Will ‘(T)ERROR’ Be Seen?

(T)ERROR film still

(T)ERROR is a jaw-dropping film. From the first frame, it is hard to believe what you are seeing on the screen. That feeling does not diminish as the film continues; it intensifies. I was first introduced to (T)ERROR as a work-in-progress when it was awarded the Garrett Scott Documentary Development Grant at the 2013 Full Frame Documentary Film Festival. Documentary programmer Thom Powers, one of the administrators of the grant, introduced the sample. After it played, he said, “I’m going to ask the first, obvious, question: WTF?”

Read the essay on the International Documentary Association Blog.

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Brett Morgen’s Kurt Cobain: Montage of Heck

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The subtitle of Kurt Cobain: Montage of Heck comes from the handwritten label on a cassette that was part of a collection of recordings, notebooks and art that filmmaker Brett Morgen had access to for this extraordinary documentary. It’s a wonderfully appropriate title for a film that succeeds on many levels. It’s a profile of one of the most important artists of the late 20th century. It’s an experimental film that weaves together original animation with media artifacts, new interviews, audio montage, concert footage and home videos. It’s an immersive exploration of the artistic psyche and how it confronts adversity. Seeing the film presented by Morgen at the True/False Film Fest, I also came to see it as gift to a child who lost her father and whose life was a media spectacle before she was even born.

Read the essay at The Talkhouse.

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Exit Through the Gift Shop, Five Years Later

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After premiering at Sundance five years ago, one of the most talked-about documentaries of 2010 was Exit Through the Gift Shop, the artist Banksy’s comic, semi-autobiographical history of street art. “It’s a masterpiece! — It’s a travesty! — It’s a master-travesty! — It’s the best documentary ever! — It’s not a documentary at all, but an elaborate prank by an insolent prankster….”

Enthusiasts and critics are chronically nearsighted. We have the tendency to deem every new twist or turn a breakthrough in the form or a masterpiece. Intellectually, we know that this is a contradiction because masterpieces are only revealed through the perspective of time. Breakthroughs cannot be recognized without the distance to see if they will persist in the critical discussion and influence conventions and practices.

Read the essay at The Talkhouse.

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