Category Archives: festival

More of the Best of Sheffield Doc/Fest 2015

As promised, here are more of my favourites from the films I’ve already seen, and written about, for Sheffield Doc/Fest:

Good Girl

An acclaimed filmmaker from a young age, Solveig Melkeraaen Is used to being in control of her life in Norway. When she is felled by a serious depression, which sees her undergoing electroshock therapy treatment in a psychiatric institute, she turns the camera on herself, in an attempt to take back control. In this intimate and brave exploration of depression, we follow her on the road to recovery, as she teases out the reasons for her breakdown – a journey which sees her trying to puncture the stigma and silence that so often accompanies mental illness. Surrounded by her supportive siblings and loving partner, Solveig seems to be well on her way to recovery — until a relapse threatens her fragile progress. Unflinching, blackly funny, and beautifully filmed – with highly stylised dramatic sequences – Good Girl breaks new boundaries in autobiographical filmmaking, and shines a light on how this devastating illness weaves its destructive path.

Carol Nahra

3 1/2 Minutes, Ten Bullets

It became known in America as the “loud music trial”. In an encounter which lasted a scant three and a half minutes, a middle aged white man named Mike Dunn repeatedly fired into a car of unarmed black teenagers, after they refused to turn down their rap music, killing 17 year old Jordan Davis. Now the case has come to trial, and the nation is watching. Dunn’s attorney is using Florida’s controversial “stand your ground” law to argue self defence. In the wake of the Trayvon Martin case, in which a white man walked free in Florida after gunning down an unarmed teenager, tensions are running high. Director Marc Silver skilfully weaves a compelling narrative through beautifully shot courtroom scenes, interviews with the victim’s parents and friends, and shocking telephone conversations between incarcerated Dunn and his distraught fiancee. A riveting look at a flawed legal system in a country where race relations are balanced on a knife’s edge.

Carol Nahra

Orion: The Man Who Would Be King

As a teenager in 1960s Alabama, Jimmy Ellis’ wonderful singing voice was unlike any other. Except, that is, for one Elvis Presley. Hampered by his over-resemblance to the King, Jimmy’s own singing career floundered. Then, in 1979 he found fame as a masked singer called “Orion”, a persona deliberately evolved to create intrigue in the wake of Presley’s death. Over the next years he played to legions of grieving Elvis fans, and developed his own fanatical fan base, many of whom remained in wilful denial about the true identity of their idol. With his contract stipulating he never remove his mask in public, Ellis’ success came at a high price for the singer still hoping to succeed on his own terms. Jeanie Finlay’s nuanced portrait of Ellis serves as a riveting cautionary tale of the music industry, and a memorable exploration of identity.

Carol Nahra

Best of Enemies

ABC NEWS - ELECTION COVERAGE 1968 -

The year is 1968 – one of the most turbulent in 20th century America. The three television networks are competing for supremacy of the airwaves in the run up to the presidential election. Lagging a distant third, ABC takes an audacious punt, and schedules a series of head to head debates during the Republican and Democratic conventions. Duking it out were two heavyweight thinkers – the rightwing William F. Buckley Jr and the liberal Gore Vidal. Buckley saw Vidal as a moral degenerative; Vidal considered Buckley’s views to be dangerously anti-democratic. Both recognized the power of television in the changing media landscape, and soon a nation was transfixed. Robert Gordon and Academy award-winning director Morgan Neville bring an abundance of fantastic archive, and interviews with cultural commentators – including the late great Christopher Hitchens – to tell the story of a famously acidic rivalry which would endure for decades.

Carol Nahra

 The Divide

Alden is an ambitious Wall Street psychologist, while Rochelle struggles as a carer on a zero hours contract and Keith tries to make sense of his life behind bars, as a result of Clinton’s “three strikes and you’re out” policy. Through their stories, and four others, Katharine Round humanises the bleak fact that growing inequality is driving a terrible wedge through modern society. Jumping back and forth in time, and between characters and experts, this is an engrossing, cinematic, thought-provoking essay which flags up some root causes of today’s societal woes – and raises disturbing questions about the future. Inspired by the best-selling book The Spirit Level, The Divide demonstrates the terrible impact that decades of misguided economic decisions is having on modern lives – and the truth behind the adage that money can’t buy happiness.

Carol Nahra

Cartel Land


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In this double Sundance winner, Matthew Heineman takes us deep into the world of Mexican drug cartels by embedding himself with two vigilante groups on either side of the US-Mexico border. Camouflaged to help spy on drug runners, veteran Tim Foley is a man who wears his hard past on his face. Meanwhile, across the Rio Grande, surgeon Dr. Jose Mireles looks straight out of central casting, with chiselled features and a prominent moustache. As head of the Autodefansas, he is leading a group of men determined to obliterate the region’s most dangerous drug cartel, the Knights Templar. Heineman repeatedly places himself in harm’s way, filming the chaos as the group begin taking over towns – in so doing adapting many of the violent tactics of the drug lords they’re trying to overpower. A visceral journey into North America’s heart of darkness, Cartel Land will be talked about for years to come.

Carol Nahra

Dreamcatcher

Here is my Doc/Fest write-up. I’ve also written about the making of this film in another post:

Brenda is a mesmerising woman who has overcome a horrific life on the streets of Chicago. She now has a singular focus: to help other women do the same. Kim Longinotto follows Brenda in her day job, counselling incarcerated prostitutes and at-risk teenagers, and at night as Brenda takes to a van to provide brief respite to women from the watchful eyes of controlling pimps. Brenda’s ever-changing array of wigs are testimony to the many facets of her character, as she shifts between champion, motivational speaker, sympathetic ear and confessor. As often is the case in Longinotto’s films, the presence of the camera stirs many to speak up about their blighted lives in powerfully moving scenes. Made with longtime editor Ollie Huddleston, Dreamcatcher is an electrifying contribution to Longinotto’s life work documenting women’s attempt to recast themselves in a world dominated by men – and a devastating insight into America’s urban underclass.

Carol Nahra

 How to Change the World

how to save the world

The idea was simple: send a boat to bear witness, in the Quaker tradition, at the scene of a crime. When journalist turned environmentalist Bob Hunter carried out this plan, with a handful of other peaceniks, an ecological revolution was born. How to Change the World takes us through the eventful early years of Greenpeace, from hiring a fishing boat to sail into nuclear testing waters in 1971, to the establishment of Greenpeace International in 1979. Director Jerry Rothwell’s confident, breezy and layered style suits the group itself – an unlikely collection of mystics and mechanics. The huge media interest they attracted from their first save-the-whale-mission thrust the group into the international limelight, and fractures quickly developed. Rich archive and animation is interwoven with outspoken and sometimes conflicting interviews with Greanpeace founders, including Sea Shephard head Paul Watson, who admits he never bought into the “bear witness” ethos.

Carol Nahra

Films to Watch at Sheffield Doc/Fest 2015

The Sheffield Doc/Fest programme, which I have been helping to write for some weeks now, is live! Here are a few of my favourites, with more to follow:

A Sinner in Mecca 

After releasing his film A Jihad for Love, exploring Islam and homosexuality, Parvez Sharma is a marked man, having been publicly labelled an infidel. But Sharma is unwilling to give up the faith that has been overshadowed by extremists. “Oh Prophet: Is there a place in Islam for sinners like me?” he asks – and decides to go in search of the answer. Leaving his husband behind in New York, he journeys to Mecca in Saudi Arabia, to undertake the Hajj pilgrimage, considered the greatest accomplishment within Islam. With filming forbidden and homosexuality punishable by death, he films surreptitiously on his IPhone. He follows thousands of pilgrims through garbage-filled streets, and from the holiest of sites, the Kaaba, through to the air-conditioned Starbucks 700 metres away. Throughout, Sharma weaves a thoughtful meditation on modern Islam that is also a brave and moving autobiographical documentary.

Carol Nahra

The Hunting Ground

Excited at having landed a place at the University of North Carolina, Annie Clark’s elation evaporated when she was raped before classes began. She is far from alone: studies show that 20% of women will suffer a sexual attack at university. In a masterful, wide-ranging investigation, Kirby Dick and Amy Ziering present dozens of testimonials detailing how universities of every shape and size collude to cover up sexual crimes on their campuses, creating an ideal “hunting ground” for serial offenders. Fear of damaging their reputation – and enrolment – drives shocking behaviour throughout the universities, with the fraternity and athletic communities covering up the most grievous assaults. For many victims, the institutional denial proves even more painful than the crime itself. But hope is in sight as Annie and other victims begin to fight back through the courts, hitting universities where it hurts – by threatening their revenue streams.

Carol Nahra

The Look of Silence

In this multi-award winning companion piece to The Act of Killing, filmed before its release, Joshua Oppenheimer further explores the terrible legacy of the Indonesian genocide fifty years ago, this time through the lens of one family. Adi was born in 1968, two years after his brother Ramli was slaughtered in front of many eyewitnesses. Now an optometrist, Adi lives with his elderly parents and his children. Not only does he live under the ongoing rules of his brother’s killers, he has to listen to his children regurgitate the propaganda which led to the slaughter, and is still being perpetuated in schools. Adi decides to confront some of the murderers, who are surprised when his questions are more intense than Oppenheimer’s. His breaking of the silence leads to some electrifying scenes, in a film where the beauty of the Indonesian landscape belies the bone chilling horrors carried out there in the name of democracy.

Carol Nahra

A Syrian Love Story

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Amer met Ragda, when both were locked up in a Syrian jail for speaking out against an oppressive regime. Twenty years and four sons later, filmmaker Sean McAllister comes into their lives, as Amer is waiting for Ragda, who has once again been imprisoned. When she is unexpectedly released, the family is overjoyed – they need her, particularly three year-old Bob. McAllister and his subjects’ lives become irrevocably intertwined when McAllister himself is jailed, and footage of the family is confiscated. Amer and Ragda must flee overnight to Lebanon, with nothing but their children. McAllister follows their story over five turbulent years, as they struggle to find their feet as refugees; Ragda in particular can’t bear to be away from Syria in its hour of greatest need. As they watch Syria descend into chaos, they struggle to repair their troubled relationship. A powerful, moving story of family and exile from one of the UK’s most talented independent filmmakers.

Carol Nahra

The Confessions of Thomas Quick

A loner from an early age, Thomas Quick went on to become Sweden’s most notorious serial killer, openly confessing to the gruesome murders of more than 30 people. Held for decades in a psychiatric institute, Quick’s confessions emerged after years working with a group of touchy feely therapists, convinced that the recovery of memories would cure patients of their criminality. In a country with a low crime rate, the nation watched with horror as Quick’s confessions mounted, accounting for many of the country’s unsolved murders. With testimonials from a range of people whose lives have been dominated by this story – including Quick himself – and dramatic reenactment, Brian Hill weaves a stylish noir thriller that works a treat on the big screen. What appears at first to be a tale of unimaginable evil evolves into something much more layered as Hill digs deep into the motivations behind those working closely with Quick.

Carol Nahra

London’s HRWFF: The Yes Men Are Revolting

The Yes Men are Revolting opened the London’s Human Rights Watch Film Festival last night – the third feature outing for activists Mike Bonanno and Andy Bichlbaum, who have forged a career of elaborate stunts targeted squarely at corporate behemoths, perhaps most famously posing as Dow executives pledging to make reparations to Bhopal victims. This time around, the pair engage with a wide range of other activists in taking on bigwigs ranging from the U.S Chamber of Commerce to leaders attending the Copenhagen Climate Summit. Along the way they join thousands of other activists during the Occupy movement and in the wake of Hurricane Sandy.

Twenty years into their career, Andy and Mike are clearly older and wiser and a bit world weary. The Yes Men are Revolting for the first time focuses on them as human beings with families, boyfriends and plenty of lashings of modern stress. Appropriately enough, the film shows the frustrations and tensions which inevitably emerge when trying to save the world, one hoax at a time.

At a post screening Q&A with co-director Laura Nix, here’s what the three film-makers had to say about activism, and their latest cinematic outing:

Laura Nix: (Mike and Andy) are always doing actions – there is always a ton of stuff going on. So it’s a question of how does any particular action serve the narrative of the film? And this film is more complicated than the others because it involves them as humans. In the other two films they were like cardboard cut-out characters, like cartoons, and this time they were real people.  And I felt that was really important because I’ve known them a long time and I am very impressed at what it takes to do this work for decades. It’s one thing to get involved in activism when you are in your twenties, and it’s another thing when you are starting to hit the other ages that we are all facing!

Laura Nix
Laura Nix

Mike Bonanno (on dodging a law suit threat): One of the things that we’ve come to realise from years of doing this is that we’re not in any danger physically or legally for what we’re doing. Everything we’re doing as far as we can tell is totally legal and totally safe. We have some people to thank who have fought against companies like McDonald’s, for example – the McLibel case here in the UK – which has made a lot of corporations scared to threaten activists legally.

Mike Bonnano (left), Andy Bichlbaum (right) (1)
Mike Bonanno (left), Andy Bichlbaum (right)

Andy Bichlbaum: For me the personal story is really important as a way of showing the importance of social movements. We despair, we wonder why we are doing things? What did this achieve?  And we get the answer with Occupy, when we realise that we’ve been part of this and it’s exploding and it’s huge. That’s a lesson that activists often don’t realise – if you do something with your heart really in it, it matters. Even if you might not see how – it might take a long time for you to see how it works.

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The Human Rights Watch Festival runs until March 27. Stay tuned for a future blog about the rapidly growing subgenre of activism on film…

Daisy Asquith Gets Personal

In nearly twenty years as a filmmaker, Daisy Asquith has told human stories the length and breadth of the UK, and beyond – not least in Crazy About One Direction, where she memorably explored the legion of passionate One Direction fans. She has also taken viewers into the world of clowns, young mums, Holocaust survivors and house clearers, in empathetic, nuanced portraits which have earned her multiple awards.

Her latest film is a departure for Asquith, in that for the first time she points her lens at her own family. In My Mother the Secret Baby, she embarks on a journey with her mum to find out more about her grandparents, who gave her mother up for adoption after she was born illegitimately in Ireland in the 1940s. In going in search of details about her birth grandfather,  Asquith alienates a number of her Irish relatives, who vehemently resist airing their family’s secrets in public – their objections becoming part of the narrative of the film. I spoke to Daisy about the film, and what it was like making a film about her own family.

Daisy, middle, with her cousin Johnny and his wife Mary
Daisy, centre, with Johnny and wife Mary

Can you tell me a bit about the origin of the film?

I had a lot of wobbles over whether or not to make the film, because one of my aunts…is really really against my talking about our illegitimacy in public; she wanted it kept private and a secret. So I kept chickening out basically. (BBC) Storyville have supported it very patiently for about five years. I kept saying I’m not doing it. And they would say, hmm okay and then three months later it was back on again.

Is this a journey that your mum would have taken if the film wasn’t driving it?

No, she says she wouldn’t have done it. And that kept confusing me too – that I was dragging her into it. But I think it just needed all that time. We needed loads of time. She kept changing her mind as well. I tried not to push her and to be patient really. And they allowed me to do that. She came to the realisation that she really did want to know more about her father.  And now she’s so delighted that she made that decision. She loves the film and she loves the information that she has about who she is – who her father was. It’s somehow kind of filled in loads of gaps that you wouldn’t expect – why you are like you are. I think it has made her happy, actually.

You’ve pushed some family away, and others have become closer, like your aunt who is in it.

Yes, my Aunt Siobhan has been incredible. Her courage – I don’t know how she is so courageous. She is the one who has given us the confidence to do it. She kept saying ‘you have the right to know,’ and not backing down either.

J&Mdance
Johnny and Mary in NYC

And has that led to her having difficulties with her own siblings?

Yes, it has caused her all kinds of trouble.

What was it like discovering your main characters, Johnny and his wife?

It was delightful. When I first saw Johnny and he sort of emerged from his milking shed with hay sticking out of his hat, I thought, this is just amazing. I fell in love with him really. Luckily he likes me. I must be quite challenging for him, but he seems to like it and handle it, and is in full control of me when I’m over there.

You have made a lot of films – is this the first autobiographical film that you have made?

Overtly, yes. You could say all of your films have much subjective stuff in them, but yes overtly it is the first autobiographical film. It is so different. And of course they pressured me to be in it, which is of course out of my comfort zone.

You weren’t in it that much!

I don’t’ think I needed to be in it that much – do you?

Well I have a sense of who you are already. But I do usually find myself craving to see more of the strong personality behind the camera.

I think it is a bit of a cop out to hide and not do that and pretend that you weren’t affecting everything all of the time, so maybe I didn’t do it enough.

Can you expand on how it was different making this film?

You can’t see clearly when it is your family. It’s too emotional. You get sucked up into lots of different people’s feelings, all of whom you love and all of whom are not going to mince their words in their criticism of you. I try to treat the people whom I film with huge respect and some love, and to try to collaborate with them. But actually what happened was my vision was fogged by it. I had to separate how I felt about them being angry with me to how I present them in the film.

Will any of them end up watching it and coming around?

I want them to watch it – I’ve offered. They have not taken me up on my offer yet. But you never know. I’m hoping it is way better than they imagine.

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My Mother the Secret Baby premieres at the Jameson Dublin International Film Festival the 26th March (under the title After the Dance) and will be broadcast on BBC Storyville, 30th March, 10pm. There will be a special screening at the new Bertha DocHouse in London on 31 March at 7pm, which will include a post screening Q&A with Asquith.

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