BRITDOC’s Luke Moody questions the power of words on screen in recent documentary journalism.
A Frantz Fanon quote on screen in Concerning Violence (2014) directed by Göran Olsson
Continue reading “The silent return of the voice of God in documentary”
Have the strongest people always dominated everywhere? We look into Patricio Guzmán’s new film The Pearl Button, ahead of its UK release this week.
The Pearl Button (2015)
“I’d love for these water people not to have disappeared.”
Patricio Guzmán, The Pearl Button
Continue reading “Patricio Guzmán on The Pearl Button”
Revealing creative dialogues in nonfiction films, a playful act between filmmaker and subject as early as 1950, are evidence that documentary filmmaking is the art of collaborative conceit.
Stranded in Canton (2014)
Continue reading “Making it real together”
The master director of films on women’s rights talks to us about her picture based on Brenda Myers-Powell and the girls on the street corners of Chicago.
Continue reading “Kim Longinotto on Dreamcatcher”
Continuing its reputation as the biggest international documentary film festival in UK, the 21st Sheffield Doc/Fest welcomed documentarians and activists from the public domain with a fierce independent spirit this year.
The past is always with us. But who wants to live in an antique shop?
– Ian McShane in How We Used To Live
Happiness, dir. Thomas Balmes
Continue reading “Independent spirit: 21st Sheffield Doc/Fest”
Coinciding with the events in Thessaloniki as the European Youth Capital, the screens in the northern Greek city wrote ethics, truth and literacy on the wall.
In the Land of the Deaf (Le pays des sourds, 1992)
Continue reading “Archipelago connected: 16th Thessaloniki Documentary Festival”
As Leviathan hits London cinemas this month, Luke Moody compiles a list of animal features and talks about the endoscopic camera eye in the new nature documentary.
Continue reading “Animal features: new nature documentary”
On the release of Joshua Oppenheimer’s The Act of Killing in UK cinemas, some excitement is emerging about the possibilities of new hybrid forms of documentary.
“All great fiction films tend towards documentary, just as all great documentaries tend toward fiction.”
The Act of Killing (2012)
Continue reading “Act normal: hybrid tendencies in documentary film”