tag:blogger.com,1999:blog-5817147919908332472024-03-05T05:12:41.496-05:00Documentary Starts HereDocumentaries, old and new, with stills and notes for students, makers, and observers of documentary film and video.
______________________________________________________________________________________________Nancy Kalowhttp://www.blogger.com/profile/02929128089164930824noreply@blogger.comBlogger307125tag:blogger.com,1999:blog-581714791990833247.post-12848501012815025222018-06-29T12:05:00.000-04:002018-06-30T20:10:53.545-04:00Mohammed Alatar<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "times" , "times new roman" , serif;"><br /><br /><br /><br /><br /></span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><a href="http://broken-the-film.com/">Mohammed Alatar</a>'s compelling and brilliantly-constructed 2018 legal procedural, <a href="https://www.youtube.com/watch?v=QjiM3XDPqZM&feature=youtu.be">"Broken: A Palestinian Journey Through International Law,"</a> contains a tour-de-force animated sequence, less than 20 minutes into the film, to show the ominously convoluted route of the concrete security wall through a West Bank dotted with Israeli settlements (top film still, above). Regarding this structure, we hear two irreconcilable points of view: The Israelis are represented by retired Colonel Danny Tirza (middle still), who calls the wall a "security fence." The view of most of the rest of the world is represented by John Dugard (bottom still), a retired South African professor of International Law, who somberly notes that "Israel was using 'security' as a pretext for annexing land." Dugard, the UN Special Rapporteur for human rights situation in the Occupied Palestinian Territory from 2001 to 2008, became alarmed in 2003 that the wall was being built within Occupied Palestinian Territory and thereby confiscating Palestinian land and redrawing "the boundary of the state of Israel to include 80% of the settlements."<br /><br />Lightly narrated by the filmmaker "hoping to make sense of a senseless story," the film lays out the legal and moral case against the wall, first with a dramatic retelling of the International Court of Justice's 2004 deliberations (at the request of the United Nations) and second with a current-day evaluation of what should have been a game-changing legal victory. The land-grabbing route of the wall was a major point of the Palestinian legal team's 2004 case, as elegantly laid out by Vaughan Lowe, Nasser Al-Kidwa, and James Crawford in the first half of the film. Had the wall been built for security, they argue, it should have been placed on Israeli land or on the Green Line and not on (and deep into) Palestinian land. Israel did not participate in the 2004 ICJ proceedings, arguing that the court had no jurisdiction over the case. <br /><br />When the ICJ's advisory opinion, that the "construction of the wall and its associated regime are contrary to international law," is sent back to the UN General Assembly as a draft resolution in July 2004, the UN's vote is clear: 150 countries endorse the ICJ's opinion, 6 against and 10 abstaining. Masterfully-edited archival footage of the UN in New York and the ICJ in the Hague, along with riveting current-day interviews with the key ICJ participants, establish a sense of urgency for a fresh look at the illegality of the wall. The film also sheds light on the collapse of the Oslo promise for a peace process, a decade and a half since the ICJ opinion. "Broken" beautifully lays out legal theory to show the path to the ICJ's 2004 advisory opinion, but the magnetic appeal of the film derives from its interviewees: an extraordinary set of personalities who give personal and emotional resonance to the watch.<br /><br />Indeed, the second half of the film puts us in the center of a debate among the judges from the ICJ's wall case. Recent interviews weave together arguments about the wall and the International Court of Justice itself. The only American on the IJC panel, Judge Thomas Buergenthal, who dissented from the advisory opinion, predicted the failure of the ICJ and UN process to halt the progress of the wall. Judge Bruno Simma of Germany, in contrast, believes "the last word has not been spoken" and that the advisory opinion was just, even though it did not result in the dismantling of the wall. (in 2004, Simma endured a spray of spurious accusations of anti-Semitism from the recently-deceased Charles Krauthammer.) Like Tirza and Dugard at the beginning of the film, Buergenthal and Simma hold contradictory views. The film's achievement is in impeccably documenting the facts and laws behind the wall case for today's audiences.<br /></span><!--EndFragment-->Nancy Kalowhttp://www.blogger.com/profile/02929128089164930824noreply@blogger.comtag:blogger.com,1999:blog-581714791990833247.post-20228401279135758782018-02-15T10:39:00.000-05:002018-06-30T20:12:23.674-04:00Leila Merat<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix1Qlylp6aUmG8q2NsmkZf8MP-SoiBv4etOtauLBXH0Xs9QIvhb_bgyqwGdQq0O2Wmeh6OPLyOFrtgstxJSh-fFAXiBFm_MmITbJFJvDEawbQF2UWRMALha6ylIegdrKu2_GXuCvc67_w/s1600/Asiyeh_b.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="275" data-original-width="610" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix1Qlylp6aUmG8q2NsmkZf8MP-SoiBv4etOtauLBXH0Xs9QIvhb_bgyqwGdQq0O2Wmeh6OPLyOFrtgstxJSh-fFAXiBFm_MmITbJFJvDEawbQF2UWRMALha6ylIegdrKu2_GXuCvc67_w/s640/Asiyeh_b.jpg" width="640" /></a></div>
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<span style="font-family: Times, Times New Roman, serif;">Leila Merat's short film, Asiyeh, is both an observational character study and a statement about traditional healing methods. A bonesetter in northwestern Iran, Asiyeh Karimi is known around her community as the go-to person to "wrap bones." She sees patients in her home and makes trips on horseback to a teahouse to offer her services. Narration-free scenes with Asiyeh and her patients show her no-nonsense authority. Occasional flinch-making smash cuts emphasize the power of her approach to the healing arts. The film's humor (one of Asiyeh's neighbors estimates that "she is around 40, 50, or 60") and editing choices charmingly suggest female (and elder) empowerment. The filmmaker is heard asking some questions: "You are a bonesetter too?" she mischievously inquires of Asiyeh's rival. A dramatic sequence at the teahouse demonstrates Asiyeh's counseling role: "You didn't fall off the steps," she informs one woman, who is accompanied by her husband. Through persistence and gentleness, Asiyeh find out some uncomfortable truths.</span>Nancy Kalowhttp://www.blogger.com/profile/02929128089164930824noreply@blogger.comtag:blogger.com,1999:blog-581714791990833247.post-13165502307382555982017-02-25T05:50:00.001-05:002017-02-25T05:52:36.732-05:00Andreas Koefoed<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZlID-1PebPbU3FBUpkWUgNS9iwON6dixB8kIxb_0dE2uJtN1yRqwQqzMP0z6ODpHRLOiwSWBuraGnJWdsoiAWdKnSGvJuzRbP_2IkfJRULejfzmOB00GL9Rt0pY5Ua2gLUKVej1dQQBE/s1600/AtHomeInTheWorld.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZlID-1PebPbU3FBUpkWUgNS9iwON6dixB8kIxb_0dE2uJtN1yRqwQqzMP0z6ODpHRLOiwSWBuraGnJWdsoiAWdKnSGvJuzRbP_2IkfJRULejfzmOB00GL9Rt0pY5Ua2gLUKVej1dQQBE/s400/AtHomeInTheWorld.jpg" width="400" /></a></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="font-family: Times, Times New Roman, serif;"><a href="http://www.athomeintheworldfilm.com/">At Home in the World</a>, by Andreas Koefoed, paints an unsentimental and visually evocative portrait of a <span style="background-color: white;"> Red Cross school for refugee children in Lynge, Denmark. Koefoed's observational approach </span></span><span style="background-color: white;">renders young refugees from Bosnia, Syria, Afghanistan, and Chechnya as more than victims of war and displacement. The film's </span><span style="background-color: white;"><span style="font-family: Times, Times New Roman, serif;">quiet close-ups, intimate access, and nuanced editing create a window into the experience of being a refugee, but the action of the story takes place in the classroom and schoolyard. </span></span><span style="background-color: white;">Dorte, one of the teachers at the Red Cross school, works to make asylum seekers feel welcome. She embodies the generosity of—and challenges for—any country that accepts refugees. Eventually her students must transfer to regular Danish public schools, but until then, the</span><span style="background-color: white;"> Lynge school provides a safe haven for refugee kids and their families. </span><span style="background-color: white;">Stories of prolonged escapes from violence, difficulties adapting to a new country, and risks of deportation accompany perceptive sequences of children just being kids. </span></span>Nancy Kalowhttp://www.blogger.com/profile/02929128089164930824noreply@blogger.comtag:blogger.com,1999:blog-581714791990833247.post-5825516170389583632015-12-21T12:31:00.000-05:002016-01-04T12:56:41.699-05:00Martin Scorsese<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhARbF102KAbKGpxijziQAAL99dK9j0YqSRq6cVRiwCRJ8hoAYPdpKn0G77RZtCVd6H8bO9go7avhJKrzvDk7smKAmK_e_Dog_bcBZlS7keoosMAERlHlmda6Q5eixI-6nlIA_O77XNpn4/s1600/TheBlues_a.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="356" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhARbF102KAbKGpxijziQAAL99dK9j0YqSRq6cVRiwCRJ8hoAYPdpKn0G77RZtCVd6H8bO9go7avhJKrzvDk7smKAmK_e_Dog_bcBZlS7keoosMAERlHlmda6Q5eixI-6nlIA_O77XNpn4/s640/TheBlues_a.png" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQbP8YSAUN7u5BBNs0C0w27QFir8JlWp24tC-CAF02OEcZgvfxN0OJsO0BGDrXRormUt3C7bNjLdFWkh9V-uGmW7bDsllRHJX1qgS-ASi7LoHb6xUzi1JAmhAd9XSVJjsBSwrY9BvwLwk/s1600/TheBlues_b.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQbP8YSAUN7u5BBNs0C0w27QFir8JlWp24tC-CAF02OEcZgvfxN0OJsO0BGDrXRormUt3C7bNjLdFWkh9V-uGmW7bDsllRHJX1qgS-ASi7LoHb6xUzi1JAmhAd9XSVJjsBSwrY9BvwLwk/s640/TheBlues_b.png" width="640" /></a></div>
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Martin Scorsese directed the first part of the exhaustive documentary series (2003), "The Blues." The program, <a href="http://www.pbs.org/theblues/aboutfilms/scorsese.html">Feel Like Going Home</a>, is written by Peter Guralnick with a respectful and informed take on the music. The young blues musician Corey Harris, the audience's guide during visits to Mississippi and Mali (top still), is equally respectful and informed -- all of which brings to mind an academic lecture rather than a cinematic watch. Les Blank's film, <a href="http://lesblank.com/films/the-blues-accordin-to-lightnin-hopkins-1968/">The Blues Accordin' to Lightnin' Hopkins</a>, has the heart and feel that is underplayed in Scorsese's careful compilation of key archival performances (bottom still) and countryside field trips.Nancy Kalowhttp://www.blogger.com/profile/02929128089164930824noreply@blogger.comtag:blogger.com,1999:blog-581714791990833247.post-5440447283240750212015-11-04T10:03:00.000-05:002015-11-04T10:03:00.124-05:00Alex Gibney<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgitbclfp1v3ngQEQRndK3dfC5IYDJPwjAiMqgCNauaetAqLI5TsNk8syqW15ual4daBsqc1icyYAmhyqpUiO0O5_oeeAust41EXPlu6-hOt1Vit38SWhRJdn2Sz6yO2wqLhh_zpPc5PyE/s1600/GoingClear_a.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgitbclfp1v3ngQEQRndK3dfC5IYDJPwjAiMqgCNauaetAqLI5TsNk8syqW15ual4daBsqc1icyYAmhyqpUiO0O5_oeeAust41EXPlu6-hOt1Vit38SWhRJdn2Sz6yO2wqLhh_zpPc5PyE/s320/GoingClear_a.png" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtEgvQFjEKiqYH4CgM7F2K5WVOn2qDmRX7ojQbw721-tnsKBwstr-nyfaSIxkrpt-mEQkicmtjpnh4m6GQeIfXrNIN2tQElApbafejm0BOXN4IO_325VRxe17LQm47IatuhA-Yo9p_jX8/s1600/GoingClear_b.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtEgvQFjEKiqYH4CgM7F2K5WVOn2qDmRX7ojQbw721-tnsKBwstr-nyfaSIxkrpt-mEQkicmtjpnh4m6GQeIfXrNIN2tQElApbafejm0BOXN4IO_325VRxe17LQm47IatuhA-Yo9p_jX8/s320/GoingClear_b.png" width="320" /></a></div>
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Alex Gibney's <a href="http://www.hbo.com/documentaries/going-clear">Going Clear: Scientology and the Prison of Belief</a> (2015), convincingly conveys the creepiness of Scientology. Former leaders and believers offer somber testimony which is capably edited by Andy Grieve, who was an editor on <a href="http://documentarystartshere.blogspot.com/search?q=manda+bala">Manda Bala</a> (2007). The depressing facts about Scientology in the film are deepened by the portrayal of celebrities who wholeheartedly support their cause, such as John Travolta and Tom Cruise (above).Nancy Kalowhttp://www.blogger.com/profile/02929128089164930824noreply@blogger.comtag:blogger.com,1999:blog-581714791990833247.post-24500068605394922472015-10-04T19:30:00.000-04:002015-10-04T19:45:28.918-04:00Laura Poitras<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjel5sF40zB5xMeUd6vLTKh9mU3OPjPh9xB1CkPanTDFvJvu7ElNXSiwUq8dI4tImOlQatDy6TInUCUH8ngqUE9D-oDaRcTOKXxpXNmzqViUnjS5qkDBNlq8zcQEojroHFVNc3GQ3XB0I8/s1600/CitizenFour_a.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhONV-560Q6yMcqg7AU1YRfTDbu7zROrXC_9OrMjeBzJ5rMkHnpgCnxepTH2VtW_ZGSPo_jaZPLLuUPiny5BEM0t3tSHo-A8RoFqM1nnb1uvqrxFASxc4TAvcOVhSyxvLBemnxODSXQyBo/s1600/CitizenFour_c.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhONV-560Q6yMcqg7AU1YRfTDbu7zROrXC_9OrMjeBzJ5rMkHnpgCnxepTH2VtW_ZGSPo_jaZPLLuUPiny5BEM0t3tSHo-A8RoFqM1nnb1uvqrxFASxc4TAvcOVhSyxvLBemnxODSXQyBo/s640/CitizenFour_c.png" width="640" /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnvfcCEINQHOC-n6kCL18KYeRk1zBvQ4lnY3ywCaCHDuUbSJrnJaeZeIB1o7wN4JmdprJkxFEQNPix6dUvklddZ5K5KunxSoa5OLtLWZbgwBPBXmhwtMAHH_fQekj-v4cXTRDZ9XlaGtE/s1600/CitizenFour_d.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjel5sF40zB5xMeUd6vLTKh9mU3OPjPh9xB1CkPanTDFvJvu7ElNXSiwUq8dI4tImOlQatDy6TInUCUH8ngqUE9D-oDaRcTOKXxpXNmzqViUnjS5qkDBNlq8zcQEojroHFVNc3GQ3XB0I8/s1600/CitizenFour_a.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><img border="0" height="356" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnvfcCEINQHOC-n6kCL18KYeRk1zBvQ4lnY3ywCaCHDuUbSJrnJaeZeIB1o7wN4JmdprJkxFEQNPix6dUvklddZ5K5KunxSoa5OLtLWZbgwBPBXmhwtMAHH_fQekj-v4cXTRDZ9XlaGtE/s640/CitizenFour_d.png" width="640" /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnvfcCEINQHOC-n6kCL18KYeRk1zBvQ4lnY3ywCaCHDuUbSJrnJaeZeIB1o7wN4JmdprJkxFEQNPix6dUvklddZ5K5KunxSoa5OLtLWZbgwBPBXmhwtMAHH_fQekj-v4cXTRDZ9XlaGtE/s1600/CitizenFour_d.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjel5sF40zB5xMeUd6vLTKh9mU3OPjPh9xB1CkPanTDFvJvu7ElNXSiwUq8dI4tImOlQatDy6TInUCUH8ngqUE9D-oDaRcTOKXxpXNmzqViUnjS5qkDBNlq8zcQEojroHFVNc3GQ3XB0I8/s1600/CitizenFour_a.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjel5sF40zB5xMeUd6vLTKh9mU3OPjPh9xB1CkPanTDFvJvu7ElNXSiwUq8dI4tImOlQatDy6TInUCUH8ngqUE9D-oDaRcTOKXxpXNmzqViUnjS5qkDBNlq8zcQEojroHFVNc3GQ3XB0I8/s640/CitizenFour_a.png" width="640" /></a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbukmmDxXQhnw2Az4RuIZaOmWcvs4MW2gDNCk0An_D2l0SKhRmiXYC5kLpMMYdFfwovndQAhWcLdTNfo-pbHhsV-qbHhVsGVx0h4xXsxQGURODtQLpsepywVdzinZr10K-IxKIdIIFVr8/s1600/CitizenFour_b.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="356" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbukmmDxXQhnw2Az4RuIZaOmWcvs4MW2gDNCk0An_D2l0SKhRmiXYC5kLpMMYdFfwovndQAhWcLdTNfo-pbHhsV-qbHhVsGVx0h4xXsxQGURODtQLpsepywVdzinZr10K-IxKIdIIFVr8/s640/CitizenFour_b.png" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhONV-560Q6yMcqg7AU1YRfTDbu7zROrXC_9OrMjeBzJ5rMkHnpgCnxepTH2VtW_ZGSPo_jaZPLLuUPiny5BEM0t3tSHo-A8RoFqM1nnb1uvqrxFASxc4TAvcOVhSyxvLBemnxODSXQyBo/s1600/CitizenFour_c.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a>
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<a href="https://citizenfourfilm.com/">Citizenfour</a> (2014), by Laura Poitras, is both a spy thriller and a cautionary warning about the limits of privacy in an age of intrusive surveillance. A glimpse of the filmmaker setting up the camera prior to an interview in a hotel room (top still) parallels the nighttime observation of Edward Snowden and Lindsay Mills at home in an undisclosed location (second still). Journalist Glenn Greenwald (third still), who does most of the interacting with Snowden in the film, is portrayed as a genuine hero. Intriguingly, the credits give a shout out to a set of privacy tools (fourth still).Nancy Kalowhttp://www.blogger.com/profile/02929128089164930824noreply@blogger.comtag:blogger.com,1999:blog-581714791990833247.post-34983886432137095682015-08-23T09:40:00.001-04:002015-08-23T09:42:34.359-04:00Ben Cotner and Ryan White<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCpUqhyDda6KpW6HpMMU36w6ThU4GNSHg4bbvwhTPCEFG4VMlFMdDbn_S8u7XwZ_VSK-cxF5rt66-StXXR4lksaBEQ63X3M9AZkUlSZ16LjpECPCdpOXV6m7lKK4AB0qy0s6v8EqcFON4/s1600/CaseAgainst8_b.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCpUqhyDda6KpW6HpMMU36w6ThU4GNSHg4bbvwhTPCEFG4VMlFMdDbn_S8u7XwZ_VSK-cxF5rt66-StXXR4lksaBEQ63X3M9AZkUlSZ16LjpECPCdpOXV6m7lKK4AB0qy0s6v8EqcFON4/s640/CaseAgainst8_b.png" width="640" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmswz6m1vm8Ro02wwtmC6S_S87b_n8FAiJH1-QOlaHA5U7RbTl3KXfyimBB_H0yeiKh6vYwWKITr6_EXgWsLBua8GHWXoICOeOlxvecwepqNA5LsQ-ZrZRILfB9meMTs_JEeNzsuwAj78/s1600/CaseAgainst8_a.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHqf2MqI9vmfmmDA6zYTWv3jbXFOXcT6sgEzPGoTECtKfIXCE4_sQOksVF9rTL2CEwlqehSQL5sHXX0rLjEFiz4d2Ld8JW037kUISnHnDjboZD-IX_fwt030Yz2jTgArciGpQgV-ai-qQ/s1600/CaseAgainst8_a.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHqf2MqI9vmfmmDA6zYTWv3jbXFOXcT6sgEzPGoTECtKfIXCE4_sQOksVF9rTL2CEwlqehSQL5sHXX0rLjEFiz4d2Ld8JW037kUISnHnDjboZD-IX_fwt030Yz2jTgArciGpQgV-ai-qQ/s640/CaseAgainst8_a.png" width="640" /></a></div>
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<a href="http://thecaseagainst8.com/">The Case Against 8</a> (2014), by Ben Cotner and Ryan White, tells the story of the two gay couples<br />
at the heart of the legal case to overturn California's ban against the freedom to marry. The filmmakers subtly compare the couples' romantic and domestic relationships to the professional relationship between the two "superlawyers," Ted Olson and David Boies (top still). The documentary's coverage of the case and the eventual win is thorough to the point of apparent omniscience: a camera captures and makes resonant every possible moment (second still: California Attorney General Kamala Harris makes a call to ensure a marriage takes place.)Nancy Kalowhttp://www.blogger.com/profile/02929128089164930824noreply@blogger.comtag:blogger.com,1999:blog-581714791990833247.post-82876980151625685672015-07-08T14:00:00.000-04:002015-07-08T15:10:47.710-04:00Talal Derki<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQaZpMWsIB_0LFPROK2oJzh9iZLWxtU4ZwdcJnCeRGOhLrwZoNDWbMqiLUxW1q-5W4QiGRwXyQhe59IK3ErQIXsJJAcsZOKAfs5DKxlgixGu9abOvW2A0SoWjcDxNoyEshsHsuRM-ud-g/s1600/ReturnToHoms.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQaZpMWsIB_0LFPROK2oJzh9iZLWxtU4ZwdcJnCeRGOhLrwZoNDWbMqiLUxW1q-5W4QiGRwXyQhe59IK3ErQIXsJJAcsZOKAfs5DKxlgixGu9abOvW2A0SoWjcDxNoyEshsHsuRM-ud-g/s320/ReturnToHoms.png" width="320" /></a></div>
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Talal Derki's <a href="http://www.returntohoms.com/">Return to Homs</a> (2013) is a harrowing descent into the violence of the military siege of Homs during the Syrian civil war. In the documentary, young men led by Abdul Basset Saroot (above) fight against Bashar al-Assad's army. Basset's men live in a ghostly interconnected labyrinth made up of partially-shelled apartment houses. Basset is shown to be an inspirational leader: a soccer playing, poetry-reciting activist who puts his life on the line against a dictatorial regime. As the film goes on, we can see Basset's increasing fatigue and frustration. Indeed, the rebels seem to be picked off, one by one, by army snipers, tanks, and bombs. The film's relentless focus on one small group in one city sheds light on the overall Syrian conflict.Nancy Kalowhttp://www.blogger.com/profile/02929128089164930824noreply@blogger.comtag:blogger.com,1999:blog-581714791990833247.post-24420778966152860922015-05-12T13:43:00.000-04:002015-05-12T13:43:31.692-04:00Wim Wenders<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjb19OOO9shqcgzbSIce0VYLAG64dqhiZ05yBtG9BFICqFhKbRNXsE9T2cIDofdluYByb9ibM2FB09cPR3o0yABHP4yK93mGo6qMs0kTGDaH4MA637s6-C1xD_rW_5dZIRyquDDxMEXQI/s1600/BVSocialClub_b.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="328" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjb19OOO9shqcgzbSIce0VYLAG64dqhiZ05yBtG9BFICqFhKbRNXsE9T2cIDofdluYByb9ibM2FB09cPR3o0yABHP4yK93mGo6qMs0kTGDaH4MA637s6-C1xD_rW_5dZIRyquDDxMEXQI/s640/BVSocialClub_b.png" width="640" /></a></div>
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<a href="http://www.theguardian.com/film/2015/may/04/buena-vista-social-club-to-get-sequel">Buena Vista Social Club</a> (1999), by Wim Wenders, has a lovely stand-alone segment about the musician Eliades Ochoa (above). Wenders weaves together two performances of "El Carretero," one with Ochoa alone and one with the big band in performance. The segment is notable for avoiding a "talking head" interview; instead, Ochoa is heard in voice-over, reminiscing about his growing up and musical influences. Wenders circles Ochoa with a handheld camcorder, and when "El Carretero" begins, he dramatically cuts to the same song on-stage. It's a memorable edit that connects the <i>son</i> tradition to more commercial music as well as establishing Ochoa's range as a musician in his own right.Nancy Kalowhttp://www.blogger.com/profile/02929128089164930824noreply@blogger.comtag:blogger.com,1999:blog-581714791990833247.post-13329779187098313412015-04-02T07:22:00.000-04:002015-04-03T06:51:24.487-04:00Laura Poitras<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.zeitgeistfilms.com/film.php?directoryname=oath">The Oath</a> (2010) by Laura Poitras tells the story of two Yemeni men, Salim Hamdan (top) and his wife's brother-in-law, <span style="line-height: 22px;">Nasser al-Bahri (bottom, also known as Abu Jandal), but only al-Bahri appears in the documentary. He had been Osama bin Ladin's bodyguard in the late 1990s, later returning to Yemen and imprisoned at the time of 9/11. Salim Hamdan, once employed as bin Ladin's driver, was detained for years at Guantanamo Bay. His (eventually successful) legal case runs as a parallel story to al-Bahri's mundane existence as a taxi driver in Sana'a. Al-Bahri is framed as a classic "unreliable narrator" with windy explanations, self-justifications, and occasional outright lies. The heroes of the movie are Hamdan's military attorney, Brian Mizer, and al-Bahri's FBI interrogator, Ali Soufan. The soundtrack by Osvaldo Golijov establishes a moody suspense that helps carry the well-edited narrative.</span></span><br />
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Nancy Kalowhttp://www.blogger.com/profile/02929128089164930824noreply@blogger.comtag:blogger.com,1999:blog-581714791990833247.post-23886055819348764282015-03-02T11:50:00.000-05:002015-03-02T11:50:00.216-05:00Asif Kapadia<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6IpIkkY6iiDyCHB5wt0rHsIKjhUwsg6UpFI16Ng7uGabo04E2PBCkR9IWiTkiZ8Dc9QW9EEt1JIaHSYuX_t3vYy7EdfH7h9jTBd8lZARTqyjzi3vYfglkN96wDRy57em56TezHdmZRE4/s1600/Senna_b.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6IpIkkY6iiDyCHB5wt0rHsIKjhUwsg6UpFI16Ng7uGabo04E2PBCkR9IWiTkiZ8Dc9QW9EEt1JIaHSYuX_t3vYy7EdfH7h9jTBd8lZARTqyjzi3vYfglkN96wDRy57em56TezHdmZRE4/s1600/Senna_b.png" height="394" width="640" /></a></div>
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Asif Kapadia's <a href="https://www.facebook.com/sennamovie">Senna</a> (2010) masterfully edits together archival footage, vacuumed up from apparently every possible source, to tell the story of Ayrton Senna, the Brazilian Formula One driver. A sense of dread is inherent in the watching of this documentary, because the hazards of Formula One racing are genuinely frightening and the unhappy outcome is well-known. The filmmakers visually tell the story of Senna's career and life, and their use of period close-ups is particularly resonant in showing the effect of time and stress on a well-loved face.Nancy Kalowhttp://www.blogger.com/profile/02929128089164930824noreply@blogger.comtag:blogger.com,1999:blog-581714791990833247.post-38013648164038494232015-02-02T08:27:00.000-05:002015-02-02T08:27:00.062-05:00Errol Morris<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTH3HOEQi6uOSC_o-hd3eSNWdejilziSNJhzQA_5d9DkkfKJgMJdUixmsTL4AykDsUBTmy5hsfvvFvC-CBRqsy0IjgeHv6Xv4jkiaY9v0860g5o3tS5J7OMHnLrC6ck5-0LfariDxdYmg/s1600/StandardOpProcedure_b.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTH3HOEQi6uOSC_o-hd3eSNWdejilziSNJhzQA_5d9DkkfKJgMJdUixmsTL4AykDsUBTmy5hsfvvFvC-CBRqsy0IjgeHv6Xv4jkiaY9v0860g5o3tS5J7OMHnLrC6ck5-0LfariDxdYmg/s1600/StandardOpProcedure_b.png" height="358" width="640" /></a></div>
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<a href="http://errolmorris.com/film/sop.html">Standard Operating Procedure</a> (2008) by Errol Morris gives new weight and meaning to the disturbing Abu Ghraib photographs taken by US military personnel documenting prisoner abuse. Morris makes sense of the photographs by emphasizing and re-enacting their creation (top still) and also by visually lining up images taken at the same time and place (second still) on different cameras. Interviews with the men and women working at Abu Ghraib shine additional light on the history and implications of the war in Iraq. Box office figures from <u>Standard Operating Procedure</u>'s 2008 theatrical release show that it made under $300,000 in the United States, showing at about 20 movie theaters. <u>American Sniper</u>, in contrast, has made about $250 million dollars so far in the US, at about 3900 movie theaters.Nancy Kalowhttp://www.blogger.com/profile/02929128089164930824noreply@blogger.comtag:blogger.com,1999:blog-581714791990833247.post-82962374941179986382015-01-02T08:15:00.000-05:002015-01-02T08:42:44.970-05:00Laura Poitras<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-0mPNWt_J8JqFikdybhHC8Yn55MsHORmOzmjWB1nFCNLh7pcFhzo7qzsd7tE66hBFRLyN8twbw3R_tj99014QYrGrgUcPg-lXQp1wFQ23EchJactzS4Qyx1my2ZHzIcufPPCa0r7fE8k/s1600/MyCountry_a.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-0mPNWt_J8JqFikdybhHC8Yn55MsHORmOzmjWB1nFCNLh7pcFhzo7qzsd7tE66hBFRLyN8twbw3R_tj99014QYrGrgUcPg-lXQp1wFQ23EchJactzS4Qyx1my2ZHzIcufPPCa0r7fE8k/s1600/MyCountry_a.png" height="360" width="640" /></a></div>
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<a href="http://www.zeitgeistfilms.com/film.php?directoryname=mycountrymycountry">My Country, My Country</a> (2006) by <a href="http://www.praxisfilms.org/films/">Laura Poitras</a> documents the tense months leading up to elections in Iraq in early 2005. Poitras follows the step-by-step process of ballot and polling place preparation with Iraqi and foreign officials. She follows journalists, American military personnel, and contractors who weigh in on events as they happen. But the key to the film is a parallel plot about an Iraqi doctor running for office in Baghdad. Poitras's long-term, sensitive, and profoundly engaging focus on Dr. Riyadh and his family shows the power of observational documentary. Poitras frames Dr. Riyadh as the embodiment of an idealized Iraq and the symbol of a country in chaotic times. The viewer gets to know him as he sees patients in the clinic, visits Abu Ghraib prison (second still), talks to his neighbors, and spends time with his wife and children. Dr. Riyadh represents the wish for self-determination demonstrated by candidates and voters. The film may document events from ten years ago, but it maintains its documentary value and relevance.Nancy Kalowhttp://www.blogger.com/profile/02929128089164930824noreply@blogger.comtag:blogger.com,1999:blog-581714791990833247.post-11790088954481637902014-12-05T07:47:00.000-05:002014-12-05T07:47:00.314-05:00Shola Lynch<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9vHl53ynZFNh28OwTG0hup63tOVjQEbRzTEJRJHZdY_ZXDoaMWvAVDLKg6w2d6gdCCr5adhUFXVHtRPlkJvlZ45P5RqtehInOQjy5dVbQKed8GCaelYHxcdv_EQsJ18cxEVK9AFFwQVI/s1600/FreeAngela_a.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9vHl53ynZFNh28OwTG0hup63tOVjQEbRzTEJRJHZdY_ZXDoaMWvAVDLKg6w2d6gdCCr5adhUFXVHtRPlkJvlZ45P5RqtehInOQjy5dVbQKed8GCaelYHxcdv_EQsJ18cxEVK9AFFwQVI/s1600/FreeAngela_a.png" height="356" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM7qfDUSJFiQr4JNc48c8dXhv_qxQ-1SXt2PhvqKsNSK5UvHxHyQ2HekaBjxDNfOqboMq8wvJwtVqwF5rdWXttww-XWLYRwv1fQoHExa_kXeONBo4mTOIXG7ayhyphenhyphenADvOG5U1_gzPZOcFU/s1600/FreeAngela_FaniaDavis.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM7qfDUSJFiQr4JNc48c8dXhv_qxQ-1SXt2PhvqKsNSK5UvHxHyQ2HekaBjxDNfOqboMq8wvJwtVqwF5rdWXttww-XWLYRwv1fQoHExa_kXeONBo4mTOIXG7ayhyphenhyphenADvOG5U1_gzPZOcFU/s1600/FreeAngela_FaniaDavis.png" height="358" width="640" /></a></div>
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Shola Lynch's <a href="http://www.lionsgateshop.com/product.asp?Id=29633&TitleParentId=9319">Free Angela and All Political Prisoners</a> (2013) is a legal thriller that uses archival news footage to tell the story of activist and professor Angela Davis from her 1969 arrival to UCLA to her acquittal for murder, kidnapping, and conspiracy in 1972. The film's present-day interviews, however, propel the film beyond the facts of the case. Fascinating interviews with Davis (top still), her sister Fania Davis (middle still) and a variety of other observers and supporters, such as one of her defense attorneys, Doris Brin Walker, bring the story to life. The issues that Davis was involved in over 40 years ago resonate at time when Michael Brown and Eric Garner are part of the national discussion on race, police, and justice.Nancy Kalowhttp://www.blogger.com/profile/02929128089164930824noreply@blogger.comtag:blogger.com,1999:blog-581714791990833247.post-78873139731474468582014-11-01T09:33:00.000-04:002014-11-01T09:33:00.210-04:00Gillo Pontecorvo<div class="separator" style="clear: both; text-align: center;">
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<a href="https://www.youtube.com/watch?v=XeMWdueGTZ4">The Battle of Algiers</a> (1966) by Gillo Pontecorvo is not a documentary. It's entirely scripted and acted (top still: some of the characters trapped by security forces behind an apartment wall), relating events in the war for Algerian independence against the French in the 1950s. But its verite-style black-and-white footage gives it a certain realism; re-enacted scenes of crowded demonstrations are some of the most powerful in the film. Echoes of contemporary events also prevent the film from seeming dated. The scene of the bombing of a house on a residential street in the middle of the city, for example, recalled news images of homes shelled in Gaza during the summer of 2014. The film's plot depends on building suspense, such as the sequence of local women activists in Western clothes (second still) getting ready to carry out violent attacks. The film gives characters representing the French colonial government and military the opportunity to make their case for colonialism (bottom still), allowing viewers draw their own conclusions.Nancy Kalowhttp://www.blogger.com/profile/02929128089164930824noreply@blogger.comtag:blogger.com,1999:blog-581714791990833247.post-32674758662094873212014-10-01T07:30:00.000-04:002014-10-01T09:32:47.532-04:00Werner Herzog<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcdjV5-SyVMMLfPiATz1AJwvyMHi96Xw71AwhQdq7z24khAezefonh9Yn9AyjgEXdsivqfBDeHSTPiXfDEdam8GMN-4AoPt_2HGCpxPYMmxW52M91-8Y5RFklc88D5G4KoNRduczzHO6I/s1600/MyBestFiend_a.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJkaXRcYwFZtb5o_kZ-keBO-cyT-6PzII_-2NJKJhhJq3JfhTfOMRf8lEN2ZzKuNxzLwED3ufR-FXpym-ml5Wn8JlJQ3QOQdhUoW0HTtXVUXlTKapTRg7J-zP7J5lTw8HhF8s4nPkDZNM/s1600/MyBestFiend_b_Woyzeck.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJkaXRcYwFZtb5o_kZ-keBO-cyT-6PzII_-2NJKJhhJq3JfhTfOMRf8lEN2ZzKuNxzLwED3ufR-FXpym-ml5Wn8JlJQ3QOQdhUoW0HTtXVUXlTKapTRg7J-zP7J5lTw8HhF8s4nPkDZNM/s1600/MyBestFiend_b_Woyzeck.png" height="368" width="640" /></a><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcdjV5-SyVMMLfPiATz1AJwvyMHi96Xw71AwhQdq7z24khAezefonh9Yn9AyjgEXdsivqfBDeHSTPiXfDEdam8GMN-4AoPt_2HGCpxPYMmxW52M91-8Y5RFklc88D5G4KoNRduczzHO6I/s1600/MyBestFiend_a.png" height="366" width="640" /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW1NrAyh4VAYYpYAUwNoADVyjkOldoW2hElv6Nmk5pDeqg8WSuG9JKSDRRHBStuwF3nE2jz0FPhRGp5UJckxf4G2_08hQWhSXojEKBKegP4HEsPHAIoz7R5aqV1K7BnSkgeuWHpScWBf8/s1600/MyBestFiend_c.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW1NrAyh4VAYYpYAUwNoADVyjkOldoW2hElv6Nmk5pDeqg8WSuG9JKSDRRHBStuwF3nE2jz0FPhRGp5UJckxf4G2_08hQWhSXojEKBKegP4HEsPHAIoz7R5aqV1K7BnSkgeuWHpScWBf8/s1600/MyBestFiend_c.png" height="368" width="640" /></a></div>
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Werner Herzog's portrayal of Klaus Kinski (top still: Herzog's film <i>Woyzeck</i>) in his character study <a href="http://www.wernerherzog.com/114.html">My Best Fiend</a> (1999) is funny and horrifying. Kinski comes across as a madman, but there must have been something behind his antagonistic behavior. Indeed, for all his dysfunction, Kinski made so many films (second still: at left), including five with Herzog: <i>Aguirre</i>, <i>Woyzeck</i>, <i>Nosferatu</i>, <i>Fitzcarraldo</i>, and <i>Cobra Verde</i>.<span style="background-color: #f6f6f5; color: #333333; font-family: Verdana, Arial, sans-serif; font-size: 13px; line-height: 18px;"> </span>Herzog relishes the chance to tell his tales about his star, who, having died in 1991, can't retaliate. Footage from Les Blank's documentary on the making of Fitzcarraldo, <a href="http://www.lesblank.com/shop/burden-of-dreams-deluxe-criterion-janus-production-dvd/">Burden of Dreams</a>, corroborates Herzog's creepiest rants.Nancy Kalowhttp://www.blogger.com/profile/02929128089164930824noreply@blogger.comtag:blogger.com,1999:blog-581714791990833247.post-44603005686196615822014-09-01T07:30:00.000-04:002014-09-01T07:30:02.971-04:00Greg "Freddy" Camalier<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu4K2bG4FYIu66vljsolfu1z70B6re15NM_8asKcfMuNmdW9TVpbWUcjVEYibzzR0r15K1-Y7WQewmjcuVsa5VLjnzzGGOFrkjw64Rs-oyE-WoEeTBcLC2BBB8fcsjT8OQXTuPM4E-N4M/s1600/MuscleShoals_b.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu4K2bG4FYIu66vljsolfu1z70B6re15NM_8asKcfMuNmdW9TVpbWUcjVEYibzzR0r15K1-Y7WQewmjcuVsa5VLjnzzGGOFrkjw64Rs-oyE-WoEeTBcLC2BBB8fcsjT8OQXTuPM4E-N4M/s1600/MuscleShoals_b.png" height="358" width="640" /></a></div>
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<a href="http://www.magpictures.com/muscleshoals/">Muscle Shoals</a> (2013) by Greg "Freddy" Camalier elaborates on a cold war between two recording studios in Muscle Shoals, Alabama: Rick Hall's FAME Studios (top) and that of his former session musicians (bottom). The conflict between a tough-guy founder and his mild-mannered minions gives emotional heft to an otherwise standard "behind-the-scenes" music documentary. Although <a href="http://www.imdb.com/title/tt2492916/">Muscle Shoals</a> touts the harmony of the town's music scene, with racially diverse musicians recalling how they recorded together, some of the imagery contradicts that harmony: the film uncomfortably lingers on archival footage of a huge Confederate flag on stage at a Lynyrd Skynyrd concert. </div>
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Nancy Kalowhttp://www.blogger.com/profile/02929128089164930824noreply@blogger.comtag:blogger.com,1999:blog-581714791990833247.post-29285446584687880522014-08-03T19:00:00.000-04:002014-08-03T19:28:15.370-04:00Morgan Neville<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz3k0e9J8SYyVDNMKyPvZE0YAySiQbeYeFmS-dB9-DRnpeMzarJ5eOQdITC3glKfpvI_VqIxO4G8PKH7uT6xOHnMGcir2hBHjXHoLgyPIkPwSWLYKYLl4JOD95g-znxS8i66wv3gFmGY4/s1600/TwentyFeet_a.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz3k0e9J8SYyVDNMKyPvZE0YAySiQbeYeFmS-dB9-DRnpeMzarJ5eOQdITC3glKfpvI_VqIxO4G8PKH7uT6xOHnMGcir2hBHjXHoLgyPIkPwSWLYKYLl4JOD95g-znxS8i66wv3gFmGY4/s1600/TwentyFeet_a.png" height="356" width="640" /></a></div>
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Morgan Neville's <a href="http://twentyfeetfromstardom.com/">Twenty Feet from Stardom</a>'s best sequence features Merry Clayton (above) listening to a recording of her vocal accompaniment to the Rollings Stones song, "Gimme Shelter" and reflecting on how she came to be in the studio with the band. Her close-up is intercut with Mick Jagger's reaction to hearing the same isolated vocal track. Clayton's singing is strained, revelatory, and inimitable; Clayton's and Jagger's faces, in close-up, are particularly expressive.Nancy Kalowhttp://www.blogger.com/profile/02929128089164930824noreply@blogger.comtag:blogger.com,1999:blog-581714791990833247.post-74570468582675333652014-07-01T11:14:00.000-04:002014-07-01T11:14:00.577-04:00Wim Wenders<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjO73E-YDLA19cFHLAUaE1J6qndzJbbosd7nvHMrZkuaG0iyDEDRmTLCnPoMPNGtmGERmuRlWrYlU4W2j7HmGaZG6MncjhOc59euAYjLBLXyMBulWqxIfeh95iAcOpi6tC4yHyCnzLDG0/s1600/Pina_a.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjO73E-YDLA19cFHLAUaE1J6qndzJbbosd7nvHMrZkuaG0iyDEDRmTLCnPoMPNGtmGERmuRlWrYlU4W2j7HmGaZG6MncjhOc59euAYjLBLXyMBulWqxIfeh95iAcOpi6tC4yHyCnzLDG0/s1600/Pina_a.png" height="338" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-nDeccG0GETWWbKDMnP07tcwS7o2SQl14UV0wfxmOaO9xQd9X97U6OxEMgOx5Ez1OKepj-3cnrf5ewatR-nQgKbFQGusl9n8eWKhy4_pxZOHBl8hGj1Wz-ra9T0BL78SPClYkTRV3OF8/s1600/Pina_b.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-nDeccG0GETWWbKDMnP07tcwS7o2SQl14UV0wfxmOaO9xQd9X97U6OxEMgOx5Ez1OKepj-3cnrf5ewatR-nQgKbFQGusl9n8eWKhy4_pxZOHBl8hGj1Wz-ra9T0BL78SPClYkTRV3OF8/s1600/Pina_b.png" height="336" width="640" /></a></div>
<a href="http://www.pina-film.de/en/">Pina</a> (2011) by Wim Wenders has a wealth of beautifully filmed dance sequences showing the range and intensity of Pina Bausch's choreography with her company Tanztheater Wuppertal. Sadly, Pina died in 2009 during the film's pre-production stage, yet the film's collaborative feel suggests that Wenders was still influenced by his unseen muse. Wenders beautifully shows individual dancers, all remarkable masters of their art, with voice-only interviews heard over static close-up portrait shots (top still). Choreography meets theatrical expression in the most natural and engaging way, both on-stage and in non-traditional settings.Nancy Kalowhttp://www.blogger.com/profile/02929128089164930824noreply@blogger.comtag:blogger.com,1999:blog-581714791990833247.post-22307567216409840782014-06-01T08:49:00.000-04:002014-06-01T08:49:00.420-04:00 Zachary Heinzerling<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-DTW0gNU4b0fzawhmpaHroCK9Cro7s0EdLpu6KnTC1lLVBcMJPT4XiW8lygY6sY49beq290aTo01vjfBVu-s0VxNA8SKUW26vxGjIIQ2X6sydqZCaZp0cI0cU5b2QuYgf3XYrMnHbP9g/s1600/CutieBoxer_c.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-DTW0gNU4b0fzawhmpaHroCK9Cro7s0EdLpu6KnTC1lLVBcMJPT4XiW8lygY6sY49beq290aTo01vjfBVu-s0VxNA8SKUW26vxGjIIQ2X6sydqZCaZp0cI0cU5b2QuYgf3XYrMnHbP9g/s1600/CutieBoxer_c.png" height="344" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7Et_Sa7CpHTuUuhq4FHK9QyUGgicYSd-HURJxmHNlNglPRU6cdXtpoXtCFqqVjMIyOz1tTIP9vO9fHwVSMEGcfmLDUvYc-_joFgBnEACzKE7RII-2IMWty58P1B38-JJ7WSn_ZOJIMxM/s1600/CutieBoxer_b.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7Et_Sa7CpHTuUuhq4FHK9QyUGgicYSd-HURJxmHNlNglPRU6cdXtpoXtCFqqVjMIyOz1tTIP9vO9fHwVSMEGcfmLDUvYc-_joFgBnEACzKE7RII-2IMWty58P1B38-JJ7WSn_ZOJIMxM/s1600/CutieBoxer_b.png" height="356" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHS6qNep2kH1fCPZKuWVUbMY0-XjywcWB5FQDi3MLzEowOleo35vmGGpy5rwVSnHB7IWWjiJ_Nk2o10KdZcO2PgZRtkSicxV317os-ebWbexmRpv1bKp5XfnrS7RICETLuYcq-9IXgb6k/s1600/CutieBoxer_a.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHS6qNep2kH1fCPZKuWVUbMY0-XjywcWB5FQDi3MLzEowOleo35vmGGpy5rwVSnHB7IWWjiJ_Nk2o10KdZcO2PgZRtkSicxV317os-ebWbexmRpv1bKp5XfnrS7RICETLuYcq-9IXgb6k/s1600/CutieBoxer_a.png" height="348" width="640" /></a></div>
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Zachary Heinzerling's <a href="http://dogwoof.com/films/cutie-and-the-boxer">Cutie and the Boxer</a> (2013) is a resonant all-access portrait of two New York artists, Ushio and Noriko Shinohara, at work and in their marriage. Their 21-year age difference and their seemingly incompatible temperaments make for dramatic observational footage. The drama deepens with skillful editing of archival videos from their their younger days (Noriko, middle still) and animations from Noriko's autobiographical drawings (bottom still). Heinzerling boldly creates an unequal representation of the two protagonists: Ushio comes across as a self-centered bully, verifying the cartoon renderings of "Cutie" (Noriko) and "Bullie" (Ushio).<br />
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Nancy Kalowhttp://www.blogger.com/profile/02929128089164930824noreply@blogger.comtag:blogger.com,1999:blog-581714791990833247.post-54133497515964212242014-05-01T08:58:00.000-04:002014-05-01T08:59:02.657-04:00Deborah Stratman<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA3l1Lku2rPdBf3mtDSe29odP_9DMfUOonQyJVee3canhxlq9IPnsMYp2rv7kMX92H0HKzrMZhmjomwKnYWuJgLi546LVorv3A8vfiTBNLmiNxJZ78NDQehLnSNyjYz5UMRLlDg-sTdN0/s1600/HackedCircuit_a.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA3l1Lku2rPdBf3mtDSe29odP_9DMfUOonQyJVee3canhxlq9IPnsMYp2rv7kMX92H0HKzrMZhmjomwKnYWuJgLi546LVorv3A8vfiTBNLmiNxJZ78NDQehLnSNyjYz5UMRLlDg-sTdN0/s1600/HackedCircuit_a.png" height="222" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwsJXFKavK7DmhEpWUbYDQwKcNwotdtyPrGFHei7Sc0XTgcKAx6G0WxPThRzPGTtwGVdcMY_9gi-VE6bITiSt-uq3l79i51Tk-AbAEhELlPzHxPRbTMuxNF9L3LnEol5HSoaIynQtIsYU/s1600/HackedCircuit_b.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwsJXFKavK7DmhEpWUbYDQwKcNwotdtyPrGFHei7Sc0XTgcKAx6G0WxPThRzPGTtwGVdcMY_9gi-VE6bITiSt-uq3l79i51Tk-AbAEhELlPzHxPRbTMuxNF9L3LnEol5HSoaIynQtIsYU/s1600/HackedCircuit_b.png" height="223" width="400" /></a></div>
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Deborah Stratman's witty and mesmerizing short film, <a href="http://www.pythagorasfilm.com/hacked-circuit.html">Hacked Circuit</a>, shows the painstaking work that goes into creating sounds that match up with filmed activity. Stratman documents an audio engineer and a Foley artist as they recreate the audio from a kinetic scene in Francis Ford Coppola's <a href="http://www.imdb.com/title/tt0071360/">The Conversation</a>, in which Gene Hackman's character wrenches apart his apartment's walls and floors while fruitlessly looking for a hidden recording device. The inherent fascination with the Foley process, with its home-made and unpredictable tools and techniques, is emphasized by the fluidity of the camera's single take. Stratman's visuals do conjure up "Big Brother" and surveillance, but the film also simply pays homage to professionals doing their jobs well.Nancy Kalowhttp://www.blogger.com/profile/02929128089164930824noreply@blogger.comtag:blogger.com,1999:blog-581714791990833247.post-37304231617829292802014-03-07T05:50:00.000-05:002014-03-07T06:17:52.688-05:00Maciej Drygas<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzJ0anLpi__Na9Sm2uJwZCXunPBLgIXHancnXVcgF-V6vxXYYbPkQgjH_2tjBj-7THRY5P2Nqwjg3m-udh66gypPp9KsOMLrIzY5g8WglrQqP0DHaSusD0LfIOZsnPbsYujshu6bULlzE/s1600/ViolatedLetters_c.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzJ0anLpi__Na9Sm2uJwZCXunPBLgIXHancnXVcgF-V6vxXYYbPkQgjH_2tjBj-7THRY5P2Nqwjg3m-udh66gypPp9KsOMLrIzY5g8WglrQqP0DHaSusD0LfIOZsnPbsYujshu6bULlzE/s1600/ViolatedLetters_c.JPG" height="300" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitwLowrPsSTb2H4MENykxJfTPN3tMUl810fZLjaZoCovnY5SGLW1eEMT-K1KaoXtGg2izhPaSqnqrjUGW4zTkNETMdavp6_-2yGtw2vxzEhtzqpS9vxil6DgUVR351ixNqDR_alxnj1xA/s1600/ViolatedLetters_d.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitwLowrPsSTb2H4MENykxJfTPN3tMUl810fZLjaZoCovnY5SGLW1eEMT-K1KaoXtGg2izhPaSqnqrjUGW4zTkNETMdavp6_-2yGtw2vxzEhtzqpS9vxil6DgUVR351ixNqDR_alxnj1xA/s1600/ViolatedLetters_d.JPG" height="298" width="400" /></a></div>
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<span style="background-color: white;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 12px;"><a href="http://sales.arte.tv/detailFiche.action?programId=2667">Violated Letters</a> (2011) uses extraordinary archival footage of twentieth century Poland to </span></span></span><span style="background-color: white; font-family: Arial, Helvetica, sans-serif; font-size: 12px;">explore daily life under the strictures of an authoritarian society. Intercepted letters, never delivered and recovered decades later, are read aloud in the film, providing</span><span style="background-color: white; font-family: Arial, Helvetica, sans-serif; font-size: 12px;"> a vernacular history of decades of Cold War history and culture from the perspective of ordinary people. The fate of millions of letters is an unsettling example of repression at its most efficient and impersonal. </span><span style="background-color: white; font-family: Arial, Helvetica, sans-serif; font-size: 12px;">In Poland, a special office stole, opened, and scrutinized personal mail from 1945 to 1989. Carefully chosen excerpts from this correspondence, accompanied by evocative period footage, reflect a time of</span><span style="background-color: white; font-family: Arial, Helvetica, sans-serif; font-size: 12px;"> would-be state control over personal expression.</span><span style="background-color: white; font-family: Arial, Helvetica, sans-serif; font-size: 12px;"> </span>Nancy Kalowhttp://www.blogger.com/profile/02929128089164930824noreply@blogger.comtag:blogger.com,1999:blog-581714791990833247.post-14165105966883134182014-01-22T17:50:00.000-05:002014-01-22T17:50:00.128-05:00Mohammad Bakri<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh00HSqFmnPxyFTQwqesX5OQWvU-nw77TZXCwYTpiDetAewyeJJHu99f-8lyYh1M_c45I3qS3KPkD9i_JwnteQuVbN_6hb5P4743yOeGouI6z9YocyCwVRyn2chHVfOdWh731sV4xslNoQ/s1600/JeninJenin_b.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh00HSqFmnPxyFTQwqesX5OQWvU-nw77TZXCwYTpiDetAewyeJJHu99f-8lyYh1M_c45I3qS3KPkD9i_JwnteQuVbN_6hb5P4743yOeGouI6z9YocyCwVRyn2chHVfOdWh731sV4xslNoQ/s400/JeninJenin_b.png" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZKR6g-zsgHEBLEohBv5hkeDaWQzZUw50HND4dw0w1l8t6D6C60RdfgBu4jEZQiizCYAi_3irT-V9LwIkwas77SIFhEjsCNmpc0ZlrtefzrCBfh69w4XwvC4Lje_clmywvLDZLpj1SwpM/s1600/JeninJenin_a.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZKR6g-zsgHEBLEohBv5hkeDaWQzZUw50HND4dw0w1l8t6D6C60RdfgBu4jEZQiizCYAi_3irT-V9LwIkwas77SIFhEjsCNmpc0ZlrtefzrCBfh69w4XwvC4Lje_clmywvLDZLpj1SwpM/s400/JeninJenin_a.png" width="400" /></a></div>
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Mohammad Bakri's <a href="http://www.youtube.com/watch?v=qJmUryVKQrU">Jenin Jenin</a> (2002) documents the West Bank town of Jenin after a violent clash with the Israeli Defense Forces in April 2002. Bakri spoke to residents about the fighting and its aftermath, assembling the interview footage into a statement against Israel's military actions in Palestinian refugee camps in general. Bakri weaves individual stories with scenes of damaged and demolished areas in Jenin; conversations with children (top still) are treated with the same respect given to the adults. The film ends with an unexpected comic moment as a man (second still) surrounded by a growing crowd of onlookers pretends (holding a shoe) to make a phone call to the UN to ask for more international attention to the situation in Jenin.Nancy Kalowhttp://www.blogger.com/profile/02929128089164930824noreply@blogger.comtag:blogger.com,1999:blog-581714791990833247.post-60324296549153413492013-12-26T17:24:00.000-05:002013-12-26T17:24:00.274-05:00Philip Widmann and Karsten Krause<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqDCIDD3P1QDyby0o-yOXJQFyF_V49gaxqF5790bOzsh2-UUUbNZbDPjidfWoNuqxM7mxXjxviTVbylfUcT_nlaXtEJQ-7cO41nkfnzwF21HMqPmMbJX8oG9aUGs5-SW4XLJwxfd5vet4/s1600/PhotographersWife_a.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqDCIDD3P1QDyby0o-yOXJQFyF_V49gaxqF5790bOzsh2-UUUbNZbDPjidfWoNuqxM7mxXjxviTVbylfUcT_nlaXtEJQ-7cO41nkfnzwF21HMqPmMbJX8oG9aUGs5-SW4XLJwxfd5vet4/s400/PhotographersWife_a.JPG" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy1T-ca490uxkvk8W_kjgpshX-OAbDALfdGDdAZlOHatZfkU5fRqPTBBzTlDPvt2AywrNTiIHNxVKtdBEtzobjH0L02tTA7Z7d0-vcFNzzD57A3IZhxwlVK_E_ZdXeZhDy7e6xj0wL7kA/s1600/PhotographersWife_b.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy1T-ca490uxkvk8W_kjgpshX-OAbDALfdGDdAZlOHatZfkU5fRqPTBBzTlDPvt2AywrNTiIHNxVKtdBEtzobjH0L02tTA7Z7d0-vcFNzzD57A3IZhxwlVK_E_ZdXeZhDy7e6xj0wL7kA/s400/PhotographersWife_b.JPG" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmEpqRhtwGUnSHPaX-OoMlw1JmIOhk9eAn38gfPfuSf8psW60tMEIQ1QxJFTBXNwBZ8DaKA6_HfG6b01kh-hytrGuSjGun7g-qxO04JQnWaqwlG3ZF2YO4ZFyGqWF4fS0anIy4-4pceBY/s1600/PhotographersWife_c.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmEpqRhtwGUnSHPaX-OoMlw1JmIOhk9eAn38gfPfuSf8psW60tMEIQ1QxJFTBXNwBZ8DaKA6_HfG6b01kh-hytrGuSjGun7g-qxO04JQnWaqwlG3ZF2YO4ZFyGqWF4fS0anIy4-4pceBY/s400/PhotographersWife_c.JPG" width="400" /></a></div>
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<span style="font-family: Times, Times New Roman, serif;"><a href="http://zeroemcomportamento.wordpress.com/2011/05/06/short-interviews-%E2%80%9Cthe-photographers-wife%E2%80%9D/">The Photographer's Wife</a> (2011), by Philip Widmann and Karsten Krause, celebrates the anonymous achievements of an amateur photographer, Eugen Gerbert, whose primary subject was his wife, Gerti. Now widowed,<span style="background-color: white;"> Gerti looks through boxes of photographs and recalls both faraway vacations and homey domesticity. The decades of seemingly commonplace marriage fly by; all the while, Eugen had meticulously photographed his beloved's body, dressed and undressed. Through a photographer's eyes, however, an ordinary woman becomes a goddess of femininity. Charmingly, Eugen's appreciation for his muse seems to have increased as she aged. Ultimately, Gerti's nakedness turns the pictures into aesthetic objects on the theme of womanhood. The photographer's notes and diaries, read aloud, have a deadpan quality, in contrast to the sensuality of the images. </span></span>Nancy Kalowhttp://www.blogger.com/profile/02929128089164930824noreply@blogger.comtag:blogger.com,1999:blog-581714791990833247.post-56389762877347952952013-11-23T12:59:00.000-05:002013-11-23T12:59:00.160-05:00Omar Amiralay<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinvPfvshCaqf7B9gO1-Id0DVx6mQ5Wd2LLJblJscJ0uT_xtCvNRrByxLuNQVP_E8C6MQc9zmpIF-bEn2udau7iK8inDwAVcQ8lzs94cLQ5otpj-lgotmsQ3LWgbySs26S5oPgCQgV3V_g/s1600/APlateOfSardines.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="185" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinvPfvshCaqf7B9gO1-Id0DVx6mQ5Wd2LLJblJscJ0uT_xtCvNRrByxLuNQVP_E8C6MQc9zmpIF-bEn2udau7iK8inDwAVcQ8lzs94cLQ5otpj-lgotmsQ3LWgbySs26S5oPgCQgV3V_g/s400/APlateOfSardines.png" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnGHWrfMF6WqJEhdvmtR7p9NsspN8tONmntrVmqzJp-5OcsVkiwWEJM-keNX8fxzAm5Lcs2yzZE5ggcVWy1azvkE3QwaUNYq8iGHsij7XdQg7u2LaFAMQa8oQDJ9ByTePJyaYHTh-M68I/s1600/APlateOfSardines_b.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnGHWrfMF6WqJEhdvmtR7p9NsspN8tONmntrVmqzJp-5OcsVkiwWEJM-keNX8fxzAm5Lcs2yzZE5ggcVWy1azvkE3QwaUNYq8iGHsij7XdQg7u2LaFAMQa8oQDJ9ByTePJyaYHTh-M68I/s400/APlateOfSardines_b.png" width="400" /></a></div>
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Omar Amiralay's beautiful short film, <a href="http://www.youtube.com/watch?v=_AGZGk_TEBY">A Plate of Sardines</a> (1997), relates his story of how he came to hear of the state of Israel as a boy in 1950. Amiralay, a Syrian documentary filmmaker who died in 2011, narrates the film, which mixes footage of ruins of Quneitra, a Syrian town in the Golan Heights, with dreamscape images from Amiralay's memories. Amiralay's aunt (second still) at once confirms and confounds his memories of a plate of sardines representing the expulsion of his relatives from Israel. Amiralay records pensive images of the empty streets of Quneitra through the eyes of his filmmaker friend Mohammed Malas, who says that "sometimes reality doesn't solve things, but cinema protects them." Watching <a href="http://www.youtube.com/watch?v=itGkHgg7c8w">A Plate of Sardines</a> led me to wonder about future independent films documenting the ongoing conflict in Syria.Nancy Kalowhttp://www.blogger.com/profile/02929128089164930824noreply@blogger.com