Two Captivating Video Essays from Sight & Sound

The British Film Institute’s magazine Sight & Sound recently released it’s list of the Greatest Documentaries of All Time, the result of a new poll of critics, programmers and filmmakers. In connection with the list, they also released two captivating and provocative video essays. You’ll need to click the links below to watch them on their site, something we recommend highly.

The first is “The Art of Nonfiction” by T/F filmmaker Robert Greene. In it, Greene takes us on a whirlwind tour of 100-plus years of nonfiction cinema, presenting clips from masterworks and elucidating the inherent tensions which define the form.

Disorder, Huang Weikai, 2009, T/F 2010

 

gates of heaven

Gates of Heaven, Errol Morris, 1978

 

lessons

Lessons of Darkness, Werner Herzog 1992

 

leviathan

Leviathan, Lucien Castaing-Taylor and Véréna Paravel, 2012, T/F 2013

 

In the second video, “What was documentary? An elegy for Robert Gardner”, critic Kevin B. Lee looks at three anthropological films from career of director Robert Gardner. While tracing his evolving approach, Lee presses tough questions about “documentary” and the access to reality it promises us.

dead birds

Dead Birds, Robert Gardner, 1964

 

Rivers of Sand

Rivers of Sand, Robert Gardner, 1973

 

forest of bliss

Forest of Bliss, Robert Gardner, 1986

Posted September 1, 2014

Thank You Boone Dawdlers!

The 2014 Boone Dawdle has come and gone, and we are happy to report another unforgettable day. Hundreds were undeterred by the threat of storms and joined us for a fun-filled bike ride, a scrumptious meal, a delightful concert and a fascinating film. As always, we’d be utterly lost with out the good will and hard work of an entire community of people. We want to take a moment to look back at the day and thank some of the people that made it happen. Along the way we’ll share some of our favorite images captured by photographers Stephen Bybee and Vivian Abagui.

Things got underway that Saturday morning with a tune up from Sarah Ashman and the rest of the crew at Walt’s Bike Shop, who generously provided support for our 15-mile westward journey down the MKT and Katy trails linking Columbia and Rocheport.

photo by Stephen Bybee

photo by Stephen Bybee

 

It certainly wouldn’t be True/False without music vibrating through the air. As we set off westward, tunes were here and there from Max Rubio, Dubb Nubb, SaP, Meeyoo, Step Daughter, Rae Fitzgerald, Ben Bushman, Nevada Greene, Sunshine Mamas and Ruth Acuff, who accompanied her beautiful, soaring melodies with a harp.

vivian 4

photo by Vivian Abagui

 

Folks looking for a burst of energy or perhaps just a simple treat were in luck, thanks to the delicious trailside snacks provided by Sparky’s Homemade Ice Cream, Kaldi’s Coffee and Harold’s Doughnuts. For those that imbibe, there was a local beer pour featuring samples from Schlafly, Flat Branch, Broadway, Logboat and Bur Oak breweries.

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photo by Vivian Abagui

 

The Dawdle is defined by delightful and instructive digressions. This year we entertained by the folks from by Mid-Missouri Traditional Dancers, Moon Valley Massage, Missouri Contemporary Ballet and the folks from the Greenhouse Theater Project, who gave short improvised performances.

vivian5

photo by Vivian Abagui

 

Dawdlers also found themselves seeking advice from the Interpretation Station manned by John Reid and in the midst of a mini carnival at Hindman Junction featuring jugglers Phil and Melanie Knocke.

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photo by Vivian Abagui

 

In addition, Jeff Barrow and the Missouri River Relief volunteers offered Dawdlers a new treat, a short voyage on a scenic stretch of the Missouri River.

dawdlevivian

photo by Vivian Abagui

 

The final bit of trail before Les Bourgeois is especially taxing, coming at the end of our trek. Thankfully, cheerleaders from Hickman and Battle High Schools were kind enough to provide some inspiration. Meanwhile, the legendary T/F Sherpa team kicked it into gear, hauling more than 143 bikes up the hill and the bike loading volunteers began loading the hundreds of bikes into trucks for their return journey to Columbia.

vivian2

photo by Vivian Abagui

 

We’d arrived at our destination, Les Bourgeois Winery. Here our gracious hosts Curtis, Chelsea and Matt had a delicious meal waiting for us, featuring food from numerous local culinary contributors, more Schlafly beer and Les Bourgeois’ own wine. Then we stretched out and relaxed on the beautiful limestone bluffs overlooking the Missouri River.

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photo by Stephen Bybee

 

This summer’s delightful sunset concert was performed by the duo Drakkar Sauna, who combine classic country themes with inventive word play to create a unique style all their own.

vivian 3

photo by Vivian Abagui

 

Throughout the day, Doug, Steve, Justin and the rest of T/F tech crew once more rose to the challenge and worked around inopportune weather. They waited until just before showtime to setup the screen for this year’s film, An Honest Liar, explores the career and life of James “the Amazing” Randi, a world-class magician who became an important debunker of purported psychics and healers. Afterwards, co-director Justin Weinstein was kind enough to join us for a discussion of this provocative film.

photo by Vivian Abigui

photo by Vivian Abigui

 

Then, alas, the 2014 Boone Dawdle was at an end. Thanks again to everyone who made the journey with us, and a special thanks to the T/F Volunteers and Core Staff who worked a 15-hour day to make it possible. Let’s all hang our again in just six short months, March 5-8, at T/F 2015! And in less than a year it will be time to Dawdle again, on August 15, 2015.

 

 

Posted August 27, 2014

Sight & Sound’s Greatest Documentaries Survey: the Individual Ballots

Since 1952, the British film magazine Sight & Sound has published a much-discussed once-a-decade survey of the greatest films of all time.  This summer they limited the scope of their inquiry for the first time, asking critics, programmers and filmmakers to choose masterworks solely from the world of nonfiction. The results were announced a couple weeks ago in two Top 50 lists of The Greatest Documentaries of All Time, one for critics and one for filmmakers. Both lists crowned Dziga Vertov’s dazzling impression of city life in the early Soviet Union, Man with a Movie Camera, as the greatest documentary ever made.

This new canon, whatever its shortcomings, provides an excellent starting point for an education in nonfiction cinema. But focusing exclusively on the “Greatest Docs” lists misses most of the fun of this sort of exercise. The individual ballots, unranked lists of ten films submitted by each participate, allow you to consider which works resonate most profoundly with each individual, trace important influence and reference points for filmmakers and perhaps discover an overlooked masterpiece from another part of the globe.

Just a few days ago Sight & Sound shared all of the individual ballots on a nifty new interactive page, which offers multiple pathways to explore the poll and its films.

True/False programmers David Wilson and Chris Boeckmann were among those honored with invitations to participate. We reproduced Chris and David’s picks below, along with images from the works of nonfiction they consider the “greatest”. They only selected one film in common, the tragically under seen Disorder. Huang Weikai’s nightmarish epic of urban life in modern China screened at True/False in 2010.

Beneath Chris and David’s lists, we shared selections from many of the filmmakers surveyed whose work has screened at our festival. The ballots include comments offered by the participant, either about their lists as a whole or each individual film or both.

 

Chris Boeckmann, T/F Programmer

Film culture marginalises nonfiction cinema. I suspect one reason is that we feel more comfortable analysing and evaluating screenplays, sets and performances (work we attribute to conscientious artists) than unscripted developments, natural settings and fellow human beings. In the past year, I’ve noticed some signs, including this poll, that nonfiction cinema’s cachet is on the rise. I’m not sure why, but I hope I’m correct.

I spend most of my viewing time watching ‘documentary’ (I suppose I should note that several of the directors on my list don’t use this term, e.g. Allan King’s ‘actuality dramas’, Sergei Dvortsevoy’s ‘life cinema’). That’s not because of its educational value (I also read newspapers), but because I find it thrilling to watch gifted cinematographers and editors embrace spontaneity and wrestle with nature. I mean ‘nature’ in a very broad sense: plants, animals, buildings, weather, disease, time, other humans, ourselves.

Apologies to the many major filmmakers I’ve knowingly and unknowingly left off this rough list. If I revisited this prompt in the morning, the only film I’m certain would remain is Seventeen.

 

Seventeen (1984) Joel DeMott, Jeff Kreines

Seventeen

 

Belovy (1994, T/F 2012) Viktor Kossakovsky

Belovy

 

Gimme Shelter (1970) David Maysles, Albert Maysles, Charlotte Zwerin

gimme-shelter

 

Farrebique (1946) Georges Rouquier

farrebique-ou-les-quatre-saisons_279736_37664

 

A Moment of Innocence (1995, T/F 2014) Mohsen Makhmalbaf

a moment

 

The Quince Tree Sun (1992) Víctor Erice

quince

 

A Married Couple (1969) Allan King

a married couple

 

 

Disorder (2009, T/F 2010) Huang Weikai

Disorder_1

 

Diary 1973-83 (1988) David Perlov

diary

 

Khlebny Dyen (1998) Sergey Dvortsevoy

fe08a08acbdd9d9fe07ad8b713db0dfe

 

David Wilson, T/F Programmer and Co-Conspirator

My list is in no particular order. Nor does it include many wonderful films. But I think it connects the dots of my personal film history, dwelling more on films that were made during my lifetime but acknowledging the great works that inspired those who inspired me. And if there are holes, well, it would be a shame to think that my education in nonfiction filmmaking was in any way complete.

I will almost always favour a film that moves me over one that doesn’t, but I strive to still appreciate and embrace the intellectual rigour of some of these films. Likewise, I remain a complete sucker for a beautiful image and a well-told story. I want a film that will scoop me up in its arms and carry me out along its path. The great ones never drop you.

 

Man with a Movie Camera (1929) Dziga Vertov

manwith2

My appreciation may be more intellectual than visceral, but here is the taproot of everything that was to come.

 

Disorder (2009, T/F 2010) Huang Weikai

Disorder_21

 

An explosive mindfuck of a film. Modern China reflected in a puddle of oil and viscera.

 

Man on Wire (2007, T/F 2008) James Marsh

man-on-wire

Of all these titles, this is one I will watch over and over again – smiling and crying each time.

 

Leviathan (2012, T/F 2013) Lucien Taylor, Véréna Paravel

leviathan

Nothing less than a revolution in nonfiction cinema. Also the most ‘metal’ film on this list.

 

The Gleaners and I (2000) Agnès Varda

gleaners4

 

Vernon, Florida (1981) Errol Morris

vernon

Others will no doubt pick The Thin Blue Line. But there’s a good argument to be made that, formally, this film has influenced more young directors in the last 30 years than any of his other films.

 

Gaea Girls (2002, T/F 2009) Kim Longinotto, Jano Williams

gaeagirls

Somewhere between Barthes and Von Trier lies this doc about women’s professional wrestling, made by the most empathetic doc director alive.

 

Harlan County U.S.A. (1976) Barbara Kopple

Harlan_County_USA1976c01

Not as funny as Roger & Me, but far more immediate in its class-based anger. And with better songs.

 

Grey Gardens (1975) David Maysles, Albert Maysles, Ellen Hovde, Muffie Meyer

grey-gardens-7

Staked the claim for ‘non-political’ docs and their importance in the world.

 

Night Mail (1936, T/F 2007) Harry Watt, Basil Charles Wright

nightmail

The creative treatment of actuality.

 

Ballots from some of the T/F Filmmakers Surveyed:

 

Clio Barnard, director of The Arbor (T/F 2012)

These are all films that have a significant meaning for me – films that were pivotal personally in wrestling with what documentary film is and what it can do. They are listed in no particular order…

Chronicle of a Summer (1961) Jean Rouch, Edgar Morin

Paris Is Burning (1990) Jennie Livingston

Dreams of a Life (2011) Carol Morley

Grey Gardens (1975) David Maysles, Albert Maysles, Ellen Hovde, Muffie Meyer

Housing Problems (1935) Arthur Elton, Edgar Anstey

Louyre This Our Still Life (2011) Andrew Kötting

The Thin Blue Line (1989) Errol Morris

Tina Goes Shopping (1999) Penny Woolcock

The Battle of Orgreave (2002) Mike Figgis

The Last Bolshevik (1993) Chris Marker

 

Daniel Dencik, director of Expedition to the End of the World (T/F 2013)

What strikes me when putting together a list like this is not so much how dependent a film is upon a great director, but how crucial the main character is. For me the secret of a well-crafted documentary lies very much in the use and perspective of the first-person singular. When a documentary film really succeeds it is when the spectator is led into the captivating mind of a truly intriguing persona: as a spectator you get an idea of what it means to be that person, unfiltered and with a chilling honesty. Documentary are so great because they make you understand how another person’s mind works, what are that person’s dreams, struggles, demons, fears, idiosyncrasies. No other art form can step into the mind of another person in quite that way. So instead of comparing documentary filmmaking to fiction, one should perhaps rather compare the discipline to that of brain surgery or heart transplantation.

Grizzly Man (2005) Werner Herzog

The strange and unforgettable presence of Timothy Treadwell makes this film a terrifying fable about the longing of man to find his place in nature, and the impossibility that lies in the nature of this ambition.

Into the Abyss A Tale of Death, a Tale of Life (2011) Werner Herzog

Werner Herzog transforms the cruel reality of two death-row inmates into a staggering lesson in compassion and empathy.

Little Dieter Needs to Fly (1997) Werner Herzog

Dieter Dengler is one of those characters that has gone from total obscurity into the mythology of modern filmmaking, all because of Werner Herzog’s film.

Armadillo (2010, T/F 2011) Janus Metz

Armadillo is a gripping tale of the boyish will to live life to the fullest – in this case the inexplicable drive to sacrifice your life in a far-away war – cleverly told in a powerful and rough cinematic language by Janus Metz.

A Springday in Hell (1977) Jørgen Leth

This gritty film about the Paris-Roubaix race captured the inner feeling of the greatest of all sports, bicycle racing. Blood, mud, tears, sweat and glory all come together in this masterpiece of heartbreaking beauty.

When We Were Kings (1996) Leon J. Gast

With tremendously sexy footage from the 1974 heavyweight fight between Ali and Foreman, this sports doc is the one film to show the aliens when they arrive and ask what we humans are all about.

Metallica Some Kind of Monster (2004, T/F 2004) Joe Berlinger, Bruce Sinofsky

An honest and at times painfully embarrassing look into the everyday life and struggles of arguably one of the greatest bands on Earth.

Senna (2010) Asif Kapadia

Whether you’re a petrolhead or not you become totally captivated by the Jesus-like presence of Ayrton Senna, and the film draws a precise portrait of the mind of a true legend.

Harry Dean Stanton: Partly Fiction (2012) Sophie Huber

Dark and pessimistic, Harry Dean Stanton enters into your consciousness through this tender film and makes you fall helplessly in love with him.

Searching for Sugar Man (2012, T/F 2012) Malik Bendjelloul

A remarkable film about how one of the greatest talents of folk songwriting, Sixto Rodriguez, could disappear into obscurity before he even broke through – and then be rediscovered through the very making of this charming film.

 

Robert Greene, director of Kati with an I (T/F 2010), Fake it So Real (T/F 2011) and Actress (T/F 2014)

Edvard Munch (1976) Peter Watkins

Peter Watkins’ expressive biopic about the great Norwegian artist features real interviews, an elusive, mesmerizing structure and has the soul of great nonfiction.

The Store (1983) Frederick Wiseman

Frederick Wiseman is one of our greatest artists and his entire filmography is a singular, essential dissection of the very structure and concept of the American institution. The Store just happens to be his funniest, most revelatory film, and my favourite for the moment.

Tokyo Olympiad (1965) Kon Ichikawa

A completely perfect film, which observes the truths and illusions of the sporting human frame.

The Century of Self (2003) Adam Curtis

An essay film about identity and the creation of commodified individualism that’s as expressive and mysterious as it is illuminating.

News from Home (1976) Chantal Akerman

Less a documentary than a structuralist performance piece, masterful as an earthy, austere symphony of New York City, quietly devastating as a mediation on loneliness and alienation.

Belovy (1994, T/F 2012) Viktor Kossakovsky

Kossakovsky’s observational camera finds truth, mystery, sadness, desperation and uproarious life in rural Russia.

As I Was Moving Ahead, Occasionally I Saw Brief Glimpses of Beauty (2000) Jonas Mekas

Impossibly personal while profoundly universal, the great Jonas Mekas gives a glorious, emotional, living cinema romp through his own life and our collective consciousness.

The Battle of Chile (1975) Patricio Guzmán

A devastating, present-tense political portrait of a society on the brink, still relevant as an invaluable historical document as it is an immersive, eternal cinematic experience.

A Married Couple (1969) Allan King

Essential direct cinema genius Allan King creates an intimate, hilarious, troubling portrait of a failing marriage that simultaneously heralded the new documentary intimacy, foregrounded the role of performance in nonfiction and laid down the template for reality TV.

Salesman (1968) Albert Maysles, David Maysles, Charlotte Zwerin

The film that started it all for nonfiction storytelling and started it all for my personal understanding of the power of reality cinema. The camera is always in the right place.

 

Viktor Kossakovsky, recipient of the True Vision Award at T/F 2012, director of Belovy, Vivan Las Antipodas! (T/F 2012) and Demonstration (T/F 2014)

The film that started it all for nonfiction storytelling and started it all for my personal understanding of the power of reality cinema. The camera is always in the right place.

This is a list I made for screening at IDFA (International Documentary Film Festival Amsterdam) in 2012, here in order of importance to me.

They’re films that challenged me both when I first saw them and again when I revisited them. Instead of trying to tell you something, they try to show you something.

If you were to add up all the new elements these films have added to the language of cinema, you would have the perfect documentary alphabet.

Ten Minutes Older (1978) Herz Frank

Man of Aran (1934) Robert Flaherty

Man with a Movie Camera (1929) Dziga Vertov

Spiritual Voices (1996) Aleksandr Sokurov

Workingman’s Death (2005) Michael Glawogger

Seasons (1975) Artavasd Peleschjan

Position among the Stars (2010) Leonard Retel Helmrich

Look at his Face (1966) Pavel Kogan

Our Mother is a Hero (1979) Nikolai Obukhovich

A Tram Runs through the City (1973) Ludmila Stanukinas

 

Kevin MacDonald, director of Touching the Void (T/F 2004) and Life in a Day (T/F 2011)

Gimme Shelter (1970) David Maysles, Albert Maysles, Charlotte Zwerin

I love the fact that the editor, Charlotte Zwerin, gets a directing credit on this. So often in documentaries the editor is at least as important to the finished film as the director. I think this is the best film ever made about performance – but it also manages to say so much about the hippy dream turning sour and the power of the image.

Nespatrene (1997) Miroslav Janek

The Unseen is generally unseen but is a film that had an enormous impact on me when I saw it at the inaugural It’s All True doc festival in Brazil. It tells the story of blind children who become obsessed with taking photographs.

Now (1965) Santiago Álvarez

The most potent campaigning film ever made. Only five minutes long it is raw, technically innovative and angry. The Lena Horne song that it is based around is forever stuck in my head.

Listen to Britain (1942) Humphrey Jennings, Stewart McAllister

Humphrey Jennings was a genius at yanking together unexpected images – the John Donne of cinema. This film is pure poetry and makes patriotism seem not just acceptable but admirable.

The Thin Blue Line (1989) Errol Morris

I love its intelligence, its coolness and its humour. It influenced every film I have ever made.

When We Were Kings (1996) Leon J. Gast

The most exciting and uplifting non-fiction experience I have had in a cinema

Darwin’s Nightmare (2004) Hubert Sauper

An imaginative, fiendishly gothic tale about the the survival of the fittest and the Nile Perch.

Roger & Me (1989) Michael Moore

Michael Moore brought entertainment back into documentary films – and made it the strange bedfellow of anger.

Hotel Terminus (Klaus Barbie, His Life and Times) (1988) Marcel Ophüls

Ophüls is a genius and I could just have easily chosen Sorrow and The Pity for this list.

Waltz with Bashir (2008, T/F 2009) Ari Fulman

Because it did something new.

 

James Marsh, recipient of the True Vision Award at T/F 2011, director of Man on Wire (T/F 2008), Wisconsin Death Trip, The Burger and the King and Project Nim (T/F 2011).

Each of these films seems to me to enlarge on the possibilities of the medium and each of the filmmakers (with the exception of Ari Folman) has a whole body of work that I revere and admire. The other characteristic they all share is a commitment to the poetry and power of the visual image, both discovered and created. They are all truly cinematic films in every respect.

If there is one filmmaker on this list who stands above the others as a documentarian, for me, it would be Frederick Wiseman. As soon as a Wiseman film starts you know you are with the perfect guide – his editing rhythms are poised and hypnotic, and his attention to detail and to the primacy of the potent, revelatory image is constant and surprising. Above all, it his generosity and respect towards his characters that distinguishes his work. Interestingly, for a filmmaker who has no use for the adornments of score or created imagery, he describes his works as ‘reality fictions’. I can’t think of a better description of the documentary medium or indeed a better alibi for us all.

Man with a Movie Camera (1929) Dziga Vertov

Le Sang des bêtes (1948) Georges Franju

The War Game (1985) Peter Watkins, Peter Watkins

Salesman (1968) Albert Maysles, David Maysles, Charlotte Zwerin

Hospital (1970) Frederick Wiseman

Fata Morgana (1971) Werner Herzog

The Battle of Chile (1975) Patricio Guzmán

The Thin Blue Line (1989) Errol Morris

My Winnipeg (2007) Guy Maddin

Waltz with Bashir (2008, T/F 2009) Ari Fulman

 

Michal Marczak, director of At the Edge of Russia (T/F 2011)

The Five Obstructions (2003) Jørgen Leth, Lars von Trier, Jørgen Leth

Close-up (1989, T/F 2014) Abbas Kiarostami

Moi, un Noir (1959) Jean Rouch

Sympathy for the Devil (1968) Jean-Luc Godard

Jak Zyc (1977) Marcel Lozinski

Little Dieter Needs to Fly (1997) Werner Herzog

Khlebny Dyen (1998) Sergey Dvortsevoy

Gimme Shelter (1970) David Maysles, Albert Maysles, Charlotte Zwerin

Ya tebya lyublyu (2011) Pavel Kostomarov, Alexander Rastorguev

Faits Divers (1983) Raymond Depardon

 

Jesse Moss, director of Speedo (T/F 2004) and The Overnighters (T/F 2014)

Salesman (1968) Albert Maysles, David Maysles, Charlotte Zwerin

Harlan County U.S.A. (1976) Barbara Kopple

The Thin Blue Line (1989) Errol Morris

Bowling for Columbine (2002) Michael Moore

Woodstock 3 Days of Peace & Music (1970) Michael Wadleigh

Dont Look Back (1967) D.A. Pennebaker

Crumb (1994) Terry Zwigoff

Man with a Movie Camera (1929) Dziga Vertov

The Cause (1990) Ken Burns

Burden of Dreams (1982) Les Blank

 

Joshua Oppenheimer, director of The Act of Killing (T/F 2013)

My list of 10 arbitrarily excludes these films:

Jean Rouch’s Jaguar (1967)

Patricio Guzmán’s The Battle of Chile (1975)

Jon Bang Carlsen’s Hotel of the Stars (1981)

Barbara Kopple’s Harlan County, USA (1976)

Imamura Shohei’s History of Postwar Japan Told by a Bar Hostess (1970) and A Man Vanishes (1967)

Marcel Ophüls’s The Sorrow and the Pity (1969)

Rithy Panh’s S21: The Khmer Rouge Killing Machine (2003)

The Maysles brothers’ Grey Gardens (1975)

Apichatpong Weerasethakul’s Mysterious Object at Noon (2000)

Hara Kazuo’s The Emperor’s Naked Army Marches On (1987)

Ira Wohl’s Best Boy (1979)

Ulrich Seidl’s Losses to Be Expected (1992)

Harmony Korine’s Gummo (1997)

Sergei Dvortsevoy’s Bread Day (1998)

Dusan Makavejev’s Innocence Unprotected (1968)

Whenever we film anybody, they stage themselves, acting out fantasies – half-remembered, second-hand, third-rate – that they wished they fulfilled. The films I’ve chosen teach us that the ‘state of nature’ for nonfiction film is to reveal, prism-like, how fiction always constitutes our ‘facts’. These filmmakers deploy their camera not to record, but to provoke, and in the process have the courage to immerse themselves in the manic, delirious and tragic play of fantasies that make us what we are – inevitably and assuredly staggering out of the darkness into blinding truths.

Titicut Follies (1967) Frederick Wiseman

Close-up (1989) Abbas Kiarostami

Shoah (1985) Claude Lanzmann

Even Dwarfs Started Small (1970) Werner Herzog

W.R. – Mysteries of the Organism (1971) Dusan Makavejev

Animal Love (1996) Ulrich Seidl

Gates of Heaven (1978) Errol Morris

The Apple (1997) Samira Makhmalbaf

The Hour of the Furnaces (1968) Fernando Solanas

The Perfumed Nightmare (1976) Kidlat Tahimik

 

Jessica Oreck, director of The Vanquishing of the Witch Baba Yaga (T/F 2014)

Tokyo Olympiad (1965) Kon Ichikawa

Tokyo-Ga (1985) Wim Wenders

Vive le Tour (1962) Jacques Ertaud, Louis Malle

The House Is Black (1962) Forough Farokhzad

Images of the World and the Inscription of War (1988) Harun Farocki

Love Life of the Octopus (1965) Jean Painlevé, Geneviève Hamon

The Voice of the Water (1966) Bert Haanstra

Herman Slobbe – Blind Kind II (1966) Johan van der Keuken

Microcosmos (1996) Claude Nuridsany, Marie Pérennou

Burden of Dreams (1982) Les Blank

 

Anders Ostergaard, director of Burma VJ (T/F 2008)

The Fog of War Eleven Lessons from the Life of Robert S. McNamara (2003, T/F 2004) Errol Morris

Night Mail (1936) Harry Watt, Basil Charles Wright

Être et Avoir (2002) Nicolas Philibert

Startup.Com (2001) Jehane Noujaim, Chris Hegedus

Last Train Home (2009, T/F 2010) Lixin Fan

Waltz with Bashir (2008, T/F 2009) Ari Fulman

Man on Wire (2007, T/F 2008) James Marsh

Koyaanisqatsi: Life out of Balance (1983) Godfrey Reggio

Bowling for Columbine (2002) Michael Moore

Olympia (1938) Leni Riefenstahl

Posted August 18, 2014

‘Boyhood’ Now Playing at Ragtag Cinema

The Closing Night film at True/False 2014 was a work of fiction, but a fiction built around a fascinating collaboration with reality. Filmed over 12 years from 2003-2013, Boyhood depicts a young boy coming of age in 21st century Texas. As we follow Mason through the years, along with his big sister, single mother and unreliable father, we watch the actors grow along with their characters and experience the passage of time through numerous cultural markers. The result is singular and profoundly empathetic.

Now this historically acclaimed film has returned to Columbia and is playing at our other half Ragtag Cinema.

boyhood

Director Richard Linklater was recently asked about showing this film at T/F by Scott Tobias of The Dissolve.

The Dissolve: Boyhood screened at the True/False Film Festival, and it seems like the perfect embodiment of that festival’s mission to blur the line between documentary and fiction. How were you looking to balance the demands of narrative with the real developments over time? 

Richard Linklater: You know, I wasn’t so sure we should even show [at True/False], because truly there’s nothing about the movie that’s a documentary, yet it feels real. It was meant to feel like a document of time, and it was a collaboration very much with the real world, and what was going on at any given time. It does blur the line in the mind. Someone said if you didn’t see Patricia and Ethan and didn’t know them from other movies, you might almost swear it was real. Some guy in New York the other night, he seemed like a normal guy, but after the movie, as I was leaving, he said, “How did you pick this family?” [Laughs.] I’m like, “They’re actors.” He thought I’d done something like that TV show, An American Family, picked a family and followed them all of these years. I’m like, “Are you crazy?” Anyway [Boyhood] does get blurry, and I wanted it to work that way in the viewer’s head.

This blurriness was examined further by Michael Koresky in his excellent review at Reverse Shot, which notes how Boyhood avoids traditional milestones, thereby playing to the viewer’s own memories of childhood. Star (and T/F 2014 guest) Ellar Coltrane talked with Vulture about growing up in the midst of the film and working each year with Linklater on the film’s scripts, a process which caused him to grow closer and closer to the character he was playing. And James Hughes at Grantland hung-out with Linklater to talk about the film’s roots in his own Texas childhood, and how the filmmaking process was “a dance with an unknown future”. These reflections all speak to the paradox suggested by Manohla Dargis in her NY Times review, who said of Boyhood ”its pleasures are obvious yet mysterious.”

 

 

 

Posted August 13, 2014

Sight & Sound Announces Its Greatest Documentaries of All Time

The British film magazine Sight & Sound has announced its first-ever list of the greatest documentaries of all time. The top 50 films includes T/F selections The Fog of War (T/F 2004), Man on Wire (T/F 2008), Waltz with Bashir (T/F 2009), The Act of Killing and Leviathan (T/F 2013).  Also included are the Iranian films The House is Black and Close-Up which played T/F as part of our 2014 Neither/Nor series.

This list is generated by a survey of film critics, programmers and academics. A separate list ranks the choices of documentary filmmakers. We’ll have much more to say about this survey when we can dig through all of the individual ballots, to be published on August 14.

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The Fog of War, Errol Morris, T/F 2004

Man On Wire, James Marsh, T/F 2008

Man On Wire, James Marsh, T/F 2008

Waltz with Bashir, Ari Folman, T/F 2009

Waltz with Bashir, Ari Folman, T/F 2009

Leviathan, Lucien Castaing-Taylor and Verena Paravel, T/F 2013

Leviathan, Lucien Castaing-Taylor and Verena Paravel, T/F 2013

The Act of Killing, Joshua Oppenheimer, T/F 2013

The Act of Killing, Joshua Oppenheimer, T/F 2013

The House is Black, Forough Farrokhzad, 1963, Neither/Nor 2014

The House is Black, Forough Farrokhzad, 1963, Neither/Nor 2014

Close-Up, Abbas Kiarostami, 1990, Neither/Nor 2014

 

Posted August 1, 2014

We’re Having a Sale!

We’re having a summer sale in our online store. We’ve marked down numerous items and are offering free shipping for orders over $100. Swing by and take a look!

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Art Installation Proposal Deadline Extended

We’ve extended the deadline for True/False 2015 art installation proposals. You now have until September 8 to give us your take on “The Long Now”. Check out our Call to Artists page for more info.

Posted July 29, 2014

Announcing the Boone Dawdle Band: Drakkar Sauna

The Boone Dawdle always features a sunset concert on the limestone bluffs overlooking the Missouri River. After exiting the trail at Les Bourgeois Winery in Rocheport, we’ll all grab a bite, a libation or two and kick back. This year we believe we’ve found a fitting accompaniment for your post-ride buzz.

The duo Drakkar Sauna, multi-instrumentalist Jeff Stolz and guitarist Wallace Cochran, channel an assortment of musical influences, soaring vocal harmonies and a love of World Championship Wrestling into an upbeat and infectious brand of folk. Their lyrics subject classic country themes to inventive word-play, creating a stream of ideas both humorous and poignant.

See for yourself in the short Drakkar Sauna concert  below.

We hope that you’ll join us for this fun concert. Tickets for the Boone Dawdle are on sale now.

Posted July 26, 2014

Announcing the Boone Dawdle Film: ‘An Honest Liar’

We are excited to announce our 2014 Boone Dawdle Film, An Honest Liar.

honest-liar-still-1

James “The Amazing” Randi rose to fame first as a magician and then as a debunker of fraudulent psychics. His rivalry with Uri Gellar flourished in front of Johnny Carson’s cameras, igniting a national discussion. This expertly crafted film goes beyond typical historical fact-collecting, though, rejecting adulation to present a clear-eyed take on Randi’s professional and personal life and uncovering a story unknown until now. It’s funny, exciting, and, ultimately, even a bit of a love story. The perfect film, then, for a hot summer’s night and the perfect capstone to T/F 2014.


Co-director Justin Weinstein in person to answer your questions. Tickets for the Boone Dawdle are on sale now.

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Apply now to become a True/False screener

T/F is in search of a few more members of the 2015 Canary Screening Committee. We are looking for folks who are are thoughtful, articulate writers, can help us identify films of interest to the festival programmers, and are available for 2 meetings per month. Screeners are required to watch at least 50 submissions over 5 months, and will receive a pass to the 2015 fest. See the application for more detail - Apply here by August 6. Questions? e-mail us at: submissions@truefalse.org

Posted July 24, 2014
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