“Klee Wanted to Destroy the Convention of Angels in Their Historic Tradition”: Ken August Meyer on His SXSW Doc about Art and Illness, Angel Applicant
Angel Applicant There’s the concept of art as therapy, and then there’s the concept of a specific artist as a therapist, which is how debuting filmmaker Ken August Meyer introduces the Swiss-German painter Paul Klee at the start of his…
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“…The Costs of Turning Yourself from a Three-Dimensional Person into a Two-Dimensional Brand”: Miranda Yousef on Her SXSW-Premiering doc Art for Everybody
Art for Everybody One of the most surprising revelations about the painter (and multimillion-dollar mass marketer) Thomas Kinkade, “the most successful artist of his time” according to the synopsis for Miranda Yousef’s SXSW-premiering doc Art for Everybody, is not that he…
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“How Do You Talk About It as a Murder When You Think It’s an Accident?” Citizen Sleuth Director Chris Kasick on His SXSW-Premiering Mile Marker 181 Doc
Citizen Sleuth In the nine years since Serial, the “true crime podcaster” has become, variously, a career goal, sociological type and, in TV shows like Only Murders in the Building, object of gentle humor. In Citizen Sleuth, world premiering in…
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“This ‘Space Problem’ Became Our Problem”: Ido Mizrahy on The Longest Goodbye
The Longest Goodbye. Photo Credit: (NASA/Bill Ingalls) With NASA under “presidential orders” to land humans on Mars by 2033—and the industry titans of Silicon Valley rushing to make space exploration sexy again (not to mention cash in on that lucrative…
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“The Film Is Full of Ghosts”: Diana Bustamante on Her DOC NYC-debuting Our Movie (Nuestra película)
Diana Bustamante's Our Movie (Nuestra película) Diana Bustamante’s Our Movie (Nuestra película) feels like both a departure and a homecoming for the Latin American producer credited on numerous Cannes winners, most recently Apichatpong Weerasethakul’s Jury Prize-awarded (and Tilda Swinton-starring) Memoria. Comprised…
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“Each Second Meant the Difference Between Life or Death”: Rory Kennedy on The Volcano: Rescue from Whakaari
The Volano: Rescue from Whakaari (Courtesy of Netflix) Forget social and political issues—in documentaries, 2022 is shaping up to be the year of the volcano. There was Sara Dosa’s exquisite Fire of Love (which I fell in love with back…
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“Stories That Need to Be Told”: Elwira Niewiera and Piotr Rosołowski on Ukrainian Documentary The Hamlet Syndrome
Elwira Niewiera and Piotr Rosołowski's The Hamlet Syndrome One of the more unusual projects to play this year’s DOC NYC (also concurrently screening at IDFA in the Best of Fests section), Elwira Niewiera and Piotr Rosołowski’s The Hamlet Syndrome follows…
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“This Myth Has Plagued the World for Centuries”: Maxim Pozdorovkin on His DOC NYC Closing Night Film The Conspiracy
Maxim Pozdorovkin's The Conspiracy From robot-inflicted deaths (2018’s The Truth About Killer Robots) to the rise of Donald Trump through Russian state-sponsored media (2018’s Our New President), Maxim Pozdorovkin recently has taken some unconventional routes down the darkest of rabbit…
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“The Consequences of Putin’s Playbook”: Marusya Syroechkovskaya on How to Save a Dead Friend
Marusya Syroechkovskaya's How to Save a Dead Friend “Russia is for Russians!” goes the far-right rallying cry. To which Marusya replies, “Bullshit. Russia is for depressed people.” She should know: Moscow-born Marusya Syroechkovskaya spent a dozen years turning her camera…
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“The Complexity of a Disorder”: Svetislav Dragomirovic on I’m People, I Am Nobody
Svetislav Dragomirovic's I'm People, I Am Nobody Svetislav Dragomirovic’s debut feature I’m People, I Am Nobody is a film I wasn’t prepared to watch. From its coy DOC NYC synopsis, we learn it’s the story of a 60-year-old retired porn…
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