Category Archives: shorts

#Cinelove: 2018’s most memorable documentaries

Maybe because the world feels so devoid of humanity these days, I found myself falling for quiet films of people who treat others with dignity.
In no particular order…

Photo: By Then

By Then
Quietly observational, By Then follows a medical driver through the streets of Paris as he picks up and drops off his patients. The “action” takes place almost entirely in the confines of his van, but the gentle soul of the film soars far outside the vehicle. Though the radio speaks about terrorism, political elections and demonstrations, Kofi – at times funny, at times tender – treats everyone with a level of respect not usually seen in such circumstances.

The Raft
A fascinating experiment that documents a fascinating experiment. In 1973, 11 people volunteer to take a raft trip across the Atlantic – as a social experiment to study the sociology of violence, aggression and sexual attraction. Over 40 years later, the director recreates that raft in a studio, and invites the surviving members to reunite on it. Combining archival footage from the sea adventure, the anthropologist’s diary entries and the present recollections of the survivors, the result is a deep dive into the weird and sometimes dangerous behavior of humans.

Photo: Distant Barking of Dogs

Distant Barking of Dogs
Is it worth risking safety to remain where home is? In eastern Ukraine, a boy and his grandmother live day by day on the frontlines of the war, choosing not to displace themselves as so many others in their community have. Oleg grows up amidst bombs and conflict, always in the (not always distant) background, reminding you that the real cost of war is on the individual. But is it worse than losing everything you know?

Next Guardian
An intimate family portrait high in the Himalayan mountains, where a brother and sister face the expectations of the older generation as they seek to pursue their own dreams. Gyembo is expected to take over the Buddhist temple overseen by his father and attend monk school, but he just wants to continue English language school. Toshi doesn’t feel like a girl and just wants to be a football player for the national team, which doesn’t fit her family’s idea of how a girl should act. Normal teenage growing pains take on a larger scope in this traditional Bhutanese village.

Movements of a nearby mountain
In a remote warehouse in the Austrian alps, a Nigerian self-taught mechanic passes his days selling parts and exporting used cars to his native country. The film observes Cliff’s daily routine with a serenity somewhat incongruous with the work, but fitting for his unhurried daily routine. Yet there is so much “life” happening that we are drawn into his world.

Concussion Protocol
I’ve long been a strong supporter of short documentaries. Not as a step-child of the feature, but as equal or even better examples of filmmaking. Concussion Protocol is an example of the latter, where all the politics and activism around the issue of head injuries in American football are distilled into less than 6 minutes. It’s a visceral, powerful six minutes that strips away everything except the bare truth of the pain and suffering.

Won’t you be my neighbor
Even if this wasn’t a solidly crafted film (which it is), I couldn’t not love it. Talk about someone who treats others with dignity. I grew up on Mr. Rogers, he formed so much of my early childhood understanding. So watching this was like returning to my childhood, like watching a home movie but with so much more social impact. As a child, you don’t quite understand what you were seeing, so being able to observe the show and see the deliberate decisions behind it really made me appreciate.
Sometimes it feels like they are deliberately avoiding the bad (is it really possible that the man’s only drawback was that he worked too much?), but I’ll take it. Especially in this era of where treating people with respect is NOT a given.

Photo: Island of the Hungry Ghosts

Island of the hungry ghosts
The residents of Christmas Island pull out all the stops to protect the red land crabs as they migrate from the jungle to the sea. But in this stylized film, the treatment of the crabs is juxtaposed with therapy treatments of human migrants who have found their way to this island, experiencing almost as much trauma here as where they’ve come from. The stories are gutting, as is the inside look at how the detention center operates with a level of inhumanity that is designed to keep people away.

America
Sometimes a film touches you with its humanity, and for me, this was one such case. Another instance of caring for the elderly, but this time it’s family. Three brothers in Mexico move in together to take care of their grandmother after their father is jailed for negligence. The tenderness with which they care for her, especially in less-then-pleasant situations is admirable, but the humanity also arises from the pain they experience in their relationships with each other.
I have some ethical issues with filming someone who clearly is not able to give their permission, especially in intimate scenes of nudity. But appreciate that they also didn’t shy away from showing the less admirable sides of all involved.

P.S. –  I define #cinelove as “to fall in love with a film in that way where it captures your heart through its beauty & humanity.”

-Karen Cirillo

#Cinelove: 2015’s Memorable Documentary

I’ll dispense with the musings of year’s end, looking back, etc… and cut straight to the point to offer up the most memorable non-fiction films I saw this year.  My list cuts a wide spread across styles and subject matter, but I think the common denominator is that all the filmmakers approach their subjects with a pure desire to tell the story.

Democrats
Camilla Nielsson goes behind-the-scenes of the political process in Zimbabwe in this expertly crafted film about the making of a constitution. She and her editor manage to take a potentially dry subject and make it fascinating, absorbing, and touched with humanity.

Last Days of Freedom

Still from Last Day of Freedom.

Still from Last Day of Freedom.

The most memorable film of the year for me was this incredible short. Made by two artists, the film combines visceral animation, intricate sound design, and an intimate story in this emotionally powerful journey.  It’s the heart-breaking recollections of a man who discovers his brother has committed murder and must decide what to do. Being that I run a short documentary festival, I suppose it’s not surprising that it’s at the top of my list.  But it truly rivals any feature for a full, powerful experience. (Directed by Dee Hibbert-Jones and Nomi Talisman)

Heart of a Dog
I don’t love personal films and I don’t love dogs, so it was utterly surprising to me that I was enraptured by Laurie Anderson’s touching essay film. It’s not a traditional narrative, but instead washes over you with imagery, animation, music and, of course, Anderson’s lulling narration.
Cartel Land
In Cartel Land, sometimes you just can’t believe what you’re watching. Director Matthew Heineman says the film unfolds the way that he discovered the story and you can only imagine what it was like to be him as the filmmaker. Cartel Land’s incredible access gives you a different view of the fight against the Mexican drug cartels and gives thought to a big question: who is the good guy?

Spartacus and Cassandra
Ever fall in love with a film?  I felt myself doing just that while watching this impressionistic fairytale. Two Roma children are taken in by a young trapeze artist in a circus on the outskirts of Paris, and while it touches on hard aspects such as parents, legality and education, it also celebrates love and imagination. (Directed by Ioanis Nuguet)

Look of Silence
Joshua Oppenheimer’s companion piece to his The Act of Killing is quieter, more intimate, and in my mind, even more powerful.  It’s one man’s journey to confront his brother’s killers during genocide in Indonesia. It’s also a testament to the fact that social impact films can be cinematically beautiful.

Tocanda la luz
Charming and thoughtful, this verité film follows the ebbs and flows of life for three blind women in Havana. The women share their lives, fears, loves, and struggles for independence with us. (Directed by Jennifer Redfearn)

P.S. –  I define #cinelove as “to fall in love with a film in that way where it captures your heart through its beauty & humanity.”

– Karen Cirillo

Americana: History Viewed Through Artifacts

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66 Scenes of America

The new Winter/Spring Flaherty NYC series That Obscure Object of Desire , curated by filmmakers Pacho Velez and Sierra Petengill, continues tonight with the Americana program.

I spoke with Velez and Petengill about their entire series, which I’ll publish soon, but in the meantime, some thoughts on tonight’s program to whet your appetite.

Q: What about using objects to tell a history?

Sierra: There’s something interesting happening in the program – the Jorgan Leth film is an older piece, but we’re viewing it in 2015 – the gap between the year of the making and the year of viewing changes it. We’re also showing Real West, which is just made and returning to a historical place, or to recreate a historic time. They’re both historical films, but from very different ends of the spectrum.

Q: Can you elaborate on the idea of Americana buttressing national ideas of mobility and entrepreneurship? How do we see that through the Americana films?

Pacho: One of the concrete objects through which we understand these ideas and perpetuate these ideas of America – the notion that we can travel all over it geographically, and also the idea of social mobility that’s implicit through that geographical travel. This “can do it” American value. These things are abstract. How do you codify these ideas? What are the objects that contribute to fetishizing these ideas? Cars; the open road and highways; the single family home; fast food – all of which make appearances through these films.

I just watched 66 Scenes of America again for a class I’m teaching. There’s a scene inside of it, a very famous scene, where Andy Warhol eats a hamburger. There’s the Burger King logo and the Heinz ketchup bottle, things that make me reminisce about my childhood. I’m sure at the moment it was shot, it didn’t feel like a very nostalgic gesture. When one reads about Pop art, it’s often posited as ‘new,’ ‘contemporary,’ ‘in the moment,’ clearing away past artistic ideologies (abstract expressionism, cubism, Social Realism, etc). But, of course, the mass advertising culture that Pop was mirroring has now been with us for so long, and is in many ways being displaced by the online digital world, so that certain icons of pop have started to make me feel nostalgic, or sentimental for ‘the way things used to be.’ Modern consumer gestures have aged in their own way. They’ve gained a kind of sentimentality, gained a historical nostalgic that I imagine Pop artists would be horrified at.

Check out the Americana program if you can.   The series runs every other Tuesday at the Anthology Film Archives in New York.

We Walk Their Path

This weekend, the OneMinutesJr. awards were announced and “We Walk Their Path,” by Amar, won the One Minute of Freedom award. The film was produced during a workshop I facilitated in Zaatari, the Syrian refugee camp in the north of Jordan.

There are so many stories from that trip – tales of kids uprooted from their homes, remembrances of lost items and childhood adventures, consistent declarations of an eventual return to Syria. All the kids in the workshop lived at Zaatari, some having been there a year and a half already. The majority came from Daraa, a city in southwestern Syria, just north of the border with Jordan. At the time of the workshop, in January 2014, the Zaatari camp hosted about 85,000 refugees from the conflict in Syria.

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I had facilitated workshops in over 20 countries at this point, so I was no stranger to challenging work environments. In addition to the physical containment (our movement was extremely limited) and the emotional impact (of witnessing life in the camp), there was the hurdle of general inexperience. Most of the seventeen participants of the workshop had never held a video camera before and their image-taking experience was mostly limited to mobile phones. The ideas behind creating imagery were fairly distant for them. But while they didn’t outright grasp the concepts of filmmaking, their imaginations never lacked.

As you can imagine, there are many stories to be told. But, for now, a focus on Amar (first name only, for security’s sake) and his tale of war.
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The State of the Short? (Part 1)

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Image: Bob Sascha

DOCNYC has expanded their panel lineups this year and I was excited to see that they were devoting a day to short documentaries: “All About the Short.” I’ve been focusing on short documentaries for a while now in my programming.*  I love the short form for its capacity to break new boundaries, to experiment with form, to be able to live outside the art vs. social impact mode that features sometimes get stuck in.  So I’m always pleased to see more attention being given to short films, especially if it means there are more opportunities to watch them and ANY opportunity for filmmakers to actually get paid for their work.  But the first two panels of the day gave me pause about the state of short non-fiction filmmaking and the market it lives in today: it seems to be all about “content” for websites – there was very little talk about artistic approach (and seemingly little interest from the audience either).  I am thrilled that the market is expanding for a form I’ve always championed, but does it have consequences for the form as an artistic endeavor?  And is it elitist to be concerned about that?  After all, I’m not the one worrying about getting paid.

First up was “Everything You Always Wanted to Know About Short Filmmaking But Were Afraid to Ask.” The panel, moderated by Jessica Edwards (short filmmaker, producer and writer of Tell Me Something), included two filmmakers (Heidi Ewing and Lucy Walker) who are known for their feature films but have also made many shorts and two people in producer/acquisitions roles (Adnaan Wasey, POV Digital, and Jeff Seelbach, AJ+). Continue reading