary filmmakers Tony Gerber and Jesse Moss certainly draw on diverse backgrounds for their creative collaboration. New York City native Gerber began his career directing alternative theater and making films for theatrical productions, and went on to work with conceptual artist Matthew Barney on Cremaster III (2002) and Drawing Restraint 9 (2005). He directed the short film, Small Taste of Heaven in 1997, and his debut fiction feature, […]
by Nick Dawson on Jul 9, 2008 -
Nick Broomfield, Battle For Haditha
ERIC MEHALACOPOULOUS IN DIRECTOR NICK BROOMFIELD’S BATTLE FOR HADITHA. COURTESY NICK BROOMFIELD. Immediately distinguishable by his understated good looks, laid-back, drawling English voice and, of course, the boom mike seemingly always in his hands, Nick Broomfield is an iconic figure in documentary filmmaking, as well as one of the form’s most talented artists. The son of English photographer Maurice Broomfield and a Czech refugee, Broomfield went to a Quaker boarding school before studying law at Cardiff University, political science at Essex University and finally film at the National Film School in his hometown of London. Combining his interest in sociopolitical […]
by Nick Dawson on May 7, 2008 -
Nadine Labaki, Caramel
WRITER-DIRECTOR-STAR NADINE LABAKI IN A SCENE FROM CARAMEL. COURTESY ROADSIDE ATTRACTIONS. As role models, few filmmakers are more inspirational than Nadine Labaki. On top of the inherent difficulty of succeeding as a writer-director, Labaki grew up in Lebanon’s war-ravaged capital, Beirut, in a Middle Eastern culture where women are essentially second-class citizens. However, Labaki’s passion for film drove her to overcome her obstacles, and in 1998 her short film 11 Rue Pasteur (her graduating project at Beirut’s Saint-Joseph University) won the top prize at an Arabian film festival in Paris. Back in Lebanon, Labaki honed her craft as a director […]
by Nick Dawson on Feb 1, 2008 -
Ian Olds, Bomb
BOMB. This article is part of Filmmaker’s Sundance 2007 Special Coverage. It isn’t easy to glean a sense of Ian Olds’ identity from his films — they’re too diverse, too global. From Occupation: Dreamland (short-listed for an Academy Award), a breathtaking documentary that avoids simple political interpretation by opting to tell the story of the Iraq War from the perspective of the entire city of Fallujah — including both native Iraqis and U.S. troops — to Bomb, his most recent film, which explores teenage heartache against the backdrop of a decrepit bombing range and junkie malaise, Olds seems to be […]
by Jason Guerrasio on Jan 19, 2007 -
MANUALLY OPERATED
Over at his blog, Self Reliant Filmmaking, Paul Harrill interviews one of our “25 New Faces of Independent Film,” Jake Mahaffy, who who discusses the artisanal techniques he brought to the production of his film, War: I shot most of it on a 16mm Bolex camera, which doesn’t have a battery, by disengaging the motor and winding the rewind key forward. So, I manually pulled the film through the camera, like silent film-operators used to do. That’s not a clever attempt at art. It was a practical necessity. With the Bolex, a spring-wound camera, you only get 20-second shots… many […]
by Scott Macaulay on Apr 14, 2006
